#I..... wrote you an essay

[corpsentry]

pick your battles

[uhhh-ghouls007]

Something I always thought was cool about the Frankenstein story is the details of Victor creating the creature, like he’s doing it just to prove he can- haphazardly stitching and stapling limbs of strangers together to create a bastardized monster. In every movie the creature is so gnarly because he’s not meant to loved, even by his creator, and he has scars and bolts stuck in his neck (sometimes) to show it

AND something I really love in Lisa Frankenstein is that while Lisa didn’t physically bring the creature to life she dedicates all of hers to protect and nurture him back to humanity. She loves him. And she’s a professional seamstresses so when she replaces his body parts—with those of people who have hurt her, ending their lives to further resurrect the creature so he can become the partner she longs for— it’s done delicately and purposefully and intimately and lovingly. Oh my god. In this essay I will

[midnightsslut]

religion is one of the most prominent recurring themes on the album, and it has been present in some capacity for quite a few records now. taylor previously compared love to religion: her saving grace, her belief system, and a fated divine intervention (false god, cornelia street, and cruel summer are the best examples of this). ‘sacred new beginnings that became my religion’ and ‘we’d still worship this love even if it’s a false god’ are two of the defining statements about her philosophy on the lover album.

taylor doesn’t want to leave all of that behind on ttpd, at least not at the beginning. the first supernatural force she mentions is the spaceship on down bad, which she compares to a skylight of freedom in the epilogue. *something* has finally come to save her from her life of suffering. she doesn’t care if it’s a force of good at first; if anything, she’s just fine being taken away by aliens. she views this man as her destiny. it isn’t until guilty as sin? that taylor starts to ponder the moral implications of what she’s doing. is she guilty as sin for wanting to leave her previous religion and relationship behind? she comes to the conclusion that, even if she rolls the stone away and gets resurrected/redeemed, she cannot avoid the fallout. she is okay with the thought of having to wait, as long as both lovers vow to be together forever, just as she once did with someone else in false god. ‘I choose you and me religiously’ finishes the bridge of the song in a direct callback to cornelia street.

the next mention of religion has murkier imagery. she claims that she does not need the Lord’s help to save this man. she sees the halo that he has, and she can fix him herself. now that she feels free of her prior cage, she isn’t looking for divine intervention anymore. she wants control. she is their route to salvation.

when the relationship falls apart, she retreats back into the position of a believer rather than a divine figure. she compares him to a Holy Ghost who promised to save her and take her to heaven. instead, she is in hell in every sense of the word: she’s down bad and feels guilty for digging up the grave. he was a jehovah’s witness who promised that she could break free of the cage imposed by love without changing her religion altogether; she would’ve just had to switch denominations. she could still have a marriage and kids! she could still have a blue tortured poet! the man was different, but not the dreams they had together. the story of the first part of the album ends here. her faith has been broken, and she has only found any semblance of sanity by refusing to mention these belief systems altogether.

side b/the anthology blends the christian imagery of side a with goddesses, sorcerers, and prophecies. she bargains with these powers to let her have the future she wants (the prophecy). she doesn’t sound like someone believing in salvation. if anything, she feels cursed. she decides that the concept of divinely ordained timing will never work in certain relationships (‘the goddess of timing once found us beguiling / she said she was trying / peter, was she lying?’). this disdain extends onto her perception of other people’s faith (‘bet they never spared a prayer for my soul’). she does position herself as a prophet in cassandra, but even then, she admits that the role has hurt her. perhaps the pain in thank you aimee was meant to be, or perhaps she was just strong enough to build a legacy in spite of it, boulder by boulder. is she a martyr? does she want to be? or did she save herself?

the only real love song on this half of the album makes no mention of fate or any divine forces. it wasn’t meant to be. it’s not a supernatural invisible string or lightning in a bottle. she is just in love.

the album ends with the manuscript, which revisits an old story of a defining, formative heartbreak. as she sings ‘at last, she knew what the agony had been for’ while describing the legacy of her writing, she seems to revert to thinking about the purpose of trauma. the only exception is that, in this case, she is the one who found meaning in her pain by turning it into a manuscript. writing is her belief system now, and she proselytizes by telling her stories and thus giving up the manuscript.

ultimately, her belief in destiny has chewed her up and spat her out. she so desperately clung to her existing belief systems that she was fooled by a conman, which left her feeling cursed. religion is supposed to be with someone even in their darkest moments, but the album explains that taylor often felt abandoned. the only constant in her life was, well, herself. she’ll be okay, but her pen will be her saving grace.

[valeriehalla]

at this point I just categorically have 90,000,000 times more fun on tumblr than the smoldering wreckage of twitter. like, twitter was already becoming kind of a drag for me before the hostile takeover, and now that cohost (hallowed be her name) is shutting down, it's like, well—i guess we doin’ tumbls again!! “it’s obviously the best one”

honestly, while the queer internet may never recover from the sucking wound that was and is tumblr’s NSFW ban—at least not as long as the united states of america continues to fail to take antitrust action against apple, google, and the payment processors collectively serving as the final boss of what’s allowed to be posted where on the internet—i’m starting to feel like tumblr is moving back into position as The Best Site For Artists regardless. my thoughts on this are half-formed, but it’s like this:

every other social media platform is either 1. tiktok, 2. hyper-obscure, or 3. slow-motion self-destructing to a degree way beyond even what tumblr inflicted upon itself in 2018. this is not a new sentiment i don’t think.

i think the fact that tumblr is unable to capture the literal billions of users every other platform is chasing makes it arguably a lot nicer for the users who are here. there is no way for an application to achieve a tiktok-sized install base that isn’t just naked manipulation and skinnerboxing. tumblr’s leadership seems either too incompetent to pull it off or too wise to try, and so we have what is effectively the last microblogging platform on the internet that’s actually still usable for microblogging.

also, a smaller-but-not-too-small audience is more engaged with what they’re seeing. simple as. a thousand notes on tumblr means more than a million views on tiktok and it always will.

of course, i am in fact making a living off of sexually-explicit art right now, and so tumblr cannot be my One Platform. i get away with it because the art is in service of a story hosted off-site, and so i never need to post The Whole Pussy on here; if i was exclusively an illustrator i’d be even less thrilled with the current state of things than i already ain’t. i guess this is just a testament to how truly bad The State Of Things has gotten, though. congratulations, tumblr: you really did win by doing absolutely nothing.

[kaiserouo]

Tired Ghost

[casscainmainly]

Cassandra Cain and Asian Stereotypes

So I've seen people debating whether Cass is a racist character or not because she falls into certain Asian stereotypes. While this discussion is valid and important, a lot of the conversation (on this website and beyond) is steered by White/non-Asian people, or people who haven't read a lot of Cass' stuff. This is my take on Cass and Asian stereotypes as a Chinese Cass fan. I do not speak for all Asians, or even all Chinese people, who are absolutely free to disagree with any of these arguments.

Stereotypes I will cover here: Silent Asian, Model Minority, and Hypersexuality.

The Silent Asian Stereotype

The most obvious stereotype Cass runs into is the Silent Asian. I would recommend reading the linked article for more information. Silent Asian characters are Asians who are part of a core cast, but rarely speak. Kimiko Miyashiro in The Boys, Lilly in Pitch Perfect, and Katana in Suicide Squad are all examples of this. The article also mentions Ben from Umbrella Academy, who can only communicate with one character, thus limiting his dialogue.

Why does this happen? Removing Asian characters' dialogue reflects the Western conception of Asians as demure, rule-following, and meek, never speaking up or acting out. It also means writers don't have to spend as much time writing these Asian characters, who are secondary to White protagonists.

The problem with the Silent Asian, then, is not the silence itself, but the consequences of silence. Mute Asians exist, as do Asians who don't speak much; in media, Silent Asians are harmful because they indicate an unwillingness to focus on the Asian character.

This is why Cass, even before she learns to speak longer sentences, is not a Silent Asian. While her conception undoubtedly has unfortunate echoes of this trope, she defies it by being the protagonist of the story. A protagonist cannot be a Silent Asian, because a requirement of the trope is being a secondary character. Cass' feelings and actions are the center of Batgirl (2000), so allegations of this stereotype don't actually make sense.

Furthermore, the trope is about passivity and acquiescence to a White authority. From her introduction, Cass is neither passive nor acquiescent - her origin story is literally about defying David Cain, a White male authority figure. Beyond her not speaking much, she ticks none of the boxes for this stereotype. I think it's time for people to stop mentioning this stereotype in conjunction with Cass, who in every possible way subverts it.

The Model Minority Stereotype

The model minority myth is the belief that Asians are more successful and talented than others, particularly other minoritised groups. Like the Silent Asian, the model minority myth paints Asians as obedient and submissive. This is, in many ways, more insidious than the Silent Asian - there are still people who believe this stereotype (and jokes like 'of course you're good at math, you're Asian') is somehow not racist.

Though this myth seems positive, make no mistake that White people invented this tale for two reasons: to put down Black and Brown communities, and to prevent Asians from ever fully assimilating into White culture.

Cass plays on this myth very interestingly. I've discussed in this post how David Cain and Bruce's assertion that she's 'perfect' is a blatant reference to the model minority myth - by describing her as 'perfect' to them, they are centering their own desires, erasing Cass' individuality.

This is partially why I don't like 'Cass is Bruce's favourite' and 'Cass is an angel who can do no wrong' interpretations when people are just saying it without context. Cass being Bruce's favourite, or Bruce seeing her as an angel, is not a good thing - it is a representation of his biased attitude towards her. He is unable to accept her being a murderer because he is trapped within the model minority mindset. This is not saying Bruce is a full-on racist, but that his actions and perspectives are coloured by his Whiteness.

Cass' abrasive personality, willingness to defy Bruce and David, and very real flaws (her inability to see grey areas, communication difficulties, etc.) make her avoid this stereotype. Additionally, her close relationships with Black characters like Onyx and Duke are essential to combating the anti-Blackness at the core of the model minority myth. Her character evokes the stereotype (perfect martial arts silent fighter), but ultimately defies it through being the star of her own story (and also not being good at math. The fact she doesn't have anything to do with tech is actually one of my favourite aspects of her character, because I am TIRED of tech Asian characters).

The Hypersexual Asian Woman Stereotype

Asian women are often exoticised and fetishised as the ideal sexual partner; think of the term 'yellow fever', which describes men lusting after Asian women. The hypersexualisation of Asian women in media once again goes hand-in-hand with Asians being submissive. They are seen as innocent and child-like, while simultaneously being seductive and sexually experienced.

This stereotype is genuinely perpetuated in Batgirl (2000), mainly by the art in Horrocks' run. Where in Puckett's run there is refreshingly little sexualisation of Cass, once you hit Horrocks' run you get a LOT more shots of her lying down, sexually suggestive covers, etc. People have discussed this already, probably to more effect than I will do here.

However, as I wrote in my Gender and Sexuality posts, the writing is actually fairly defiant of this trope. Cass is vocally uncomfortable with hypersexualisation, and neither of her male love interests stick around. The problem with the Hypersexual Asian Woman is the focus on White sexual interests, where the woman is objectified for the White male gaze. Simply because Cass is the protagonist, the writing focuses on her sexual interests, and in the end it's about gaining control of her gender presentation and sexuality.

Cassandra Cain Vs. Asian Stereotypes

The through-line that connects all these Asian stereotypes is a lack of agency. There's a reason passiveness is the main trait for all of these tropes- the Asian body must be weaker than their White counterparts, in order to be tools or weapons against other minoritised groups.

Cassandra Cain, a character born from a choice that defies White male authority, rises above this passiveness with flying colours. The details of her character certainly fall into some of the above tropes, and the way her character is handled later (evil Cass, New 52), is certainly racist. However, the reason she means so much to me is because at its core, her story is a story of Asian agency. And that in itself is unstereotypical.

[kitten4sannie]

what do you think about the idea of san having a noona/mommy kink? hehe <3

oh my godddd that baby boy would absolutely have a mommy kink grrrrrrrrr got my mind spinningggg…..

like he’d just be balls-deep in you, whimpering and crying out each time his pulsing cock rubbed against your tight walls, his heavy body pressed against yours, his wet hair tickling your face. He’d look at you so intensely, just a few inches away from your face, and purr, “Mommy, is it good for you? Am I fucking you just how Mommy likes?”

You wouldn’t even be able to think, let alone speak from the way he had you folded up in such a way that you were only able to take his cock each time he fucked it into you, the lewd shlick sounds of your now cum-filled hole filling up the room along with your joined high-pitched whines.

San would be an absolute mess, dripping sweat and drool onto you, his pretty flushed lips parted so that he could moan out, “Unnnh…aaaaah…Do you like the way I’m filling you up like this? It’s so much, fuck, I’m gonna turn you into a real mommy, huh?”

San would press kiss after kiss onto your lips and neck, slowly pulling out, only to push himself back in, inch by inch, making sure he was plugging your cunt back up with his hot load. He’d look at you with hearts in his hooded eyes, a lustful smirk gracing his lips. “Do you want that? Should I fill you up with more cum, Mommy, to make you mine forever? ♡”

[nethnad]

thinking about time lords and their fucked up little society again and i just realized how devastating the revelation of the drums in the end of time is in relation to the master's character.

because of all the renegade time lords in the universe, i think it's the master who most exemplifies the philosophical outlook that the time lords have towards the rest of the universe. they're stuffy observers, administrators, yes - but this position is one they've decided for themselves because of this concept of supremacy over other life forms. imposed and upheld this idea that other species that lack a time sense are less-than, primitive. and the master buys into this hard.

and i mean... compared to the doctor, the master is good at being a time lord. he buys into these supremacist concepts, this idea that every other species (and especially humans) is practically a meaningless ant in the grand scheme of the universe. takes it to the extreme, yes, but its the same underlying principle. he's a good student (despite whatever chibnall might think) - that one time lord from terror of the autons (identity forever a mystery) (its brax) even says "he did receive a higher degree of cosmic science than you." the master could play their game if he wanted to. he's remarkably comfortable with being on gallifrey/the idea of gallifrey(in eot/tlotl) than the doctor ever is. where the doctor avoids the subject of the lord presidency like the plague, the master is like "well if you kill the president you ARE the president! and then you have all of gallifrey!" and when the doctor destroys gallifrey (nominally), the master tries to rebuild it in the sound of drums/last of the time lords. tries to emulate their society. honor them in his little fucked up way. he brings them back from the time war!

and what does he get for it? how did the time lords treat him in response?

they decide to implant the sound of drums in his head, stretching back until he's a child. puts this insufferable noise, this splitting headache, in his head for his entire life. all so that they may live while he dies. because he is diseased, because of them. he has swallowed the pill, bought their propaganda, he has followed the rules, he tried to rebuild them he tried. and in response he is chewed up and spit out like trash so that rassilon's god complex can survive while the universe crumbles.

how crushing must that be to someone? to have your whole worldview - that you are better, you are chosen, you are special - come crumbling down in a few short moments? to see the revered founder-god of the civilization you have so desperately tried to revive look at you and say "you are diseased," even though he was the one to poison you in the first place?

and as his heart is torn to pieces... when rassilon says "no more," and charges his gauntlet, the master - who has spent countless lives fighting death with his bare hands - does not move.

part of me thinks he does not want to.

[lees-chaotic-brain]

How would jjk men react to reader being pregnant with quadruplets?

Feat. Gojo, Yuta, Inumaki, Nanami, Megumi, Itadori (all characters are aged up)

Note: I did headcanons for this request because there were so many characters I wanted to include, and it would get a little boring to write the same scenario out in a full fledged fic like seven times. However, if there are one or two that you want me to turn into proper fics lmk!! I had to do research on pregnancy for this bc it's been awhile since my high school health class

CW: pregnancy, implied thoughts of abortion ig, mentions of fear regarding labor, AFAB reader bc, yk, pregnancy, one singular swear word

Word Count: 1.2k

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Gojo

I feel like Gojo would think you were joking at first, and wouldn’t believe you until you got frustrated and he finally realized you were being for real. He would have mixed emotions. On one hand, he was excited to have a big family and a house full of laughter and love. On the other hand, he was afraid, because more babies meant more defenseless mini-people for him to protect.

He had only known that he was going to be a father of quadruplets a few minutes ago, but he already knew that it would destroy him if he ever lost one of them. That he would gladly give his life for them. And then there was the matter of you. He already knew that childbirth was difficult for women, but quadruplets?? Childbirth was something that even he couldn’t protect you from and that terrified him. 

After a serious discussion in which he made sure you were okay with the added risks and you continuously reassured him that this was what you wanted, he settled down and began imagining a future for your family. Until he realized that he would have to share your love with four little gremlins who would surely take after their clingy father. Then it suddenly seemed less appealing.

Yuta

Baby boy would be shooketh. Because he’s sorry please don’t be mad at him and oh you’re not mad at him and the two of you are having quadruplets well technically you are but he’s the dad and oh god what if he’s not good at being a dad and-

You would have to calm him down as he fell into a downward spiral. Once you had properly reassured him, and he had fully absorbed the information he was ecstatic. He has always wanted a big family, and together the two of you were making that dream come true. Cuddling up to you he would thank you for loving him and gifting him with the many kids he had always dreamed of having.

He for sure would be the type to rub your stomach and whisper sweet nothings to the growing babies in your womb, telling them how much daddy loves them and how excited he is to meet them.

He would also start baby-proofing every square inch of your house before you had even started your second trimester.

Inumaki

He would be in shock. Because he put- wait how many??? babies in you. There was no way he heard you right. There was no way that you were pregnant with quadruplets. Because, wait, he didn't sign up for this! Yeah, he wanted tons of kids, but four babies at a time was a lot. And the strain it would have on your body was concerning as well. 

After he stopped opening and closing his mouth as he gaped at you, he managed to organize his thoughts. First he wanted to make sure you even wanted that many kids because, well, it wouldn’t be easy to give birth to or take care of that many. Once you had reassured him that you were, in fact, sure that you wanted to go through with the pregnancy and that you were prepared for whatever the future held for your not-so-little family he took a moment to process his own emotions.

At first he was conflicted. Sure he was excited, but he held his own private reservations. What if something went wrong during labor? What if he wasn’t cut out to be the parent of one kid, let alone four. But as the months sped by and your stomach grew, the anticipation grew, until one day he let go of any and all trepidation and allowed himself to be optimistic.

He also bought tons of matching onesies for the whole family.

Nanami

Ever the responsible adult and caring husband, first he sat you down and had a serious discussion about the pros and cons of having quadruplets, and whether or not the risks were worth it. Deep down he was thrilled, but he wanted to make sure the two of you were on the same page and understood what continuing meant.

Once the two of you had established you were going to see this through, and it was something the two of you wanted his planning would begin. First came the research. He thoroughly educated himself on everything regarding pregnancy, learning everything he needed to do to ensure your comfort and the healthy birth of his children.

Expect a special diet plan that fulfills the needs of you and your unborn children in the healthiest way possible, essential oil massages, weekly check-ups starting your second trimester, vitamin gummies and more.

He also would begin saving up because raising four children would be expensive. Would for sure have a whole financial plan set up and college savings accounts set up for each of his children within a week of his learning.

Megumi

Honestly, he wouldn’t have super strong feelings about it. He wanted to be a dad, but he didn’t care if it was one, four, or one hundred. He just wanted to have kids with you, and beyond that as long as you were happy he was too. 

So when you told him, his only response was asking you what you thought about it. When you told him you were excited, he was excited too. He had wanted to build his own family for as long as he could remember, and you were helping him reach his dream. What more could he ask for? The only other thing that mattered to him was that his children had siblings. As a kid he had resented Tsumiki, but as an adult he couldn’t imagine the loneliness he would have experienced growing up without her. So yeah. If you were happy, and his children would have siblings so they would never have to walk through life alone, he was content.

There was nothing more he wanted in life than your love and a family with you.

Itadori

Kids!!! He had wanted a ton of kids, so this was perfect! You were happy with it, so even better! He sees it as a four-in-one deal, and is over the moon. His golden retriever personality becomes even worse when you’re pregnant. Like, this man is at your side 24/7.

Constantly following you around, looking at you with big pleading eyes as he begs to cuddle in bed with you so he can talk to your stomach.

Oh my god talking to your stomach. This man would talk to your stomach more than he talks to you. Asking what your kids want to be named. Telling your unborn babies about his day. That he loves them and can’t wait to meet them. Describes all the fun things the six of you are going to do once they’re born. Definitely tries cuddling your stomach because he ‘wants to know what it feels like to hold his children.’

Also is a little shit that constantly asks ‘are they coming yet? Why not??’

[blueandyellow7]

Just in case it hasn’t already been consuming your every waking thought, just thought I’d remind you all that byler is ACTUALLY happening

[paranorahjones]

Love and Attraction in My Adventures with Superman

As someone who has never been particularly drawn by superhero media, I wasn't really sure what to expect when I first started watching My Adventures with Superman about a week ago. I had seen a few posts here on Tumblr that had piqued my interest, but all I really knew about it was that it was well-loved and had an art style that I knew I liked.

I absolutely did not expect to fall head over heels for the show entirely, or to be moved to tears multiple times by the wildly sweet, revolutionary relationship between this adaptation's Clark Kent and Lois Lane.

I say "revolutionary" because this romance touches on a lot of things that I feel are lacking in most modern portrayals of romance, and it handles them masterfully.

Most of what I reference/talk about in this post will focus on the first four episodes of season one (with a particular focus on the fourth episode, Let's Go to Ivo Tower, You Say) , because they are my favorite episodes and I think I can communicate what I want to by pulling mainly from those episodes. But I will be pulling bits and pieces from the whole series so consider yourself spoiler-warned.

The main point is this: I absolutely adore the way that physical attraction and emotional attraction are balanced between Clark and Lois.

The fact that this is possible comes from how well-crafted the dynamic is between the two of them; Lois' raw passion and energy inspires confidence and a mutual passion in Clark, and Clark's gentleness and kind heart inspire a tenderness in Lois that she was never given an outlet to show or receive. From this dynamic, a wealth of physical and emotional intimacy is naturally born. But never in the series do the two aspects of attraction feel out of balance; rather, they play off each other effortlessly. When one is brought into focus, the other quickly follows.

From the first episode and onward, it's obvious that Clark and Lois are awed by each other's physical appearance. Lois outright describes Clark as "beautiful" (which, if you saw one of my earlier posts from not too long ago, is something that makes me so incredibly happy to see in mainstream media).

To be fair, she doesn't say that to his face and says it in a moment of extreme frustration. But I still count it.

Anyways.

Upon seeing Lois for the first time, Clark is practically frozen in wonder for a good few seconds.

Lois, too, experiences this initial moment of attraction and almost immediately makes contact, with a playful punch to Clark's chest as he holds the door open for her.

This is a detail I really love, because first of all wow, I aspire to have her level of confidence. But also, it becomes clear early on in the series that Lois expresses herself very physically. She has no qualms regarding physical affection. Clark, on the other hand, is much more reserved and, at first, generally only initiates contact after an invitation from Lois, or after enough time has passed in their friendship for him to know that Lois is very physical and wouldn't have a problem with it.

There is also an immediate emphasis on Clark's concern for Lois' physical well-being. Take a sip of water every time Clark asks Lois if she's okay just in the first episode alone and you will be well hydrated.

Later on in this first episode, while trying to infiltrate a warehouse, Lois confidently asks Clark to boost her up to a window so she can get inside the building. Clark is immediately flustered, showing how much he feels out of his depth even with physical contact that, on the surface, would have no romantic connotations. (But to be fair, Lois is asking him to put his hands around her waist and lift her up when they literally just met like maybe six hours ago. I would be flustered too.)

And when Lois loses her balance and Clark effortlessly catches her, his first response (after blushing, of course) is to ask her:

Even in moments where the romantic tension is thick enough to cut with a knife and Clark clearly knows it, his first priority is to make sure she's okay.

And thus begins one of the strongest underlying themes throughout the whole building-up of their relationship, which is trust.

I'm gonna jump ahead now to the scene that inspired this whole post: the stairwell scene in episode four.

A basic rundown: Clark, Lois, and Jimmy are given an assignment to attend a tech unveiling for the city's top investors at Amazotech headquarters. Lois, naturally, ignores the parameters of the assignment and tries to use it as an opportunity to expose corruption in the city and get her stop-the-presses story. Clark very reluctantly follows her lead, believing that she will get herself into trouble . . . until Dr. Ivo, head of Amazotech, makes a few rude comments about Lois' appearance (Lois doesn't hear these, only Clark). This deeply irritates Clark and prompts him into revealing how much he knows about Dr. Ivo's corrupt business dealings, in an attempt to intimidate the truth out of Dr. Ivo, who responds by having Clark thrown out of the building and into a pile of garbage in an adjacent alleyway. Lois comes to find Clark (who is unhurt) and teases him about whether or not she should let him back in the building, since he didn't follow the assignment. Clark jokes that he doesn't even meet the dress code anymore, revealing that his suit jacket was torn as he was tossed out of the building.

Lois then reveals that she came prepared for this, and tells Clark to "take it off."

Clark immediately becomes flustered again and begins stammering as Lois pulls him back into the building by his jacket, continuing to tease him.

It's in these moments, as you can see, that the lighting of the scene changes. As soon as Lois says "take it off", everything is bathed in a rosy light. This happens frequently between these two; often, when we the audience are seeing one of these characters through the perspective of the other, the lighting takes on a very dreamy quality. This will come up again momentarily.

As Lois and Clark ascend the stairs, Lois removes her jacket and pulls a sewing kit from her pocket, admitting that she carries one on her because she herself has torn a lot of her clothing on her escapades.

The two then sit down on the stairs, and Clark removes his jacket. The lighting changes again, and we see Clark from Lois' eyes. It's clear by the dreamy lighting and the way that Lois blushes and involuntarily chokes out a "Wow . . ." that she is once again awed by him and deeply attracted to him on a physical level.

And this scene represents so much about their growing dynamic. It honestly has me floored.

But before I explain fully, I have to go on a tangent about my beloved Clark.

Throughout the beginning of the series, I believe Clark shows several signs that indicate that he is insecure about his physical appearance. Which you wouldn't expect, right? I mean, look at him. He's objectively a dreamboat. He was designed to be that way.

But at this stage of knowing so little about where he really came from or who he is, I think Clark struggles with not having a way to explain his physique. He admits that he wasn't an athlete in school; he was in the chess club. He doesn't work out as an adult. And yet he has the muscles of a bodybuilder. But, like so many other aspects of himself, he doesn't have a way to explain it. This causes a disconnect in how he sees himself physically; he likely feels as though he doesn't deserve his naturally impressive physique. And you could argue that he even does his best to hide it. As a civilian, he generally wears bulky, layered clothing like sweatshirts and sweaters. He slouches and carries himself in a very inward direction; his shoulders are often forward and his arms close to his sides, as if he is habitually attempting to make himself smaller.

This is one thing that brought me to tears when I saw it. The idea that a person can feel insecure about having physical attributes that would normally be seen as positive (and that they can't explain and/or feel that they don't deserve) is not very well-explored in media, but it is experienced by quite a few people, myself being one of them. But often in the real world when someone attempts to express this kind of insecurity, they are shut down and mocked and told to "be grateful" for what they have because others would envy them. Which I can say from personal experience is unbelievably damaging to a person's self image. So seeing this possibly be represented in Clark Kent himself was incredibly moving to me.

But back to the scene itself.

In the most recent gif above, this is the most vulnerable Lois has seen Clark thus far. What I think is so beautiful is the way that she invites him into this vulnerability by making herself vulnerable first.

Rewind a bit. Outside the building, Lois tells Clark to take his jacket off. Not a big deal, right? It's not like he's not wearing an undershirt. But Clark becomes flustered, not outright expressing that he's uncomfortable with this, but certainly indicating that he's not exactly at ease with it either.

Next we see them climbing up the stairs, and as they do so, Lois removes her own jacket and reveals her bare back to Clark in the process.

I believe this was incredibly intentional. This scene would have carried a very different tone if Lois' outfit was revealing in any other way. But the fact that her back is exposed symbolizes that she trusts him, in a physical and emotional sense. It's like when my cat Penny rolls on her back and exposes her fluffy tummy. Lois revealing this part of herself was her saying "I trust you, I feel safe with you, and I'll be vulnerable with you if you'll be vulnerable with me."

And only after that does Clark remove his jacket.

Because there is the factor of attraction at play, there is a lot of blushing and stammering going on in the beginning of this scene. These are two incredibly attractive people who are incredibly attracted to each other, after all. But immediately after the initial romantic tension, there is emotional vulnerability as well. Lois confides in Clark about her relationship with her dad, and the crippling self-doubt that she has kept very close to her chest. Clark jumps to reassure her in earnest, telling her that she has "changed his life for the better, in every possible way."

And that is what I meant at the beginning of the post when I mentioned balance.

Every moment of physical attraction in this series is followed by or harmonized with a moment of emotional vulnerability. Clark and Lois both invite each other deeper into each aspect of connection, and thus their relationship builds in an incredibly natural and beautiful way.

At this point, I think this post is about five miles long as the crow scrolls and I should probably stop now before all my thoughts run away with me. I could go on forever about the impact that this series and these characters have had on me, though. I will forever be grateful to the creators for giving us such an incredible series, and such a beautiful romance.

[steddiehyperfixation]

not so tragic a thing after all (steddie ficlet)

Eddie has an essay due in two days. It’s a big one, the last one of the semester, of the year, the one that will make or break his grade and determine whether or not he finally gets to graduate high school. 

And he can't write it. 

As in, he's been sitting at his desk and staring at a blank piece of lined notebook paper for hours, bouncing his leg and tapping his fingers and twirling his pencil but not producing a single word. It's not that he doesn't understand the prompt or that he doesn't know what he's going to write about, because he does understand it and he does have ideas, he just can't write it. There's some block in his brain, something that keeps him stuck there and anxious, feeling each unproductive second slipping by like a physical thing brushing past him, but still unable to make himself write. 

Eddie's always struggled with essays. Out of all the subjects, he has the lowest grade and the highest number of missing assignments in English Lit. Which is such counterintuitive bullshit because that's his favorite subject, and it's because it's his favorite subject that he's failed it every year. 

It's like this: If Eddie doesn't understand a math assignment, he doesn't care, he'll just scribble in some bullshit numbers or turn it in incomplete and take whatever grade he gets with an impassive shrug and zero damage to his self-esteem. He's just not a math guy, and that's fine. Same with science or history. But he is a words guy. Eddie is a storyteller, a writer, a lyricist; words are his weapons, his outlet, his safe space, his identity. He takes pride in his ability to artfully string his words together, and a shitty grade on a shitty essay is something he takes personally. He'd rather not turn in anything at all than turn in a collection of words he's not proud of. 

Right now the words aren't coming together just right in his head and so his hand refuses to move to write them. He tries to tell himself that it's okay if it's not quite right, that something written, even badly, is better than nothing written, and that he's only guaranteed to fail if he fails to turn this in. It doesn't have to be good, it just has to be done. He tries to force his hand to move, to write something, anything, but the signal isn't getting from his brain to his hand because his fingers continue to twirl his pencil between them rather than curl around it and press the lead to the paper like he wants them to. He just keeps sitting there and staring and fidgeting and not writing like he's been doing all day, all week, all month. 

Eddie berates himself for being so stuck, yells and shouts and curses at himself to get his shit together and just write. But he doesn't, won't, can't. The seconds keep pushing past him and the deadline inches closer and closer and his page remains blank and he's so goddamn frustrated he's on the verge of tears. 

There's a knock on the front door that makes Eddie jump and then a knock on his bedroom door that makes him shove his shamefully empty paper under a book and out of sight as Wayne pokes his head into the room to tell him, “Your boy’s at the door.” 

“For Christ’s sake, Wayne, he's not my boy.” Eddie rolls his eyes at his uncle. He drops his pencil and stands, grateful for the distraction. “Told you a million times, he's just a friend.” 

“Uh huh,” Wayne says, which isn't an argument but very much sounds like one, the way he drags out those syllables with a sort of deadpan disbelief. 

Eddie valiantly ignores him and pushes past him to open the front door for Steve. “Hey, Harrington. What're you doing here?” 

“Uh-” Steve shrugs, looking almost like he doesn't quite know what he's doing here himself. “Missed you, I guess? It's been a minute.” 

Eddie's been isolating himself the past couple weeks, canceling on Hellfire and band practices and hangouts, insisting he needs to focus on his essay. He didn't realize any of his friends had taken notice. 

“Oh, and I brought snacks!” Steve adds brightly, holding up the bag of chips in his hands like he just remembered it was there. “Thought you might need a break from your schoolwork.” 

“Oh.” Something warm blooms in Eddie's chest and tugs a smile from his lips as he moves aside to let Steve in. “That's sweet, thank you.” 

Steve returns the smile, stepping inside. “Anytime. So - how's the essay going?” 

“Uh, yeah, it's kind of not,” Eddie admits with a self-deprecating sigh, running frustrated fingers through his hair. He nods for Steve to follow as he heads back to his room and pulls the stupid blank page out from its hiding place to show off his failure. “Been at it for weeks and I still can't seem to get a single goddamn word down.” 

“Hm.” Steve frowns a little at the paper for a second, but his attention appears to be far more focused on the book the page had been shoved under: a well-worn copy of Romeo and Juliet. He smirks as he picks it up and reads the title aloud, teasing, “Didn't take you for a romantic, Munson.” 

Eddie rolls his eyes. “It's what the essay's on.” He snatches the book back before Steve can start to flip through it and read anything he's written in the margins. “And it's not a romance, it's a tragedy - which is exactly what I was going to write about, actually, if I could just write it.” Eddie sits down heavily in his desk chair, glaring at the blank paper. “Was gonna argue that people tend to focus too much on the romance of it all, but they're missing the point entirely, and this tendency to over-romanticize the story completely overshadows and trivializes the actual themes of the play. It’s not about love, not really, or at least not in the ways people think. It’s-” 

His tangent stops short as he notices Steve beginning to rifle about his room - setting the bag of chips down on the nightstand, grabbing a pencil off the desk, scooping a random spiral notebook (his math notebook, as it happens) off the floor. Eddie turns sideways in his chair and looks at him strangely. “What are you doing?” 

Steve turns the notebook to a blank page and sits down on the edge of Eddie's bed, already starting to scribble words across the paper. “I'm taking notes,” he says, like it's obvious. “Don't let me interrupt you.” 

Eddie's eyes narrow. “Are you patronizing me?”

“No, no, of course not.” Steve's reassurance is quick and comes with a rapid shake of his head. He looks over at Eddie, expression earnest and genuine as he says, “I’m just interested in what you have to say. I wanna know what you think Romeo and Juliet is about. If it's not romance, what is it?”

Eddie regards him skeptically at first, answers in a measured tone and glances warily at the pencil continuously scratching ‘notes’ onto Steve's paper. But the more he speaks and the more Steve engages with such honest reactions of interest and encouragement, the more Eddie gives into the tide of thoughts in his head and lets them spill from his mouth with increasing enthusiasm: He describes the inherent tragedy of a life cut short which could've been prevented, rambles about the reality of being young and stupid and consumed by emotion, rants about the mortality rate of blind bigotry and prejudice, and waxes poetic about love itself being something tragic and dooming, occasionally grabbing the book and reading out lines of the actual poetry to illustrate his points. 

When Eddie's well of words on the subject eventually runs dry, Steve continues writing for just a few seconds longer before he glances up with a grin and stands to toss the notebook and pencil onto the desk next to Eddie. “There's your essay,” he announces. “Well, kind of. You might want to rearrange it a little-” 

“Steve,” Eddie cuts him off, staring at the open notebook covered in the scrawl of Steve's handwriting with wide-eyed disbelief. He looks back up at him. “You wrote my essay for me?” 

Steve shakes his head. “You wrote it. I mean, it's all your words exactly as you said them, all I did was transcribe it.” He shrugs. His tone and expression are still casual and light, but the hunch of his shoulders and the way he shoves his hands in his pockets now speaks to a sudden shyness as well. “You said you just couldn't get the words down, I know what that's like. I get that way too sometimes - just…stuck - where the thoughts and the intention are there but the action is just frozen. It helps to talk it through, but it also helps to kinda separate yourself from the task a little too. I thought if I could do that first step of getting the words on paper for you, it might make it easier for you to copy some of it down and then start to write it and reorganize it on your own, might get you past that block…” 

Eddie kind of really wants to kiss him right now, feeling young and stupid and consumed by emotion. He leaps to his feet and hugs Steve fiercely instead. “Thank you.”

Steve nearly stumbles from the force of the hug and lets out a startled laugh before returning the embrace. “Don’t even know if it worked yet. Thank me after you finish your essay.”

Eddie shakes his head against Steve's shoulder. “Thank you just for trying - just for being here, even. I’m sure there are much better ways you could've spent your Saturday than listening to me ramble about Shakespeare, but you stayed here anyways and made an effort to help me when you didn't have to. I appreciate it.” 

“Nothing else I’d rather do. I like listening to you talk; I like how passionate you are about your opinions, even if they are a bit cynical.” Steve pulls back with a smile, squeezing Eddie's shoulders for a second before dropping his hands. “It's gonna be a killer essay.” 

Eddie beams at him, the warmth in his expression a reflection of the glow that's unfurling in his chest again.  He plops back down at his desk and picks up his pencil, hovering it over his own blank paper as he looks over the words - his words - that Steve had written. He takes an anticipatory breath…and starts to write. 

Steve was right, restating the words once they've already been written down by someone else does depersonalize it enough to make Eddie finally able to write it and it does get him past that initial block. Soon he's able to move on from simply copying down the words and begins to add new ones and make edits. A laugh escapes him like a cheer, a short burst of something giddy with satisfaction and relief. He's writing, and writing and writing and writing, the words flowing from brain to pencil to paper perfectly and with ease, the way it should've been from the start. 

Steve hangs off to the side at first like he's trying to give Eddie space to work, but ends up slowly drifting closer. When Eddie cheers, Steve's hand goes to his shoulder again, giving it another squeeze, encouraging and proud. His hand then stays there, thumb idly rubbing across Eddie's shoulder blade as he watches the other write. Eddie feels like he's got electricity running through his veins.  

Somewhere within the next hour or so, three pages and two sheets of paper later, Eddie slams his pencil down and sighs with finality, “Done!” This earns him another shoulder-squeeze from Steve and a bright smile when Eddie looks up at him. “You are a fucking lifesaver, Harrington, I don't know what I would've done without you.” 

“Glad I could help,” Steve says, his smile turning sheepish and his hand finally dropping from Eddie's shoulder as he gives a modest shrug and adds, “I’m sure you would've managed on your own, though.” 

“I wouldn't have. I would've failed,” Eddie says seriously. “I was fighting an epic battle against my brain and I would've lost, would've doomed myself to yet another year of pointless high school existence, if you hadn't swooped in and saved me like a goddamn knight in shining armor.” He cracks a grin and stands to dip into a melodramatic bow. “I am forever indebted to you, my liege.”

Steve laughs, and it's a beautiful sound. “You're being dramatic.” 

“I’m allowed to be.” Eddie straightens and grabs his essay off the desk, holding it up and shaking the papers. “This is my golden ticket out of high school, man, you have no idea how much this means to me.” 

“Well then, we should celebrate.” 

“We can finally eat those chips you brought.” Eddie moves around him and reaches to grab the bag of chips on the nightstand, but Steve catches his hand. 

“Screw the chips,” Steve says. “This calls for a proper celebration. How about we go get dinner somewhere? My treat.” 

Eddie glances down at his hand in Steve's. “Are you asking me out, Romeo?” he asks as he looks back up, a teasing edge to his grin so he can play it off as a joke if he needs to. 

“Depends.” Steve rubs his thumb over the back of Eddie's hand, eyes flicking across the other's face almost nervously. “What would you say if I was?” 

Eddie’s smile softens and he finally curls his fingers around Steve's hand. “I'd say yes.” 

“Yeah?” 

“Yeah.” 

“Then yes,” Steve says, his face breaking into a bright and beautiful grin, “I am absolutely asking you out.” 

Another cheer of laughter bursts out of him, giddy now for an entirely different reason. “What are you waiting for then, big boy?” Eddie holds Steve’s hand tight, already starting to drag him from the room. “Where are you taking me?” 

Steve laughs as well and lets himself be pulled along for a second before taking the lead as they head for the front door. “You’ll see.” 

To Wayne sitting on the couch watching some game on the TV, Eddie shouts over his shoulder in passing, “Finished my essay, we’re going out to eat!”

Wayne nods in acknowledgement. His eyes flick to the boys’ joined hands, a knowing smugness in his expression as he mouths subtly to Eddie, ‘Your boy.’ 

Eddie just grins in response, and then he’s out the door. 

Steve takes him to a diner, Eddie’s favorite one, and it makes his chest warm again that Steve knows that. They grab a booth in the corner, hidden from prying eyes. Steve makes fun of Eddie for dipping his fries in his milkshake, Eddie makes fun of Steve for covering his directly in ketchup. It’s all talking and laughing and easy banter, same as it’s always been since they’ve been friends, except now Steve holds his hand and hooks their ankles together under the table and peppers smooth compliments into the conversation that have Eddie grinning and blushing like crazy. The famed Harrington charm is in full effect, moves and lines he’s sure Steve’s used hundreds of times on hundreds of girls, but now they’re just for him, woven so easily into the dynamic that already exists between them, and Eddie basks in it. 

It’s the best first date he could’ve asked for. 

Perfect gentleman that he is, Steve even insists on walking Eddie to the door when he takes him home. Steve kisses him on the porch then, soft and sweet and promising, and Eddie’s starting to think that maybe love isn’t so tragic a thing after all… 

Maybe he needs to rewrite his essay. 

(also on ao3)

[rpgchoices]

tw for abuse

So I tried to break up with Wyll and refuse his romantic dance and ask him about the tadpole, but why is the game SO CRUEL WITH ASTARION?

Like, if you want him to use the astral tadpole he straight up says no, So you can have a wisdom or intimidation check (if you fail them he is going to break up with you and be so mad).

But basically the wisdom check is trying to use one of his old memories (the worst possible memory) against him to remind him he is too weak, and he needs power if he wants to stay safe.

The intimidation is literally using his self hatred against him. If you play with the vampire lord ending you can break up with him and tell him you preferred him as he was, and he is shocked because he was "pathetic"

The thing is, to soften him/get the good ending (chosen by him without persuation checks) I think you need him to accept that he is who he is, and he is okay as he is. Coincidentially, trying to talk him out of the Cazador ritual is so insightful, both here in the video (this is before you get attacked by the other spawns) and later (after you get attacked) you have some options/dialogues about how he is so different now, he is not like "them"/his old pathetic self anymore.

This is the other post-attack dialogue:

When I played friendship Astarion, the most interesting part post ritual was the dev literally spells it out:

In the crypt you also find a book about Cazador's master and the rules he made for Cazador, and the abuse Cazador suffered before killing his master in revenge.

And of course:

[waitineedaname]

my inner monologue is just always thinking about ritsu way too hard

[lazycranberrydoodles]

its prosecutor jiang wanyin!!!! oh fuck!!! / gifs + au rambling below the cut / follow for more mdzs x aa crossover stuff :3

all the gifs i made (poses traced off franziska):

hes so similar to franziska when you think about it. theyre both deeply insecure tsundere adoptive younger sibling of successful main characters. who carry whips. something something edgeworth choosing death and wwx actually dying also

his share code is HWFEFF if you wanna use him in a trial! you can't share backgrounds but heres the scenery from the donghua i used.

the easiest way to put custom stuff into objection.lol is to send it in discord and then use the link from opening it in your browser :)

a whole lot of AU stuff

the art im making is for if mdzs was an ace attorney game, playing from WWX's POV to solve various mysteries/cases over the course of the plot. so this scene would be from turnabout goddess, which would loosely cover the dafan mountain mystery.

cases include:

Turnabout Revenge (Mo Manor, quick introductory first case)

Turnabout Goddess (Dafan mountain, the good times flashback)

Turnabout Saber (the man-eating castle (omg hiii nhs))

The Blind Turnabout (Yi City arc)

Turnabout Deviation (the Koi Tower conference, Empathy on NMJ ala turnabout memories or beginnings. opening cutscene is his qi deviation)

The Blood-Soaked Turnabout (second Burial Mounds siege, flashbacks: Xuanwu, Sunshot, YLLZ, Nightless City massacre)

Turnabout Lotus Seeds (testimony about JGY, tree scene, golden core reveal, bathtub scene. opening cutscene could be JGS' death but that would make it canon rather than ambiguous)

Turnabout Confession (Guanyin temple)

the problem with splitting novel!mdzs into turnabouts is that flashbacks are a huge chunk of the book but they don't have mysteries/ cases to solve so they've gotta be lumped together with present day stuff. imo? many of the flashbacks would likely have to be abridged so they could be retold ala DL-6, SL-9, or the fourth grade incident, where characters talk about it over some pieces of art. this is really difficult when theres a metric ton of unspoken, complex, and signifcant history between every character lmao

there's not as much of a problem with the cql timeline but i have not finished it. so.

the opening cutscenes in ace attorney always show the murder and/or the murderer plotting. the first cutscene of the game would be MXY summoning WWX, muttering about getting revenge on his family (it would also be good for him to mention the yllz being dead because that's how the novel starts.) cut to WWX's POV as he wakes up covered in blood and the investigation segment begins.

for investigations of monsters (goddess, saber, etc) the cutscene would be a scene of some poor throwaway cultivator getting their shit wrecked.

it would be cool to make a breakdown for JGY but again I need to review that scene cause I don't know who I'd base him on. maybe Vasquez or Dahlia.

tell me your thoughts!! i'm working off of a mdzs summary/ skimming the novel because i don't remember it too well so if i get anything wrong please yell at me

Jin Ling's sprites & Nie Huaisang's sprites / masterpost

[inkdemonapologist]

My BatDR Take That Used To Be Hot But I Left It Out On The Windowsill To Cool So You Should Be Able to Eat It Now Without Burning Your Tongue

its not actually that hot, is what im saying

Anyway my BatDR hot take is that BatDR's story is not fundamentally worse than BatIM with one exception; an exception that, for BatIM, covers a multitude of sins:

BatIM has a theme.

I can't presume the intentions of the creators, but if I had to write an essay on the themes in BatIM, it wouldn't be hard to pick one out: the cost of obsession, or even just, the ruin Joey brought on the studio. In the very first chapter, Henry asks "Joey, what were you doing?" and every single thing in the rest of the game revolves around that central question: what WAS Joey doing? Each audiolog is a snippet of the studio's path to this messed up state; each character you meet is someone ruined by Joey. The major antagonists echo Joey's flaws -- obsession with Bendy as more than a cartoon, obsession with perfection, obsession with fame and greatness and legacy -- but even without that, they're also each a picture of how the lives of people caught in the path of Joey's dream were ruined by it. Bertrum, for example, doesn't match the concept of rubberhose cartoons, but as yet another person screwed over by Joey, he fits the central question of the story, so he feels like he belongs here. Ultimately, in a narrative sense, the Ink Demon isn't the story's monster -- Joey is; the Ink Demon is just the consequence of his reckless ambition.

But what's the theme or central question of BatDR?

You can... try to pick out a theme. There's some promising options, because it feels like the story WANTED a theme, stating its emotional intentions more overtly -- "there's always a choice" to leave the darkness and chose hope; family and the struggle of living in a heavy legacy's shadow; or even just good old mewtwo-brand The Circumstance's Of One's Birth Are Irrelevant, It Is What You Do With The Gift Of Life That Determines Who You Are.

I think, even WITH the clumsy execution of Joey's "arc" and Audrey's lack of real choices, any of those could work about as well as BatIM. But unlike BatIM, the majority of the game doesn't tie in. Joey's tour can be considered relevant -- a picture of the family legacy and the "darkness" that Audrey doesn't yet know she's inheriting -- but like, the audiologs and hints and environment of BatDR are mostly teasing the question of What Is Gent Up To, and the takeover of Gent is detached from Audrey's choices, her family, her legacy, and Gent never really becomes a relevant threat to those things in this game. The Cult of Amok and the Ghost Train have nothing to do with any of these ideas. It might've been neat if Audrey had ever considered, "Did my father really drive all these people insane?", a hint of actually having to wonder about the darkness in her past. Even Wilson only barely brushes against these concepts; he doesn't like Joey and he also is trying to escape his family's heavy legacy, but it doesn't really reflect on his actions and we don't find that last part out until he's about to be dead.

There's also the question Wilson poses of "real" people versus ink creations, and what counts as valid "life." It would be an interesting theme with a lot to build off of in this setting, it ties into Wilson more as Wilson seems to represent the opinion that Inky Things Aren't Really Alive, which could've tied to Audrey (as an ink-person who has yet to accept that part of herself) and maybe given Wilson a reason to think it's fine to sacrifice her, it could've even tied to Gent (who don't even seem to value human life) -- but after Wilson asks the question, it doesn't tie into the direction things go. He smooshes a little Bendy, we see hints of his disregard for Betty, and then everyone continues with their plan to destroy the Ink Demon without any further moral quandaries about inky life.

The thing is, when you compare an element like, say, audiologs, there's a lot of differences you can point to -- but I don't actually think Lacie Benton's audiolog is notably better, taken on its own, than Grace Conway's or Kitty Thompson's, and yet tons of people were intrigued enough to flesh out Lacie. None of them are big plot points or compelling characters on their own; Lacie and Grace both give us a little note on what it's like working in the Studio, and Kitty shares a little bit on how Gent's expansion is affecting people. But when Lacie talks about Bertrum trying to make a creepy animatronic, that ties back into Joey's ill-fated schemes that are the point of the whole story. The question we're asking through the whole game is "what happened here?" so the fandom is interested in who Lacie is and what her life was like and extrapolates a whole person out of a couple sentences. But that's not the question in BatDR -- what has Wilson done to the Cycle and the Demon? Why? Who is Audrey really, and why is she here? Telling us new things about the Studio's fate seems strangely irrelevant to those questions, just an attempt to create a Mystery To Speculate On like the previous game did... but what question you're asking and how it fits into your story's main theme, like, matters. I absolutely believe that one clock animator guy would've been in EVERYONE'S crew if he'd been introduced in BatIM, but the context makes a difference; fleshing him out feels less relevant here.

The explanations of how and why Wilson did everything he did are baffling and handwavey, but in and of itself that's not a worse problem than anything else in the franchise -- I STILL don't understand why the Ink Machine needs pipes in the walls or even how it works, there's no good reason for Sammy to believe the Ink Demon will "set him free," most of Alice's motives don't make sense, etc etc etc. But the thing is that in BatDR, the wibbly bit is the closest thing to a central question we have! Wilson, what were you doing? The theme doesn't really explore or connect to that question, so the explanations that are finally tossed our way feel lacking in a way that BatIM's handwaved elements don't. There's a lot about Joey's motivation in BatIM that we can't know, but the heart of it resonates -- Joey wanted something, he was willing to exploit people to get it, and he became obsessed and prioritised that dream at any cost. We'll weather a thousand logistical inconsistencies if it's got heart.

But all of that said.... to be honest, I don't think Lacie overtly fits that theme anyway. Even, like, Sammy is iffy -- we don't really know what happened to him, only that he didn't used to be made of ink and worship Bendy, and now he does. We assume Joey's nonsense had something to do with what happened to him (though the books later assert his influence was indirect at best), because when there's a pattern, we can fill in the blank. So many fan creators found a place for Lacie, Grant, and Shawn in the cycle as butcher clones or lost ones, so many people imagined that Wally must be the Boris we meet, because that would've fit the pattern, the idea that the point of what we're seeing is the downfall of the studio. It's not actually that BatIM did a great job tying everything together -- it's that BatIM gave us a compelling idea and that was all it took to make everything else SEEM like it could find a place to fit. This is what I mean when I say BatIM's theme covers a multitude of sins. There's a LOT of characters in BatIM that don't make sense. There's a lot of inconsistencies and things that just sort of happen without any real reason. Characters don't really have "arcs" so much as different states they happen to be in at different times. But because there's a central question and the story doesn't wander away from it, our pattern-loving human brains will slot in all the pieces and do all the work to make the story feel at least somewhat coherent.

The things that happened in BatDR aren't a whole lot less coherent than BatIM imo, they just don't tie into a bigger theme or any of the questions the story's asking, making "how do they fit into all this" feel irrelevant, making it easier to forget entire sections and harder to get invested in audiolog characters. I think a lot of the other criticisms people have for BatDR's story are very valid, but I also suspect that if BatDR had a more successful theme/central question, then a lot of its flaws would be easier to overlook -- just like BatIM.