#THE SILLIES. but also they have DEPTH. Which is INTERESTING

[deeply-unserious-fellow]

The reason I think Alastor should be in the wrong(or at least mostly in the wrong) in his and Vox's falling out is that I don't think their relationship would be worth exploring as deeply as it sounds like it will be next season if Vox was the primary reason they started fighting, because it would do NOTHING for Alastor's arc.

Like- okay, Alastor's arc is very clearly going to be about learning that trusting people is Okay and not a sign of weakness, right? He's literally the only character in the show that is very clearly about the power of friendship who refuses to accept any sort of help, like even the VILLAINS are constantly hyping eachother up! If they fell apart because of something Vox did, and their relationship is going to be super important next season, wouldn't that not really do anything for Alastor's arc? Unless Vox pulling some weird shit is the ROOT CAUSE of Alastor's trust issues, but, given what we know about his past and how his ego seems to be the biggest contributor to said issues, I don't think it is. Alastor would HAVE to have contributed SIGNIFICANTLY to their falling out if their relationship is going to mean anything to his arc, because otherwise it just feels more like a weird aside then anything else? Like "oh yeah we used to be friends but then he did some weird shit and now we're not friends anymore". It adds nothing. There's nothing emotional for Alastor to confront in this scenario.

Which makes for a more interesting story, the relationship between the mc and someone from their past who, while they miss, isn't the kind of person they want to be around anymore so they don't really feel bad about cutting them off who ALSO doesn't pose any real Active Threat to the mc, or the mcs relationship with someone who they respected a lot but cut off because they felt the two of them were getting too close and we can't have THAT, now can we? It's the second one. It's the second one because the second one HAS HIGHER STAKES! The first one makes for a good one episode plotline, but for a season long arc? Takes where Vox is in the wrong actually make VOX a more interesting character to follow then Alastor, because that makes HIM the only one with an actual emotional stake in the conflict. But this isn't Vox's story. It's Alastor's story. Alastor is the main character. Which means, for their relationship to provide anything of value to the plot, Alastor needs to have emotional stakes in the situation too. The best villains are the ones that force your characters to grow and become better people(unless you're doing a silly little monster of the week type of show but THAT'S NOT WHAT HAZBIN IS-), and the only way Vox being the main antagonist next season is gonna cause any kind of growth is if Alastor is being forced to reconcile with his past.

Anyways uh, yeah that's it. I could do a tangent about how their relationship lowkey parallels Fizz & Blitzø(a comparison I made in this post but didn't actually go into depth on bcuz it wasn't relevant to the post beyond supporting my argument + didn't have much backing at the time), but I do NOT have the brain power to go in-depth comparing and contrasting that stuff rn, bcuz, despite the similarities, whatever the fuck Vox & Al have going on seems to be a LOT more Complicated and Sad then an accident and some dad-induced miscommunication. So I'm just gonna leave it at that :)

[notemaker]

The ringmaster and the amphitheater. The chessboard and the player. Round and round they go.

[ghostfires]

jake sully being a dadcore

[strawberry-miiiiiiiiiiiilk]

sitting in my room for a half hour thinking about how if we lived in a better world Ada Wong would be the Ilsa Faust of Resident Evil (primarily in how she's introduced in Rogue Nation), with a dynamic to leon not unlike Fujiko Mine's and Lupin's in which they are both extremely competent and in situations in which they may have to work against and occasionally with each other on a mission, but ultimately are forced to stay apart and while they may be apart and even have different love interests from each other, ultimately still care deeply for one another. They are compelled to go after each other in part because it's so difficult and they are so often in circumstances in which they can't be with each other. The thrill of the chase and all that.

Ada being only tangentially related to the other character's stories because the world is simply larger than them and she has her own concerns and problems to deal with, and to have that be given any care or weight in a story, let alone focus. That she can be cunning and even manipulative but because she needs to and will still choose not to when the chips are down because she is genuinely caring--which I know none of that is new ground for her but I wish it was done in a more interesting way and *without leon at all*. She chooses to show mercy in a key point not because she's in love with that other character.

And also that she has more personality. I dig the subdued nature of her in 4r and her subtle sarcasm but it's just crumbs. I want her to be silly on occasion and say dumb jokes because she's alone like in 2r. I want her to shed a bit of that seriousness when she's on the clock because she's confident in herself as a professional and again has no one to put up a façade to.

It's honestly kinda embarrassing reading this back as I realize most of what I'm writing is not only already present in the games but incredibly tropey in and of itself, and wouldn't improve the character much. Dear god I think too much of my view of the character has been marred by shallow fanworks depicting her. I think if anything it's a sign that:

I'm a shit writer and need to do way more than watch movies and gesture vaguely at them to come up w a decent story or character (that being said as much as I prefer Fallout as a film, I stand by my earlier statement of Ilsa Faust being the ideal spy woman as she's depicted in Rogue Nation as she has a distinct set of goals and needs that are complex and developed largely tangentially to the protagonist's, at least initially).

It's going to take a completely new approach to her character to get something remotely interesting and that takes advantage of her potential.

For as mired in tropes as she and every other character and story in Resident Evil is, Ada could be far more memorable and enjoyable if only there was more care and effort to giver at least some interests and goals (perhaps even...characterization) on her own other than being a sexy love interest and potentially traitorous (as so many femme fatales already are).

[loaksky]

— 𝘵𝘩𝘦 𝘩𝘦𝘢𝘳𝘵𝘴 𝘵𝘩𝘢𝘵 𝘣𝘪𝘯𝘥 𝘶𝘴

the deets — in which you, a quiet healer in the tribe, have the biggest crush on the upcoming leader. sometimes you think the feelings could be mutual. until one night in the glowing forest shatters that.

the who — neteyam x fem omatikaya!reader

the word count — like 7.6k (jesus h. christ)

the tags — idiots-to-lovers (it's teyam, he's the dummy), childhood friends-to-lovers, one-sided pining (reader is a softie).

the warnings — language, a lil kithy kithy, neteyam's emotionally constipated, but he redeems himself! reader's kind of a pushover, but it comes full circle!

the notes — first post for avatar & i'm really excited but a lil nervous bc like ??? i haven't written fanfic in SO long. i imagine neteyam & reader to be a few years older in this fic (eighteen or nineteen), but at the same time the circumstances could fit their current age as well. finally, this is written in a heinous blend of second / third. don't know how to explain, but i think it flows okay? if you like it please leave a request or let's have a chat! (also barely proofread oops).

YOU AND NETEYAM HAVE ALWAYS BEEN IN DISTANT ORBIT. Many would argue the two of you are cut from the same cloth; quiet, noble, mature, but you couldn't feel even more disconnected from the tribe's golden boy even if a chasm would crack the earth between you.

It's why you think it's silly that you'd develop such a yearning, your heart thudding like a war drum every time his amber eyes flit to yours. There's never any weight to his gaze, just fleeting glances among frequent observation, but you can't help but stare.

It doesn't help that his youngest siblings cling to you like a second and third skin, chattering excitedly about whatever piques their immediate interest. You just listen and hum your acknowledgements, a comfort to the two as you move through your studies.

Oftentimes he's sent to fetch his siblings, clearing his throat outside of the tent's flaps to announce himself, then wiggling a few fingers through the opening before peering in.

He's always in a hurry, never biting when you offer him opportunities to linger. You understand, how busy it can be when the whole clan begins to rely on you. So you bask in the short-lived moments in his space, skin scented with salt and the tang of the foliage.

But there are moments when you truly think he sees you. When you cross paths during clan meals, and the smallest of smiles twitches in his lips when you cut fruit and he's the first you offer to. When it's time to train to shoot your bows and he adjusts your form with a brief brush of his fingers on your elbow. When all of the older healers are unavailable and he shyly peeks his head into your tent for a quick patch up.

Nevermind the small tells stored in your short-term, but the little slivers of time when you were both growing into yourselves. When you were seven and he'd carried you to the elders when you hurt yourself. When some of the older kids in the clan would pick on you for keeping to yourself and he'd tell them that it was unbecoming and cowardly to pick on someone weaker than them. When he picked a flower during a group excursion into the deep depths of the forest and stuck the glowing stem in your satchel.

You had fallen so hard for Neteyam and your only hope is that he'd be at the end of the fall to catch you.

“You're not listening, ________!” Tuk whines and you look up from the scrolls you unfurled from the basket moments before she walked in.

“Sorry,” you murmur. “I have a lot on my mind.”

There's a small giggle from somewhere else in the tent and you peer from Tuk to Kiri who beads an anklet on her own.

“Yeah, like big brother,” Tuk teases, turning her attention back to her own beadwork.

Kiri's face splits into a grin.

“You've been lost in thought a lot more recently,” she observes. “Could Tuk be correct?”

You don't bother to deny it, the obvious flush in your cheeks a dead giveaway. Kiri's always been perceptive and the more you fight her on it, the longer she'll draw it out.

“I think it's worth a shot,” Kiri says. “Neteyam’s always had a soft spot for you.”

It's a million degrees hotter in the tent.

“You don't have to do that,” you say quietly, slouching in your seat.

“Do what?” Kiri challenges.

“Pretend I have a chance.”

Kiri makes a face.

“You do!” she argues. “Neteyam's just shy.”

You're silent for a moment, fingers twitching over a tear in the scroll. You want to believe her, tell her that you think it could be worth a shot, too. But you scent him before you hear him, and then you hear him before you see him.

Four blue fingers wiggle in the tent's opening before Neteyam is poking his head inside.

“Tuk? Kiri?” his voice rumbles. “Ready?”

Kiri glances at you as she stands to her feet and begins gathering her things. Her eyebrows do a little dance, eyes widening as she tilts her head discreetly to her brother.

“I'll see you,” you say quietly, patting Tuk on the back of her leg as she drops her finished anklet in your lap and giggles at you.

You follow their movements as they exit the tent through where Neteyam holds the flap open for them patiently.

He simply lifts a hand as a silent greeting and you wait until they're out of sight and earshot to expel the breath you'd been holding and slump down on your pillow.

In hindsight, you should have been more careful. Neteyam was a skillful hunter, the tribe's best warrior after his father. It's only normal that he'd be in the dense forest when you were plucking flowers and herbs for your salves, speaking quietly to Eywa about your concerns.

“Please, Great Mother,” you whisper, the woodsprites caressing the skin of your arms. "Please give me a sign, any form of motivation to be brave about my feelings."

The grass below your toes lights up and tickles the pads of your fingers as you pluck the glowing flowers.

There's a trail of them, purple and pink, and you pluck and pluck and pluck until you're led to the mouth of a clearing.

Something salty and tangy circles your figure and like usual, you scent him before you see him. When your gaze latches onto his lithe figure, you grin a little, lips parting to announce yourself. This must be your sign, of how vast and great the forests are surrounding your looming home tree, it must be fate that you stumble upon him at this hour.

But his name dies on your tongue when he shifts and you see the silhouette of another pressed to his side.

It's another Omaticaya girl, pretty and tall. You'd know her anywhere, the waves of her thick hair, the tinkle of her dainty laugh. But she is fierce all the same, far from perfect, but gritty enough that it doesn't matter.

Te'feyra draws a bow and one of Neteyam's hands come up to adjust her front grasp, fingers closing over hers and the arrow.

“Steady hands to make up for the recoil,” he says softly and your heart is in your throat.

He's engulfing her as she takes her aim and sends the arrow flying through the air.

Somewhere unknown to you, the arrow sticks its landing and Te'feyra jumps excitedly, pressing her lips to Neteyam's briefly.

You back away from the clearing, eyes burning as you fist the flowers so hard they wilt in your hands. A twig snaps underneath your weight and from your distance, you see the glow of Neteyam and Te'feyra's eyes through the brush.

You take off running without a single word, and despite your stomach tearing itself to ribbons, you thank Eywa for the clarity.

“Something's wrong,” Kiri says to you days later.

Instead of the tent, you two are sitting on opposing branches of a thick tree, observing the flora and fauna of your corner of the forest. You decide that you need some time away from the bustle of the clan's circle and venture off into the opposite side of the woods.

“Why do you say?” you wonder, scribbling onto one of your scrolls.

“You're naturally quiet, I get that, but the past few days, I feel like I've been in the presence of the dead,” she sighs, staring down at you from the branch above. “And Ewya's given me the feeling that all may not be well with you.”

You lick your teeth, then roll your lips nervously.

“I told you Neteyam didn't like me,” you admit.

Kiri's eyebrows furrow.

“What are you talking about?”

“I saw him,” you sigh, fiddling with your pen. “In the forest with Te'feyra. She kissed him.”

Kiri curses under her breath.

“This is stupid,” she huffs. “He's just being stupid. Neteyam likes you and I'm going to prove it.”

You open your mouth to protest, but Kiri's already jumping down from the branches of the tree and dragging you with her through the darkening forest.

“Kiri, this isn't necessary,” you finally pipe up. “It's okay if the feeling isn't mutual, I never expected it to be.”

Kiri stops in her tracks and her pinched face softens, braids swinging by the set of her jaw.

“________, we all grew up together,” she says softly. “I know my brother, and I know you. You two belong together, I feel it.”

You swallow around nothing, allowing her to drag you through the forest and back into the clan's main circle.

“Hey, Kiri! ________, where are you two headed off to in such a rush?” one of the elders calls from where they're working on tools.

Kiri smiles politely.

“Very important business,” she replies quickly, fingers tightening around your wrist to pull you across the grass.

You stop in front of their family's hometree and Kiri guides you through vines and steep inclines before pausing in front of their family's tent.

Lo'ak's voice sounds from within, whiny and irritated.

“Bro, are you being serious right now?” he squeaks and Neteyam grunts, obviously bored.

“Frankly, Lo'ak this has nothing to do with you,” he says.

“Dude, yes it does,” Lo'ak argues. “You've inadvertently involved everyone in this affair because you won't get your head out of your ass for three seconds and just admit that you like her.”

“I don't like, ________,” he says simply and Kiri freezes in front of you.

You chew the inside of your cheek, fingers twitching in Kiri's loosened hold.

“Who are you trying to convince?” Lo'ak moans. “You're really going to commit to Te'feyra even though you have no interest in her?”

“Te'feyra is a great huntress,” Neteyam says simply. “She's well-loved, a strong leader. What's there not to like?”

“________ is all of those things,” Lo'ak says. “She's a talented healer, always patches you up when you get yourself in trouble. The clan loves her, Tuk and Kiri love her, Mom and Dad love her.”

“The clan barely knows that ________ exists,” Neteyam says and you wince.

Kiri makes a move to infiltrate the heated conversation, but you put a hand on her shoulder and shake your head.

“Dude, that's low,” Lo'ak scoffs in disbelief.

“________ is a sweet girl, but she's weak. She's hollow and does what she's told. I wouldn't want to spend my life bonded to someone so passive,” Neteyam says plainly and Lo'ak lets out an exasperated hiss.

“You're kidding right? ________ is amazing,” Lo'ak challenges. “She's quiet, but she's caring. She's resilient and intelligent and anyone would be lucky to be bonded to someone like her, your stupid ass included.”

“Maybe you should focus more on training for your rite rather than trying to play matchmaker,” Neteyam says, showing the first signs of annoyance.

“You just won't admit that for the first time you're scared,” Lo'ak finally says.

Everything seems to still and Lo'ak presses on.

“Everyone loves you, you're the clan's golden child and you can do no wrong. You like ________ so much, but you're afraid that you'll let her down,” Lo'ak says fiercely. “But you don't realize that being a pussy about your feelings is the ultimate let down!”

“You'd know a lot about being a let down, wouldn't you,” Neteyam grumbles.

There's a split second of silence before Neteyam lets out a loud grunt of pain. The flap to their tent flies open and Lo'ak freezes before you and Kiri.

His eyes meet yours and his gaze softens before stalking past.

Neteyam stands stunned in the middle of the tent, lip bruised and bleeding. His gaze swings to the arch way, face falling when he finds you standing behind his younger sister.

“Wanna go swimming?” Tuk asks you the next evening, after dinner.

You smile down at her weakly, heart melting when she pets your hand. You can't deny her, nodding gently as you stand from where you're sitting on the outer circle of the scattered clan.

“Carry me?” she asks sweetly.

You heave her up with a grunt and she grins at you, playing with one of the braids in your hair. Her small fingers caress the skin of your cheek and you blink when she ghosts over your eyelid.

“Pretty,” she whispers, head nestling on your shoulder.

“I think you're prettier,” you tell her, readjusting her growing form as you walk through the brush, towards the rush of the waterfall.

You don't realize that there's a set of eyes on you, watching as you disappear through the trees with Tuk.

The cliff that houses the waterfall towers above you two in a semicircle, the water rippling gently as Tuk squirms from your grasp and splashes through the shallow pool.

“Stay close, Tuk,” you coo, toes wiggling through the pebbles washed up on the tiny shore.

“I've been practicing!” Tuk tells you. “Wanna see how long I can hold my breath under water?”

“Stay in shallow waters,” you advise her, wading into the pool until you're waist deep.

Tuk dramatically inhales and then sinks down under the surface. Something cracks in the distance and you glance around, met with the stillness of the forest and the chirp of bugs.

When you turn your attention back to Tuk, you smile fondly as you wait for her to emerge, counting the seconds diligently to report to her chubby cheeks.

Fifteen pass, then thirty. Your smile begins to fade as your arms feel around in the water around you.

“Tuk?” you call out, chest tightening when you're met with the subtle rush of the glittering cascade from the waterfall up above.

You push forward in the water until your chin touches the surface.

“Tuktirey!” you shout, thrashing around the pool, searching for her tiny frame through the illumination. “Tuk!”

Your toes lose purchase as the water deepens and you begin to panic without the youngest Sully in sight. You turn when you hear a splash, Tuk giggling on the shore.

Your stomach churns hard and Tuk's face falls when she sees your panicked expression.

“Tuk, I-I can't swim well!” you cry out, legs flailing as you splash through the water. You try to dig your toes in the earth below, but you're just shy of the mark.

Tuk looks scared on the shore, fidgeting as she looks around desperately.

“You're too deep, ________!” Tuk whines, voice laced with tears.

Your legs ache, head lolling under the water for a moment before you emerge with a splutter.

“Get– Go get help!” you instruct her, feeling your calves begin to burn as you try to keep yourself afloat. You don't know how long you'll be able to tread water. “I'll be okay, little one. Hurry!”

Tuk turns, picking up her satchel as she makes way for the path you took. When she's out of sight, you fall slack, chest heaving as you try to use your skinny arms to paddle at the water.

Meanwhile, Tuktirey runs through the forest, tears spilling down her rounded cheeks as she trips over sprawling roots and nudges low-hanging vines from the pathway.

She skids to a stop when Neteyam, who had finally worked up the nerve to excuse himself from dinner, comes into view.

He turns when he hears her wailing, face scrunching when he registers his youngest sibling's anguish.

“Tuk, wha—”

She grabs at his hands, tugging him towards the path to the waterfall.

“________ needs help!” she cries. “She can't swim!”

Neteyam's ears prick at the mention of your name, scooping up his youngest sibling in his arms before breaking into a sprint through the brush of the brightening forest. The woodsprites begin to emerge and he barrels into the clearing of the waterfall breathlessly.

It's still, like it's been untouched and his heart hammers nervously in his chest, eyes searching the pool for any sign of you.

He's setting Tuk down quickly before splash desperately into the water.

“_______!” he calls.

He ducks underneath the surface, eyes open wide as he searches for you. And there you are, body slack as you sink slowly to the bottom of the rocky pool.

He dives forward, lungs burning as he cuts through the waters with lean arms. His fingers circle one of your wrists, the other hand winding around your waist as he propels you two up above the water. He chokes on a breath, hand coming up to touch your face.

Your head lolls to the side, eyes shut as Neteyam holds you close.

“Neteyam!” Te'feyra calls from the shore, having followed him after being rebuffed during dinner.

Kiri and Lo'ak are close behind, eyes wide when they see their eldest brother wading quickly through the waters with your unconscious form in his arms.

“Neteyam,” Te'feyra repeats, hand coming to grasp his bicep.

“Not now,” he grunts, tugging his arm from her grasp to march through the brush of the forest.

Woodsprites surround you two as he takes you back to the village, a silent plea to the Great Mother not to take you away weighing heavy on his lips.

You awake to a shining sun and a wet towel on your head. You squint against the beaming light and sit up abruptly as the prior night dawns you like a swift strike to the gut.

“Whoa, wait, slow down,” a thick voice rumbles.

You scent him before you see him.

Neteyam's hands are on you, guiding you back to rest on the pile of pillows that had propped you up before.

You shoot up again anyways.

“Where's Tuk?” you ask anxiously.

“Tuk's fine,” Neteyam says. “She's eating breakfast with Kiri and Mom.”

You lean back in relief, eyes squeezing shut as you wheeze out a sigh.

His hands are on you again, gentle, warm as he takes the towel from your forehead and wipes your face to refresh you.

“Are you okay?” he asks quietly, hesitantly.

You pause a moment, but then nod.

“Yeah,” you affirm hoarsely. “M'fine.”

Neteyam just stares at you, yellow eyes unblinking and you know this isn't like one of those fleeting moments. He sees you and it makes your gut churn hard.

“I'll be okay here,” you say quietly. “You may have...someone, you know, waiting for you.”

Te'feyra's name is a silent implication and Neteyam doesn't look amused.

“I told them I would look after you until you're fully well,” he counters, wringing the towel into a bowl that sits next to the mound of blankets your rest on.

You fiddle with your fingers, fully disheartened because even in times like these, he remains the diligent leader-in-training that he is.

The air in the tent is think and you can't breathe.

“I'd like some air,” you whisper, crawling from the soft mat to climb to your feet shakily.

“You need to rest,” Neteyam says crossly, seemingly annoyed at your persistence to put as much distance as you can between the two of you.

You don't respond and finally he seems to burst.

“You can't swim and yet you still went after Tuk,” he calls after you like an accusation. “Why?”

You pause.

“Tuk is like a sister to me,” you say quietly. “I would never let anything happen to her.”

You make a move to exit the tent, but Neteyam's voice stops you in your tracks.

“You could have died,” he says quietly, and you can't place the emotion in his voice.

“I'd do it again,” you admit, craning your neck to face him. “I'm not that weak.”

Neteyam's face falls and you duck from the tent.

Neteyam becomes restless after that moment. He loses his focus, agility taking a hit as he hunts one on one with his father.

He goes to shoot another arrow, but Jake stops him with a gentle hand on his shoulder.

“Neteyam, I know I can be hard on you,” he starts. “But I’m always here.”

“Yes sir,” Neteyam nods.

“Something’s bothering you,” Jake observes. “You’re not yourself. You’re losing focus.”

Neteyam swallows.

“Sorry, sir,” he says, head hanging.

His braids form a curtain around his face and Jake gives his shoulder a squeeze.

“Son?”

Neteyam swallows again, head tilting up to look is dad in the face.

“I don’t want to be with Te’feyra,” he admits quietly.

Jake's lips twitch.

“Well I could have told you that,” Jake scoffs, the corner of his lips twitching into a soft smile. “You look about as dead as a washed up fish when she’s around.”

Neteyam recalls the kiss she’d given him nights ago and how he'd internally recoiled, body stiff under her touch.

“I’m sorry,” he repeats.

“Why are you sorry?” Jake prods.

“Because I know Te’feyra is who the clan wants me to be with, who is my most suitable match,” he says. “I just— I don't want to let you down.”

Jake gives him an impish grin.

“Neteyam, let me give you a word of advice. There are things in this world that are suited well for each other; you and Te'feyra are one of those things. But your heart and your mind are the two most powerful things about you,” he says. “You will not be punished for giving into your heart.”

Neteyam thinks of you. He thinks of your face, the lines of your timid smile, the idents that dimple your cheeks. He thinks of your touch when he's wounded, gentle and expert, warm against his skin. He thinks of your voice, airy, soft, a low rasp.

He thinks of when he'd called you weak. Of your face, wounded and hurt. He's stricken in this moment as he realizes that strength doesn't have to be audacious. It can be quiet, small acts that become mighty.

Tuk had told him about the waterfall, how she'd wanted to pull your leg a little. You'd accepted your fate if Ewya deemed it time, you'd even sent the youngest away in the chance you wouldn't surface.

You were far from weak. Your strength ran nearly as deep as the roots of Ewya herself, yet you'd taken the criticism in stride. Let Neteyam paint you as a coward, a pushover with no spine.

“I think there’s someone you need to clear the air with,” Jake says after a few moments of silence. “She should be in her tent.”

Neteyam's hands are clammy. It's been nearly a week since he'd last seen you. You'd reserved to spending time inside of your tent to brush up on your studies and refine your work. He'd catch glimpses of you, but you were used to blending in the background and Neteyam's used to overlooking you.

Was he being presumptuous? Maybe you only admired him as a warrior. Or perhaps it was a duty to the clan to revere him. He feels sick to his stomach thinking of confronting you. But Lo'ak wouldn't try to convince him of his own feelings if it wasn't mutual, would he?

And when had the feelings become mutual? He's recently began to think that perhaps he'd always liked you because you were the only one who didn't actively vie for his affection. Who only saw him as Neteyam, an equal, not Neteyam, the Olo’eyktan's son.

Maybe it was whenever he'd see you wandering in the forest during his hunting trips, murmuring to yourself as you picked herbs and flowers for you studies. Or maybe when he'd spot you still high on the branches of the lofty trees with a tablet of paper and ink. Maybe it was when you'd smile at him shyly when he'd adjust your form during archery and it'd melt his insides. Or when you two were little and he'd plucked flowers for everyone and you were the only one who'd smiled at it sticking out of your satchel.

If he recalls correctly, it's pressed to a scroll hanging in your tent and that alone makes his heart race.

Maybe you two are inevitable and he'd only prolonged it because of his own fears.

“Neteyam!”

Te’feyra steps in his line of sight, standing before him and the hometree that houses your tent. He glances away when she stops in front of him.

“Te’feyra,” he greets cordially.

“I haven't seen you since the incident with ________,” she says. “Are you alright?”

Neteyam nods.

“Never better,” he says simply.

“After dinner we should–”

He spots you, satchel thrown over your shoulder. You glance his way momentarily, but scurry in the direction of your tent when you lock eyes with him.

“If you will excuse me, please,” he says politely, extricating himself from Te’feyra to follow after you.

He catches up to you right outside of your tent.

“________!” he calls.

You freeze almost imperceptibly, but continue on your way, climbing the flattened incline spiraling around the center of the hometree.

“________,” he murmurs, fist closing around your skinny bicep.

You jolt to a stop, golden eyes razor sharp as you glance down at him. Your fist is wrapped tight around the strap of the satchel, knuckles stretched taut.

“Neteyam,” you reply softly. “Yes?”

He opens his mouth to say something, but finds that his tongue weighs heavy behind his lips.

“If you seek help, there are elders available for healing,” you inform him, making a move to remove your arm from his grasp.

He instinctively tightens his grasp and you shift uncomfortably.

“Sorry, sorry,” he says quietly, pulling away. “I just want to speak with you.”

A few beats pass as you blink at him.

“Well?”

“Oh,” he swallows. “Can I come in?”

You turn to face the flap of your tent before craning your long neck over your shoulder to nod.

“Sure,” you agree, holding the hide open to let him in.

You step in after him, table scattered with mixtures of finely-pounded dust, scrolls of research and bundles of materials.

You set your satchel down and begin unloading your finds from you excursion.

Meanwhile, Neteyam paces nervously, trailing the circumference of your tent, eyes flitting every which way to take in every piece of you.

A thick silence envelops you and you clear your throat when the satchel is empty.

“You wanted to talk?” you ask, watching as he stops in front of a scrolled tacked to one of the beams.

It's the pressed flower he'd given to you all that time ago as children. It's central in the room, catching the sun so beautifully and Neteyam uses this as the last bit of courage he needs to continue.

“You kept it,” he says, voice shaky.

“Of course,” you say simply, picking through your different finds. “You gave it to me.”

Neteyam turns, looks you head on and he feels his resolve crumbling.

“You like me,” he says bluntly, afraid that if he beats around the bush, he'll cop out.

“Everyone does,” you deflect.

Neteyam's jaw locks.

“No, ________, you like me,” he repeats.

You feel small, sorting the petals by color, fingers nimble against the soft grain of the wooden tabletop.

“Presumptuous,” you hum, unable to meet his piercing gaze.

“________,” he presses.

You bite your lip, tears clouding your vision as your fingers begin to trembling through the sorting. He's being so unfair and he doesn't even know it.

“Why?” you ask shakily.

“What do you mean why?” Neteyam counters, voice taking on the same edge he did with his brother days prior and he'd interrogated him about you.

“Why are you doing this?” you croak, and he hears the tears in your voice.

He's across the floor before you can blink.

“Are you crying?” he asks, shocked.

“Why do you want me to say it so badly?” you choke, poor petals strangled in your vibrating fist. “Is it not enough? To know that I yearn for you silently? That everyone pities me because my heart belongs to someone who's already spoken for?”

Neteyam is stunned.

“I like you, Neteyam. I always have,” you say, voice raw with emotion. “It's my biggest defeat to say I always will. Is that what you want to hear?”

Your eyes are tinged red and his throat feels stuffed with cotton.

“I've always admired you,” you say quietly, between hiccuping breaths. “But I didn’t know you could be so cruel.”

Neteyam winces, every word he’d practiced earlier, completely obliterated from his short term. He knows he should just tell you, tell you that his heart yearns for yours, too. That he'd been too blinded by his impending duty to feel the full effects of what a first love could be like.

“You should go,” you say when he's silent.

You brush your tears away and pat your cheeks dry with the back of your hands as you carefully set the wilted flowers the the edge of the table.

“I–”

“Neteyam, spare me, please.”

“I don’t want to,” he finally says.

Your eyebrows furrow, eyes swollen as you gaze at him unjaded. Who he believed to be so stoic and passive now baring every possible inch to him.

“You're–”

“I don't want to be with Te'feyra,” he finally spits, fists clenched. “I won't be with her.”

Your gaze softens, lips parting to ask what's gotten into him, but he cuts you off.

“You,” he answers firmly, before the question clings in the air. “It’s you. I want to be with you.”

"Stop," you whisper, shaking your head furiously. You take a step away from where he's quickly closing in on you. “Don't–”

He pauses mid-stride and the expression on his handsome face is absolutely devastating. His chest rises and falls shakily and you take a moment to meet his eyes.

“I’m sorry I didn’t notice it before,” he says desperately, “I was scared and didn't fully realize it, but I do now.”

“That’s unfair,” you hiccup. “This isn't just on your terms. You can’t— you can’t just tell me you like me and expect me to be with you.”

These passing moments are the most he’s ever heard you speak, and he’s afraid that he's severely underestimated you. It doesn’t taste so sweet now that he’s faced with the reality of things.

“You will be the future leader of this clan,” you continue. “That is a great responsibility that you've prepared for your entire life. Who you decide to be with is a permanent fixture that cannot be undone.”

“I know, I know,” he assures you.

“You find it in your heart pity me, Neteyam,” you breathe quietly. “But do you really want to be bonded to someone passive and weak?”

He opens his mouth to argue, but you've squared your shoulders, stomach caving and expanding with a deep breath. You turn to your prior task.

“You should go,” you repeat. “Duty calls.”

“What do you mean you need help?” Kiri asks incredulously, eyes widened at her older brother.

“________,” Neteyam says. “She's icing me out.”

Kiri's face melts in relief and she scoffs a laugh.

“Do you blame her?”

“Kiri!” he pleads.

Kiri stops her movements, falling back on her haunches to meet Neteyam's desperate gaze. It's so unlike him, being uncertain, nervous. He's picked up the habit of fiddling his fingers and Kiri snorts to herself.

“Actions,” she says simply.

“Huh?” he vocalizes.

“Words mean nothing to ________ if your actions don't support them,” she says. “This entire time you've acted so lukewarm towards her. Of course she won't believe you when you decide to acknowledge that you love her.”

Neteyam's throat bobs as he stares down at his sister.

“And how will I do that?” he presses.

Kiri shrugs.

“Not so mighty warrior now, are we?”

As the days progress, you begin to grasp at finally coming to terms with the tattered remains of what's left of you and Neteyam's frayed relationship. Your heart hasn't stonewalled him completely, but the yearning for him has dulled to a slight ache.

His eyes are piercing every moment you share the same vicinity. Kiri would even try to argue you that it's longing, but Neteyam's a slave to his honor and you aren't convinced.

“You should pity the poor boy,” an elder tells you as you cut up ingredients for the evening's dinner.

You pause, fingers tightening around the handle of the knife. You roll your lips together before briefly meeting her gaze, warm under firelight.

“I don’t know what you’re talking about,” you deflect, clearing your throat.

She laughs, peeling a purple fruit.

“Neteyam,” she says forwardly. “Hasn’t taken his eyes off you in who knows how long. Will you continue to let him suffer?”

You want to argue that it's you who's suffering. That the heart that beats inside the hollow of your ribcage feels like it'll tear in two every time you recall the venom in Neteyam's voice when he'd called you weak.

“I doubt his suffering has anything to do with me,” you say instead. “We are only acquaintances.”

The elder laughs again.

“Is that why he's been pestering the elders for input on how to sway your heart?”

Your head shoots up from where you've focused on the fine cuts of vegetables.

“What?”

“He’s been slacking on his duties, instead poking around the elders and villagers trying to pry information about you,” she says. “Heard him muttering about what kind of flowers you like.”

“It will take more than flowers to sway my heart,” you mumble.

“So you admit that there's something there, hmm?”

Your cheeks heat, caught like a fish in warm waters.

“I–”

“I'd argue that Neteyam’s liked you longer than you've liked him,” the elder says simply.

You bite.

“Why do you say that?”

“He's always asked Eywa for courage, and it seems like she gave you as an answer.”

The elder climbs to her feet, leaving you near the open flame. You open your mouth to call out to her, but the scent of salt and leaves envelops you before you can say anything.

You crane your neck and find Neteyam a few paces from you.

“Do you have a few moments?” he asks politely.

You want to say no, tell him that you'd offered him an infinite amount of moments that he'd spent building bridges between the two of you, but if he's a slave to his honor, you're bound by heart.

“Okay,” you say hesitantly, abandoning your task.

He holds his hand out for you to take and your fingers slide across his warm palm as he pulls you to your feet. Once he secures your hold in his, he tugs you along.

You don't know where he's taking you, or what he could possibly want with your time, but you feel a thousand times more nervous than ever now that the tangled web of your feelings drapes the both of you.

After a few moments of rugged silence, climbing through bushes and brush, he punctures the quiet.

“Are you well?” he asks.

“Yes,” you answer after a moment. “You?”

“Truthfully?” he responds, pausing to face you. You realize his hand still engulfs yours. “No.”

“No?” you parrot shakily.

“No,” he affirms. “I've been hurting actually.”

Your eyebrows furrow.

“You should seek help if you have an ongoing–”

“Here,” he says, the hand still caught in his being guided to lay flat against his chest. You can feel his heart hammering behind his ribcage. “It hurts here.”

You swallow, pulling away from his grasp when you realize his insinuation.

“Don’t,” you warn.

He breathes a shaky sigh before taking a step towards you. He's corded muscle and warmth as his palm comes to cradle your jaw. Your bottom lip twitches as you stare up at him.

“It’s always been you,” he says quietly, thumb brushing your chin as his eyes map every curve of your face. “I think I’ve always known it deep down, but...”

Your hand comes up to meet his, gently prying his touch away.

“Neteyam,” you sigh. “Had the last few days unfolded differently, I don't think you'd been saying this now.”

“Maybe not now,” he agrees. “But one day, I would. I know I would. Because when I recall every fond moment, you’re there. No matter how close to the background you get, you’re always there.”

You look skeptical, and Neteyam knows he's losing you. So he digs in the small knapsack he has slung over his broad shoulders and pulls out something thin.

When he holds it up with shaky fingers, your breath catches in your throat. Strung through the taut brown of tree vine is a line of beads identical to the one that he wears on a braid tucked behind his ear. Upon closer inspection, you notice the blue and purple beads formed to create your favorite flowers.

“Wha—”

“Until you decide you want to be mine,” he says, voice trembling nervously as he takes your arm and gently slides the band up until it fits snuggly around your bicep. “So that you remember I'm always yours.”

Your voice is caught in your throat as he brings your fingers up to his lips.

“I won’t push you,” he says when he realizes your words have evaded you. “But I’ll wait for you.”

“Neteyam–”

He simply smiles at you, golden eyes shy as he takes a step back to admire his handiwork. He seems satisfied, triumphant, when you eye the band but make no moves to remove it.

“I’ll wait for you,” he repeats, giving your fingers a squeeze before running off.

“He did what?” Lo’ak shrills a week later.

The younger three Sully's had hunted you down and brought you to the clearing dedicated to archery training.

Slender fingers wrap around your wrist and elbow to turn your arm to examine the band with wide eyes.

You can’t help but smile gently to yourself, watching the way the sun catches the reflection of the pearlescent beads and reflects them brightly.

“I knew that dummy was planning something,” Kiri grumbles. You bite your lip when she meets your gaze. “Well?”

“Well what?” you ask, arm still in Lo’ak’s grasp.

He twists playfully and your laugh glitters in the air.

"Are you going to put my knucklehead brother out of his misery or what?" Kiri hisses, arm drawing to shoot a arrow that stabs the target about a centimeter too left.

Tuk giggles as she runs up to the target to examine the damage.

“Yeah, please do, he's in love and it's disgusting,” Lo'ak grumbles, still eyeing the cuff.

Your heart skips at the mention of love, cheeks going warm when both Kiri and Lo'ak notice how you've gone quiet. They begin laughing, dealing you playful punches.

“Stop that,” you scold, swatting their hands away. “I haven’t given him an answer yet.”

“Oh, get real!” Kiri huffs. “You are so in love, you know you'll say yes.”

“Please put me out of my misery,” Lo'ak moans. “I'm tired of being his therapist because he's a little bitch.”

“Lo'ak,” you warn, eyes narrowing.

He giggles and Kiri stifles a laugh as you flounder, cheeks blooming under the siblings' teasing.

“You are both so awful,” you say petulantly, arms crossing one over the other. “How are you so sure I’ll return his feelings?”

It's Kiri's turn to groan, eyes rolling.

“Sure enough that I know if I let you in on a little secret, it'll light a fire under your ass,” she says seriously.

Your spine goes rigid, arms loosening as you wait with bated breath.

“Neteyam may choose you, but if you don’t choose him back quickly enough, someone could swoop in and claw that chance from you,” she shrugs.

Te'feyra's name is an ugly insinuation and something green coils its way into the pit of your stomach as you recall the chaste kiss she'd pressed to Neteyam's lips all those nights ago in the forest.

“Gears turning?” Lo'ak lilts.

They definitely are and suddenly you feel small, digging your big toe into the dirt to drag lines through the forest floor. You nod hesitantly, band suddenly tight around your bicep.

In your ruminating, Lo'ak and Kiri pass a knowing glance.

“Well?” Lo'ak prods.

You fidget, rattling with nerves.

“I suppose...”

Lo'ak sighs and his hands come down on your shoulders to steer you through the clearing.

“Where are we going?” you squeak.

“To put everyone out of their misery,” Lo'ak huffs.

The forest seems way more alive than usual, glowing so bright it almost overpowers the sun. Woodsprites gather around as Lo'ak nudges you through the thick foliage and you can't help but think about the sweet smile that curled on Neteyam's lips as he assured you that he was yours. All yours.

The fire crackles in the distance and you know that the morning meal is in the works when voices roar quietly meters away.

Neteyam sits near the center, surrounded by elders and the dreaded girl.

Te'feyra's obliterated every single centimeter of space available, nearly melded to his side as the elders talk animatedly over the two.

You want to turn back, uncertainty vice-like, but Lo'ak squeezes your shoulders as a silent plea. Not even a moment passes before Neteyam peels himself away and begins putting distance between them.

When Te'feyra gives him a curious glance, he gives her an uneasy smile.

“Be courageous, ________,” Lo'ak encourages. “You're one of the strongest people I know.”

With a final pat on the back, he pushes you towards the circle and the sudden movement catches everyone's gaze.

“________,” one of the elders calls fondly.

You smile and bow your head, fingers twitching at your sides.

“Hello,” you greet quietly, eyes swooping hesitantly to Neteyam who rises to his feet, already watching you intently.

That's when you notice it, the choker fastened around his throat. The vine is identical to yours, but it's strung with a line of beads that mirror the ones woven into a singular braid at the nape of your neck.

You hadn't realized that he'd noticed it all this time, but it's the ultimate confirmation that Neteyam sees you. And when he notices that you notice, he smiles softly.

The elders notice as well, drawing the link between your arm band and the necklace that Neteyam wears, now that you two stand opposite each other.

“May I borrow Neteyam for a moment?” you ask politely.

The same elder you prepared with the evening prior gleams a wide smile when Neteyam takes a step towards you, fingers brushing delicately with yours.

Te'feyra remains seated, lips twitching as her gaze flits between the two of you.

“By all means,” one of them says. “Take your time.”

You bow your head again, heart thudding when Neteyam's fingers twine with yours and he lets you drag him out of the circle and deeper into the forest.

When you deem that no prying eyes or ears surround you, you stop, Neteyam bumping softly into your back. The hair on the back of your neck bristle when he makes no moves to extricate himself from you, simply moving your braids from your face to reveal the string of beads tucked near the nape of your neck.

“You needed me?” he whispers, fingers still ghosting the skin of shoulder.

You swallow, squeezing your eyes shut as you relish the moment. Your fingers are still locked and for a fleeting second, you pretend that it's always been like this, the two of you.

“I am nothing extraordinary,” you start, and Neteyam's fingertips pause at your elbow.

“I'd argue differently,” he responds.

“I value time alone and I get overwhelmed often,” you continue.

“We all have our moments,” is his rebuttal as the hand covering yours squeezes gently.

You sigh.

“I could—”

Neteyam turns you and you're met with the the choker, beads glinting under the light. Your eyes drag up the column of his strong neck, flit past his soft lips and finally lock with his searing gaze.

“You can try all you want to run me off,” Neteyam laughs quietly, cupping your jaw. “But I'm not scared anymore.”

Your expression is skeptical and Neteyam decides to bite the bullet. He's closing in on you and your heart pounds violently in your chest.

“Neteyam,” you whisper weakly, hand coming up to his chest.

He traps your fingers against his heart, lips slotting between yours before you can protest some more.

It's like the forest comes alive around you, grass tickling between your toes as you melt under his touch and lean up into his mouth.

His hands are everywhere at once, branding your cerulean skin as he kisses you like it's your last moments. There's no hesitation, no feeling it out, just his warm breath and his soft lips as he pulls you impossibly closer.

“I'll take you as you are at any moment,” he says breathlessly between kisses. “You just have to say you want me back, ________. Please.”

You nod, nose brushing against his as one of his palms splay at the small of your back and the other grabs your chin, pulling you back to plant another burning kiss on your lips.

“Say it,” he begs.

Your eyes begin to mist as you nod again eagerly, parting for a moment to whisper the words.

“I'm yours,” you hoarse, hands on either side of his neck. “I'm yours if you'll be with me.”

Neteyam simply kisses you again, a satisfied hum rumbling from his built chest.

“Fucking finally,” a whisper sounds from the brush.

A LIL' BONUS

“You think they would have figured it out on their own?” Lo'ak asks, wolfing down his food.

Kiri shrugs, feeding Tuk a piece of fruit from her wooden plate.

“Maybe,” she says, unable to suppress her proud grin. “Maybe not. They're both stupid."

“I think so,” Te'feyra laughs watching you and Neteyam fondly from across the fire. “They were a long time coming.”

an – thank you SO much if you've made it this far! again, leave a request or let's chat hehehe. up next is lo'ak so stay tuned! :)

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neng © 2023

[r--kt]

Do you like Kakashi's dogs? Let's talk about why there are eight of them.

another example of naruto's ✨cultural code✨

contents | the eight dog warriors chronicles · legacy · eight confucian virtues. also look at the cuties love them sm

Naruto Vol. 10 CH 90

[ one dog is wonderful, I'm saying as the owner of a sweet little york terrier. two dogs are good, they won't be bored together. three dogs? yeah, cool! how are you going to walk them though? four? yes... look, maybe we have to draw the line h- wha- EIGHT? Excuse Me!? ]

surely, it's worth starting with the fact that eight is a lucky number in Japanese culture — everybody watched Hachi. of course, this is not the only cultural detail where the eight is mentioned. I want to pay special attention to a thing that I didn't know about until I googled it, and this is clearly what Kishimoto was doing homage to with Kakashi's eight ninken.

The Eight Dog Warriors Chronicles

Better known as Nansō Satomi Hakkenden. and it's not just some kind of book, it's a novel, consisting of 106 booklets written by Kyokutei Bakin in XIX century. Hakkenden is considered the largest novel in the history of Japanese Literature. this is one of the main representatives of the gesaku genre, which includes works of a frivolous, joking, silly nature. further I will emphasize a few more times how damn popular this work is and how often it is reflected in culture.

here are some illustrations for these books

now let's talk about the plot. It's weird, but it's weird at samurai-dogs-story level so stay here.

In brief, the story tells about the commander Satomi Yoshizane, whose native lands were attacked by the army of a man, whose forces surpassed those of Satomi, and the samurai in despair swore to a dog named Yatsufusa that the dog would get his beloved daughter Fuse as a wife if he chewed that man's throat. surprisingly, the dog not only understood the owner, but also fulfilled his wish! after that the commander refused to keep the promise. however, Fuse, true to her word of honor, went with Yatsufusa to the mountains and became his wife. upon learning that his daughter was pregnant, Satomi, in a rage, sent a samurai to kill Yatsufusa and bring Fuse home. she stood up for the dog anyways and died with him. at that moment, eight pearls with hieroglyphs that denoted the foundations of Confucian virtue burst out of her womb. (...cheers for mythology, I guess)

Soon, eight dog warriors who were Fuse's spiritual children were born in different parts of Awa province. after going through hardships, they got together and became vassals of the Satomi clan, then won the battle, and soon reached peace.

some more illustrations made by Utagawa Kuniyoshi. from left to right: Inukawa Sōsuke (the dog warrior), Inumura Daikaku (the dog warrior), Princess Fuse (their mother).

the novel mainly tells about each individual warrior dog and his shenanigans in a funny adventurous way. huge fame has led to excerpts from Hakkenden being staged at the Kabuki Theater and mentioned in the anime and manga, such as Inuyasha, Dragon Ball, as it turned out, Naruto and so on. there's also a lot of films and video games.

The eight virtues

these are loyalty, filial piety, benevolence, love, honesty, justice, harmony, and peace.

they relate more to Chinese culture, but basically Hakkenden was inspired by it too. since I did not read the whole novel, I would still like to mention at least the values on which it is based, and which were embedded in the symbolism of this story. It's quite interesting to apply this to Kakashi's dogs. gives them more weight and depth.

It is also interesting to note that the reason why Fuse gave birth to dogs was also that her father was cursed earlier in the story in a way that his descendants would become depraved like dogs. in Japanese culture, dogs embody the duality of character: the same mentioned filth and depravity, and devotion and bravery. so as samurai. but this is a different conversation, more related to Kakashi and his dog poetry.

Did you get here? Here's an additional discovery for you✨

Pakkun's name (パックン) is derived from the Japanese onomatopoeia “pakupaku” (パクパク) which reflects the sound of munching.

Kakashi, that's very sweet of you.

thank you for reading this to the end ♡

[inbarfink]

After all these years, ‘I Remember You’ is still one of the great highlights of Adventure Time Storytelling. And not just in the basic ‘what???? Silly children’s cartoon does something SAD??? HOLY SHIT MIND BLOWN’ way. But with the execution of that Something Sad. How it manages to pack so many Complex Emotions into just 11-minutes of television. And especially the way it utilizes the basic Adventure Time format for that purpose.

So Adventure Time is a Board-based show. Each episode has an outline pitched and written down by the writer’s room, and then this outline goes to a team of (usually) two Storyboard Artists who develop that simple outline into a full story. And with the show’s art-style deliberately eschewing staying perfectly ‘on-model’ in favor of having the animators take direct reference from how the different storyboarders draw the characters

And the show being generally extremely versatile in terms of themes and tone - AT has allowed a lot of their Storyboarders to really express themselves and their unique artistic vision as part of the Big Collaborative Narrative that is Adventure Time. 

Now, the Boarders who worked on ‘I Remember You’ are Cole Sanchez and Rebecca Sugar. These two were a Storyboarding Duo from the start of S4 and until Sugar left the AT Crew during S5, and they always struck me as a curious combination. I think really from all of the individual boarders working on AT during that time, these two really are the closest to having like… Totally Opposite Artistic Sensibilities as boarders. 

With Sugar favoring a style that is very loose and sketchy and also very rounded. Focusing on expressions and subtle body language and lighting. And being famous for going deep in depth into Big Moments of Emotional Catharsis

And Sanchez having a very clear art style that emphasizes strong silhouettes and clear lines that suggest flatness. Focusing more on major poses and the character’s positions in the space. And having just a really great eye for AT’s brand of silly humor.

Like, I almost kinda suspect these two were paired together so they can each cover for the other’s “weakspots” in writing ‘Adventure Time’. 

And there were a few episodes that did some really interesting stuff with this very contrasting pair - ‘Jake the Dog’ is another example. Giving most of the Farmworld scenes to Sugar and most of the Time Room scenes to Sanchez both plays to their personal strengths as storyboarders and helps to emphasize the strong emotional contrast between these two scenarios. 

And ‘I Remember You’ is actually kinda unique among Adventure Time episodes cause… Most episodes will have the two boarders alternate between working on the episode throughout it. Like you’d have Boarder A draw a bit and then Boarder B and then Boarder A again… But “I Remember You” is divided between Sanchez and Sugar… basically perfectly in the middle.

So the entirety of the first half of the episode was boarded by Sanchez

Until Ice King pushes Marceline and then leaves the room in shame.

And then, Sugar takes over.

And, like, even if you don’t know anything about the Behind the Scenes of Adventure Time or who Cole Sanchez and Rebecca Sugar even are - the Shift is noticeable. The shift in tone, in narrative focus, in the subtleties in which the characters are drawn. 

The entire first half of the episode has this thin veneer of just being a Silly Goofy Ice King Episode. Sanchez’s talent for Adventure Time’s brand of comedy is on full display… but there is also this underlying feeling that Something is Happening just under the surface. And these hints of the Big Emotions of ‘IRY’ expressed via Sanchez’s kinda goofy style really create this balance between putting the audience into a false sense of security that this is just a Very Normal Episode about two characters hanging out and the Tension constantly brewing in the subtext. 

And then it all comes to a blow.

And then the Shift happens. And now we are in Sugar’s court.

And this subtle shift in the artstyle and storytelling also coincide with Marceline finally openly expressing her feelings and the Reveal of Simon and Marcy's shared past. The episode changes focus from Ice King's silly antics to Marceline's feelings. Everything changes, everything in the first part of the episode gets recontextualized and... even on the most basic level, the episode is now Noticeably Different.

I would almost say that Sanchez’s half of the episode has Ice King define the tone, while Sugar’s half of the episode has Marceline define the tone. But more than anything it’s the catharsis. The reveal and release of those emotions that were building up so expertly through the Sanchez half of the episode. All of the Sugar-boarded scenes in this episode are really heartbreaking on their own, just through the tragedy of the story and Sugar’s expert knowledge of howto convey emotion in the visual medium - but it’s so enchanted by what came before it.

“I Remember You” is truly a great testament to how ‘Adventure Time’ could use every aspect of its medium to tell a great story in such a short time.

[courtofparrots]

Luis Serra and his use of false bravado

I'm writing a fic right now that requires a pretty in-depth character analysis of Luis, and I wanted to talk about one of my favorite things about him, which is his use of false bravado to get out of sticky situations, and the expressiveness he displays in the moments in between.

We talk a lot about Leon's micro-expressions when he's trying to hide his feelings, which don't get me wrong, I LOVE to analyze, but Luis has such telling expressions as well, and we should talk about it! (I also saw some gifs of Luis's expressions being modded onto Leon and THAT got attention but... neither here nor there).

To me, it always looks like he's using an almost silly amount of swagger when he interacts with others to portray his confidence, and he barely ever lets that wall down. Unlike Leon and Ada, he's a civilian, but he jokes around and flirts every time he's in front of them, despite being in situations where he really should be behaving more like Ashley, like when he narrowly avoided being tortured to death and he's just like "nice, cigs"

We as the audience are only privy to his mask slips in 3 different types of situations, as far as I can tell:

When he feels like his luck is about to run out: he goes from acting confident to suddenly displaying a lot of fear on his face, while he wildly casts around for something to say to help him out. In both of these instances, he completely regains his bravado once he thinks he's safe again, i.e. when Ada saves him from the torturers, or when he realizes Ada knows who Leon is. This is also just kind of adorable. Watch the way his face falls when he realizes Ada is mad, and then the way he flounders when she points her gun at him.

2. When no one else is looking: This one stood out to me from the very beginning because he's actually still speaking with confidence as he explains that the plaga can be removed, but Leon and Ashley can't see his face, where he's clearly showing his trepidation, his guilt about them being infected, etc. and then notice how he goes right back to smiling and confident when he turns around to face them again.

3. When he feels concern for others: Luis is an extremely caring person, and one of the most common moments where he lets his mask slip is when someone else is in danger. Obviously the first thing that comes to mind is his reaction to the medicine being destroyed, but I also want to draw attention to the look on his face when Ada is in danger and she tells him to leave her. And I know I included him looking away from Leon and Mendez in a previous post but here's a higher quality gif so you can really get your heart broken by how scared he looks:

Anyways, I just love the little things that make up characters in this game. I also have analyses about Ada and Ashley that you'll probably get whether you want it or not because I love them, and their characterizations are so interesting.

[frenchgremlim1808]

Why Midori is such a breath of fresh air or how to actually write a Villain.

So the awaited essay, the winner of the FrenchGremlin polls of laziness finally has come! It took some time but it’s finally over. If your choice didn’t get chosen that’s okay! I’ll repost a new poll with old and newer options. Please reblog this one i put a lot of time in it, it's like, five pages long over a silly goose. Also sorry for the grammar i sucks and i'm not native. So let’s begin:

(also here is the link to the video format)

So first let’s make things clear, What IS a villain?

“A villain is a character whose evil actions or motives are important to the plot.” That is why I do want to make a difference between a villain and an antagonist, an antagonist is a character who are a plot devices that creates obstruction to the protagonist. That means that a villain is forced to be an antagonist while an antagonist is not forced to be a villain. For example shin is an antagonist but not a villain, he is driven by selfish desires which are themselves fueled by fear anger and loss, he is the protagonist of his own story and is a sympathetic character despite it all, and Midori is just a bitch. Midori falls under multiple stereotypes of villains. Such as “the mastermind”, “evil incarnate” (lmao),”related to the protagonist” etc. Midori is evil, there is no denying in this, he is purely evil, and he doesn’t have a sad weepy backstory, he doesn’t feel empathy towards other, he is a despicable piece of shit who ruined so many lives. I won’t list everything but here is a list of his crimes, murder, assault, domestic abuse, grooming, verbal abuse, and torture, crimes against humanity lmao, stalking, violent crimes, and participation in a cult. And his worst crime is being a pussy bitch of course. So now that we have put the bases up let’s really begin.

Hollywood has a hate boner against villains and I hate them for that.

Recently Hollywood decided that pure evil bad guys is actually a bad thing, so now they decided to do stupid side story with them, to give them ”””depth””” since I guess how could we like those villains since they are bad. A great example of this is the Disney remakes which I loathe so much oh god I hate them. So first they did a maleficient it was okay honestly, then they did a freaking cruella movie where her mom gets killed by Dalmatians, that’s not a joke, in the peter and wendy movie that nobody saw they decided to have made the captain hook be a lost boy who was abandoned by the lost boys and peter, oh also they decided that PETER CUT HIS HANDS OFF AND LEFT HIM TO DIE BECAUSE HOOK WANTED TO SEE HIS FAMILY. They are going to do a freaking mufasa movie, in no time I can’t wait to have a Ursula movie where it’s discovered that ariel killed all of her family in cold blood or something’s. So you might say what’s the problem? I mean isn’t that supposed to make the story more interesting. No, no it doesn’t, because first they take all of the character personality traits and throw them in the bin, second they are supposed to be the vilain in a musical animated movies, I am not against complex villain, I love them, but by doing this, the original character doesn’t exist anymore. Just create original content with new interesting characters instead of doing stuff like this. Also it’s kind of funny than in all of those interpretation they take all the fun and sucks it out, what do I mean by fun, the gayness, Disney vilain are fun because they are camp, they are fabulous extravagant extra in all the ways possible, and that’s the reason we liked them. Not every character needs something super deep, like “my family was burned down at the stake and my dog was eaten by my ex”, sometimes we just like bad fun people, they are the story, and Hollywood hating them so bad just bothers me a lot. Also now the new thing is to not have a villain at all which can works in some narrative but not all of them, it gets boring after a while. In the past people were angry that villains are bland, but now I kind of miss it. While I will critique villains who have no purpose outside of being evil that’s dumb, like for example Voldemort is bland like white bread because his only motivation is being evil, but evil people do exist compared to what some Hollywood writers think, they should know. So that’s why I will put a difference between evil villains and villains whose only purpose is being evil; we loved Disney villains but they still had motivations, goals, reasons that to them a least were worth everything. World domination isn’t enough, why do you want world domination, what is the true reason deep in your heart, is it an inferiority complex, is it a savior complex fuelled by xenophobic beliefs.

That is how to write a pure evil villain, evil people exist all over the world, but I have never seen one who doesn’t have they own reasons to be so bad, it doesn’t excuse their actions nor really explains them. We do not want justifications we want explanations. If you are justifying evil behavior then do it, but don’t claim that it is a pure evil character. A pure evil character can be fun, can be interesting, he can be deep, it’s all about balancing all of their traits to truly make them greats. Which is why midori succeeds while current villains fail. Current stupid remake/spin off try to justify the behavior because they feel like this is what the audience wants, but it’s not what we need. So I will defend to the grave evil villains.

Creating an evil villain doesn’t make them boring guys.

Why the heck does big budget movies have either the blandest protagonist or the blandest villains sometimes both, like I said evil people do exist but comically evil character only works in satire not in a serious multiple millions of dollar movie. Example that boring ass avatar movie, the one with blue people, none of the characters are interesting the villain is one note. The lords of the rings also suffers from that, but I don’t care because the protagonist are so awesome that sauron being personality less doesn’t matter. Also sauron is more of a force of nature villains so it’s not the same. The recent kingsman movie has a bland one note villain, there is nothing entertaining, funny, about him he’s just evil, borrrrring. Every Disney remakes depiction of the characters are boring. I just feel bored out of my mind. Atla one of my favorite shows of all time has a main villain that’s kinda one note, Ozai, but he is actually intimidating guy, azula is the superior character, but I wouldn’t consider her a villain she is an antagonist though. I honestly don’t get why Hollywood thinks that just creating a character with no personality and whose only goals is to be evil is good.

So back to midori for a second, here is my question, when midori was on screen did you ever feel bored? Never right! Because despite midori being an evil character he has an actual personality, he’s fun, you want to punch him in the balls. Because midori has other personality traits than evil, midori is petty, childish, extremely intelligent, controlling, a natural manipulator, he is a trickster, he doesn’t seem to get some social norms, he is narcissistic, easily angry, and fears death etc See how I counted a lot of traits, traits that in other character would works, midori has positive traits, and I think that is the best thing nankidai could have ever done, midori has traits that a regular person could have. Which is why if I put midori in any settings his character would work.

Example, instead of a death game the cast is under the sea to discover the insane wildlife and supernatural stuff happening, what would midori do in this situation? Well he would very passionate about finding all of what’s happening, he’ll do anything to find out, even sometime sacrificing others, not only will he try to find what’s happening, but he is also going to try to find a way to make this discovery favour him in the end. Or let’s imagine it’s a vampire situation, where a vampire attacks  the city, midori would try to stop it, not because he cares, but to experiment on them to get their biology and finds the real secret of immortality since he fears death.

Here is my second advice, after creating your character try to imagine them in another completely different situation, like normal life, or a fantasy world, ask yourself the question what would they do in that environment? If you can find a real complete explanation of their actions then yes your character has multiples dimensions if not try thinking about it again. Some example of questions I do want to point out are some like “if my character had all the power in the world what would they do first or”, “if my character had only a day left to live what would they do”

Why is Current media incapable of creating good threats like bruhhhh.

Okay so first of all let’s talk about stakes in a story, let’s say you are watching a slasher movie, slowly the cast gets slimmed down and people die in horrible ways, that should set stakes right ? Well if the villain is an absolute buffoon who makes the stupidest actions and decisions in the world, you wouldn’t feel intimidated at all because despite what the filmmaker might try to say the plot armor will NEVER make a character intimidating. It’s just like a detective character who just seems to know everything without a thought, well you won’t really fear the character failing. Worse is the the final girl, who is for some reason always escaping the slasher guy by pure luck every time, she is shown as incompetent but still she survives, which make the villain seem completely incapable so now you feel nothing.

To avoid this filmmaker often use techniques such has unpredictability, I mean good I mean good ones, for example instead of immediately seeing whose going to survive because the black guys always dies first and the virgin white woman is the last survivor, change the status quo, make us think that this character is obviously safe while they actually aren’t at all. Or actually make them menacing by SHOWING to the audience how horrible dangerous they can be. Which is why SHOW DON’T TELL is so important, telling us how dangerous someone can be only to see them get beaten to death at the end of the movie makes us feel nothing.

Midori felt like a impossible person to beat, he is smart, had twenty plans in advance, even in situation where the cast felt like they might have a chance he was always armed, just like the gun he promised to use or the rocket punch. When they felt like they were finally advancing, he put obstacle in their ways, such as the collar game or the moment he put the collar on explode mode for  ranmaru. The entire point in the murder game was to make time pass, it took a long time for the cast top realize that this whole time they were losing precious time not realizing that the dummies were the real problem. The characters that made you feel the most hopeless were the dummies, if you won by killing midori they would die, but if you lost you might lose people you love (keiji or gin). It felt hopeless because they were no solutions in the end. That creates tension so that creates stakes. If we were told how dangerous unpredictable sou was then it wouldn’t hit the same, we are shown that he is that terrible. There is a scene ingame where bbg shin ai tells us that midori tortured and like to destroy people. That’s exposition so TELL, but do you why it works, because we are SHOWN before his behavior. Midori felt unbeatable, so the fact that we were shown his weakness such has his petty behavior, hatred of minors, and fear of death, for the first time it feels like there is a chance that we might survive this. And still after he isn’t shown has an incompetent buffoon, he is one, but the narrative doesn’t show us that he is.

What is also consider is good to make the audience feel actual stakes is to first really develop well the main characters, how can we feel worry for a character if we don’t know them, the audience need to feels emotional connection to the main cast to actually care. You can use things such has moments where there is nothing special happening just character talking getting to know them. Make us feel why we need to care about them possibly losing, instead of being indifferent. Or I don’t know maybe make an entire spin off game where we get to have the cast talk to each other and seeing dynamics between character that died early to get them a chance to shine and make their death even more tragic, or even make mini episodes of characters who only got a single chapter to show off their characteristic, to get us to know them better? But that’s just a silly idea of course, wink, and wink.

My favorite thing about Midori is that he is actually pathetic, like really pathetic, but weirdly realistic?

Midori is the most pathetic character in the cast, yes more than shin, shin is leagues less pathetic. No I’m not saying that midori is not intimidating or scary, I would piss myself if I saw him. He’s a scary guy. But if you look at him more closely you can see that he is a baby brat in a big boy suit.

So let’s start by something clear, Sou Hiyori clearly displays antisocial behavior, or in common terms he is a psychopath/sociopath, this illness is very badly seen in medias, I am not saying that people who lacks empathy like him are inherently bad, he is, a lot of people with antisocial behavior actually suffers a lot and have a difficult life. Sou real issues is not his antisocial behavior, it’s his narcissism and god complex. Sou feels the need to HAVE CONTROL over others, he like the feeling of being in power, he sees the rest of the world has beneath him, toys for his pleasure. He says that he “really like humans” because despite it all he seems to put himself in a different categories than regular people, they are beneath him. When he loses control his calm and cool behavior disappears and we see his true face, a grown man who has throws a tantrum like a baby. One of the best representation of this is midori views on the cast:

Midori hates kanna, like no jokes he has beef with her, a fourteen years old, actually he has beef with a lot of people in the cast. Midori views emotional people has weak, people who are loving optimistic as beneath him and useless. He preferred when sara was cruel and horrible, that’s what he loved about her, he liked seeing her scary emotionless side. But Kanna, kanna is everything he hates. A crybaby who not only puts the group in harmony, is a source of hope in general, is the reason he near got to have closure with shin (killing him), he views kanna as “not fun shin”. We have many proofs for this, if you type the word kanna kizuchi he says this: “Poor Kanna'd weep! I think a more worthless name would be better for someone like me” He mocks her, but also himself (I’lll come back on this later), he calls her worthless. Also in the electric charge minigame, when he can choose who to shocks he chooses two people in particular, kanna who he hates and hinako who ruined his fun by giving the cast a chance in saving ranmaru. But he does also says mean spirited stuff to other people, qtaro and gin. He also says some sarcastic comments about nao and joe, saying that it’s such a shame that they died so young. But you might say why kanna especially? Because he is a petty baby who is jealous of kanna, Yes jealous, of kanna, a fourteen years old. Because he feels like she stole his hubby wubby shin away from him…. God I hate him. And you know what that make him a pathetic idiot, after the scene where kanna beats his ass, he’s all mad and like “uhh I’m going to pout I wanted you to cry like a lot, now I’m gonna cry”. An that’s actually god, because it humanize him, he wants need thoughts, he isn’t one note, and that’s the most important!

Sou is a villain but before that he is a character, a fully developed character, and THAT’S WHAT MAKE HIM GREAT, Sou works because he works realistically, I mean if you forget the robot part, it’s easy to imagine a narcissist man child who needs to feel in power towards other, so his main prey are young vulnerable people.Which leads me to my next point:

Sou is a failure like really, and we aren’t sad for him.

Sou failed everything he worked on, he failed to get the paper from alice, he failed whith shin since he had to leave earlier than he thought he would leave, because of his mistake he lost his position in the death game, then he failed to kill gin or keiji, and then he died like an idiot losing his cool and acting like a toddler. And he knows it that why he is a bit self-hating (he should be). And yet none of us feel any sympathy towards him, why? Because sou is one of the most despicable guy in existence. He is a disgusting pervert, sadistic asshole, and abusive narcissistic cunt who thinks he is better than everyone. From the bottom of my heart I hate him sooooo much he is literally the character I hate the most in existence. He abused shin, ruined keiji’s life, traumatized the entire cast, literally assaulted sara like he physically assaulted her. He mocked nao and joe and kugie life as useless. He is an obsessive jerk AND I HATE HIM. And you know what…… It’s good. Like I actually feel a lot of emotions when I think about him, he fuels me with anger and disgust, and if your characters can make me feel that much rage then you did it, you created an actual perfect character. Hiyori is such a shit person that I think about him a lot, writers shouldn’t be scared to make a character such hittable assholes, example bojack horseman in bojack horseman is the vilest man on earth and I love it, because I genuinely hate him. Just like I genuinely love kanna, like really I really love her, I in the same time despise midori so bad. We hate him because he is horrible to good people that WE KNOW AND CARE ABOUT, not random npcs. There is a lot of… disgusting implications in his story with shin that I will not talk about it makes me really uncomfortable right now. SO HERE IS A VERY TACKY TRANSITION TO TALK ABOUT WHY I HATE JUNKO FROM DANGANRONPA.

Junko is boring, that’s it, she is boring, not funny not interesting, she is a fetish, she is the biggest Mary sue on earth, she is a gross character made to make fun of people with disabilities and queer people. Her only traits is being crazy, that’s it. I wouldn’t call midori that crazy actually, he’s methodical calculated, and precise. Crazyness is a term for people who aren’t in control of their actions and delusional about reality, sou is not crazy, he knows what he is doing, he is in full control, while characters like shin should actually be consider crazy, like shin is actually crazy but sou isn’t.

Conclusion:

Sou is a breath of fresh air, because nankidai had the balls to write an actually interesting deep and threatening character AND make him a villain. He didn’t fall into the trap of making him have a sad backstory or good motives, sou is just selfish, that’s all he is. He make him a fun entertaining guy who you absolutely hates, he made him threatening and at the same time a complete doofus. He made him humane and pathetic.

But the thing that make me love nankidai the most is this

The fact that he actually killed him that takes courage as a writer to just end a character THAT WAY, which is why midori will never come back alive he is forever dead. And that take a lot of talents as a writer to just take one of the most important characters and just get him drilled to death in the anus, like dammn nankidai you are a savage. That fact alone makes him one of the best characters in game, I hate him as a person, but has a character he is a masterpiece.

Though Kanna could solo him

this was posted as a video on my blog this is mainly so people who don't want to stay there reading a 24 minute video of my stuttering can have a bit of quiet

[huecycles]

jevil & noelle friendship post

hi, i want to talk about how noelle and jevil would definitely get along well or even be friends! also how their characters contrast nicely with each other and could possibly have a dynamic as interesting and engaging as spamton does with kris. this is quite a long post, so yeah grab a seat lol. first off, take a look at noelle’s reaction to both of jevil’s items:

noelle likes horror movies, and jevil definitely fits that scary clown trope. the description for jevilstail is “a j-shaped tail that gives you devilenergy”, and it can be equipped on noelle. considering her comment, and how she compliments susie’s tail later, this could mean she thinks tails in general are cute (perhaps longer ones? susie is often headcanoned to have a lizard-esque tail while jevil has his j-shaped devil one. noelle has a deer tail which is pretty small lmao, kinda unrelated but i’m sure it could be for a silly reason like that, and in susie’s case, highlighted by her crush on her).

the fact noelle can equip jevilstail and say she likes an item that gives her “devilenergy” is very interesting too, and kinda goes along with what she said in the ferris wheel cutscene, how she wishes she could break the rules and be more like susie who isn’t afraid to do that. compare that to ralsei’s “i’m a good devil, ok?” and susie’s “figured i’d grow one someday” and you’ll see how noelle likes the idea of being “devilish” but is pretty shy about it as she mutters it.

now let’s talk about devilsknife. devilsknife is a susie weapon, it is pretty powerful and the name itself is already scary sounding. of course, noelle can’t equip it since her weapon type is supposed to be rings, but she doesn’t seem that scared when presented with the item, unlike ralsei who says it feels “too evil”. this is what she has to say:

devilsknife, as in jevil, smiles at her. now, how could she be seeing that? most people interpret this smile as the blade deforming itself to resemble jevil’s face, or his own smile being reflected in the blade. however, there’s a detail a lot of people have missed (as well as this little moment altogether which is one of few the indicators of jevil’s actual and current presence in chapter 2).

this is devilsknife’s description:

there’s a skull symbol emblazoned in the blade (which is a hybrid between a scythe and an ax, aka what lets susie equip it due to her weapons all being axes). 

now, according to my own headcanons due to certain wording jevil uses in his fight, like “EVEN DEVILSKNIFE IS SMILING!” and “LET’S MAKE THE DEVILSKNIFE.”, plus how tasque manager has the exact same reaction to both of jevil’s items, meaning she knows it’s him/knows of his presence there - contradicting the common idea that jevil is not the jevilstail and thus not in the inventory due to his wording in chapter 1 - but still regarding the devilsknife with some strange familiarity which could imply she knows it is a weapon and has possibly not only met jevil but fought him before: “silly tail” vs “silly Devilsknife”, capitalized...

...make me believe devilsknife and jevil are not one in the same, and are only “fused” (metamorphosis?) in the inventory. while i know certain details are hard to portray in a tiny sprite, you can see there’s no skull symbol anywhere in the devilsknife’s blade which has more empty space, and given how it’s “emblazoned” it would mean it’s a printed/engraved symbol somewhere.

so my small tangent here is that the skull only appears once jevil and devilsknife are fused together and in your inventory. considering how scythes are often seen as a grim reaper's weapon and associated with death, having jevil become the actual devilsknife and clearly maintain his conscience would nicely translate into a skull symbol appearing. the “THIS BODY CANNOT BE KILLED!” line also gives this some more depth. given how jevil’s "mind" is chained to his "body", as he gives a lot of emphasis to his body (”THEY CRAVED TO IMPRISON MY BODY”) and the association of how his mind is “free” while his body stays locked up paints a grim picture on how he was deemed insane, yet found a loophole in that, and thus “freedom”.

scythes are also famous for beheadings. jevil has no neck, his head separated from his body. and bringing all that back to noelle, THIS is how he smiles at her. pretty morbid, right? cool as fuck too :o)

of course, these are noelle’s only direct interactions with jevil through his items, but i’d also like to bring attention to how her themes and symbolism go along so well with jevil’s, just like spamton’s go with kris’s.

kris is often likened to demonic imagery, aka their creepy red eyes, the use of the horns headband, how they have an interest in summoning demons due to their search history, and finally: king calling them "lightbringer" which is just what “lucifer” means in latin + that word itself is generally associated with lucifer, satan, what have you. noelle has obvious ties with angels: being called one by both spamton and pink addison while on a snowgrave route, her comment about growing big angel wings in the ferris wheel cutscene, the angel doll her and dess made which rudy keeps around as a good luck charm, and so on. spamton and jevil, respectively, are the opposites in that regard when compared to kris and noelle, so the contrast here is really damn fun to think about and explore.

another thing is how both noelle and jevil are incredibly powerful and involved in violent acts (though you know how snowgrave goes, of course), and how kris and spamton are in a very similar predicament as puppets who try to fight back. i believe just like how spamton and kris both managed to relate to each other’s despair and tried to help each other out (albeit in a very warped way in spamton’s case), i think noelle and jevil would have a similar thing.

lemme talk about something interesting in the snowgrave route. there is a pattern going on with noelle that is slightly overlooked, which is this:

1) a order is given by the player through kris, often “proceed”. 2) the screen goes black, the iceshock sound is heard. 3) noelle is completely confused about what just happened.

in the weird route, there are several times where noelle zones out, and while the moment people focus on is when she’s using snowgrave on berdly, the iceshock on the puzzles + the pink addison to get the freeze ring are very important. she comments later on how the battles are blurring together and how she cant remember a lot of details, she just followed "kris's" command and acted accordingly. a similar thing might have happened when she iceshocked spamton neo too, as the screen goes black again.

considering how she says “there was so much snow, i couldn’t see anything” after berdly is in the ice, i believe whenever she uses her power while aided by the player (and later, her own, as seen in the last puzzle where she does it by herself, leading to when she encounters berdly where she was just about to freeze him, completely on “automatic mode”, seemingly just waiting for the actual order) her mind goes blank, and she just acts as instructed. noelle might even look like this while the screen is black, which is a bit haunting to me:

going back to jevil, and knowing how prone to violence/chaos he is, i believe he would be able to sense her affinity for power and maybe even help her control it, likely for his own gain as he is hypocritical (strips the player of choice once you arrive with the key and refuse to open his cell), though similarly to spamton and kris, jevil could feel some kind of connection with noelle’s power and how dangerous it can be.

i believe jevil could help noelle get a hold of herself when using her magic and not just follow someone else’s commands, as well as keeping a clear head through it all. he’s pretty damn powerful himself, so he would instead help her come up with her own strategies and willpower, even if his teachings might fall flat due to his own insistence on having her cause chaos. i believe that can overruled by noelle's kindness and gentleness, and due to jevil's own influence on her (to be more bold and assertive, as she expresses she wishes she could be more like susie and break the rules like i said before), whatever "plan" he may have on turning her into this powerful killing machine backfires simply because she says no to him. lol his own strong personality boosts her shy and scared one so that itself is his own failure, i think that’s hilarious and a great character study for the both of them!

i headcanon jevil calls her "headlights" as a reference to how she's easily scared + a cruel nod to the “deer in the headlights” thing, which fits with his character who has probably a morbid sense of humor. noelle would definitely be intimidated by him at first, but i think she’d warm up to him due to her own interests in “scary” people, firstly her crush on susie and secondly her strange friend jevil who looks like a killer clown in the flesh. an easygoing, kind kid in jevil's life would also brighten it up :) he could definitely use a gentle presence in my opinion, i mean. guy’s said to be a loner, even if he had seam.

long post, but yeah! i know the susie and jevil connection is easier to make because of their brief interaction, devilsknife etc, but i feel like noelle and jevil being friends is very unique and more interesting to me personally. if kris has their scammer puppet uncle, noelle has the silly, slightly intimidating clown (also uncle coded) who helps pick out her fits for halloween and do her makeup. she also gets to wear out five hairbrushes on the wavy mess that’s under his hat, then braids his hair during the afternoon and shows him different hairdos, choosing the one jevil’s eyes dilated at. kris takes a picture of him looking handsome under noelle’s care and hits ‘send’ saying “ey uncle spamgton check out ur lover boy” while spamton tells them to “del3te THIS”.

it’s nice it’s cool!! let jevil and noelle be friends!!

[scintillyyy]

I love your Stephanie Brown post. It verbalized this feeling I've had about her character for awhile but didn't quite know how to phrase.

Just wanted to thank you for that!

ah thank you <3

yea to me, the super frustrating thing is that dixon's sexism gives her flaws that i find super narratively compelling and interesting and 3-dimensional and overall strong in a way that other writers somewhat miss the mark for me (i actually have a lot of criticisms about bg2009 and how bqm wrote her--overall i find it a very surface level girl power story veneered over pretty standard 2009 era sexism wrt the dynamics between women that has not aged super well and doesn't do much for actually giving steph interesting depth as a character & i find it's weakened by the fact that it is a doylist apology for the absolutely horrific way editorial treated steph prior to her death (which. she does deserve an apology and to be treated better), but also by doing that it makes almost every other character such as babs seem unreasonable and bad for their very understandable watsonian response to being wary of steph for many valid reasons and also makes it hard to actually give steph any flaws that aren't just quirky or clumsy--she's not perfect because she's adorkable). dixon steph has so many problems, being written by dixon, but she's truly my favorite flavor of steph because despite how horrid dixon is, you can absolutely tell how much he truly cared about her as a character. like. i bet if you asked him, he would have nothing but positive things to say about her personality and other characteristics. in fact, i believe a lot of the letters to the editor that talked about her back in the early robin issues had a lot of super positive things to say about her! like he created her! she's his blorbo! he wants to put her through the struggles!

like so many of her struggles when he's writing her is so much due to his sexism (she's never quite as competent as tim, and shouldn't be because she's The Girlfriend--compare to characters like babs and dinah and helena that were women but also written as extremely competent and good at what they do) and also because he wanted to put her through the wars, give her adversity to overcome! like steph is treated horribly a lot. by everyone. but it's partially because he wants her to perservere through it because he likes her and wants her to succeed. like a couple of very common threads through dixon's storytelling for her are the following:

tim is condescending (because that's how boys and girls are. see also: every 90s tv show that had a beleaguered sensible man with a nagging, over the top, ridiculous woman who does silly things that the man Puts Up With) -> steph gets mad -> tim thinks to himself that he shouldn't be so hard on her and usually apologizes -> well, actually tim was probably right because steph did get into trouble but steph making constant mistakes isn't actually narratively seen as "hey, maybe she should stop if she's making mistakes" because dixon wants her to continue.

or

more experienced vigilante (male or female--tim gets a lot of flack, but honestly, almost every single vigilante in batbooks at the time seemed to think steph wasn't quite good enough--batman, dick had his reservations about her, barbara didn't really necessarily want to train her, *cass* straight up told her she shouldn't be doing this, dinah didn't want to be her mentor, etc) tells steph not to screw up -> steph screws up -> steph has to get bailed out by more experienced vigilante -> steph keeps trying despite this

like so many of her diary entries that steph writes involve some flavor of "i've been told not to do this, but i have to, it's something i need to do despite all the naysayers". and it's sexist! because chuck wouldn't necessarily write the 'screw up and overconfident which usually leads to needing to be bailed out but keeps trying anyways' kind of a narrative for a male lead character (male characters get the 'i'm super competent but insecure/humble about it and when i make mistakes i'm able to figure out how to fix them by myself' narrative). but at the same time, it's what he truly believed for her--that she deserved to keep going despite any naysayers. if he truly believed that steph shouldn't be a vigilante or thought poorly of her, she would have been written out and/or he would have written her as making a mistake so bad she wouldn't have continued her activities as spoiler and finally agreed with everyone that she's not cut out for this. but he didn't. dixon writes her as not as competent as her peers because he has a worldview where girls are lesser and not capable of being as good as the boys. but he writes her with dogged determination to keep trying despite this because dixon truly thinks she deserves to keep going despite any mistakes he writes her making and that her perseverance should be rewarded.

like consider the arc where steph finds out tim's identity. dixon makes steph seem unreasonable for daring to change her mind and realize that yea, she does want to know the boy under the mask she's dating after all (because dixon thinks that girls are fickle and change their minds and boys shouldn't have to put up with that kind of nonsense behavior, not because this is a super valid thing to want) -> he has her go beat up an innocent boy named tito and stalk him in the hospital (because dixon is a sexist who things girls are just like this) -> tim does rightfully get mad about this and leaves in a huff -> batman tells steph tim's identity and she gets what she wanted?? -> tim is mad at her and batman until JLL when this is all swept under the rug and they go back to happily dating again + at this point everyone is open to training her/finally giving her a chance (until murderer/fugitive when she gets locked out again--which also leads into the era where dixon is no longer writing her--and after this is when we really get a lot of the really iconic unfair treatment towards her because at this point didio wanted her gone). and it creates this absolute interesting dissonance where you can see the overt sexism in dixon's writing and it's infuriating. and at the same time dixon also rewards her for the sexist way he writes her and she does generally get what she wants because dixon wants to give her the reward for her perseverance.

hell, consider the pregnancy storyline which is beyond overtly sexist and conservative but is probably the part where steph is most treated the best/in the right. tim and her mom are shown as in the wrong compared to her "correct" decision to keep the baby and they have to come around to support her. not just that, but for her to be given a teen pregnancy storyline in the 90s and not be shown as a Bad Girl for getting pregnant as a teen? dixon hates women and yet to him steph is a good girl who makes a mistake (something something he'll judge others, but when it comes to his daughter that's a different case. exceptions apply.) and she gets an ultimately supportive good boy boyfriend who helps her go to birthing class despite the fact that i'm sure dixon looks down on unwed teen mothers a lot.

it's just. i want to study it under a microscope. there's so much to unpack there.

[illululusion]

I have not been normal about nerdy prudes must die since it came out so it seems its time for me to write my analysis of 'the summoning'.

I will put a cut down here because holy shit i did not think i was this normal about them this is long. also spoilers for nerdy prudes must die!

Now the summoning is what I would consider the climax of the show.* The scene answers the big questions of the show. Not by just stating the answer like the mayor does, it shows us. it also shows us the oh so beloved oh moment of Steph knowing she loves Peter.

The scene also uses some form of chekov's gun multiple times.

We've been told that the school was built at what used to be a black altar. this scene shows what such a black altar allows someone to do. especially in combination with the book.

A literal chekov's gun, the gun Grace stole and then Steph got is heavily implied to be used. (finally)

As i've stated before the love situation. We knew Steph and Peter had something going for them but this only confirms it.

THE PHONE! Steph thinks her phone is the thing she cherishes most, which is not a big stretch, we've seen her be willing to suffer injury to protect her phone. (a lovely little detail)

they setup Grace using the book against dirty dudes.

I may be missing something whoops but yeah,

now the scène itself has a lovely buildup. First the three are in very low energy summoning the lords in black. The frightened energy is just seeping out of them, you know this is their last resort. Then the lords in black appear, from a pure darkness, with a high energy slightly discordant song (the piano and the guitar clash a slight bit). This stands in contrast with the slow piano music under the teens throughout the scene. Within this song the lords in black seem unsurprised by the situation, they seem elated even. They also clearly state they are not forces of good at most they can be considered gray ("us spawn of the Black and White") however the other pieces of lyrics are very much against that assumption.

Let's look at some of the dialogue a bit more closely why not? I wont be looking at all of the dialogue because thats a bit too insane even for me.

"Out of the depths of Hell and back" Us spawn of the Black and White" "Cover our souls with robes of black" "And take up the arms of night"

This seems to me even like they chose to be in the black, they are from hell they're from the night.

"Nibbleline wants his sacrifice And Wiggly wants his wrath We dance around the pentagram And take all our kingdoms back"

The previous shows intent: sacrifice, wrath, getting what they deserve.

"You summon us once you summon us twice, You gamble it on a roll of the dice"

Now this is what predicts Grace's dirty dudes must die. it also seems to imply that Steph's father among others used the book foolishly, the chance of victory seemed to outweigh the risks.

"The devil has won it can't be undone The book has all but closed on your life"

Shows that the lords know the teens are in no position to bargain. They know theyre above them.

Wiggly: Don't be so formal, Stephie. We're all paly-wals here. I mean, look at us. We even hold court in your own tongue and form. Go Nighthawks! (Lords in Black laughing) Pokey: Our true forms would melt your minds. WIggly: Don't frighten them, Pokey, you nasty boy.

This is what we'll see more in this scene wiggly is the medium between the will of the lords in black and the teens. An interesting detail. This also seems to be Wiggly trying to make the teens be less guarded. THeyre showing some sort of "goodwill", like "hey we could easily kill you but we're throwing you a rock let's see what can happen.". Additionally, this also shows them being more powerful than the teens again.

"The Lords in Black will help you yes You stupid silly girl Why help you with the Jagerman When we can help the world!"

Once again a show of power, why even ask for help they're already there just show them what you can give them. They have got all the time for anything, theyre more powerfull than just stopping that jagerman.

"Steph: What about a bargain? We'll give you whatever you want. Just get rid of Jagerman!"

A show that the teens have no other choice. THe fact they have heard the lords in black say theyre from hell doesn't matter anymore. They're at a low point.

"Whatever we want we want we want Whatever we want we get Whatever you want you want you want Forever in our debt"

no other way to say this other than: "you fucked up kids"

Wiggly: "Oh, you'll hardly miss it. We just want what you cherish most."

hmmm understatements are fun. I love these paradoxical statements.

Wiggly: One of you must give up the thing you treasure above all else. Pokey: Do it, or die!

Once again a lovely power statement, though that's not what I found interesting. The interesting part about this is that they only ask for ONE of them fo give up what they cherish most. They could ask for way more, they've made that clear. So why ask for only one thing?

"We don't give a shit about your phone"

This is the one moment I feel like the lords in black loose their composure. My hypothesis? they don't like people lying to themselves when something is very clear.

"The Lords in Black the Lords in Black call us"

The chorus sing the lords in black call us, WHO ARE THE CHORUS I NEED TO KNOW.

"Out of the depths of hell and back Us spawn of the black and white Cover our souls with robes of black And take up the arms of night You summon us once you summon us twice You gamble it on a roll of the dice La la la la la la la la la la The devil has won it can't be undone The book has all but closed on your life"

JUSt one thing: A lovely circular closure to the scene.

OKAY thats the dialogue wooooo (theres more to be said about it probably but also I just My brain want to get to the next part.)

Okay Okay okay okay now for the fun part!

The lovely staging and costume and its so wonderfull.

So in the above image we can see the lords in black as well as the teens. As i've stated before the lords in black like to make a show in power and the dynamics are very much powerless vs. allpowerfull.

Now what the positioning on the stage does is show this contrast as well. The lords in black are all over the stage standing, moving, dancing. High energy high standing. This while the teens are sitting on the floor, all together, they're as small as they can be in this setting. This shows how little power they have at this point.

The lighting as well as the costumes adds a lot as well:

See the teens here? no special lighting aside from the effects of the lords. This is in incredible contrast with the lords. colourful and bright. This is similarly the case with their costumes, the teens all have quite plain clothes, nothing special for a costume definitely, we do have the more unique clothing to define each character** but that falls away once you look at the lords:

Wiggly: bright green light (so much fun green isnt used in stage lighting often i am in love), Green clothing, a suit with glossy pants a crown and of course the wiggly doll in the back.

Nibbly: SO PINk, but also fleshy pink somehow. the lighting isnt as obvious but it is still pink. here the sparkes return. The giant lolly. just the giant lolly.

Blinky: Interesting choice to have the face as obscured as it is. once again i cant say the lighting is very obvious but it is there. The purple orange colour contrast makes them stand out. when in comparison to the others his costume isnt as showy.

Tinky: HOLY SHIT THE EYESHADOW. which isnt visible because.... yes the lighting! yellow lighting! the outfit isn't as sparkly but because it is the brightest outfit of them all I doubt that would have been neccesary. It keeps the balance. I am also Biassed I love this getup.

Pokey: once again: LIGHTING! blue! but also, Pokey I feel is the least obvious lord in black in the scene, the positioning on the side of the stage across from Tinky the yellow and blue contrast how fun. especially as Wiggly (green) is in the middle. just so good.

I just wanted to add some more because look at how wiggly is so much higher in this scene, he needs to look down on the teens, but doesn't do that often, not even bothered to look at them wow. Also quick note wiggly seems the most bothered by the summoning, wonder why.

And whenever all of the lords are singing with their discordant choreography, the lighting goes all disco and far brighter. A great detail to show they're individuals but are similar. see how the light is not green here? yeah that happens whenever all of the lords are speaking.

All in all I think Nerdy prudes must die is now in my top three favourite starkid shows. and I will be using the lords in black as inspiration in the play I'm in currently as well because this is exactly the type of thing we were looking for. and also I am not going to be able to think about anything but this show for ages.

I highly encourage anyone to give their opinions or whatever they noticed because I need it I would love to hear them. GO NIGHTHAWKS!

1* Now this comes at a relatively late time in the (already very long) show. At the 2 hour point we've been following our dear cast for around 4/5ths of the show. Now keep in mind this is doesn't matter much, but I think it's interesting that they chose to have the climax at this point. The play being as long as it is means they had to have been very confident in their ability to keep the viewers attention and especially with the slow buildup.

2** OH MY GOODNESS I JUST REALISED HOW WELL STEPH AND PETER's PALLETTES WORK TOGETHER. like theyre both earth tones. the green and brown fit together so well, and then you also have the patterns, different but still similar enough to not clash.

[sapionic]

Numerology And Your Name

The Numerology of your name is insight to your character. Let's be honest, nobody is changing their name like we change solar charts every year. You most likely had your name your whole life, right? Let's look into some characteristics and energy people are likely to have just focusing on their first name as it's the strongest and most demanded. This is using regular, basic numerology because there are multiple systems people use.

Winter - This is a cute name as it is linked to the season so you automatically get fluffy or bright vibes from this name alone. Let's now break it down

W=(23)5, I=9, N=(14)5, T=2(20), E=5, R=9(18) We see that there is a pattern of 5 with this name so we know that 5 is linked to Leo in Astrology and linked to Mercury with the Numerology system. I have seen the energy play out in the astrological ways though. Looking at people with this name, we know they are likely to be feisty, sexy, and sexual. They can be spicy, creative, and complex. Likely to be deep into the party scene. 5 is the strongest energy of this person so they are likely to prioritize joyful experiences as much as they can. Notice how the W is 5 once the 2 and 3 is added. 23 is linked to high social activity. This person would be a good party host. Someone with this name also has significant 9 energy as you can see. They are good in authoritative roles, but they are likely to prefer authoritative roles in places they can also enjoy. Club owner, club host, promoter, dancer,etc. Likely have good basic life skills with the one 2 energy that they carry. This makes them efficient with money opportunities, cooking, and showing compassion, but also being comfortable with self. Winter would be a person who could be difficult to deal with and won't always be easy to handle, so she would need to grow up and mature. Change will be prominent. Winter=8

Whitney - Well known name, but not extremely common at this same time. We can see some repeating energies from the first name we did above, but let's now focus on this name in its entirety. W=5(23) H=8 I=9 T=2(20) N=5(14) E=5 Y=7(25) Whitney would share a lot of traits with winter, but with a splash of secrecy and sensitivity. Whitney would require a little more depth in her experiences, thanks to that 8 influence. She would likely do things while focusing on the long-term. She knows how to have fun, but still play for keeps. She is a hard worker and likely keeps a job. Likely came into lots of money and knows how to seize good opportunities. She likely had a little more taboo experiences than Winter(8 influence). Since Whitney is someone who likely endures many pressures in her life, her destiny # is 5 which balances out the drama and chaos she experiences. What better way to balance it out than good ole fun? Whitney=5(41)

Jasmine - Common name. Let's get into it! J=1(10) A=1 S=1(19) M=4(13) I=9 N=5(14) E=5. We can see that Jasmine has big 1 energy so that would make a person with this name innovative, impulsive, daring, bold, and active. The next significance we see is a 5 so we know Jasmine would be no stranger to sex appeal or activity. She is likely a fun loving individual who can be silly, playful, and childish, but also very protective. Where is the protective energy coming from? The 4. Any pressure or anger she has is expressed outwardly. Any excitement and urge she feels is acted on promptly. Any desires and interests she has is acted on promptly. Jasmine doesn't do anything she don't want to do. If she does anything, it's because she wanted to. Heavy 1 energy can make a person a hot head in some way. This is why changes will come to Jasmine. JASMINE=8 which is about growth, maturity, and transformation.

Mariella - Interesting name that I wanted to use for this post. Let's get into it. M=4(13) A=1 R=9(18) I=9 E=5 L=3(12) L=3(12) A=1

We can see that someone with this name has a nice 1 and 3 balance going on. Mariella likely has a good deal of initiative and social spark. She finds it easy to connect with others and there is a charm and grace to her mannerisms. She is likely proactive and good with responsibility. She likely has resourceful and intelligent friends who enrich her mentality in some way. She may sometimes talk herself out of things or downplay her capabilities. She prefers to be part of a group although she can handle things well on her own. Very high social energy. Likely to have a relaxed demeanor. People like talking to her. Could easily find herself being a manager of some sort. Would make a good marketing expert. MARIELLA=8 She will need to learn how to be more consistent as her energy initially may be scattered and she change plans often. She will also learn to be more private.

Danielle - Common name that I wanted to use. I had a friend with this name. Met her at work. Let's get into the general name of this person though. D=4 A=1 N=5(14) I=9 E=5 L=3(12) L=3(12) E=5. Someone with this name is likely to be fun loving and even funny, just like Mariella above. There could be moments where Danielle would be a little shy, but that is temporary as people with this name has very fluffy and upbeat energy. They are likely to be big on having a good time and socializing. Danielle and Mariella likely have big social networks physically, but Danielle may be the one that parties a little harder in this equation. She is always focused on where the most fun is and that is where she will go. She likes to laugh and would rather live on the bright side of things rather than worry and be sad. She won't handle sad situations how typical people may expect her to. Danielle likely has more drama in her life than Mariella, but it's more than likely linked to pettiness more than anything. Sex and fun is a highlight for Danielle. If she don't do nothing else, she's going to attend a fun event or create it. You may notice that every Danielle you know loves to be on the scene or it seems from your view that she is always on the scene. Day and night events, it doesn't matter. She would likely value friends that supports this lifestyle. It can seem like she is hard to catch up with if you are more on the controlled side. This party lifestyle is a highlight, but it isn't the end all be all which is why Danielle will change. Danielle=8 She would have to learn to take life more seriously and to smell the roses more. She will need to learn how to slow down and make sensible choices. Double 5 and double 3 energy can make someone too impulsive for their own good.

Hope you enjoyed. You can now do your own or comment and I can keep this thing going by replying and linking things together all with just a first name. This is fun and simple, especially when you dont know people's chart info.

[spockandstars]

I think that a lot of people take issue with the way the Spock/Chapel/T'Pring love triangle is presented in Strange New Worlds, but that sometimes this is dismissed as fans just being bitter spirk shippers. So here are a few reasons why I believe people are iffy on this plotline. (Disregarding the fact that we're disappointed that the showrunners didn't, and most likely won't, take the chance to do something really cool with Spock's legacy as a queer coded character...)

Firstly, it takes time away from other characters to address an element of Spock's story that has already been explored beautifully. (I will get into how this treats Chapel and T'Pring later...) Spock's struggle with his humanity and his anguish over the depth of his feelings for others (particularly Jim) is a focus in TOS and the movies, and if you're going to keep on talking about it, at least do it in a more creative way? This isn't to say that it shouldn't be acknowledged at all, seeing that it is a lifelong struggle for him, but by making it such a focus of the series they're not giving other interesting characters as much of a chance to develop.

Additionally, it has traditionally been understood that Spock coped with his inner turmoil by repressing his feelings. Over the course of his lifetime, he learns to embrace his human side more to become a more balanced and healthy person. SNW takes the approach of "young Spock was more human and horny!" which isn't necessarily bad, but they better be giving us an explanation for how he transforms so dramatically to the extremely repressed character he is in TOS. Maybe this is reaching too far, but this whole approach of young Spock just feels like an excuse to get hot ladies into his bed and to fulfill the fantasies of nerdy men who project onto him. This is the same Spock who scoffed at the idea of going to see dancers at a bar, who was immune to the charms of the sexy ladies in Mudd's Women, who only entertained women when drugged or when he needed to do so for a mission...

Furthermore, I believe it's a disservice to Chapel. On one hand, it does make her love for Spock seem more grounded in reality, which I appreciate. In TOS, it's pretty clear that Spock doesn't share her feelings and her crush is only really ever used as a means of ridiculing her. There goes silly Chapel again, trying to win over her unrequited love! It's not cool. But on the same token, making Spock the focus of her character yet again only further reduces her to nothing but that. Why can't we let the girl breathe and do other stuff? Sure, she does get some of the AOS Uhura treatment where she gets to be a generic cool badass lady, but this is in a way that is lacking in any real depth. Chapel deserves better.

I also don't love the way it treats T'Pring. Was it really necessary for her to be Spock's eye candy wife that he gets to bang and cheat on? In Amok Time, it's heavily implied that this was an arranged thing and that they hadn't seen each other since they were seven. If they really felt the need to include this relationship, it would have been so much cooler if they had explored it from that angle, with neither of them truly wanting to be together but being forced into it by societal expectation. Which of course, results in T'Pring using her intelligence to gain her freedom in Amok Time.

So yeah. Those are my main gripes with this whole thing. Overall, I think it's lazy writing that allows the writers to benefit from the nostalgia of legacy characters without developing them in actually meaningful or revolutionary ways.

[iwritenarrativesandstuff]

What It Is to "See" in Trigun

"You can really lose yourself in that blue sky... Ah... There I go again. Rem... It's silly, isn't it... that I'm still thinking about... how I want to show it to you."

The theme of sight, showing, and eyes comes up quite a lot in Trigun. This isn't exactly an in-depth analysis, more just an examination of what "seeing" really is, at least in the context of this manga.

A notable recurring thing that happens in many of Knives' scenes is the obscuring of eyes and faces, either others (Vash, usually) or his own.

[ID: Two panels from Trigun Maximum Volume 7. One is of young Knives, his hand obscuring most of his face. His thumb is bleeding from where he's bitten it, and it streaks blood next to his open left eye. The other is also of young Knives, his face shadowed dramatically. His right eye is closed and crying. His left is wide open, ringed in darkness and blood from where his thumb has trailed down his face. End ID.]

The obscuring of one eye in the scene where Knives decides to crash the ships makes it so he only looks through one of his eyes - or, like he is only seeing one perspective, or one side to things. Knives, in his fear and anger, blinds himself to seeing anything other than what he already expects. In the second image, he is torn between a closed crying eye and a wide open one, dragging blood down the side of his face. He chooses the path of blood over tears, and refuses to change this from this point on.

[ID: A panel from Trigun Maximum Volume 13. A younger Legato leans over with a stricken expression. His right eye is obscured by his hair as tears spill from his right. End ID.]

As a bonus note, Legato's hair often conceals that same eye that Knives has obscured on himself, perhaps a visual representation of not only him also seeing only one path forward, but also that his path is one of devotion to Knives. Elendira's hair does much the same.

We also have the cult known as the Eye of Michael - "Eye", which counter to its name, actually blinds its disciples into again, only seeing one perspective - looking through only one eye. Half of Chapel's face is frequently shadowed. In the "shoot" scene, only Wolfwood's left eye is fully visible - as, even though he makes a definite point, he himself is genuinely rather hopeless at this point, only seeing one path and one perspective.

[ID: A screenshot from Trigun Maximum Volume 2. From a slightly overhead perspective, Wolfwood pulls the gun Vash is holding and aims it at his own head. Only his left eye is visible. End ID.]

It's why it's pretty significant that we start to see both his eyes in Volumes 9 and 10, and why I think it matters that he died with his eyes open.

Livio and Razlo are interesting in this regard too. Split between the two eyes, Livio with his obscured right eye and Razlo with his exposed left. When Livio cuts his hair, his eye becomes more visible, like something of a balancing - but it doesn't end there. Throughout the fight against Elendira, when the two are working together, both their eyes can be seen. They even do a switch, with Razlo being shown on the right, and Livio on the left, as if to show, through their conversation, that they have learned to see each other's perspectives better, and work as a team - they have learned to "see through each other's eyes".

[ID: Two panels from Trigun Maximum Volume 13. The first is Razlo shown from the right, eye wide and grinning as he rushes forwards. The second is Livio shown from the left, sweating in exertion. End ID.]

Speaking of seeing through other's eyes, we have Hoppered and Meryl's unwilling vision of Vash's memories, which, while incredibly traumatic, also gave them a new perspective they otherwise couldn't have had. This moment is actually key for Meryl to understand Vash as a person on a deeper level, to communicate what she knows about him to others, and to understand why he felt like he had to do everything alone... so that she could make it clear that he no longer had to.

Meryl and Vash, in particular, share in that painful past, and have come to the same conclusion about it - things take time to heal, but it's always worth it to try, and to work with others to bring a brighter world about.

This "seeing the world through another's eyes" is a running theme all throughout the story, and it's the reason for the first quote at the beginning of this write-up.

[ID: A screenshot from Trigun Maximum Volume 7. Young Vash stares, eyes wide, as Rem cries and says to him, "Let's see the world together, let's walk through it together. Because the world... I swear, it's not just full of worthless people." End ID.]

Vash doesn't just want Rem to see the beautiful blue sky, he wants to see it with her, because that was what he needed when he was a young kid, fresh from the trauma of discovering Tesla, and unable to see the good in the world all alone. He needed another perspective, someone who could show him something other than hopelessness and fear. Instead, he had to force himself to search for it alone.

When he wants to show Rem that blue sky, it's because he wants to show her he's found something worthwhile and good. Just like she promised. It's not all awful.

[ID: A screenshot from Trigun Maximum Volume 10. Amidst two panels of Vash's outstretched hand and Wolfwood falling towards him, on a white background, he thinks "That's why, after everything's been said and done, I wanted to see tomorrow with him. Isn't that right... Wolfwood?" End ID.]

When he wants to "see" tomorrow with Wolfwood, it's a promise of sticking together and of continuing to offset each other's perspectives - they trust each other to be their other set of eyes that makes seeing the hope in the world, and other pathways and options and interpretations different from their own just that much easier. Vash sees a future and a hope outside of fighting Knives through Wolfwood, something he previously could not do.

[ID: A screenshot from Trigun Maximum Volume 14. Ethereal looking feathers fall over a crowd of civilians, who look upwards at them with varying expressions of shock and curiosity. End ID.]

And when the Plants share their memories with humans, and the humans respond with tears, it's the ultimate culmination of what it is to "see" in Trigun - to see is to understand another's story and their personal plight.

To see is to understand is to hope for the better for yourself and for others, and that puts you on the path to slowly but surely healing. To making a change for the better, to finding that light in the dark. That blank ticket.

[bara-izu]

Do you have any advice on how to get over lack of skill? I want to do the Astarion Lestate trend but I don't think my skills are ready for it. I have references pictures of Astarion pulled up when I'm working, and even have the game launched so I can turn him if I need to (mostly for the attempts I did at his hair) but everytime I tweaked something or started over nothing looked right. I keep getting frustrated 😭

Hi anon- Sorry this took me a while to get to, i hope you and others can still find this useful! While the basic advise to get over 'lack of skill' is PRACTICE, PRACTICE, PRACTICE! i hope this will help you knowig where to get started with that!

I'm going to put my teacher pants back on, this might be a bit long so buckle up- I'll go over a few areas:

Primitive Shapes

How to Use References

Delete your work (hear me out)

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Primitive Shapes:

This is your foundation. Everything starts with this, and while you may find it boring to think of your art in terms of cubes and spheres- i kid you not it will help elevate your work.

If/when you are stuggling to draw a complicated pose, or a specific perspective, refering back to the form in these basic shapes can really help to simplify your process and help you problem solve.

A chill/silly watch for a more in depth discussion on what i mean / how this can help - Give Pikat's 'Draw boxes (correctly) to improve your art' a watch. They also mention this in the video but @/Uncomfortable on youtube also has some great fundermental videos.

-------------------------------------

How to use references.

Okay so references are great 10/10 very useful. But, unless you know WHAT to study from a reference, they can sometimes fall flat of their usefullness.

Anatomy studies are something a lot of us will be recommended as artists, but actually knowing what to pay attention to can boost your confidence in your work. Start with a goal, what do you want to get out of this sketch session? Do you want to get better at understanding the 3D form of a specific part of anatomy? Better at poses? Try to narrow down your learning each session to make it less overwhelming.

In this i'll focus on understanding the form so, lets start with a reference. Linking back to Primitives again, start off by braking down your anatomy into forms. Sketching over the top of your references is totally fine. But make sure you are doing so critically, otherwise it may look like a flat/unnatural trace and you're not really learning from it. Via the first sketch you can see where the primitive shapes fall on the body - think of it like a ball-jointed-doll, hips, knees, shoulders ect are ball socketed whereas arms, legs ect can be made up of tubes. (See the first image, when sketching your tubes, sketch your contour lines too- this can help determind how clothing / hair will fall over the body, and can help you understand the 3D Form.)

A BIG IMPORTANT SIDE NOTE - When using photo references, do be very aware that they may be distorted due to the height of the camera, or camera focal length - (you can see in my sketch i had to edit the torso and head because the reference was a little top heavy)

A few artists/books for some extra reading / reference : - Andrew Loomis (OG for body proportions, books are a little outdated but fundermentals are still useful), - Tenten云画画 (his stylised anatomy breakdowns are very interesting to me) - Anatomy Essentials (I've had this book for years, it covers lots of areas, is a bit complex though, i myself should reread it again 😅

Also, if you can't find a reference for a specific pose, don't be afraid to use 3D programs! Anatomy 360, DesignDoll, Clip Studio, Magic Poser - all nifty options~

SO taking when we've learnt from the primitive forms, you can now try applying that to the Lestrat Picture. (which, granted is a complicated pose, as it also has forshortening and an odd top down perspetive of the bottom character- so don't panic if you don't get it the first time!)

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Final points- Delete your art (hear me out)

What i mean by this is, sometimes reworking the same face over and over again can bog your down. It can make it very difficult to actually see whats wrong. So, get rid of it and start again. (hide the layer/use a different piece of paper, please don't actually bin it (yet))

Next, redraw it. Use what you've learned the first time, and redraw it from scratch. (in this case, that might be just specifically the head, or the hair, or the eyes ect - you don't have to bin the whole thing, but sometimes it can really help give you a new perspective)

Once you've done this, unhide your original, compare, this may help you understand what you were doing wrong the first time. Or if there are areas of one that you like- its an opportunity to combine them as you see fit! :)

On a side note for Astarion's Hair, the lovely @mistercrowbar actually posted a breakdown yesterday! (i use p much the same method so-)

I HOPE this was of some use- do feel free to ask any questions if you've got them! i'll try to answer in a more timely manner next time 😅