ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--
But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.
And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.
That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.
Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.
And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"
So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.
Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.
Have any of your listener designs become the canon version? And for who if so?
Listeners are definitely tricky as they're supposed to be audience stand ins, BUT there have been a few cases where my listeners have become the VAs personal canon!
First one that comes to mind is Faith Koria from @goodboyaudios Bastard Warrior!
I came to GB with the concept that she had more African features, and he loved the idea and made it canon to his canon! Hence why the official art of her brother is also black!
Now that Faith has an official voice, she's more of a character then a listener. So you can consider this art accurate to her character!
Another option would be Raven from @escapedaudios Neon Noir, but that's a more complicated story
I headcanoned that Raven got a Crow tattoo on her back, shoulder and neck to memorialize Crow at the end of the series and going into Neon Wings. Escaped really liked the idea! but my headcanons had already infected enough of that series and I felt bad, so I asked him to not include that one lol
You can blame a lot of Ivan's look and backstory on me though! I came up with his birds and their names, his prosthetic leg, and his actual design!
need buck and bucky making out absolutely rawdog sloppy toppy style so past the bounds of decency even god must avert his eyes. zero decorum to be found. spit dribbling down chins, tongues, lips, gasps of breath, noses smushed into the curve of cheeks. just straight up trying to devour each other.
Personally I don't want Alastor's power to be (at least solely) a result of his deal. It feels like a pretty obvious and almost cheap twist.
I think it would much more unexpected and crueler if he truly was a talented up-and-comer who made a name for himself, who was so close to attaining freedom and control over his life as an Overlord of Hell, only to be brought under someone's boot anyway due to circumstances outside of his control. Of course he'd be all about "taking control of his fate" after that.
Saverio’s 8 wisdom is in full force this time around and it’s almost embarrassing...if you can’t trust handsome men who gift you free drinks and carry assassin knives on them while showing off their totally legit mail to you, who CAN you trust??
🦇 (No spoilers please!) 🦇
(Future module doodles and art will be found in my CoS tag on my page!)
No other piece of media will ever be able to emotionally harm me more than Voltron did. Like, genuinely what the fuck. Why do I still feel the same pain now that I did over 6 years ago when the show actually ended?! I didn’t even watch the last season! But no matter how hard I run from this fucking show its burrowed itself so deeply into me that I will never escape it
does anyone else remember the super real idv spinoff animated show about a gambler, an evil priest, a normal guy, and the King In Yellow? all i have is the opening sequence, and it's rlly low quality 😔