#I am AWARE the characterizations are all over the place

[yngai]

we are winning at levels never before thought possible it seems, after making the wrong choice of becoming an ada wong fan & having to subsist off the crumbs of characterization given to me in in-game files, supplemental material & scant lines of dialog it seems capcom is truly going to give me everything i have ever wanted :

probably giving ada the best DLC in the franchise, a meaningful relationship with a character that isn't leon that seems to take precedent in her story over her few chance encounters with leon in RE4R ( i have a feeling her & luis' history gives their dynamic far more meaning than his little rollercoaster ride with leon ), cool sci-fi contacts replacing the glasses she never really used in the original, integrating her grapple hook in her combat when it was sadly only ever used for traversal, actual content specifically designed for her campaign & not just reused arenas from the main game ( some of these are from the original carried over to ada but i think her performing the coolest thing leon does in the original, dodging the lasers, is sick ), finally positioning wesker as an antagonist in ada's story directly rather than him hanging over her like a school headmaster trying to play mindgames .

it's honestly so personally rewarding to see capcom go to such lengths for a character they have otherwise neglected, even in a game like re6 where she carries the emotional core of the story ( in specific her developing relationship with carla as she learns she is more than just some lab-made doppelganger, which was sadly undercooked - like most of the game, despite the explosions )

[etoilesbienne]

out of curiosity, what are the common qEtoiles mischaracterizations, and the accurate characterizations you wished people used more? Sincerely, an English speaking fan who is re-learning French!

honestly i kind of consider it a mischaracterization when people like... make etoiles into this team leader who always knows what to do and move things forward. or like that he has a bad attitude to like... match his fighting skills. or like the dark knight brooding warrior. he says he is these things. these are lies. he lies about himself constantly. i wouldnt trust a good 2/3 of the things he says about himself to be true. you read him clearer through his actions than his statements.

in my opinion etoiles is more like. sturdy second in command. he's not there to lead, he's there to fill in the holes where they pop up. he's there as cover. he's quick witted in shortchange scenarios, but that is so not the same thing as a genuine strategist. in another expression, if someone is a leader, the leader is a doctor, etoiles's role is more like... the EMS team in an ambulance. He's not there to fix your problem, he's there to keep your problem covered until you can get someone else to fully fix it. but that doesn't mean his role is any less important when he's needed.

Etoiles is also, like, so very much a team player if he respects and trusts a person. And it is so easy to have his respect and trust. His trust starts at 100% for everyone. he's also so very very very good at reading people (gesture to the bbh clip where bbh moves his mouse slightly downward and etoiles calls him out on being depressed). He read Mousey as enjoying dungeons and pvp way more and wanting to hang out with her. He's also one of the only people who like continuously runs in the girlies group and makes all of them pvp with him and they all love it so he keeps coming back to pvp with them. Thats how he started his whole thing with Tina and pvping with her constantly. Reading other people also, he loves finding other pvpers so he attacks roier constantly now bc he knows roier can pvp.

What else OH Etoiles loves whining (and this is because Rayou loves whining) that dude will just complain constantly. You haven't seen an etoiles stream if youve never seen him whine. Can't say I'm not kind of endeared by it. With this too he loves over explaining things (RIP armor powerpoint wish you couldve been given...) because he wants to help everyone....

OH and he's very over exaggerated too in replying to people in a complaining way and a self deprecating way and also likes to try to push the envelope with people and he does all of that to try and get a laugh out of others. like he's well aware people find him going "Oh so you don't give a shit about me and want me to die ? you want etoiles to die ?" fucking hilarious and also loves complaining in the first place thats why he does that. if your etoiles isn't complaining and whining then it isn't etoiles. the self deprecating thing is... its interesting bc he does have full faith in his abilities but will never say it out loud unless its trying to reassure someone who is worried. pushing the envelope is so specific he won't do it too much and its like........... from what ive seen (correct me if im wrong) heavily directed at non francophones where if they laugh at something wack he's done he'll try to do it again to make them laugh more. shoutout to the time he made bbh laugh so much when he cursed he didn't get languaged by bbh so he kept cursing to try to make bbh do it again. the dudes a total people pleaser.

smaller thing ive talked about extensively already (u can prob find it in my q!etoiles tag if i remember i'll edit a link to the posts in here soon lol) etoiles hates losing he looooooves winning he's very intense about it lol. its cute!

on a final note even if you don't become deeply unwell about etoiles like i am i think this highlight clip video has like everything he's like condensed into like 11 minutes. You should watch it. It's a good starting point.

[adobe-outdesign]

Kung Fu Panda 4 Rewrite Thing

Been chewing on this movie for a while now and wanted to take a shot at improving it. Some parts are a bit rough but I think this gets the general idea across.

As a rule, I'm trying to keep most of the characters and elements/plot beats in place rather than spinning things off in a completely unrelated direction. I also am aware of the restrictions placed on this movie, such as an unwillingness to rehire high-profile VAs and runtime limitations. This is just meant to be a "what if" kind of thing. That said:

We open with a stylized sequence of Po telling the story of his and the Five's latest battle. As it ends it's revealed he's at the grand opening of Mr. Ping's brand new bigger, better noodle shop location, talking to the customers.

As one of them asks where the Five are now, Po explains that they got summoned to their own individual missions, but they'll be back soon.

(Yes I am still having them be MIA, as Po needs to be alone with Zhen for part of the movie. However, they'll only gone for the first part of this rewrite and for a very specific plot-related reason.)

(The thing with Po needing to give up his title of Dragon Warrior makes no sense for multiple reasons, so let's just drop that plot point entirely. I get that it's meant to tie into the "change" moral, but I'd rather have Po imparting this lesson onto Zhen instead of learning it himself, as otherwise it undermines the character growth he had in 3.

Also, Po isn't carrying the staff around with him constantly in this rewrite, as it looks a bit silly and isn't plot relevant here.)

A messenger shows up to report that the Jade Palace is under attack. Po decides to rush over just in case Shifu needs backup... which he does, because he's being kidnapped in a small one of those magic-proofed cages from the actual film.

(Shifu being kidnapped was tossed around in the writing room originally and I want to keep it in this rewrite because it A) gives Shifu something to do, and B) I want to allow Zhen to openly be working with the Chameleon in order to help flesh out her character and avoid the lackluster plot twist, meaning she'll need new leverage against Po later on.)

The figure behind the kidnapping appears to be Master Elephant, which confuses Po as he's been missing for several months. Right as he's about to land a finishing blow, the figure shape shifts into Master Chicken, throwing Po's attack and resulting in him getting a bad head injury. He does his best to pursue the attackers, but can't keep up. Dismayed, he returns to the Jade Palace...

...And finds Zhen trying to steal something, using the commotion outside as a distraction. Po fights, but he's still badly injured and can't give it his all, resulting in Zhen being able to slip away with her prize—a dust bunny from under the furniture. Po is baffled.

(Side note: I would probably redesign Zhen so she actually looks like she matches the other characters' style, but I digress.)

Feeling dismayed, he returns to the noodle shop, where both his dads work on treating his wounds and comforting him. As Po explains what happened, Mr. Ping mentions that customers have been circulating rumors about a shapeshifting sorceress in Juniper City. Po decides that that's where he needs to go, promises his dads he'll be safe, and leaves.

(I'm cutting Mr. Ping and Li's subplot, because as much as I love them they don't really add much to the plot. It also feels like it goes against Mr. Ping's characterization in KFP 1 and 2 in particular.)

This is where we can have the scene of the Chameleon vs. the crime bosses. This can mostly stay the same except one of the bosses attempts to attack her when she shape shifts, causing her to retaliate with a magic-based attack. She also needs to straight-up kill the guy to establish her and her sorcery as a legit threat.

Po arrives at the Happy Bunny tavern to look for a ride to Juniper City. As he talks to Fish and Chip, he notices Zhen nearby doing some black market trading with Granny Boar to obtain a white feather. Po confronts her and she tries to run out with the feather, causing the boar family to pursue in a big fight scene.

Po and Zhen manage to escape, Zhen stashing the feather. Po threatens to have her sent to jail, but Zhen confirms she's working for the Chameleon and can lead Po to her so he can rescue Shifu. Po dislikes this situation, but has no choice but to agree.

(Unlike in the actual film, I would make it so her lair is hidden in some fashion; magic that keeps it camouflaged would be appropriate for a chameleon, or it could be underground or hidden behind something. Regardless, it should be impossible to locate without Zhen's assistance.)

On the boat ride over to Juniper city, Zhen says that she has to "obtain" one more item from the local history museum or she'll be in big trouble with the Chameleon. Po doesn't like this detour, but once again has no choice in the matter.

Po asks why Zhen would want to work for someone so obviously evil, and this is the point where Zhen admits she was adopted by the Chameleon and we get her backstory.

(I would establish that the Chameleon has an actual name, but only Zhen uses it. It shows that Zhen is closer to her than most, not quite seeing her as a mother but not fearing her enough to use her preferred title. Also, the Chameleon's the only KFP villain without a proper name and that bothers me.)

The backstory can be the same, but the part about her living on the streets and meeting the Chameleon for the first time should be merged into a single flashback.

Zhen says that Po couldn't understand, but Po reveals that he's also adopted, and that he probably would commit some noodle-related crime if his dad asked him to. Still, Zhen insists that people don't change, and that includes her.

They arrive at Juniper city (Po is impressed at its size but he very much is not acting like he's never seen a city before). Zhen covers up her muzzle and tucks her tail under her clothes so she won't be recognized.

Zhen is ready to break into the museum, but Po says that he's got this and goes up to the guards to tell them that he has some official Dragon Warrior business to take care of and will need to borrow some ancient artifacts.

Unlike in the actual film, everyone ready acknowledges him as the Dragon Warrior. The guards are more than happy to loan him whatever he needs... until Zhen's tail pops out and the guards recognize her, prompting them to attack.

During the scuffle, Zhen uses a chi blast to knock back one of the guards, but almost gets taken out by the other guard coming up behind her. Po defends her but gets mildly injured as a result.

After the fight, Po asks about the chi move and Zhen states that the Chameleon taught her the basics.

Zhen confirms that the Chameleon is a master of chi, and that the sorcery she uses is a specific type of chi manipulation.

(The reason I'm connecting chi to her powers is that it makes them feel a bit less out of left field, and helps 4 feel like a logical progression from 3.)

Zhen admits that she's not very good at using chi, but Po points out that it took him years to use chi in battle. He also compliments her on her kung fu, and she confirms she's self-taught.

(In this rewrite, Zhen is good at fighting but not quite at the level she is in the actual movie. This is to address the issue of who taught her if the Chameleon doesn't know kung fu.)

He takes a moment to give her a few pointers, which causes her to ask why he took that blow for her earlier, figuring there's a catch. Po just says it's the right thing to do, but Zhen is skeptical, figuring he only did it because he still needs her to lead him to Shifu.

The reminder of Shifu prompts Po to move on, and they grab the item Zhen was after, a 500 year old set of blades, then run for it.

Po and Zhen arrive at the Chameleon's lair, and Zhen shows Po how to get inside and tells him where Shifu is being held. She says that she'll take the items to the Chameleon, which will distract her while Po breaks him out. Po thanks her, and the two separate. Zhen warns him of booby traps on the way out.

There are indeed booby traps, such as those saw contraptions from the actual movie and a bunch of guards. It takes Po a few minutes, but he eventually gets through them.

Po finds Shifu being held in a dark room. Shifu is glad to see him, but warns him to be careful as the Chameleon's likely not far away. Po explains Zhen's distraction and moves to free him... only for a cage to fall down and trap him as well.

"Shifu" is then revealed to be the Chameleon in disguise, who slips through the bars via shape shifting into a mantis and thanks Zhen for her help. Zhen apologizes to Po, who's naturally upset ("I mean, I know you were evil, but I didn't think you were THAT evil").

Zhen hands over the three items she collected, and it's confirmed what they are: a dust bunny that contains a clump of Tai Lung's fur, a feather from Lord Shen, and a pair of blades once wielded by Kai.

Po mistakenly interprets this as the Chameleon being a collector of kung fu memorabilia and tries to chat about the Jade Palace's collection, much to her bafflement.

The Chameleon explains that a trace of a person's chi remains long after their death, and demonstrates by doing The Tongue Thing on Kai's blade, stripping its chi, and immediately taking his form.

(As you may have picked up on, this rewrite removes the spirit world elements entirely. While they are really interesting, I think cutting them is the best option because:

1. There is so much plot involved with bringing Po's old enemies back that you could make that an entire movie in and of itself. It's hard to do it justice when you're cramming it in around the edges of this movie.

2. It makes the Chameleon too similar to Kai in terms of abilities.

3. Having her rely on stealing other's kung fu makes her come across as weak despite being a powerful sorceress.)

Po asks her if her goal is to take over China, but she says no; she just wants to end the practice of kung fu for good, and prove that sorcery is the superior option. To prove it, she has Shifu brought in.

While having your chi stripped does not remove one's kung fu abilities in this rewrite, it is still removing part of one's life energy and thus weakening them severely for a period of time—ergo, Shifu is still unable to fight at his best. Still, he manages to hold his own.

Instead of using kung fu, the Chameleon relies on the brute animalistic strength and inherent abilities of the forms she takes, switching whenever she's loosing to keep her opponents on her toes and even transforming into Shifu himself for a period. She also uses a few chi-based attacks.

Just when it looks like Shifu is about to win the fight, she uses her tongue to strip the chi from the fur clump, taking the form of Tai Lung. Shifu is so shocked and distraught that he fails to attack, allowing the Chameleon to land a serious blow.

She returns to her original form and states that when the blood moon has risen, she will battle and take down every master in the middle of Juniper city, where everyone can learn just how useless kung fu and the people who teach it are. She leaves Po in his cage panicking over Shifu, who's unresponsive.

Zhen follows the Chameleon outside, where we get the "does the blood moon always rise so slowly" gag. Noticing that Zhen looks troubled, she asks what's wrong, and Zhen talks about how Po encouraged her to do the right thing. Even though she's been told that kung fu masters are elitist, selfish people, she couldn't see any of that in Po.

(Side note: I want to establish in this rewrite that while the Chameleon will claim up and down that Zhen is only a pawn for her to use, she does care about her to some extent, even though probably loathes the fact she does. For example, when talking to Zhen here, she might pick some rubble out of her fur or something to show there's a teeny tiny bit of actual affection hidden there.

The reason for this is that all other KFP villains have had an emotional anchor—Shifu for Tai Lung, Shen's parents for Shen, and Oogway for Kai. The Chameleon being abusive but having some real love for Zhen and Zhen struggling with her gaslighting adds a lot more depth to both of them.)

The Chameleon finally reveals her backstory, which should be told in a hyper-stylized way à la the flashbacks in KFP 2 and 3. Just like Zhen, she grew up on the streets as an orphan, broke and starving. She admired kung fu greatly and wanted to learn it, but everyone turned her away for having no money to pay for lessons.

One day, she found a shiny jade amulet on the streets that someone lost, finally giving her a much-needed break. She is able to use that money to enroll in classes.

The problem was that while the money changed her financial status, it didn't change the way people saw her. Her master still considered her a lowly gutter rat and treated her as such, verbally insulting her and beating her down during training sessions. It's very much like how Shifu treated Po in KFP 1, except worse, especially because the Chameleon is a small and fragile animal.

Finally, during one training session she became too injured to move. Her master told her to quit and started to walk away, only for her to grab his leg with her tongue to trip him up. However, at the peak of her self-loathing, she instead discovered her chi stealing abilities and transformed into him. It's not shown, but it is implied she killed him.

As the flashback ends, the Chameleon shifts into Zhen and tells her that no matter how much you change, you can't change the way other people see you. Siding with Po, she says, will only get her hurt. Zhen nods and unexpectedly hugs the Chameleon, telling her she knows, and runs off.

Cutting back to Po, we see him frantically trying to break the bars of his cage. Zhen comes forward and drops down on her hands and knees, apologizing for everything. Po says that she came back, and that's what matters.

She reveals that the "hug" was actually just a way for her to get the key off of the Chameleon, and she uses it to unlock Po's cage. Po runs over to Shifu and he and Zhen heal him with chi, and we get a callback to the "I'M NOT DYING YOU IDIOT" scene from KFP 1.

However, while Shifu's not dying, he is very badly injured and can barely walk on his own. Po asks how they can take on the Chameleon and her army with just three of them, but Zhen holds up the key and suggests they get an army of their own.

Running downstairs, Zhen reveals where the other masters are being held. To Po's shock, the Furious Five are among those captured. Tigress confirms that the summons they received were traps laid by the Chameleon, and she already has their forms.

Also down there are the other crime bosses, as it feels like they just disappear in the actual film after their scenes.

Zhen only manages to unlock the Five's cages before before the Chameleon snatches the key back with her tongue, revealing that she knew Zhen was lying to her. Behind her, her army assembles.

Tigress confirms that that the Five will take on the army, and Po faces off with the Chameleon one-on-one. She strips the feather and uses Shen's form to fly up and take the upper ground, trying to kick a cage onto him. Zhen helps deflect it, and the Chameleon tells her to stay out of the way. Po and her continue to battle.

Despite Po's best attempts at blocking it, she does finally stick him with her tongue. He grabs it and throws her a distance in her fragile base form, injuring her but still giving her some of his chi in the process.

The Chameleon takes on Po's form next, and we get a fight similar to the one in the movie, though once again with her using less kung fu and more magic and physical attacks.

She mentions how she was rejected and tries to tell him that he should be on her side, because a bit fat panda like him must have been treated just as badly as she was. Po denies this, but Shifu admits it's pretty accurate. Po says he's not helping.

Po admits that she has a point, except she forgot one thing, and we get a callback to the "I'm THE big fat panda" moment from KFP 1.

The two attack at the same time. As the dust clears, it's revealed that neither are doing great—Po has gotten a lot of little injuries and the chi stealing has weakened him. The Chameleon is struggling to shapeshift at all, with the attempt causing her pain, and instead settles for trying to blast him. Zhen steps in and manages to redirect the attack back at her.

The Chameleon takes the blow and ends up back on the floor as a parallel to her flashback. Zhen reaffirms that she disagrees with her worldview—people can change, and she's going to prove it. If the Chameleon wants get to Po, she'll need to get through her first.

The Chameleon kind of laughs this off at first before realizing she's dead serious. She states that Zhen isn't even good at fighting, but Po disagrees, giving Zhen a confidence boost. The Chameleon struggles to her feet as if readying an attack, everyone braces themselves... and she surrenders, too injured to fight and unable to bring herself to hurt Zhen.

(There are a few reasons why I think her surrendering makes for an interesting defeat here:

1. There's no spirit realm portal to yeet her into in this version;

2. There's only so many times Po's enemies can be yeeted directly into the spirit realm before it gets old;

3. It adds character depth, and;

4. It ties back nicely in to the theme of change and that it's never too late to do the right thing.)

Zhen helps the Chameleon up, Tigress does the same for Po, and Monkey does the same for Shifu. The five reveal that despite being exhausted, they still managed to wipe the floor with the Chameleon's army, which Zhen thinks is incredible. Po introduces Zhen to them formally, and Shifu asks if they can save the introductions for after they get medical treatment.

Later on, Po (carrying the staff Oogway gave him) approaches Zhen, who's sitting under the peach tree by the Jade Palace. He asks her if she's doing okay after everything that's happened. She says she's alright, but is pretty scared of what's going to happen next, given that the Chameleon's in jail and she has nowhere to go.

Po reveals that him and Shifu have been talking, and he plans to open a new school as part of the Jade Palace that will offer free kung fu lessons to anyone who's interested in learning. Zhen asks if there are any spots open, and we end similar to the actual movie, with her training alongside the five.

the credits still end with the Jack Black cover of Baby One More Time because it slaps

[resisteverything]

Just for fun (I am really not invested, haven't even watched the full thing): why do you dislike Hazbin Hotel?

This is the biggest one, the hotel is useless. Charlies whole goal is to redeem sinners with the hotel, but by the end of the season there are only two guests, and then one of them dies. This is particularly bad because of the six month deadline set in episode one. Like what is Charlie even doing over those entire months?

The main characters are weak. I expected to learn more about Angel dust in the show itself, and see a new side to him, but in the end his entire character is summed up with Addict, except the show gives him less personality than Addict does. And he's the best one. Charlie is just a Disney princess parody, the only unique trait of hers being that she swears randomly and has daddy issues, the latter only mattering in one episode, the other seven either shafting her character or giving us no new information about her. Vaggie never once does anything that isn't what Charlie told her to. Alastor is vague and mysterious, but the intrigue and fear factor he brought is just sort of ruined in the show proper. He doesn't work as a foil to Charlie or an antagonist because he never does anything for forward the plot.

Nothing happens in this show. Episode one's only contribution is the dead angel and six-month deadline, everything else is skipable. Episode two changes nothing except that Pentius is at the hotel now, and he doesn't do anything. Episode three is only important in that Alastor hears about the dead angel head, info which he doesn't use until episode seven, like no other character is aware of the angel head. Episode four is only important in that episode six centers on whether or not angel has redeemed himself, except in episode six has the question be answered with "Actually heaven doesn't care about that and was never going to listen to Charlie", episode five is only important in that it's setup for Charlies meeting with heaven, a meeting that ends in her being kicked out and nothing having been changed. Episode six is that meeting. Episode seven is Charlie literally giving up on her motivations to prepare to do battle with heaven, and episode eight is them fighting that big battle. Nothing Charlie did from episodes one to six actually brought them closer to resolving the conflict, and season two is just a return to the previous status quo of hell.

The series is packed full of side characters that should not be so numerous in an eight episode season. Why is Carmilla Carmine, a character that shows up in two subplots a more relevant character to the narrative than any of the main characters? Why did we get half an episode dedicated to the Vees dicking around in ways that in no way affect the plot but never got to see Charlie and Angel dust have a real conversation that wasn't antagonistic? Why did Charlie work out her issues with Vaggie with a completely new side character she's never met before this episode instead of with Vaggie? Why is Vox spying on the heroes for all of episode eight instead of doing anything? Didn't one of them actively try to incite a war against heaven? Shouldn't she be siding with the heroes?

The show has a bizarre relationship with the pilot. It expects you to understand that Charlie taking Alastors hand is a big deal, or know who Cherri bomb is, because these things are in the pilot. But it also Retcons things like Lucifer's characterization, or Husks reason for staying at the hotel. It makes the show hard to follow plot wise.

The tone is all over the place. Pentius dies as a joke that kills a serious moment but then they try to make it serious. Charlie and Vaggie have a serious conversation with jokey slapstick noises in the background. Valentino flips between scary and goofy at random. Angel gets raped and it’s a big deal, pentius gets raped and it’s a joke.

[genericpuff]

Hello, i saw your post about Perse being a menace to the nymphs and I agree and the majority of what you said buuut

not to defend Persephone or anything, but didn't Minthe send her to the wrong place on purpose? I haven't read LO in a long time so i don' t remember the details but since she works there, she knows that THAT place is dangerous, and I'm not saying blackmail is ok but in perse's place i would be angry too, so while yes, the author makes Persephone and all the other characters treat nymphs poorly and that's one of the main reasons I dropped LO, that specific event (without taking in account the context of all, because yes in that moment Hades is basically cheating on Minthe with Persephone and she doesn't even felt guilty) but Minthe was so wrong for sending Perse there in the first place

English is not my first language so i apologize if i sound rude or if it's difficult to understand my idea.

But i really like this kind of posts because there are soo many scenes that i used to romanticize when i first read it while in school, like all those scenes with Tori and now i realize why LO is sooo messed up

So it's funny you bring that up because yes, Minthe did send her to the wrong place on purpose, however what DOESN'T get remembered often is that Minthe felt remorse over it.

And we see her feel remorse in this way on several occasions, including during the slap scene.

The fact that Minthe keeps getting pigeonholed into the "petty bitch" archetype by the narrative feels more of a consequence of Rachel trying to make the audience hate her no matter what (because she's the "other woman" in the H x P ship), and yet she shows more self-awareness and capability for growth than Hades and Persephone ever have, which is what makes her so endearing for the fanbase. She doesn't understand why she acts the way she does but she knows it's not okay. It's just that change is hard, especially when that change is dependent on you analyzing yourself and being willing to accept your faults and mistakes.

Unlike Hades and Persephone, who not only continuously act like brats to the people around them (especially Persephone as of late) but only take the kind of 'accountability' that makes them look good (ex. Therapy Speak), without showing any genuine remorse or willingness to change. It makes it feel like the nymphs are only mistreated because the narrative constantly gives them characterizations to justify their mistreatment.

Yes, Minthe's done terrible things, things that ultimately led to her downfall in a lot of ways - but I'm sure as shit more interested in where she has to go as a character than I am in Hades and Persephone, who have nowhere to go because they're clearly content with who they are.

Eughghgh.

[travelingneuritis]

i sent the other ask too but i have more to say. i hope this isnt too irritating. what spawned the comparison was me rereading heartbreak and the stuff about how binghe decided to let go of hatred bc he was suffering as a result and shen yuan said that he hoped binghe wasnt just shoving resentment down because he wanted shen yuan in his life and all i could think was how binghe changed from actively asking why due to shen yuan self destructing......... this fic gave me brainwirms its so good.

Oh my god, yeah!! one of the things that makes me absolutely wild about canon Bingqiu is how they both do and do not resolve their past conflicts. Like IDK Binghe gets a foot in the right direction in that he's willing to leave SQQ at CQMS because he believes that's what SQQ wants, which I suppose does count as growth in comparison with his previous "if Shizun doesn't love me I'll kill everyone else in the world and then myself". but it hardly counts as open communication or any kind of exorcising of their past demons!! I love this! A. of all, these are 2 characters who are NOT going to suddenly know how to communicate openly and honestly when it's either not a skill they've ever practiced (in SQQ's case) or open communication carries too high a risk of rejection (perceived)(in LBH's case) and B. of all, canon is only the setup! ALL THE REAL GROWING IS STILL IN THEIR FUTURE AND THEIR STORY'S JUST BEGUN. I AM CHewING MY OWN TEETH OVEr THEM

but then it's also so much fun to take MXTX's Unhealthy Coping Mechanisms Gang and try to figure out a way to give them slightly better outcomes, slightly sooner, while keeping roughly within their given characterizations, by tweaking the events that happen around them. it feels so indulgent to be like "you may have ONE (1) iota of self awareness, as a treat. Don't spend it all in one place."

idk i just love these clownfools and i love MXTX for bravely giving us boys who are SO broken. ty for reading my fic & being so nice about it <3

[moonstruckdraws]

✨ARO SPEC AWARENESS WEEK!!✨

THESE PEOPLE EXIST AND ARE BEAUTIFUL & AMAZING! APPRECIATE THEM! RESPECT THEM!

I don't really do the awareness week things cuz I draw during pride month but finding out (learning how to read a bio status that's been in my face every time I open their blog) that @hellishgayliath is aro, I wanted to incorporate them! I know I say I appreciate them a lot but ITS BECAUSE I DO!

This is also a reveal that Luci is aro spec! I am not aromantic myself, but I have done my research into it. However, if I do make any stereotypical or offensive characterizations for Luci, please let me know so I may change that! I find it funny that both Repo & Luci wouldn't know of the labels lgtbqia+ so Luci has no idea what aromantic is lol

Luci spiel incoming

Okok, so I designed Luci in late December. I make characters in my head for fandoms I'm in all the time, but I never draw them out because I never care to. I didn't really consider making a rottmnt oc until Helli dropped their Bao character which is followed when I started making fanart of Helli's sons. I decided, "I have nothing better to do, so why not" and I really like moths, so why not a moth oc?

Seeing Pico & Bao made me really want to put Luci in a relationship, and I had (and still have) a character in mind that I'd pair her with. But the more I drew her and explored her character, I wasn't as sure. Around this time I learned what QPRs (queer platonic relationship) are and the best way I can describe them is that they're like deeper (more-than-platonic-but-not-romantic) soulmates.

This led me into the aro spec rabbit hole (ha, hi Helli) and I learned a lot about aro labels and aromanticism in general, to which some things I didn't know I connected with lol. And I am aware, since it's a spectrum, that some aros are in relationships, single, interested in romance, repulsed, or a mess of all these things.

But I still wasn't sure if I felt putting Luci in some kind of relationship (more towards a QPR) was okay? I haven't said much on Luci's view on relationships and romance, and I'll do that in another post so I'm not writing an essay over here lol. Because I'm aware that some people do go down that route of "Well some aromantics do date, so I can draw this character in a relationship" and no hate though as peeps can do what they want. I just didn't want to do that with Luci.

So really I'm on the fence of the possibility, and if I do, I want to do it in a way that's respectful to aro's with boundaries or dislikes Luci would have if she was in a close relationship. Of course, I could be overthinking this, which is why I shortened this post in the first place lol, but I'm also a paranoid socially anxious person that doesn't want to be offensive especially since my moot is on this spectrum. I will accept any tips or advice if they're offered; I just wanted to yap and blah blah.

Happy Aromantic Spectrum Awareness Week :]

[mintacle]

Also regarding fanon Tim it is really pity that a lot of fans and even writers regard Tim as a mini-Bruce when i feel he should be opposite especially when it comes to their social circle. Like Tim is fascinating to me because he looked at the dark and gloom and isolation of both Gotham and Bruce and went, "It deserves to be saved. I will save it and i'll do it without it destroying me" (he failed but he tried, god did he try).

If Bruce Wayne is a mask for Batman then Robin is a mask for Tim Drake.

If Bruce is actively isolating himself then Tim is actively seeking people out (even if it sometimes means slight stalking and casual breaking and entering, which, Tim, buddy).

When his parents died Bruce buried the child he was and dedicated his life to make sure something like this would never happen to anyone else and when Jason he almost went and broke his one rule. When everyone in Tim's life was dead or dying he tried to held onto every little thing that could bring that normalcy back from before everything went to shit, whether it be cloning, trying to find Bruce, or even lazarus pit.

It is why Tim becoming batman always ends horribly, not because Tim is secretly a deranged guy but because becoming batman means affectively killing what makes him Tim Drake. It is also why i think the best ending for him would be retirement, the boy who chose to take up the robin mantle grows up to be the man who chose to give up the mantle (naturally this would take a lot of development since i feel Tim is rather addicted to it but also i think it would be good. I also feel he would still do hero work on side but as a consultant or support)

(I alse feel isolation is a major struggle for both of them. However Bruce embraces it, becomes a part of it, while Tim rejects it, loses to it. A Lonely Place of Dying indeed)

(i am so sorry i feel like i have more generalized both the characters and could be wrong about them since i am still newer to the comics but these are my thoughts from what i have seen so far)

Nah, anon, you're valid. I'm not crazy into Tim and haven't read anything with him yet (though @benbamboozled has convinced me to read Young Justice 98), from what I know of the canon version of Tim, he is very critical of Batman, which you kind of have to be if your goal is to help them (as opposed to enabling someone)

Here we have Tim on Bruce's approach to paranoia and work colleagues:

which will for me always be core part of Tim's characterization. He's very far from the boy who will blindly follow Bruce to get his approval. I think of all the Robins Tim might be the least interested in Bruce's approval. (Modern era Dick is weirdly open about wanting Bruce's approval which I don't like. Nightwing is for me ideally in extreme denial about his and Bruce's interdependance.)

Tim is far too aware of Batman's problems to want to become him. This is the kid that became Robin at Batman's lowest low. He didn't become the sidekick/ward/son of a vigilante who was larger than life, he became the support of a broken down man. It makes sense to have Dick and Jason involuntarily idolize the man, because the Batman they knew was amazing, but the Batman Tim knew? That was a spiralling man.

Which might also be why it bothers so many people that Tim isn't allowed to grow out of the Robin mantle, it feels extremely natural for him to be getting over his original mantle and connection to Batman.

[unhelpfulfemme]

Halt and Catch Fire is the best show ever and you should watch it if you haven't.

It has amazingly deep and three-dimensional and tender characterizations and a plot that's structured kind of like a spiral, in that you observe the characters over the course of ten years where they keep ending up in similar situations and you can see how much they have or haven't grown since the last time they had to face a similar thing.

It gives you a new appreciation for the wild west days of IT of the 1980s and 1990s, which is something I keep seeing people mention but have actually never experienced on my own unless you count searching for pictures of the W.i.t.c.h. on dial-up and playing some kind of pop the bubble game in 1999.

It has amazing female characters that aren't perfect but also don't have flaws that are sexist stereotypes. The two female leads are an angry punk girl and a hyperfeminine Southern girl and they are both presented as equally competent and given equal importance, even though the hyperfeminine girl gets underestimated a lot in-universe (she has a STEM degree and is as good with computers as the other one, but gets relegated into a "team mum" role a lot).

There is A LOT of focus on friendships and business partnerships and found family - it gives these relationships equal focus to the romances, and they are all realistic and grounded in the characterizations of the leads. In fact, the last episode focuses on the two girls' partnership, not their respective romantic lives. But the romances are amazing too, I have never been invested in a pair so hard the way I currently am in Joe and Cameron, if I weren't bi already they'd be my bisexual awakening. They seem like total opposites but have so, so, many parallels between them, and they have realistically sad backstories that aren't the stock "I was beaten by my mean dad" type. And they have amazing chemistry. And I love how the show is aware of the fact that they need to go outside of their relationship to grow and address their shortcomings because they kind of have the same flaws too, and even though they're still kind of pining after each other they only come back to each other when they're capable of having a stable relationship. This is especially good beacuse the girl is in her early 20s at the beginning and it was so so good to see the show let her grow into her own, on her own, rather than leaving her stuck in an endless back-and-forth with a messed up guy who's her boss and 10 years older than her, but then also respecting the connection they have.

All the characters are realistically flawed, and their flaws come back to bite them in their asses in the end, and the setups for this are strewn across several seasons. And it all makes sense for the character as a whole - for example, the punk girl is rebelling against pretty controlling parenting, but she obviously never learned how to handle relationships except in terms of the dominant person and the one who obeys, so she'd rather live in anarchy and never form any kind of power ladder in the first place. However, when she is forced to do so in order to handle the people who work for her punk IT startup she becomes very autocratic and controlling, and when people try to give her ideas she replies with, "Well, I'm the boss so we'll do what I say."

Why does she do that? Because she obviously doesn't know how to argue constructively. She knows how to a) aggressively overwhelm you, b) get up and leave (as she did to her family) and c) submit (unacceptable).

She does b) to her smarmy yuppie "it's complicated" man who is also one of the main leads - he does something to break her trust, she just abandons him and that's it. But then she gets into a fight with her next boyfriend, and she just assumes that that's it, and he says, "Woah, we're not breaking up, we're just arguing, have you never done that before in your life?"

At the same time, she forms a partnership with the girly girl and the girly girl starts just going around her whenever she hears the "I'm the boss so we'll do as I say" thing because she's frustrated that she has no say in things. This leads to several fallouts because spiral plot structure, and they're all mostly over one of two things: Cameron (punk girl) is being autocratic or Donna (girly girl) is being manipulative. Eventually they run the company into the ground because they can't listen to each other, and the plot always varies which one of them is right and never paints one of them as the 100% villain because they're both being kind of assholes but also deeply sympathetic.. But over the course of all this Cameron kind of learns how to be more functional in her partnerships, which then helps her with both her love interests AND her career. And then other things happen to address and highlight other flaws of hers, and this happens to all of the characters - three marriages fall apart in the course of this show, several companies with really good ideas are run into the ground and a guy commits crimes and then commits suicide because he bought into a Steve Jobs-type bulshitter's cool aid too much.

It has what I'd call great queer rep because one of the leads being a bisexual man is treated very casually and yet the rare instances where homophobia is touched on fit into the rest of his character and backstory so well (he insults a homophobic business partner at some point, and he also has an AIDS scare, and he recalls being bullied at school and how it affected him, and he makes friends with a queer teen because he notices she's like him and that's it). Like, there's an episode where his ex boyfriend comes into the picture and the plot doesn't revolve around them both being men - the plot revolves around his current girlfriend feeling insecure about the guy still having feelings for his ex and coming off as flaky and untrustworthy. The genders of the characters are incidental.

Like seriously this is the best show ever and I don't know why people don't talk about it more, current stuff like The Bear and Succession can only wish to be this nuanced.

[gffa]

I have such a complicated relationship with the softer aspects of characterization in DC comics, like one of the reasons I don't read much of Wayne Family Adventures is because it's just not scratching that itch of what I personally want, the biting drama of the mainline comics is where it's at for me. (I am glad WFA exists, though!! it's cute and fun and a great entry point for those who want to start there or just for those who enjoy it!!) But then I'll turn around and any Soft Batfam Characterization in the comics will get me right in the feelings place, like I think one of the reasons I enjoy Taylor's Nightwing so much is because, look, over the 20+ years I've been into comics, I have been put through the fucking wringer with Dick and Bruce's relationship, there's no way I'm seeing some Soft Dad Bruce and In A Pretty Good Place Dick Who Hugs His Dad and not grabbing onto that with both hands and holding on with a death grip. I have earned this!!! This is my reward for all the pain I went through because of Knightfall! All the pain I went through because of Battle for the Cowl and RIP! All the pain I went through because of Nu52! I WAS THERE, I LIVED THAT PAIN. IT IS MY TIME IN THE SUN NOW. It is also very, very easy to clip a lot of these moments out for posting on tumblr, like it's sooooo easy to post a panel of a hug between Batfam members and slap a crying emoji on there, because that is how I feel in the moment, I love that stuff! I wouldn't make it through the meaner storylines without it! But it often probably seems like I'm just here for the Soft Batfam stuff like because I enjoy Taylor's writing doesn't mean I'm not also eating up the absolute batshit drama of Gotham War or kind of losing my mind at Gotham Nocturne being so much better than I first realized or suddenly I'm just now sitting up in interest at World's Finest: Teen Titans because of a conversation I had about the darker aspects of it with a friend. I love the silly stuff, I love the idea of Dick and Cass baking together in a super silly little story, I love that Dick and Jason said "I love you" to each other in that recent backup, I am delighted with every issue of World's Finest I read that is light-hearted, I'm okay that the current Nightwing series doesn't have a whole lot of dark depths being explored, because for me it's balanced out with all the other storylines I've read/am reading It's just--

It creates a sort of conflict in my head, where I love the more complicated relationship dynamics, I love the meaner edges of the characters, I love the hard bites they take out of each other, but those are often harder to talk about compared to how easy it is to cry about how cute the softer panels are, it's easier to talk about the moments of the characters having good relationships because my entire reason for being here is the Three Ring Circus of Batdad Issues That Dick Grayson Has Just Right There On His Sleeve For The World To See, but also I get kind of tetchy when that softer content is expected to be the norm in the comics, as if the characters having hard edges at times is out of character and that the only way to write them is softer. (This isn't about preferences, but about putting that expectation on others, feel free to dislike it all you want, that's fine!! but it's not ooc for the characters to be shitty to each other and be assholes sometimes and for others to enjoy that kind of drama.) It's hard because I enjoy the softer moments in the comics, but I also kind of glance askance at some of them, like, these moments scattered across the stories make sense, characters who are just assholes all the time are ones that aren't very fun for me to read about, people can be assholes and sweethearts, I think it makes for richer characterizations, but I don't want it to be like that all the time, either. And all of that is kind of hard to put into words, especially when I'm very aware we're reading comics, which have a whole genre of Comic Book Logic (things do NOT work like they would work in the real world!) and Comic Book Structure (the nature of so many different authors and some truly batshit apparent decisions by editorial make everything an incoherent mess that I cannot even try to make a singular vision) that affect things, too.

[siswritesyanderes]

begging for any bella/reader/edward yandere crumbs... any headcanons, scenarios, a n y t h i n g ... like how do they meet, who is more aggressive to reader (bella or edward), does edward still martyr himself or after bella is he like "fuck it we're kidnapping you", first kiss scenario, how does edward's mind reading come into play, how tf does reader react to bella and edward saying "youre our child's parent now, btw :)"... gah i think i might even like them more than yandere jalice!!

p.s. i rlly like how you see/characterize bella! i think her stoniness is 10x more interesting when viewed as her actual personality

(Thank you so much!)

Okay, so I probably won't be able to get all my thoughts down here, but I think it depends on whether we're keeping with the way I characterize Edward in Rule One (namely, the idea that he's learned to be a better person after seeing what lessons Renesmee learns from his behavior) or if we're going canon Edward.

I think, if it's canon Edward, the events of the Twilight saga would have disabused him of the idea that he's inherently evil and soulless (since the whole thesis of Breaking Dawn was "Actually, we're awesome and this is awesome; I don't know what I was even worried about," /hj), so his natural arrogance would take center stage. Not to mention, you don't have Bella's power, so he can hear your thoughts; he isn't going into this like "Who is this frustratingly mysterious person? How can I plumb their depths? Dare I even risk it?" He's going into it more, "I know every dorky thing you think about, and regardless I am in a veritable maelstrom of limerence. But you should still know, it's dorky. You dork. I would die for you."

Bella would be all over breaking into your room and reading all of your journals and diaries and yearbook signatures cover to cover. I feel that Bella would be more in the delusional yandere category than Edward, even without factoring in his mind reading; from her perspective, she's reached the happy ending of one love story, so she's pretty sure she can effortlessly speedrun a second one, now that she's a vampire and therefore categorically way better than she was before. Edward would be slightly more careful, because he remembers every second of every hurdle that came before the happy ending last time and also he is very aware of the little detail that you aren't in love with them yet. That being said, he still thinks nothing of sneaking into your room; in fact, he loves listening to your dreams and subtly referencing them in conversation with you the next day. Bella takes his cue and starts weaving sentiments from your journals and diaries into conversations, as well.

If it's Edward in his Rule One characterization, then I think his tactics would be less obviously stalkerish than Bella's; Bella would still follow the example he gave for vampire courtship and be all for climbing in windows and watching people sleep because that's how her ideal romance played out and if it ain't broke don't fix it. (She doesn't have a problem with what Edward did, and she thinks it's fun to be on this side of it, because she loves how strong and awesome she is as a vampire.) Edward would be more, "Love, I regret my boorish disregard for your privacy when you were human, and I'd like not to repeat the behavior now. Instead, I will find our mate's father at his place of work and politely inform him of our intentions to court them. Hopefully, we can go about this the proper way." (Whether or not he goes through with it depends on a lot of different factors, but that's the sort of thing he'd think of.)

In either case, Renesmee would immediately not be normal about you. Like, she genuinely should not be left alone with you, or even allowed around you without a pre-planned topic of conversation, because she would certainly say or do something weird (pretty much regardless of how old she is, unless decades have passed; I feel like the family's constant attention and spoiling would shape her as a person in a pretty-long term way). Like, this younger "sibling" of your classmates going, "If you were my mom/dad/parent, how would you put me to bed?" "I'll bet you'd make a great parent. Can I hug you?"

Bella expects you to be able to leave your friends and family behind and join them as a vampire with relative ease, and she doesn't fully understand if you can't. After all, she loved her parents and friends, and she was willing to leave them. Why won't you? Were she still human, she would convert this confusion pretty quickly into insecurity (As in, she would believe it's because she isn't good enough and you can't love her.), but as a vampire, she believes she is perfect now, so she is genuinely just confused.

Basically, many possibilities, lol.

[maisha133]

ACFTL was disappointing

Okay so it is currently 1:41 AM and I have finished reading A Curse for True Love and I have been let down and just wanted to get my thoughts out

Jacks characterization was the biggest down fall; The book is basically about Evangeline pinning for Jack but I wished it was the other way around; Jacks finds out Evangeline lost her memories and avoids him because she believes he is dangerous and he gets pissed off and desperately tries to get her back. I think this change in story telling would have allowed so much character growth for Jacks considering the fact he is so cold and calculating and having him grow desperate to have Evangeline by his side shows how much she had affected him and also showcase his humanity/vulnerability in his desperation to have her by his side as opposed to being cold and indifferent which leads me to the next point

JACKS BEING AN ASSHOLE-Literally every Evakjacks scene starts like this Jacks says a sassy/asshole dialogue>save Evangeline>Evangeline swoons>Jacks goes back to being an asshole again. Now I get Jacks often puts out a cold front because he doesn't want to be too close to Evangeline and hurt her. But we are three books in and it is established that Jacks loves her. So I don't understand the unnecessary rudeness like ie coming in the middle of the night tossing clothes at her face as she is waking up and almost knocking her off the bridge (yes I am well aware he was never going to let Evangeline fall) but dang does he have to be rude all the time???? I wanted Evangeline to tell him off, all she needed to say was something like "Jacks stop being such a jerk and wasting my time " and he would have stopped. But no. Evangeline is constantly talking about how angelic his face is and how blonde his hair is. Jacks treat your girl better pls????

Evangeline and damsel in distress x 1000000 -damn my girl cannot catch a break literally everyone is trying to kill her. Now I am a firm believer that strong female characters don't have to be physical fighters and I am ok with Eva not being a fighter. However, I wish she would have gotten herself out of danger at times maybe just by using her wits or having a strategy? I got tired of seeing Jacks saving her. Yes he did teach her self defense but not much came out of that?

SO MANY MISSING PLOT POINTS- The bite of on Evangeline's wrist-does she owe Jacks a debt anymore? Luc? What about Evangeline's parents, what about her family's shop-does she not want to go back to Valenda?? Probably more I cannot think of right now.

Evangeline is not the first fox? Major disappointment in that. The first two books heavily implied that Evangeline was the first fox and there were so many hints regarding that ie Chaos telling Evangeline she looked like the first fox in TBONA and Jacks having volumes of the archer and the fox in his office (clearly he is not over the fox girl either) Also the fact he is over Donatella just like that?? Didn't she cause him so much heartbreak? Atleast having them talk it out would have helped to bring closure. Also are we never going to figure out who the first fox girl was? If not Evangeline? IDK it takes away the true love/soul mates aspect that drawn me to Evajacks in the first place imo

TOO MUCH APOLLO. I don't know why we got so many chapters of him, I rather had more chapters of Jacks and EvaJacks moments. Especially when it was established that he is the antagonist so I do not know why he was a main character when it really showed have been more about Evangeline and Jacks

No evajacks wedding-I am super bitter that we don't get to see Jacks and Evangeline having their wedding like in her dream

Overall, I think TBONA was 100/10, definitely the best book in the series. I still love this series to death and I am grateful for Stephanie for sharing her story with us. I just feel so underwhelmed from the ending, it sooo could have been better. I think the biggest problem is that the story was too complicated. Stephanie should have kept it straightforward>Evangeline is the reincarnation of Jack's true love and the first fox, Apollo is the bad guy, Jacks fights to be with Evangeline, they win and get married. Not everything has to be sophisticated. It’s okay if stories are predicatable, they just need to be good.

3.5/5

[hdtv34]

So, a while ago in the middle of the night, I wrote the beginning of a shitty Hannibal fic. I decided to post the parts I have rn on here to see if it’s good enough to continue!

Carnival of Venice AU inspired by the Cask of Amontillado

- Blood, hannigram, main character death, m/m, murder, stabbing, drinking, masks, etc. I don't know how to do this. Alt universe, Will Graham POV, 1st Person POV, grammar mistakes, unfinished, the beginning of the story and then a small snippet of the end at the bottom of the post, and probably some mistakes in characterization. I mean I was half asleep when I wrote this. I would love ideas for costume ideas for characters if anyone has any!

Quick summary of the basic idea if you don't want to read it all:

Will goes to the festival with his friends for the first time, borrowing one of their old masks. There he met this man with a gorgeous mask; one as extravagant as an elk. He wouldn't normally be able to go up to the man with the intentions that he has due to society’s expectations to love a woman, but there he has freedom. They talk for a while and eventually, the man invites him to dinner. He told him to wear a mask with no bottom half but still hide your identity so that he’d be able to eat without taking it off. They meet again the next night and they have dinner. It all seemed pleasant and peaceful at first with the meal being like that of which Will had never seen much less tasted. It was all wonderful. Eventually, he realizes that the man nor the meat was as they seemed. The man was a serial killer and a cannibal. He had done the same thing with Will with that of many others. Yet in the end ‘I truly am sorry, William. You’ve been like no other…. For you, I think that I'll eat your heart first.’

Actual fic:

I was invited to a carnival in Venice by a friend of mine, Dr. Alana Bloom. Alana typically moves between Venice and Florence, so I wasn’t initially startled by her offer. However, I was very tentative. But, in the end, guilt weighed me towards the idea. I must admit, I’m not used to events such as this. The activity was… suffocating. She gave me a spare mask, a simple one that hides the entirety of my face. It was a golden knight.

As I found myself surrounded by a crowd of sharks, I heard the laughter of her voice grow further and further. At least she finds happiness. Eventually, I find refuge from the inane and mad near a few barrels of rum, wine, beer, juice, etc. Their unmarked property assures that it is not of a soul’s awareness, which barrel contains what. It was a gamble, but wasn’t also being at this carnival? A place to be whomever and act however without discomfort or fear.

I pour myself a handle of the second barrel’s contents. With a sip, I’m pleased to find myself consuming wine. As I stand near the stand, a stag walks over to me. His mask was black with golden accents and showed the lower half of his face. The beauty and detail left me in awe. I’ve never seen someone with such a mask. I nodded softly, readjusting my hood and mask as I stopped drinking.

“Tell me, what are you drinking,” the stag asked with an accent that left me feeling confused as I attempted to pinpoint its origin.

“Red wine.”

“I see. Which barrel? They never mark these barrels for some idiotic reason.” A scowl formed on the man’s face as he looked at the barrels with distaste.

I smiled under my mask, appreciating the stag’s scowl. “The second.”

“Ah, thank you. I appreciate your help.” He pours himself a wine glass of the drink before moving to stand next to me. “Have you come to the festival before? You seem… out of place.”

“No. This is my first time. I was invited by Dr. Bl—… the um… the woman in the bluejay mask.” I shifted uncomfortably, tilting my head towards her direction.

“Dr. Alana Bloom?”

My head perks up at the mention of her name, tilting lightly.

“She’s a friend of mine,” he explains instantly, “I would rather not provide any other details as they would hint at my identity, but please be reassured that I do know Dr. Bloom quite well. Do not hesitate to converse about her with me.”

I nod, although the fact doesn’t console me fully. I continued, “She asked me to come here. Provided my mask and everything.”

“Do you enjoy it here?”

“As you mentioned, this is not my scene.”

“Then pray tell, what is your scene, my dear?”

I hesitate for a moment looking in the stag’s mask. It was as black and dark as a nightmare’s soul or as a raven’s death. “What’s yours?”

He stays quiet, turning back to the crowd in front of them.

It stays like that for a while. The two of them together watching the others dance and drink. For a moment I see a moth attempt to court a red dragon before the dragon declines and turns away.

“Ballrooms.”I snap my head back to the stag upon hearing his newly sincere voice harboring a new emotion or maybe lack of one. “Or my kitchen,” he continues.

“Your kitchen? Do you cook? A stag like you, I would’ve assumed you to afford many maids and cooks,” I say, looking into the mask. I’m sure that the fortune it must’ve cost to make would’ve sent me to the slums.

“I can, but I prefer to make my own food. No one else would make it the way I prefer.”

I hum in understanding. “I see. I’m sure you are a wonderful cook.” He hums and nods his head.

“Would you like to find out, my knight?” My head whips around towards him, his words taking me by surprise.

“That’s impossible, stag. The masks.”

“We can eat with masks. Ask Alana for one which leaves the bottom half of your face open. We can meet again here, at the same time, tomorrow night. I will be wearing the same mask. If you do not wish to, then do not show up.” The stag looks within the crowd spotting a jester walking further into it, pushing a woman butterfly along as he laughs at her. “I’m afraid I must part. My hunger is only growing, and I must prepare dinner. I yearn to meet again, my knight.” The stag bows before making his exit, walking towards where the jester was previously, going after him. They must know each other, I conclude, watching as he leaves.

The festival was nearly closed, and the crowds had almost completely dissipated. Nearby, a bluejay waves goodbye to a woman in a pig mask. She began to trot over upon realizing my location. “Will, I’ve been looking for you. Where did you go?”

“Alana, I just went to get a drink. Who was that?” I walked over to meet her halfway.

“I don’t know, but she was nice. I wish I managed to get her name. Shall we be off?”

I nodded as she led me back to her abode. The building was in one of the many lantern-lit alleys. The walls only further reminded me of my home in Florence, causing an itch to form where the heart beats and the bones grow.

As we arrived inside, we stripped off our concealing attire. I laid my mask on the table and hung my coat on the coat rack. I studied her as she took off her costume. “Alana,” I hesitantly began, “could I attend alongside you again tomorrow night? Maybe in a mask that allows me better access to my mouth?”

Alana gave me a suspicious glance. “Oh? And what would you need it for? Don’t tell me you plan a night of pleasure for yourself tomorrow with some handsome lady?”

I felt my face tense as I turned towards the fireplace. I managed a quick shake of my head as I spoke, “No, no. Nothing of the sort. I just got hungry. It was difficult to get nourishment and quench my thirst with this mask; although, I do marvel at its beauty. It was just a little-“ I paused, trying to find the word, “suffocating.” would greatly appreciate a more appropriate mask.”

Alana nodded and went to her bedroom before coming out with a gorgeous mask in hand. It was detailed with a bone-white coloring and two things that looked like ears on the side of it. She handed it to me carefully. “I went to it as a lamb a few years back. It was…enjoyable. I hope you find the same outcome.”

I attempt to hand it back to her after feeling the hills of the lines and the cannons. “Surely you can hold onto it for me until morning.”Yet, she hands it right back.

“Keep it. You never know when you might need it.” She smirks and takes her stuff as she heads back into her bedroom. “You best be leaving for your inn. I hear that it will rain before morning.”

-

As I lay in my bed for the night, my mind kept trembling with restless moths of thoughts, crowding the lightbulb of my sanity. In the pitch of my room, my eyes kept trying to identify the white lamb mask on my dresser, but they were left to only imagine its curves and indents.

Eventually, I shut my eyes. My mind drifts off to the darker place it usually finds residence. The woods crackle and live soundly around me as I look past black, stretching trees. In it, I see a familiar suited man with a familiar black mask. He huffs as red coats his figure. A sickening cut is heard causing me to stumble on a branch, breaking it. He spins around to face me. The mask…isn’t a mask at all. It connects to its person, merging into an overwhelming beast. A black, tall, lanky stag-man stands before me covered in blood. He was something out of children’s horrific nightmares and warnings. It creeps towards me before offering a long, lanky hand. Its fingers were twisted like tree branches and as sickening as bloody organs.

“Would you care for a dance, my lamb in knight’s clothing?”

-

The next night I hesitated at the entrance. The sounds of laughter and enthusiasm were overwhelming to hear as he studied the grounds.

“Will? What’s wrong? You look nervous. You weren’t nervous last night.” Alana looks at me with a furrowed brow, rubbing her soft palms over my coat. I remember a time when I used to fawn over her touch, and frequently find my gaze drifting back to her, now I just enjoy the company.

“I didn’t- I didn’t have plans tonight. I may leave tonight without you.”

“You will?”

“I might,” I correct immediately. She raises a brow. “I’m ok.”

“You were just hyperventilating.”

“I’m- I will be ok.”

“Will, tell me what’s going on.”

I hesitate, glancing into the crowd, and catching sight of the barrels. They appear alone. A frown crosses my face without apparent reason.

“Will? Are you ok?” She takes ahold of my shoulder, trying to ground me.

“Yeah, yeah. I just-…I’ll be ok. I’ve got this. I’ll be seeing you.” I leave her standing aimless and confused as I make my way through the crowd towards the barrels.

Once I arrive, the place is lonely. Not a mask in sight, much to my dismay. I pour myself a glass of the liquid in the second barrel. My face scrunches in disgust at the taste of beer after assuming wine.

A hollow laugh erupts beside me, making me whip my head towards them. “I suppose the second barrel isn’t red wine tonight, is it?”

It was the stag. His appearance brings a smile to my face. “Stag.”

“My knight, I love tonight’s mask. A lamb, yes?” I nod. “It looks beautiful on you.”

I turn back to my drink, wishing the mask covered more of my lower face. “I believe you promised me dinner, Stag.”

“I did. How could I forget?” He offers me his arm. “Shall we be off? My home isn’t far from here.”

Hesitantly I link my arm around his, letting him lead me to his abode.

—

Test for ending:

Pain seared and burned like molten lava as the blade began to carve a slit into the folds of my skin, tainting them scarlet. The blade lifted for a moment before moving to the next area for an incision. My hands wrapped the wrist, stilling the knife as it pressed softly against my skin, eliciting a small bead of blood.

My eyes blur as I look past him… at him… the pitch, lanky figure carving me like dinner. “I see you,” I rasp, softly. My voice barely evolved to a whisper. The wind brushing branches against the panels of glass windows almost hid my speech.

My hand fell slowly as I watched the eyes above me. Crimson eyes studied mine as we held each other’s gaze. “I let you see me,” he corrected quietly. His voice hid an emotion buried deep like a skeleton in a ditch. If I believed that he cared about me any more than a random stranger picked as a victim, then I would've mistaken it for remorse or regret.

I felt as he fixed his grip on the blade, pressing it in again slightly. I didn't realize that it had faltered, previously. “I truly am sorry, William. You’ve been like no other…” He pauses for a moment, studying my eyes again, a new hunger filling them. “For you, I think that I'll eat your heart first.”

[voidbeans]

anyways i'm a little obsessed with how torchwood dives headfirst into the subtle horror of jack's immortality. like. the comparison of him to the monsters they face. him being asked 'what are you?' and genuinely responding 'i don't know'. tosh describing being unable to read his mind as it being like he was dead and empty, and his fucking face at hearing that. Suzie going on about how life is all and she would do anything to stay and you can see in his face that it's the opposite for him. asking what there is after death. being told there is something in the darkness moving, looking for him. being opposed to the concept of resurrection. the fact that he loses everyone in the end.... this is what i came for and i am being FED

ALSO. the way his characterization is kind of all over the place, which is a bit annoying but also makes total sense. Like yes he cares about people but he has known so many of them and seen so many terrible ones that I think he's a bit tired of them sometimes. And he's grown so used to being able to survive anything! On some level he's aware that the others can't, but it's also now second nature for him to kind of ignore the danger. And he shows no mercy because he has seen too much and has decided it's a risk he can't take, for the bigger picture. And honestly? I think he takes a little satisfaction in giving others the release he can never have. This man is FUCKED. UP.

[aihoshiino]

What are your thoughts on how onk is handling ruby recently

So I've been rattling my brains about this since long before this ask – since the chapter 123 leaks dropped, if I'm honest and I think I'm at a place where my feelings are "I understand why these choices are being made, I just don't like that these are the choices they went with".

(I kind of talked about this elsewhere last week, by coincidence, so sorry to anyone about to see me repeat myself LOL)

As someone who really, REALLY loves Ruby, it feels like there's been a consistent failure to properly center her and give her focus and interesting things to do since around the start of Tokyo Blade. Black hoshigan Ruby (as I've mentioned in a previous post) was a really interesting and exciting opportunity to dig into Ruby's trauma and darker feelings that OnK is comparatively quieter on. But with the benefit of hindsight now that the arc is over, it's clear that the whole thing was just a plot cul-de-sac - if I were feeling particularly uncharitable, I would go as far as to call it filler to waste time until Aqua was back in revenge mode. She might not ping back to white stars until 123 but black hoshigan Ruby essentially ceases to be relevant once Aqua is back in the picture until she can be used to serve his arc again.

And the frustrating thing is - I was so, SO fucking excited to see how Ruby was being handled in the start of the movie arc! It felt like we were building up to a really fantastic examination of Ruby's relationship with all three of her mothers, and the way toxic motherhood in general trickles down and poisons someone for long after they're out of the environment of abuse. The incredibly strong and vivid depictions of Ruby literally triggering and retraumatizing herself by engaging with material that depicted Ai's own abuse and the way it dragged back memories of her own abuse and abandonment were so powerful and so scary - her pain absolutely overflowed out of every single page and the care and tenderness with which it was depicted made me feel so deeply for Ruby. This poor, poor girl who has been in so much pain for so long and has done her best to be happy and strong but is at last reaching her human breaking point - it was so fucking good!

The arc we were promised for Ruby at the outset of the movie arc was, no joke, exactly the sort of thing I had been hoping and praying for Akasaka to do for her ever since I got back into the series in April. I really, genuinely thought this was finally going to be Ruby's time to shine and achieve some meaningful healing and catharsis.

And then the arc completely switches tracks to be about Aqua instead and all we've gotten from Ruby since is incest bait and her simping over her brother.

To be clear, I am 100% aware I am being disingenuous here and that there is way more going on than my eyerolling dismissal of it, but I'm trying to get across how it feels for me as a Ruby enjoyer VS how my Themes And Characterization And Narrative brain logically understands what is going on.

It absolutely completely makes sense for Ruby to be behaving this way right now. Gorou was the first and only person in her short life as Sarina to make her feel safe and valued and cared for and having the miracle of their reunion granted to her after she was sure she'd lost him forever and just as she was at emotional and mental rock bottom? That shit was GUARANTEED to turn her brain into soup and Ruby developing confusedly romantic and unhealthy feelings for Aqua vis-a-vis projecting Gorou onto him when she is so desperately in need of comfort and support is maybe not pretty or flattering, but it feels honestly, authentically weird and messy and uncomfortable. Oshi no Ko's willingness to portray character relationships with enough of that honesty to just let them be weird and fucked up and icky and unhealthy sometimes is something I really, really appreciate about it.

My issue is not that this plot point has happened to begin with - my issue is with how it's been framed. This is partially exacerbated by the manga's schedule getting FUBAR'd just after this reveal dropped and thus forcing us to stew in what I imagine is still the relatively early stages of this new status quo for maybe longer than intended, but we have gotten little to no serious examination of how Ruby actually feels about any of this. Almost every interaction the twins have had since this reveal dropped has been incest bait jokes. The fact that Ruby was in the middle of a massively overdue bit of character development that was finally all about her and her feelings only for that to get thrown to one side in favour of her being all uwu oniichansensei and being treated like a comic relief character is just so, so deeply insulting and betrays such a huge lack of respect for Ruby and her feelings.

The relative shallowness and childishness of them is, I think, intentional and accepting this uncritically as yummy ship bait is clown behaviour - we are playing around in this space specifically to soften us up for when the twins finally have an open and honest confrontation about this, but all that means is that for the time being, I am being asked to laugh at and vicariously enjoy Ruby's unhealthy, fucked up feelings born from her deep trauma and to be perfectly frank that just leaves me feeling fucking insulted.

As a survivor of the little sister incest anime boom and a fan of Revolutionary Girl Utena, I simply have no patience for a series that purports to take itself and its characters seriously then turns around and plays sibling incest for nudgewink laughs and ship bait, especially when it has derailed and, in the short term, superseded and ruined what was shaping to be an exciting and deeply emotional character arc for a character desperately in need of focus.

[blackstarchanx3new]

yes, surprisingly I’m putting another one because I’m annoying

so-

out of these LOVELY carbon based life forms

(Yes I am aware my art sucks, but ibis paint and shattered iPhone do NOT MIX)

would win in a fight (-triforce stuffs because that would give unfair advantages I think)

I swear, people always wanna power scale characters I write and my response will ALWAYS be:

"Well that depends"

Because I don't write characters based on "Is he over 9,000!?" dragonball logic lmfao.

Dark Link HYPOTHETICALLY could slap the ever loving shit out of all 4 Links if he used his powers right RIGHT NOW in the comic. Comic could be over within 2 seconds if that was the case. (Shadow is disqualified because the triforce of power is)

Because the dude, can literally break your mind in a second and then stab the fuck out of you if he REALLY felt like it.

But...He WOULDN'T. Because in his own words that's "Boring".

Dark Link doesn't play the typical "WHEN YOU'RE OUT OF MY WAY I'LL RULE THE WORLD" because that's literally the last thing on this dude's mind.

Dark's motivations keep him from doing anything that'd end the comic.

Dark's motivations of wanting to be given affection completely cancel out the idea he WOULD hurt the Link's physically long term because he wants them alive.

So the idea "Dark could slap everyone in a second flat" is null and void imo because of characterization reasons. He'd. Never. Do. That.

HE COULD. But he WOULDN'T.

I find hypotheticals that completely disregard the characterization super boring as well "Who is the strongest" Is such a silly question.

Because it tosses out the question "Well would they really do that?"

How do you define power?

Especially when placing arbitrary restrictions like "No Triforce" because, well.. you know the answer then?

Shadow Link is the strongest because he has the triforce of Power. He trumps Dark in that department but also has control over Dark because Dark is a demon. But then, Link hypothetically can slap the shit out of Shadow if he really needed too...Because Link canonically has the power to slap Gannon silly.

But "Why the fuck would they do that" is the prevailing question?

They are written this way for a reason.

I make strong as hell characters (Dark included) but the "power scaling" is mostly defined by their personalities/what they'd actually do.

Because then we get into the question "What is strength actually?" emotional strength? Physical? Magical?

I have a writing rule:

OP Character? Make their restrictions based on their personality.

Cause this isn't two characters fighting in a void...this is a comic with a story flow and specific characterization built the way it is to get to a point.

"That's not what the story is about" is the blunt answer I have.

Dark doodle for my writing rant troubles.

I guess what bugs the hell out of me by the question "Who's the strongest" is

"What the fuck led to this hypothetical death match to begin with?"

and I just cannot fathom a reason why this would be happening because my characters are not written for these weird hypotheticals.

The fights that are in my stories are there, because it furthers the plot. Not to show off power?

They're written for the story they're contained in, in which there are very specific rules they must follow because my brain said so.

"Character x will win this fight, because that's how the story goes, if it were to go the other way, the story would end."

The question itself is antithetical to the idea of the stories I tell.