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astroa3h · 13 hours

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Lilith Through the Signs ✨

Let’s talk about Lilith, because she’s that dark, seductive part of your chart that you’re probably a little afraid to look at, but trust me—you need to. In astrology, Lilith shows us the hidden, raw parts of our psyche, the things we suppress or even deny. She’s our wild side, our deepest desires, and sometimes, our untapped rage. Wherever Lilith is in your chart, she brings out this primal energy that cannot be tamed. And let me tell you, she doesn't play nice. You’re going to feel it. If you don’t confront her, she’ll push until you have no choice.

If Lilith is in Aries, then honey, you’re all about raw, impulsive energy. Lilith in Aries doesn’t ask permission. You fight for independence at any cost, and sometimes, that can mean bulldozing through life without thinking about the consequences. People might call you selfish, but really, you’re just unapologetically you. You struggle with authority and anyone telling you what to do. In relationships, this placement is about the constant power struggle. You want freedom, but you also crave someone who can handle your intensity. Here’s the thing: you have to learn how to channel that fire without burning everything down. Maybe take up martial arts or something that lets you express your aggression in a healthy way.

With Lilith in Taurus, you are drawn to the pleasures of life, the sensual side of things. It’s about indulging—whether that’s in food, sex, or luxury. But here’s the shadow side: you can become possessive, even obsessive, about holding onto what you have. You want security so badly that you might cling to things (and people) that are no longer good for you. This placement craves comfort, but you can get stuck in your comfort zone, unwilling to let go even when it’s time. In your love life, you’ll likely attract relationships that push you to confront your fear of losing what you hold dear. Learn to trust that true security comes from within. You don’t need to hoard it; it’s already yours.

Lilith in Gemini? Oh boy, you are a master of words, and you know exactly how to twist them to get what you want. But watch out, because this placement can make you feel like you’re always wearing a mask. You can say all the right things, but inside, there’s a part of you that feels unseen and unheard. You’ll attract people who are intrigued by your mind, but they might not get the real you. In relationships, it’s all about mental connection, but sometimes you use communication as a weapon. You can be manipulative when you want to be, and if you’re not careful, you’ll push people away with your mind games. The key here? Be honest. Be vulnerable. You’re smart enough to know when someone isn’t on your level, but that doesn’t mean you have to hide behind cleverness.

With Lilith in Cancer, you’re dealing with deep emotional wounds. There’s a part of you that craves nurturing but also resents it at the same time. You might have grown up feeling like you had to be the caretaker, even when you weren’t ready. And now? You have a hard time letting anyone take care of you. You build emotional walls, but inside, you’re yearning for someone to break them down. In relationships, you might sabotage things when they start to feel too safe, because deep down, you’re scared of being abandoned. Your healing comes when you stop looking for that motherly figure in other people and start giving yourself the care you need. You have to learn that vulnerability is not a weakness.

If Lilith is in Leo, girl, you’re the queen—and you know it. You want to be admired, adored, worshipped, but you also fear that you’re never enough. This is a placement where ego and insecurity collide. You want the spotlight, but you’re terrified of what people will see when they look too close. Relationships become about power. You want someone who puts you on a pedestal, but the second they don’t, you’re out. The challenge here is learning that your worth doesn’t depend on external validation. When you own your power without needing applause from the crowd, you’ll find that the right people are drawn to your light.

Lilith in Virgo brings a complicated relationship with control. You strive for perfection in everything, but the more you try to control, the more things slip through your fingers. You might have a tendency to obsess over the details—whether it’s your appearance, your work, or your relationships. But this perfectionism is exhausting. You attract situations where you’re forced to confront the idea that control is an illusion. The real work is in letting go. In love, you might feel like no one is ever good enough for you, or worse, that you’re never good enough. But the truth is, you don’t have to fix anyone, least of all yourself. Your healing comes from accepting the messiness of life.

Lilith in Libra? Oh, this is a tricky one because you want harmony and balance, but deep down, you might feel like you’re constantly at war with yourself. You attract people who reflect your shadow side, and it’s easy to lose yourself in relationships. You want to please others so badly that you forget your own needs, and then you resent them for it. This placement has to learn how to set boundaries and stop giving away power just to keep the peace. In love, you might find yourself drawn to partners who are controlling or manipulative, and it’s because you’re not owning your own power. Stand up for yourself. Relationships are meant to be equal, not a battleground.

If your Lilith is in Scorpio, honey, you’ve got intensity for days. This is one of the most powerful Lilith placements, but it also comes with deep emotional wounds around trust and betrayal. You crave deep, soul-shattering connections, but you’re also terrified of being vulnerable. In love, you attract relationships that push you to confront your darkest fears—jealousy, obsession, control. The challenge for you is to let go of the need to dominate. You’re not going to lose your power by being vulnerable. In fact, true power comes from letting others see the real you, scars and all. The key here is to trust that you won’t be destroyed by love. It’s transformative, not destructive.

Lilith in Sagittarius is about freedom—wild, uncontained freedom. You’re always looking for the next adventure, the next thrill, and you can’t stand to be tied down. But here’s the thing: running from commitment isn’t going to fill that void inside. You attract situations where you feel like your wings are being clipped, but it’s because you’re not allowing yourself to fully engage. You might avoid deep connections because you’re afraid they’ll hold you back. In relationships, you crave freedom, but you also want someone who understands your need for independence. Your journey is about finding a way to commit without feeling caged. Trust that you can have both stability and freedom.

If Lilith is in Capricorn, you’re all about power and control. You crave success, but deep down, you fear failure more than anything. You’ll push yourself to the brink just to prove you’re worthy, but this placement often comes with a deep sense of insecurity. You might feel like no matter how much you achieve, it’s never enough. In relationships, you attract people who challenge your need for control, and it forces you to confront the fact that true success isn’t about power—it’s about vulnerability. Learn to let go of the idea that you have to be the one in control all the time. It’s okay to let someone else take the lead. You’ll find that it makes you stronger, not weaker.

With Lilith in Aquarius, you’re the rebel. You don’t like being told what to do, and you’re always pushing against the grain. But this can also make you feel like an outsider, like you don’t belong. You attract relationships where you feel like you have to sacrifice your individuality, but deep down, you know that’s not the answer. Your challenge is to find a way to be in a relationship without losing yourself. Don’t be afraid to stand out. The world needs your unique vision. In love, you might push people away because you’re afraid of being controlled, but real freedom comes from allowing yourself to be fully seen.

Finally, Lilith in Pisces is a placement of deep emotional sensitivity. You feel everything, and sometimes, that can be overwhelming. You might have a tendency to escape through fantasy or avoidance because reality feels too harsh. But this placement also gives you incredible intuition. You attract relationships where you feel like you’re drowning in emotions, and it can be hard to find your footing. The key here is to set boundaries—emotional boundaries. You don’t have to take on other people’s pain as your own. Your healing comes when you learn to stay grounded in reality while still honoring your deeply spiritual side. Embrace your empathy, but don’t let it consume you.

Blessings,

Ash ✨

Get your own reading at astroash.net

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talenlee · 1 day

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Game Pile: Kentucky Route 0, One of Three Games About America

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Script and Thumbnail below the fold!

Kentucky Route Zero is a magical realist point and click game of what I’d normally call Narrative Adventure, which came to kickstarter in 2011, then came out in 2013, 2014, 2016, and 2020, because you can’t have nothing for free, even things you pay for. The game is a text-driven game without any of the trappings of your typical point-and-clicker where you jam a ladder in your pants and try to work out why you want to put green dye in the water fountain. Instead it follows the haunted mind of Conway, a trucky driver and his interactions with small handful of people on a part of the Kentucky Interstate, while he to find the place he needs to do his delivery, despite being utterly lost.

I enjoyed what of Kentucky Route Zero I played, but the thing that stands out to me in hindsight is its sound design. It’s a beautifully defined game, audio-wise, with all sorts of thoughtful foley for its environments, and the way that even the pieces of the interface that Conway interacts with have their own sort of specific authentic sounds, chonks and thunks and ch-zzzzses.

It’s also visually splendid, beautiful in what it tries to represent in the heightened reality of its setting but also the format of a videogame. These places look good from the angle that’s chosen, creating lines of artwork and bars of cages, depending on what you’re focusing on, and by being a fixed-camera story of its type, Kentucky Route Zero takes on traits of theatre, with blocking and careful positioning and timing all making up part of how the story unfolds.

A story I haven’t finished.

See, I don’t feel like playing Kentucky Route Zero Act V.

Sit down, traveller. Let me tell you a story.

There’s a chance you’ve heard this story before. I’ve anonymised it here, not because I think you shouldn’t be able to work out who it is, but because the idea of focusing on the who runs the risk of ignoring the what. Plus, I don’t want to direct anyone to a person who said something stupid and encourage fights. That’s not the important issue.

This is the story of when someone perfectly represented something, and probably never realised it.

You will sometimes hear me talk about the take that ‘there are three games about America,’ with a tone of utter revulsion and derision. This is from an incident back in 2020, when a game developer and advocate for inclusive games, had an opinion, on the internet. This advocate is well-established and has a big audience, but also, he’s crucially, not a white guy, not a Christian guy, and not an American guy. These are factors that play into what he said, which was, in summary, that while Kentucky Route 0 was no doubt phenomenal, he wasn’t interested in playing it right now.

To this, an actual adult responded with:

This is legitimately the worst take you’ve ever had. There are only about three games that are actually American, and this is one of them. Everything else is designed for export. Kr0 is a precious and valuable thing. It is of immense and intense personal importance.

Now, resisting the urge to argue with a tweet, which is just generally a bad practice that leads to doing things like wanting to be on twitter, and setting aside this tweet conflating ‘this is of personal importance to me’ and ‘this should be of importance to you,’ this position describes the idea that there are only three games that are ‘actually American.’

What does it mean to be ‘actually American?’

America is a pretty pervasive presence, if you’re not aware of it. Most people in the world have to know about what’s going on in America. We know about your Presidents and your Senators and your Constitution, to the point where people can be more aware of how your country’s laws work than their own country’s laws. I’ve often seen it held up as an example of how poorly educated people in say, Canada and Australia are that we believe we have, say, a ‘first amendment right,’ but the thing is you have to ask why there is that.

We watch so much American TV.

We listen to American music.

We try to make our news broadcasts look like yours, because that’s what real and legitimate news looks like. We try to retell your stories in our local languages because that’s what real media looks like. Our children sing songs in your accents because that’s the culture that a multi-trillion dollar economy has pumped into the whole world.

America demands we attend their wars and surrender our living to become their dead and when we are done America sells the survivors a cheeseburger.

This is not a remarkable or controversial statement. You must know, this is not even vaguely challenging to know about. Everywhere in the world is replicating parts of the American empire, because America exports and enforces the vision of the American empire. McDonalds may sell curry in India, but it’s very important that the curry being sold is McDonalds curry because that is how you know it’s an American style curry.

What this means is when someone tries to assert there are only really three games about America, that’s a kind of specialised brain rot that requires you to consider games that are very much about America as not being really about America. And thus we see the other thing about America, which is it’s not enough for America to be the most important place in the world that everyone else in the world needs to recognise, but also, most of America is inadequately America for this vision of America. You saw this in the wake of 9/11, and the election of Barack Obama: huge amounts of American media resurged in extolling the values of ‘real’ America, as opposed to the parts of America where the vast majority of Americans lived, which just so happened to paint a lot of marginalised people living in the cities as ‘fake Americans.’

I am not bringing you unique information. This is just obviously true things if you don’t live within the boundaries of an environment that flatters you as the most normal thing in the world. The vast majority of the world is not America. There are eight billion people in the world, more or less, meaning that America is about 4% of the world, and yet, it is catastrophically, overwhelmingly, deleritously the common touchstone for how things are ‘supposed’ to work. This is through media imperialism, which is mostly supported by American companies exporting all their media to foreign markets extremely cheaply.

‘about three games that are actually American.’

This fascinating piece of doofusry still, even now leaves me agog. ‘Actually American.’ Kentucky Route 0 is actually American, you see, as opposed to… what? Is America’s Army one of them? You know, the game financed by the American Army? What about Call of Duty, a franchise that is in part subsidised by American military complex manufacturers? What about Grand Theft Auto, a videogame that tells the rags-to-riches story of American excess in criminality, setting aside the way it’s made by a Scottish company. Actually American, because American doesn’t mean America, it means one tiny little pool of ‘America’ where the speaker can imagine there’s a realness and an authenticity to the America-ness that doesn’t involve all the messy realities of what it is to be America. It’s the towns of hard-working people, that suffer under your particular description of oppression, whether that’s cities full of nonwhite people or corporations bleeding the country dry, always eliding the social cruelties and terribleness of these places, as if giving people money stops them from being bigoted (for example).

This is then used to recruit these poor, superior Americans, the you know, America Americans, whose sufferings are noble and whose authenticity cannot be impeached and they are then used as a defense against criticism of, you know, America. It’s the same speech Charlie Daniels gave about how foreigners may think they could push around Barack Obama (a dude who bombed a lot of shepherds with the most elaborate and brutal military ordinance in the world) but they were going to have a harder time taking on Americans who wrestled alligators, who at this point have exactly zero recorded drone strike kills.

This is because America America isn’t real.

‘Real’ America is a nebulous nothing that you can project whatever you want onto, and which is also not responsible for anything terrible that America does. It’s not the American Empire, it’s not the exporter of culture, it’s somehow purer, better, a sort of individualised folk who are to be protected and extolled, shriven of all the things about America that make it anything but its perfect idealised form of America.

I could go on.

I really could.

This is something that defines the world I have to live in. I speak English. I’m white. I’m from a coloniser state. I should be able to integrate easily and smoothly into the white supremacist capitalist hierarchy of American culture, but we are told, that no, we are not acceptable. We are only valid as long as our differences are invisible. We, a real people, do not get to have opinions on America, because we do not know True America. When you spell colour wrong in a chat message, when your accent isn’t quite right, when you don’t know the difference between junior and sophomore year of high school, then you are shown, you are evinced, and you are made very aware that you are other, you are outside, you are wrong.

And really, there’s no good reason for it. We send our soldiers to America’s wars, we buy America’s submarines, and we sing your songs. Our currency mimics America’s, our culture permeats with America’s, we even have such a crushing inferiority complex about the empire that there’s an academic term for what we feel about our own media compared to the media of the truer, proper empire to which we are vassal.

The term is ‘cultural cringe,’ and it was coined by Henry Lawson, who you, odds on, have never heard of. In 1894, he wrote:

The Australian writer, until he gets a “London hearing,” is only accepted as an imitator of some recognized English or American author; and, as soon as he shows signs of coming to the front, he is labelled “The Australian Southey,” “The Australian Burns,” or “The Australian Bret Harte,” and lately, “The Australian Kipling.” Thus no matter how original he may be, he is branded, at the very start, as a plagiarist, and by his own country, which thinks, no doubt, that it is paying him a compliment and encouraging him, while it is really doing him a cruel and an almost irreparable injury. But mark! As soon as the Southern writer goes “home” and gets some recognition in England, he is “So-and-So, the well-known Australian author whose work has attracted so much attention in London lately”; and we first hear of him by cable, even though he might have been writing at his best for ten years in Australia.

This is imperialism. This is a way in which we have been induced and brought by the empires around us to accept their ways as correct, as the normal, as default. And that is the mindset you must have if you want to look at the breadth of videogames, with their American ideas like health insurance, readily available guns, the importance of freedom, the ubiquity of air travel, the branding and iconography of types of food and the sports metaphors and then say ‘yeah, this doesn’t have anything to do with America, not really.’

Anyway, this thread, this incident, was a big deal at the time, in that there were a lot of people from within the community of game developers and journalists who seemed very happy to line up and get mad at a brown foreigner for being inadequately enthusiastic about the possibility of playing a videogame. But don’t worry, after a day or two, an apology was forthcoming for all of this fracas, by which I mean, the original developer apologised for being so thoughtless as to, again, express honest lack of enthusiasm in a videogame.

For me, this was a kind of break point, where I started just blocking indie devs on sight. I don’t want to know what they’re involved in, I don’t want to promote their work, and I will hold tiny grudges against them that I do not seek to transfer or encourage in others. This was one silly incident in which a lot of people said something silly because they don’t know better, or they’re arseholes.

None of this is fair to Kentucky Route 0. It’s a game with its own intentions and its own perspective. It’s not trying to make this conversation happen. Kentucky Route 0 has been choked and gripped by this position around it, where to talk about an American game, someone put a cross on it that made it the avatar for All Things America. The wild thing to me is that I had, prior to this point, played two episodes of Kentucky Route 0. I thought it was pretty good, and I liked what it did with the negative space of dialogue options – when a character you’re controlling makes excuses, the excuses you choose show you other things you could be making excuses about that you, the player, didn’t know beforehand. That’s some good Narrative Storytelling Design, I like that a lot. But now I can’t really engage with Kentucky Route Zero because the main thing it makes me think about is how this final chapter, meant to round out the game’s story and present a conclusion and a point, became this flashpoint for a lot of people to be very casually racist.

Which kinda poisons the whole thing for me. It’s an authentic thing, I’m sure, it’s a thoughtful thing, too, but the people stepping up to say I should care about it did so in a way that made me hate them.

Any time you see me say ‘three games about America’ I’m talking about this, and the attitude of a particular kind of American that America is, as always, exceptional. It’s real easy to not realise when you’re just voicing your self-centeredness and how easy that is to ignore the opinions of people around you and what they’re saying. This is what I’m talking about when I mention ‘the three games about America.’

[fade for credit text]

By the way, the three games about America are Crash Bandicoot, Sam & Max Hit The Road, and Bust A Move.

#Game Pile #Games

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torchstelechos · 2 days

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sometimes i think about the scene where Siffrin has a momentary breakdown over the Universe watching and clapping and not doing anything to help, to lead, and i wonder about an interpretation where the Universe is helping, is leading, is telling them what to do. where the Universe is favoring one of the two people from the Country like the King calls out. its us, the Player, the ones that 'create' their universe in a sense by installing and playing the game and leading Siffrin around through it

i wonder if it'd make it better or worse for him in that moment if they could look through that glass window to the stars above and see a glimpse of how helpless we, the Universe, were in that moment too, trying to guide him and failing just as much as everyone else

do you get me. does this make any sense.

Okay Bell, you do not fucking get how much this means to me. I have been on the theory of “the universe is actually the players” since I started wandering about this fandom. I do think ALL the players are part of the universe, but are not the universe as a whole. Like, one player is one star and yes, they are part of the overall universe, but there are more stars to see in the same universe so they aren't the universe specifically. My reasoning for this is actually part of how I see Loop’s wish, and thus I get to discuss how I think wishcraft works alongside Loop’s wish and how it affected the timeline. >:3c

First, I will be using a general assumption of 1.) The looping only affected Vaugarde like The King’s “curse” 2.) There is only one Timeline and 3.) The theory Path of Least resistance (will be explained in conjunction with wishcraft).

As I have mentioned in a previous post I do think that Siffrin’s wish piggybacked off the King’s wish and used it as a blueprint for how far the Timecraft went, which meant that it only turned back the time of Vaugarde. The King says, when asked about wishcraft:

He says that the country is skipping, stopping, rewinding, restarting, and how that must look from the outside. Which! I would like to point out that the king is NOT a reliable source of information because the King will lie to get you to lower your guard, however! It’s corroborated by the change god, even if they don't implicitly state it, during the Who’s on the Phone event they say:

“Dormont, repeating! Dormont, Unchanging! Stagnating!” + “In this bubble, where everything stays the exact same…” The Change god also acknowledges that the extent of Timecraft is smaller than the whole world and specifies Dormont, which is the last place affected by the Time Curse (and thus the last place to change in all of Vaugarde). I would take this to mean that the whole world is still going on while Vaugarde is, well, glitching like a DVD with scratches.

Next, which I think a lot of people tend to skip over, is that there is only one timeline! This is confirmed by Insertdisc5 (Adrienne), on Tumblr on their ISAT spoiler Q&A:

Which has such interesting implications, but it does help explain something that I want to connect with the third assumption!

Now! The path of least resistance theory! Craft is an energy based magic, which uses the users energy unless powered by an outside force (however it appears to still take energy to direct the craft). This means that it has rules and if I had to guess, is very similar to electricity. Electricity doesn’t actually only go down one path when we apply this theory, instead it has an inverse in output depending on the resistance of the path. So if one path has less resistance then it will have more energy go down that path with more output, if the other has more resistance than that path will have less output/energy. We can apply this to wishcraft and how it affected the outcome of the two wishes that directly went against each other, the Kings and Siffrin’s wishes. Since Siffrin had a lot of energy behind his wish and the king less, Siffrin’s wish went above the King’s own in regards to who ended up with their wish “granted.” (the output was greater due to the fact it was less resistant to the whole of Vaugarde’s wish + Loop’s wish)

So, with all this written out, how do we the Players come into this? :3c well… We are a self contained paradox wish! Siffrin’s initial wish was to (insert one of the initial options) and “You want to stay with them!” which is the wish that caused the Timecraft ability for Timelooping (if I wanted to be pedantic I would actually say Siffrin can Travel time and isn't looping but that's a whole ass other post). This wish DID NOT bring us to the loops nor did it give Siffrin a guide, it was just a wish made to stay with people already in this timeline/universe. This made it impossible for outside help as it was VERY specific to only this universe, “stay with them.” But when Siffrin gave up, they made a secondary wish,

(Loop: For someone… Anyone, to help me!!!)

This wish let us, The Players, directly able to interact with ISAT and SAAP. As they reached out into the universe and called for help, the Universe answered by letting outside help interact with timeline by guiding the new Siffrin. We are only able to help out by Loop making this wish! But, now, how does that make us a self contained paradox wish? Well… Thats because in order for the wish to happen, we needed to help Loop make the wish in the first place! By playing the SAAP, we helped Loop get to a position in which they made the wish which allowed us to help them which allowed them to make the wish etc etc.

Thus we the players are now able to continue helping out when the timeline goes forward into ISAT, alongside Loop who’s wish allowed for a second try (a Start again if you will).

The reason I also added the other information is because I think its important to remember that craft takes energy, and what Loop says about their wish is that they “destroyed” themself rather than “destroy the world” which… I think it means that Loop basically blew up like the Big Bang rather than become a Black Hole like Siffrin did. This “restarted” the timeline as a whole rather than just Vaugarde as we can see differences in Loop’s timeline and Siffrin’s, and if they’re the same timeline why are there such big differences? Well, yeah,,, Loop remade the entirety of the timeline rather than just Vaugarde… Oops! Big Bang, yaknow? Its still a singular Timeline, it’s just that it restarted the timeline’s progress pretty far back as a whole rather than specific segments. Also, Loop doesnt appear to help until after the initial ISAT wish, so we can just assume that the Universe plucked them from their wish making directly into this timeline section.

As for why I added the whole Path of Least Resistance Theory for wishcraft… that’s cause Siffrin having Loop’s wish actually helped guide Vaugarde’s wishes into an easier path which allowed them beat the King easier <3. Without Loop’s wish, it would have been impossible for Siffrin to actually progress and get out of the loops alive. Lol. ANYWAY, this is all to say, I do think the Universe is a separate entity to the Players BUT by virtue of how the Players interact with Siffrin I would say we are part of the universe via proxy measures. :3c

This really got away from me,,, hope this is all good and understandable I had to use a google doc to write this all out,,,,

#isat #in stars and time #isat spoilers #isat siffrin #isat loop #isat king #isat change god #start again: a prologue #start again spoilers #I DUNNO MAN. I HAVE LOTS OF THOUGHTS #also yes I do think the players are part of the universe Im just kind of on the fence as to saying we are the whole universe #its like pointing to a singular tree and saying its the forest yaknow?? Anyway I hope this makes sense <3

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oswalish · 2 days

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rahhhh random rant because i’m angry hater mood i HATE HATE HATE people who think miss goldberg did anything to marvin. saw someone go “set those sails is a villain song and people need to accept miss goldberg is a bad person” i’m screaming and crying and clawing at the walls you don’t fucking understand it you don’t understand the goddamn musical.

in trousers is at its core about misogyny, that is its core theme, which is shown by how marvin hurts the women in his life, specifically his wife, his sweetheart, and miss goldberg. it would conflict the themes and narrative if miss goldberg hurt marvin, as this would diminish what marvin does to the other women. marvin does come up with excuses for his actions/ tries to garner sympathy in the musical (im talking 1979 vers here, i’m not as well versed on the 1985) he is immediately hit with trina shutting him down with her telling us how his actions have hurt her more than they’ve hurt him.

another thing is that the women are mostly not themselves, but rather versions of themselves that exist in marvin’s head. this doesn’t apply to trina, as she is the only woman in the musical who tells her own story. for example, your lips and me and its reprise tell us very specifically events that are happening in her life and how she’s feeling, she also tells her about her past. she also addresses marvin directly in breakfast over sugar.

whereas his sweetheart and miss goldberg do not have songs like this. “my highschool sweetheart” doesn’t tell us anything about his sweetheart other than that she’s his sweetheart, she’s a person, and that she wants marvin to pay attention to her more. but there honestly isn’t much in the musical to confirm that she actually is a person at all, she insists her own existence but marvin never pays attention to her or even addresses her existence, in childhood or adulthood.

miss goldberg is interesting. she doesn’t play into marvin’s fantasy and feels like more of a real person than his sweetheart, having her own personality and opinions. she also sings i am wearing a hat where she seems to tell part of a story that could be her own, though it doesn’t really get more specific than “i’m wearing a hat, i am unloved”. she never quite seems to behave like a schoolteacher either, within the story she seems to be more of a narrator, likely due to her importance in marvin’s story. she is the biggest case of marvin insisting his heterosexually, while also forcing him to realise he is gay. she is not actually herself within the musical, the real miss goldberg is probably nothing like her. this is an internalised version of her than marvin came up with, though it’s more authentic feeling than his sweetheart since her role is to pull marvin out of his fantasies, since she’s probably the only way marvin can actually be honest with himself and recognise his actions.

many people bring up the lines “you might tell me you’re a victim, you might get what you deserve, but i won’t excuse, boy i cant excuse, a boy who’s lost his nerve” which i will admit. do not sound great, incredibly suspicious even. but taken in the context that miss goldberg is not actually saying this to marvin, and actually it’s a version of miss goldberg that marvin has made up to make himself “behave properly” it starts to make sense.

marvin victimises himself a LOT. he’s self aware enough to recognise when he does wrong but tends to refuse to believe that it’s truly his fault, and that he’s the victim somehow. this is pretty obvious in falsettos but it’s also true in in trousers. he sings a lot of songs trying to portray himself as the victim, facing a lot of opposition from the women. this is shown in How Marvin Eats His Breakfast where he is sure that he’s in the right and is the victim because he’s not getting what he wants, and the women in the song directly oppose him by describing all the insane things he’s doing and even insulting him. it’s also shown in The Nausea Before the Game, where he’s lamenting about how his life is so hard, and how trying to live up to societies expectations is nauseating (this is a very simplified analysis of the song, i do actually thing marvin’s feelings in this song are valid but that’s an entirely different conversation). the song transitions into his wife singing about how she met him, how he ghosted her for weeks but then came back. that part of the song is much more tragic than marvin’s, essentially telling the listener that while his feelings are valid, he also seriously hurt and damaged this woman, and that that cannot be forgotten. the musical never ever lets us believe that marvin is the victim, despite his insistence.

and then every pony, is what i think the first line of that quote is referring to. how marvin is convinced that he is the victim, he is telling *himself* that. and the part of himself who knows that isn’t true manifests as miss goldberg to tell him that no, no you aren’t. no matter what marvin says, he will never be the victim, he is the one hurting others.

“you might get what you deserve” is slightly more difficult. i can’t really tell if it’s positive or negative. it could either refer to how he got what he deserved by being in a loveless marriage, or how he got what he deserved by leaving his wife and kids (and bird) to leave with whizzer. personally i think it’s the second, going with how marvin is convinced that he’s the victim, he’s convinced him leaving his wife for whizzer is what he deserves after going through so much. he thinks he deserves something good for once. and like yay bro for breaking out of your forced heterosexuality but did you have to destroy your wife’s entire life in the process? when i say marvin isn’t a victim i do mean in the context of the musical, marvin is very much a victim of society and heteronormativity, but he is NOT a victim of any of the women in the musical, which he likes to pretend he is. it’s easier to blame them than himself.

“but i won’t excuse, boy i can’t excuse, a boy who’s lost his nerve.” much simpler to understand, the miss goldberg inside marvin’s head is very much the voice of outside influence, aka wider society, the one that expects him to conform. she can’t excuse him “loosing his nerve” by deciding to cheat on his wife with a man and run away with said nerve.

anyway i hope this yap session help y’all understand that marvin was never harmed by miss goldberg (nor do i think he did anything to her, other than probably be off putting and creepy like an average 14 year old is) i doubt anyone will see this but i loooooove talking about this stupid musical so ask questions please please please or else i’ll post 5 MILLION of these because i can’t stop thinking about this musical

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maleyanderecafe · 15 hours

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Courtin' Cowboys (Visual Novel)

Created by: Mr Fishess, jd

Genre: Horror

I know this game came out a while ago, but I finally was able to play it and man is it fun. It reminds me of a smaller scale DOL or even something like The Snake's Taken a Spouse. There are three yanders that are in this game, though it definitely follows more of a porn game logic for yanderes. I will explain that in a bit. This game has a lot of violence and sex, and is r18, so please be wary if you do play it.

The MC basically starts out staying at a town in Summerfield. They rent a motel there. The game allows you to meet people at the saloon, the store, the sheriff's office, out in the pastures and in the woods. You can also decide to leave at any point as well. There are a lot of things you can do in the game besides interact with other characters, including buying and cooking food, going fishing, foraging and catching snakes for money. You can also buy different outfits and customize your looks.

While there are many characters, we will be going over the three yanderes in the game, Dijon, Jak and Will. I'm not sure if I was able to get everything for them, but I was able to at least get all of the endings, so we'll start with that. A lot of the endings usually involve them competing with other yandere characters so we'll cover those as well.

Dijon is the farmer that lives in the pasture. When first meeting him, he will talk about how he can't tell if he's missing sheep because he can't count higher than 10. After helping him, we go hunt for his lost sheep, which has run off into the woods and then go into the farm to have sex with him (I finally get to be the dom in one of these games, heck yes). Most of his endings generally involve sleeping with another character, only for Dijon to kidnap you and bring you back to his farm, where I guess you can just leave afterwards. Each time, it seems like he believes you are like a sheep, having strayed too far from home, getting a bit more paranoid every time that you leave. He can do this upwards of about three times. After sleeping with the fourth person, Dijon will get angry and chain the MC up in the barn, before the MC is able to escape. Dijon runs after them only to hear a loud noise. Afterwards it seems Dijon kind of just continues what he's doing as if nothing has happened.

Jak is the drunk that hangs out in the bar. If you flirt with him before buying him a drink, the two of you can have sex outside in a camp. If you sleep with enough other characters, Jak will actually kill the last person you slept with before being sent to jail. From what I remember, he is also one of the main characters in the creator's other game, Lover's Trophy, though I have yet to play that game.

Will is a clown man that is found in the woods. The MC will end up trying to chase after him finding a bunch of bones set up in a way that resembles a tea party. Depending on options, Will can either end up killing the MC or growing obsessed when the two talk. We learn that he lives in the woods and wears clown makeup because he's afraid of social interactions and wants to make it easier to approach people (thus the clown makeup). We also see he's sort of the groundskeeper of the woods, burying bodies to let them be eaten clean to the bone. After talking to him and not dying, he ends up stalking the MC. During one of the other interactions when the MC is investigating a robbery, they talk to the dancer, Magnolia. If the MC brings up Will as the possible thief, Magnolia will defend Will, stating their history together as childhood friends before drifting apart. In another ending, Will is able to save the MC from the beast in the woods called the Bastard, a man who basically acts like an unkillable animal and wanders the woods. There is also an event where Will sneaks into the MC's room at night and kind of noncons them. This is a random event.

There are two competitions that occur with the yanderes in the game, one being Jak vs Dijon and the other being Dijon vs Will.

When sleeping with both Jak and Dijon, the two of them will end up attempting to kidnap the MC during the night. Upon waking up, the two will end up forcing the MC to choose one of them. Choosing Dijon ends with Jak attempting to shoot him, with the MC having the choice to push him out of the way, thus getting themselves killed. Otherwise, Dijon will be shot and Jak kidnaps the MC into the forest to noncon them. The MC can run away, causing the Bastard to come and kill Jak. Choosing Jak will cause Dijon to sadly walk away, allowing Jak to take care of the MC. Jak will end up shooting Dijon regardless and once again drag them back to camp to noncon them. Through gun play, I believe the MC can still be shot and killed, and the same bastard ending will still apply.

When interacting with both Dijon and Will, the two of them will end up the MC's room at night. The MC will wake up to the two of them talking at the end of the bed. At first it seems to be some sort of banter, the two insulting each other's ages and their weaknesses before Dijon attempts to take out a gun and kill Will. If the MC warns Will and then takes the gun, they can attempt to shoot as a warning, to which the bullet will miss and end up killing the MC instead, or they will simply threaten them and they will leave. If they don't warn Will, Dijon will end up shooting Will and dragging his dead body out, whereas if you do, Will can end up stabbing and killing Dijon.

As a whole, the game is very well put together and has a lot of features. You can basically date every character except three of them (that being the innkeeper, Mortom and the Bastard), each with it's own CGs and endings, along with various mini games, and an entire cooking and inventory system. On a technical basis, this game is done very well and it is pretty fun running around and doing a lot of these tasks. Still, as much as the individual components are very fun, I feel like there's not really any reason to do any of the mini games for the plot. You can basically ignore the entire portion of it if you are simply just seeing what the character plots would be like, which is kind of unfortunate. The cooking system is supposed to tie in with the stamina system, which is a good idea, but talking to people doesn't deplete stamina, only gathering items. In this way, it feels very disjointed from the rest of the game, as not even stuff like money is really needed to play. I think at least an easy fix for the money system would be similar to how DOL forces the player to pay Bailey, so in this game, you would be forced to pay the innkeeper money for every day that you stay there (which, you know, does make sense if you want to stay at the inn) thereby forcing you to spend time getting money and having to cook food to be able to get energy to make money. Unfortunately with the implementation that I see at least, it seems to be lacking in attempting to make a game play loop with these cool mini games. While it's not the worst thing in the world, I think it does make these minigames kind of pointless since you can basically completely ignore them.

Storywise, while I do think it's very nice that you are able to get more of a solid look at a lot of characters, I do feel like there isn't really anything satisfying for the end of a lot of them. When they are killed, there is no reaction for most of the other characters (with the exception of a handful of them). It's hard to say where certain events will happen unless you have a guide and while there is one on the fandom page, there is none on the itchio or steam page that helps you (which is unfortunate for people like me who generally rely on a walkthrough to try to get everything). I think that was the point of having a lot of characters all with their own story, but I feel like there could have been more to place more of an arc for each them.

Dijion as a yandere is mostly pretty light. He actually is probably the most harmless out of all of them considering that he only really kidnaps the player when sleeping with another character (unless it's with Jak or Will). He seems to delusionally believe that the MC is a sort of "lost sheep", which is why he keeps bringing them back to the barn. It is unfortunate that he doesn't actually end up trying to harm or even properly trap the MC (well, he tries, but they run away again, with seemingly no consequence). He does manage to kill Will in one of the endings, however, it's strange to me that he wasn't able to do so with other characters such as Jak or even any of the other characters that the MC might end up sleeping with. Still, I think I do quite like Dijion as a character, he's very puppy like, similar to a dog herder who is trying to get his sheep back. His running gag of not being able to count (especially when Will calls him out on it) is pretty funny, though I wish it was brought up more.

Jak is probably the most extreme out of the yandere characters considering that he is the most violent and most forceful of the three. When choosing between Jak and Dijon, Jak will outright shoot Dijon if the MC doesn't protect him and he can kill either Magnolia or Jade as well, sending him straight to jail as well as fighting and possibly killing the Bastard in one of the endings. I'm not sure how close he is to his counterpart in Lover's Trophy, but he is very violent in this version, with it often leading to his own detriment, like when he is killed by the Bastard after being taken when choosing between Dijon and him, or when he is jailed for killing either of the girls. He also definitely has a very intimidating presence with the game emphasizing just how tall he is and how generally strong he is. He definitely feels like he fits very well in this type of murder horror type game given his general behavior and intimidating presence.

Will as a yandere generally just stalks the player, and doesn't have nearly as many endings as Jak or Dijion. Still, I do think the scenes we do get give a bigger impression of what he's actually like. From what I've seen, although we generally don't see him in the game, it is implied that he stalks the player quite often, as we see him save the MC from the bastard and sneak into the MC's place at night. Given that he's rather aloof and is uncomfortable with most human interactions, it does make sense that we barely ever see him, only really gaining more insight from Magnolia as the two seem to be friends. I kind of wish that we had more personal encounters with him like maybe hanging out with him with his bone collection (thing), but I do think even with the little information that we do learn about him he's a pretty solid character. Plus if you talk to him wrong, he straight up kills you which is kind of entertaining.

In terms of what I mean by porn game yandere, I basically have to turn again to DOL for this. While I get it's not really fair comparing two of these games as they are going for different things, what I mean in this case is that in general, yanderes are not usually okay with their love interests sleeping with other characters. This usually results in murder of some sort or at least some sort of separation of their lover with the person that they're sleeping with. However, in games like DOL, while Kylar and Eden can get jealous or otherwise kidnap the MC, they aren't allowed to kill the other characters that they sleep with and in essence, the MC can just kind of have a poly relationship with all of the love interests if they want. While I'm not saying poly yanderes can't exist, they generally have certain specifications on how they act (at least in my opinion). Obviously for gameplay wise, if the player is not into any of the yandere characters and ends up sleeping with with by accident or on purpose, it would be a big pain if they ended up murdering or getting rid of the other characters gameplay wise, and considering both of the characters, it also doesn't seem fair to also just exclude them just because you are allowed to sleep with other characters, which is why I kind of call it porn game logic since for the sake of not making the gameplay bad for the player, I will make an exception for it in this context. Anyways, going back to Courtin' Cowboys, while unlike DOL you can have characters killed, they don't usually get that far. A good example is with Jak who is able to kill one of the characters (either Magnolia or Jade if you sleep with them) before getting captured (which is fine). Meanwhile a character like Dijon seems pretty light, having the player sleep with three different characters only leads to Dijon basically telling the player not to get lost again after being kidnapped and Dijon just...letting them go. Will also doesn't have that much yandere actions either considering that outside of the versus, protecting the MC from the bastard and the random encounter of him breaking into the inn and sleeping with you.

Still despite what kind of possible tweaks and missing things I have for Courtin' Cowboys, it is undoubtedly a fun game. There is so much in it that I probably didn't even get to see, plus every time you play you can have a different experience. The customization and general aesthetic of being a cowboy is really nice and the fact that you have all these minigames in the first place is very impressive along with the sheer amount of characters that you can date/interact with is very cool. It's a great entry into the murder sim type genre with a bunch of fun yanderes to boot. If you haven't played it yet, I would highly recommend it.

#Courtin' cowboys #male yandere #yandere #yandere boy #completed #visual novel

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hyun3hk3y · 7 hours

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Symbolism in "Portrait of Lady Edelgard Von Hresvelg"

This is something that I’ve usually never really felt comfortable doing. If you ever wonder why some artists are a bit more reluctant to actually *talk* about the “meaning” of their work, its because it strikes the same tenor as having to explain why a joke is funny. If I have to actually lay it out for the viewer why certain decisions were made in the execution of a work of art, the magic of the whole experience may be lost. Moreover, many artists avoid making definitive statements on their work because they do not wish to deprive viewers the opportunity to derive their own unique explanation.

While I chiefly view myself as a fine artist, most of my artistic training was as an illustrator. As an artist, this can lead to an interesting dichotomy when it comes to creating paintings. During my studies, I was told that the job of an illustrator is to solve pictorial problems for people often by making pictures that tell a story or convey an idea. Fine art’s definition, in contrast, tends to be more nebulous. But I digress, on to the painting…

A number of people on reddit and Tumblr have remarked on the candle with the snuffed-out flame. No interpretations on it have been offered, the mere presence of a candle with a smoldering wick is a strong enough implication. However, this is one instance where I drew inspiration from art history so I believe it is worth elaborating on. The animus for the candle originates in the Arnolfini Portrait by Jan Van Eyck. Below is an image of the painting with the pertinent candle circled.

Art history scholars have a number of different readings about the candle’s presence, but the one I was taught in Art History is that the lit candle indicates the presence of the holy ghost or the watchful eye of God. Three Houses draws from a number of religions for its world building, in the case of The Church of Serios, the developers took the majority of their cues from The Catholic Church. If a lit candle would suggest Edelgard’s faith in the Goddess, then an extinguished one must imply Edelgard’s *loss* of faith.

In addition to the extinguished candle, I would also like to direct viewers to the reflection of the candle in the polished wood table surface. In the reflection the candle is still burning very brightly, almost down to the base of the candelabra.

The purpose of this image is to recall a saying from old Taoism Philosophy in China: “The candle that burns twice as bright burns half as long.” Those who are familiar with Edelgard’s back story in Three Houses will find its relevance obvious. I doubt I am the only one to make the allusion.

This brings me to the next major piece of symbolism I employed in the painting, the dagger and the drapery on the table. The dagger’s significance should go without saying, but its application as a device will become more apparent after I explain the table cloth. To put it succinctly, the majority of the dark shadow shapes made by the tablecloth are arranged to evoke the shape of the crest of flames. Below is another visual to help illuminate this detail.

The immediate implication here is the detail of Edelgard possessing the crest of flames. As for why I decided to depict it in a more concealed way…When I first got the idea for this painting, the whole concept was that if a person saw this painting in a gallery, they would be looking at an actual artifact from Fodlan, one that created by an artist who actually lived there. This is why the second row of the inscription reads “In the Imperial Year” on the left side and “1179” on the right. This means the painting would have been completed just before Edelgard starts attending Gareg Mach, and long before the greater public would know she has the crest of flames. How the artist came to know this would remain a mystery. I like to imagine it as a detail that Fodlan’s historians would debate over for years after the game’s narrative.

There is also a second message that I have intended with the dagger’s placement cutting (heh) across the crest…Gripping the dagger over the crest of flames is a statement about what the path is that Edelgard will take, especially when the crest is examined as representing the Goddess Sothis. In fact, there are two (technically three) lines of dialogue from Three Houses I had in mind for this symbolism.

That about sums it up! I may do a couple more posts in the future where I show how the painting evolved from thumbnails, to studies to the finished image if theres interest in that sort of thing.

#oil on panel #oil painting #artists on tumblr #edelgard von hresvelg #fe3h #fe3h fanart #fire emblem #fire emblem fanart #fire emblem three houses #black eagles #crimson flower #portrait painting #figurative painting #realism #fe3h edelgard #fe three houses #fe16 fanart #fe16

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thecoolerliauditore · 1 day

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Pls tell me about Scott's views on women in general pls I'm begging you

o7 and I'm sorry

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

fyi, the post itself isn't NSFW, but I'll be getting all gender theory in this bitch so I'll be referencing a lot of things and putting in pictures of naked ppl sometimes. maybe skip this one if you don't like that

(long post)

Disclaimers

An explanation for the tweet up there

I usually don't write these because I assume the people on my blog have enough sense to realise when I'm talking about the characters vs the CCs or are comfortable enough being a little confused, but I feel the need to extra-clarify here and expand on how I specifically view C vs CC because I think it differs a little from the average person.

To me, C and CC are two separate entities but not entirely disconnected. What differs (e.g. the exclusion of irl relationships -- their wives, kids, etc.) is poignant enough to severely detach them from the people they originated from, at least in my eyes, but there's also the fact that these are not scripted characters, just creators being themselves with a hint of behind the scenes drama-adding and improv thrown in.

For example, CC Pearl is a car nerd. So I assume her character is too.

This is where I state very clearly that yes, a lot of these thoughts come from things I've seen on Scott's twitter, which is undoubtedly the CC and not the C. However I, to me, am still talking about the C because any observations/judgments I could make on actual irl youtuber CC guy Scott Major would be tabloid at best and slightly invasive at worst. I'm seeing these statements within the context of "the death game guy would say this too and I'm writing this based on that", not "this is the inner psychological workings of the youtuber because I, as a fan, can totally tell".

TLDR I don't consider this post RPF but you might. This is a little more RPF-y than my usual stuff. If you don't rock with it we cool.

Everyone is weird about women, and that's okay

One short-hand I've used in the past to talk about Scott and women is just by saying that he's "weird about women" which I'm sure isn't exclusive to him.

(shitpost I made awhile back)

I see a lot of people now who love "villains" and "evil" but when it comes to any traits resembling real life evil (e.g. misogyny in this case) they suddenly become insecure. Just a couple of days back a saw a post on twitter essentially asking for permission to continue liking CC Scott in spite of the "bad things" he did.

And I think, in order to present an analysis like this, I must address that mindset first.

This is not a judgment on Scott's morality, nor is it trying to dissuade you from liking him. This is not saying that he is any more misogynistic than any other player in the series. This is just me pointing out Scott's attitude towards women and what I read it as, nothing less or more.

The feelings that me pointing these things out - be they apathy, disgust, anger or, what I would hope to see most, interest - are your own. I'm not here to tell anyone how to feel and never will try to police that on my blog.

Scott's Relationships with Women

aka. oh yeah this is about minecraft.

Scott and Cleo || "Yeah, you can kill me."

Scott and Cleo's alliance is arguably the strongest in the entire series, spanning through all five seasons and remaining unbroken with no (serious) drama attached. You'd expect from this that they two have a very settled and stable understanding of eachother, yet this isn't a case.

Their power dynamic shifts dramatically from one season to the next.

3L's initial Widows Alliance began on fairly equal footing, built on the mutual agreement that they were waiting for their respective partners to die. Both understood they were eachothers' "plan B" and felt comfortable in that arrangement.

Come LL, Cleo does what she couldn't in 3L, and initiates that plan, going to Scott after her last alliance, the fairy fort, fell apart. Scott requests nothing from her in return.

DL is the longest the two spent as eachothers main ally. Cleo is the one who initially proposes teaming up to spite their "cheating" soulmates and Scott agrees. Cleo admits to Martyn in private that she's aware she's taking advantage of Scott (which I've always interpreted as her talking about all seasons, not just DL). Due to the time they spend together, it's here where it becomes apparent that their initial assumptions during 3L were not entirely accurate, as Scott shows a level of gameplay competency much higher than Cleo's (e.g. teaching her how to axe-crit) but despite this Scott never berates her or thinks any less of her value as his ally.

LimL is probably this pairing at their most unhinged, as Scott, despite once again asking for nothing (or very little -- I'll be honest I'm a bit fuzzy on this) in return from Cleo, allows them and their allies to butcher him repeatedly for time. He gives more time to the Clockers than he does to Martyn, his closest ally that season. Despite this, Scott is never ever considered as a "family member" by the Clockers, despite them giving that title to even temporary allies (like the Bad Boys being their cousins) -- even Martyn gets a title with Scott completely unattached.

SL is relatively more chill, but shows that the two inevitably end up teaming together even despite their oath to avoid eachother that season.

The point being -- again and again, we see Scott literally and metaphorically making sacrifices for Cleo, with the only real transaction he requires from her being that she continues having his back when times get rough. This is despite that he's aware she isn't any more capable than he is and the fact that so far it has only been Cleo in rough times (LL, LimL and SL) and never Scott.

Speaking from a purely transactional perspective, Scott is not getting a bargain here -- and even Cleo seems acutely aware of it, judging by her comment during DL as well as the way she tends to speak of her survival capabilities very lowly in general ("rubbish pvp skills and spiffy one-liners"). I'm speaking in this sense because I've seen discussions in the past about the transactional way Scott views relationships but rarely does Cleo get brought up.

This is at stark contrast to how he treats Jimmy, whose predicted death was what spurred on Scott and Cleo's alliance in the first place.

Scott assumes Jimmy is "incompetent", where he assumes Cleo is capable. When Jimmy messes up, he reprimands him, when Cleo struggles to crit him, he patiently teaches her. When LL begins, Scott's first instinct was to look at Jimmy's lives and note that he was "useless to (him)", but holds no objections to Cleo joining his alliance despite her already having enemies being a potential liability. In SL, he jokes about how Cleo and him being allied is a given and pretty much expected of them, whereas in LimL he explicitly requests from Jimmy a recognition that he still cares ("say love you back!") before he will help him.

Scott and Gem || "You HAVE TO kill me, Gem,"

In SL, Gem settles in very easily in a leadership position within Gem and the Scotts due to her trying to live up to her reputation but also due to Scott and Impulse's more laid back, passive playstyles.

Both Scott and Impulse let Gem kill them for extra health this season, although Scott is arguably much more subservient than Impulse is, with him not only insisting that she kill him in the final episode but also not fighting back (and only yelling for her to stop) when she starts hitting him with a sword during the episode where her task was to literally kill everyone on the server.

Once again comparing her to Jimmy, Scott in 3L had a tendency to brush aside Jimmy's concerns over alliances (e.g. Jimmy questioning if they could trust Cleo) while in SL Scott runs his plans by Gem (and Pearl and Impulse) in terms of who he wanted to team up with (specifically excluding Joel from the potential mounders alliance) implying he held her opinion in some form of regard.

Before this becomes less of an analysis of Scott's treatment of men vs women and more of Scott's treatment of Jimmy vs everyone else, I think it's notable enough to mention that he and Martyn also lacked this sort of communication in LimL. He would inform Martyn of his plans, but rarely was it ever framed as a request.

SL almost feels as if Scott has slid Gem into the slot he had previously designated for Cleo in 3L (his girlboss ally) as he provides her and pretty much forces onto her by the end the acts of service he'd become accustomed to performing for Cleo.

Scott and Lizzie || "You killed her! I don't.. I don't know what to even say!"

Relatively shorter section because this is the one woman he hasn't teamed with, but there's still some interesting stuff I wanted to touch on.

In LL, one of the first thing Scott does is yell at Pearl to revenge-kill Joel for boogey-killing him. Pearl does as she's told and Joel's wet miserable pathetic LL life gets worse from there.

Several episodes later, the roles are reversed -- Lizzie lies to both of them and manages to isolate and boogey-kill Pearl. Scott, instead of reacting with the anger he had for Joel, is almost in a state of shock as he asks Lizzie to let him down so he could collect Pearl's belongings. He doesn't act aggressively towards Lizzie at all, with his most antagonizing act against her being to lie about his intentions when giving her a wither skull.

In SL, he's the only one aware of her early permadeath, but keeps quiet about it almost as if he's in a state of shock akin to when he saw Lizzie kill Pearl in LL. It's not until the others have noticed when he finally brings it up.

Scott and Pearl || "Tilly death do us 'part"

I wrote a whole post just for their relationship alone so for the sake of my sanity I'll be leaving this here.

So now I get to dedicate this section to the meat of this post -- how the way Scott treats women in general impacts his relationship with Pearl and how I view his heel-turn on her as seeping with relevance to Pearl's perceived gender.

In all three of the previous sections, the running theme is that Scott is 1. kinder and more patient with women, regardless of their competency and 2. someone who likes to be in a supporting role to women, occasionally aiding them more than he aids himself and his closer male allies (e.g. Jimmy and Martyn). As shown with Cleo, he assumes that girls have it together, but even if they don't it's not a big deal. When a girl's actions are truly disastrous, such as with Lizzie's, he goes into a state of shock and doesn't really react, preferring to swallow it down and not acknowledge it.

With the amount of times he sacrifices himself, I don't think it's a reach to say that Scott values his own life less than he values the lives of his (female) allies. This specific point actually does extend to his male allies too, shown when he's happy when Martyn literally backstabs him in LimL, but just as with the Martyn post where I point out his victim status-ing doesn't end at only women but includes all the women, Scott has pedastal-ed all the women he's teamed with.

Lizzie is, once again, the exception here due to his limited interactions with her. However that's actually somewhat patched over if you look at adjacent series (such as x-life) where he definitely shows her a level of admiration and respect.

Back to Scott and Pearl.

Their relationship during LL is very standard of how Scott treats women. While the power dynamic between them is obviously more caused by the initial life trade agreement, I don't think it's a far reach to say that Scott is somewhat comfortable in the arrangement.

However, this is also the first thing that sets their relationship apart from Scott with Cleo or Gem -- Pearl is the one making sacrifices, not Scott. She is the one "sacrificing" her lives to him, just in a more non-violent way as allowed by the season's mechanics.

When viewed through this lens, Scott trying to make it up to her and wanting his effort acknowledged makes even more sense. This is suddenly uncharted waters for him. His assuming that Pearl doesn't value him as a person goes hand in hand with him valuing himself less than her.

What Scott has with Cleo or Gem, situations where the other party is clearly uncomfortable with how he treats himself (Gem) or actively aware they are taking advantage of him (Cleo), is equalized to him because he is inherently worth less. What he has with Pearl, on the other hand, looks more equal to most people (lives vs labour) but is wildly imbalanced to him.

It's one of the many factors I see going into Scott's weird decision to abandon her in DL.

An Interlude, Before We Get to DL

La Pieta, Michelangelo

So this has been a lot of words so far and some of you might be wondering at this point: why say Scott is "weird" about women when so far this has been describing how he values women more, is kinder to them, is more patient with them, etc.? How is any of this behaviour remotely misogynistic?

And I would feel horrible if I forced you to read through all of my DL thoughts before I clarified this -- Scott is not your classic wifebeater "women are lesser" misogynist, Scott is someone who subscribes to misogynistic schools of thought and probably considers himself an ally to women, when in reality his beliefs are still rooted in dehumanizing them and these beliefs end up harming the women around him as well as himself.

After all, seeing women are your superiors is still not seeing them as your equals.

I know it's a bit of a meme on this blog at this point. But. Sigmund Freud identified what we know refer to as the "madonna/whore complex", which he described as a pattern of behaviour in men who separated women into being madonnas (pure, holy and admirable) and whores (debased, sexual, deviant). We'll be focusing on the former, the madonna, as it is more relevant to Scott's character.

Freud proposed that the madonna figure was something men projected onto women as a replacement for maternal love. These women are sacred and untouchable, literally as the projection of the maternal role onto them also makes it so that the sufferer cannot feel any sexual attraction towards her (keep this in mind for later).

Scott projects the madonna figure onto his female compatriots -- they are to be protected, served and supported. They are goddesses, queens, but they are never human. The madonna role in of itself is not inherently harmful to the woman, as seen with Cleo who takes control and advantage of it. However, it is enforced, as seen with Gem who at first revels in the superiority but almost breaks down when Scott offers him up as her sacrificial lamb one last time.

I linked this Utena AMV awhile back when vaguely talking about Scott and women, and this was the point I was alluding to.

youtube

Girls are beautiful and pure. They don't spit on the street, they don't piss on the street, they don't build hierarchies -- they subvert all the expectations of masculinity that I hate having to deal with. They are my escape.

But what about the girls who do spit on the street? The girls who piss on seats? Who build social hierarchies, who size up their competition?

The girls Scott interacts with are all painfully human. Cleo weaponizes his beliefs and take advantage of him. Scott is smart enough to know and accept this. Gem's playing into a role she has been assigned into by not only Scott but everyone around her. Scott supports the character she plays. Lizzie reflects traits he hates in Joel and Jimmy, but for her, he looks the other way.

Are they "demons", as the song says, or are they no longer girls at all?

(demons, gods, but never humans)

Weaponized Femininity and Women In Total Control of Themselves ;)

Hylas and the Nymphs, John William Waterhouse

Historically, weaponized femininity I'd argue is one of the oldest tropes in storytelling. Whether it's nymphs or sirens or witches or succubi or even more roundabout cases like Helen of Troy, there's countless stories of men's sexual attraction to women leading them to disaster.

One way to view these stories is to see them as warnings, don't let womens allure be the end of you.

There's a lot of good writing done on the femme fatale trope both in the context of weaponizing femininity and as a sexist way to argue against victims of sexual assault, as these stories often say that men who experience attraction to these "evil" women no longer have agency over their own actions.

Look at the painting above, for example - is it the nymphs who are responsible for drowning Hylas, or is Hylas climbing into the lake of his own accord?

Despite the fact we all know sirens, nymphs and succubi aren't real, the belief that men will simply lose control of themselves when encountering a particularly alluring woman persists to the modern consciousness. That there's something inherently dangerous about women and attraction to them.

(this is not 100% applicable to Ninja saying he won't stream with women, but it's the real life example I felt most comfortable putting in here)

Now, let's combine this with what's been said so far -- let's say you don't hate women. You love women, in fact, and you hate the way men treat women. You hate men, in fact.

Yet, you still believe in this inherent power women hold by being female and the loss of agency that men experience when attracted to them -- how disgusting.

It quickly becomes easily to not only demonize men for sullying the holiness of women, but also men, masculinity and attraction to women as a whole.

(apologies for using twt discourse in the meta post but this flew by my TL and i had to grab the irl example of mens non-violent attraction to women being used to frame them as misogynistic before the stupid app refreshed and i lose everything forever)

youtube

"To Venner" is a student film exploring a world set within this belief, where all the women have vanished and the men have become monstrous figures as a result of their pent up sexual frustration. fyi this is one of my favourite student films (and ive watched a bunch), but I do think its messaging is worth breaking down (especially its juxtaposition of dirty horrible monstrous sexuality vs pure and beautiful romantic love)

NOTE: this film is super graphic, lots of violence and nudity. have fun. or not

I admit this section is a bit hard to gauge as everyone in the series is gay as fuck. The closest in-series example I can think of is Scott reacting to Martyn's antics in DL with a sort of indigence but otherwise I can't really think of an example of a man expressing attraction to a woman at all, let alone one Scott reacted to. However, I do think it's still worth talking about because it opens up some interesting trains of thought in regard to Scott and Pearl.

For Scott, he himself has never been part of the picture. He's gay, after all, which gives him an edge over the bad straight men who objectify and assault women. Likewise, there's little evidence to suggest he finds the expectations of masculinity frustrating, but I don't think it's too far a reach considering how common of an experience that is for gay men and his adapting of more feminine mannerisms.

Double Life and Corruption

As mentioned in my previously linked post about Scott and Pearl's relationship, I do think Scott experiences what he would name as attraction towards Pearl, so my writing will reflect that.

Pearl is. ahem. not like other girls.

Not actually. But to Scott, she probably isn't like other girls.

She remains unaware of his different standards for her (how could she when she had nothing to compare them to), she acts out, sometimes violently, against Scott's urging (such as when she stole from Scar's wagon). She maintains their already irregular dynamic, and while she appreciates his care for her, she never quite falls into seeing him as a source of subservience the way Cleo or Gem do.

At the end of LL, right before the 1v1v1v1, she monologues to herself that she no longer has to feel bad for killing Scott. Which, in turn, implies she expected Scott to give it his all against her as well.

She entirely fails to embody the madonna with her immature naivete and her questionable morals. She is unpredictable, she doesn't take what she is owed, she is a monster in a lot of ways.

Scott, too, is a monster, to himself, for how he feels about her.

The very foundations of your understanding of yourself being ripped apart aside, let's rewind to the madonna/whore complex. To sexualise the madonna is to corrupt her and make a monster of yourself. Suddenly, you are no better than the men around you, the ones you've grown to hate. Suddenly, you are the grotesque figures in films like To Venner. You are Hylas and she is the nymph. And you are so stupid. Your worldview crumbles around its flawed foundations.

Scott is, however, immune to this corruption. This is a theme that appears in Empires as well, but throughout the traffic series he's prided himself on being loyal and kind and good. His monologue leading up to LL's 1v1v1v1 summarizes it quite well.

He can't let himself or anyone else see this side of him, but the energy needs to go somewhere. To defy fate, abandon your soulmate, is to admit you had a fate in the first place, is to acknowledge that she was your soulmate in the first place.

I've previously talked about how fate and romance are very ingrained in Scott's belief system, if it was anyone else it would've been amazing. He could've been like Bdubs and Impulse or Ren and Bigb, diving into domestic life and performative romance with a stranger. Or the world could've made his happy ending from 3L real, as he got to be Jimmy's husband all over again. I think it says something that he accepts Cleo as a "soulmate" before Pearl.

So what do you do with all that energy and tension, clearly apparent to yourself and everyone else, when you can't let them observe your feelings?

You project them.

Shout-outs to @/legally-allowed-to-slime for pointing out Pearl's comment early on in DL that she "feels like (she's) been broken up with" confirms she never saw Scott in a romantic sense. The "crazy ex-girlfriend" and "this is why I'm gay" comments really did come out of thin air, or perhaps insecurity.

Pearl is the crazy one. She's insane, because she wants me. She wants to be with me, so she does all this crazy stuff. She's lost control of herself because she wants me. She's disgusting.

I mentioned before that Scott is not your classic misogynist, but this is where the gears start turning. Scott's views of Pearl echo that of other players, most prominently Ren and Martyn, that Pearl has been overcome with some sort of corruption. She has become the witch, the demoness, the whore, in their eyes. Scott does not want to be the same as these men and I think his overcorrecting his behaviour in SL makes sense when you view it from this angle, but for now he has to rely on more traditional misogyny in order to navigate this new obstacle.

"Corruption" also implies that she had to have been pure (or at least pure-er) beforehand, something Scott personally knows is not true, but it falls in line with defaulting women to being "madonnas".

This is a Scott post but. shout outs to Ren for being all of this about Pearl but without the complexity of Scott like he literally accuses Pearl of seducing Bigb what the fuck man.

Pearl is, of course, none of that. But she plays into the role of being the witch much better than she fared playing into the role of the madonna.

Sidenote: I know I'm looking at this from a Scott/Pearl POV but I do feel like you can omit Scott's attraction if you look at it from a purely "pearl not performing to standards of femininity I expect and she makes me realise I don't view women as a whole as human which makes me feel weird so now we have to do this" POV. Like idk I think the exact reason he abandoned Pearl is going to be lost on everyone forever so any analysis I could perform is going to suffer at least a little bit of making-shit-up-itis.

I do also think there's something to be said about Pearl being pushed until she performed a role, any role and generally failing at Being A Girl tm but that's another post i think. yknow shes um. a bit. 🏳️‍⚧️ (but also very much not at the same time idk that's gonna need its own post)

anyway yeah uh the minecraft movie looks crazy huh

#asks #random thoughts

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theotherpacman · 20 hours

Text

got s1 is really a very faithful adaptation of agot, with only minor divergences. sometimes I really love the little details in the book that the show doesn't have room for, but sometimes I like the decisions the show made differently.

things I appreciate about the book:

the fact that jon is 14 makes his naivete regarding the wall hit so much harder. he's just a little boy and he's willing to sign his whole life away bc he believes he can be a part of something noble... neither his father nor his uncle nor anyone else tells him that to take the black is a grim sentence steeped in shame

ned hearing that bran's direwolf saved his life and being like "holy shit I killed one of them... what the fuck did I do"

sandor just whole ass traumadumping on 11-year-old sansa completely unprompted and then when he realizes he's just made himself vulnerable for literally no reason he goes "if you tell anyone about this I'll fucking kill you"

mormont thinks jon will be disappointed that bran is now a cripple but jon is so ecstatic bran's alive that he picks up tyrion lannister and spins him around (tyrion is startled by this) and then proceeds to cheerfully make friends with a guy who hates his guts bc jon kicked his absolute ass in training

tyrion and bronn starting to become friends on the way to the vale <3

THAT SINGER BITCH i love him

"whatever you may believe of me, lady stark, I promise you this -- I never bet against my family" screaming crying throwing up

jon going to maester aemon and convincing him to let sam take his vows!!!! using the metaphor of the maester's chain to make his point about how just bc sam is different that doesn't mean he's useless!!!!!!!

TYRION FIGHTING IN THE BATTLE AGAINST ROBB'S MEN!!!!! THE SHOW DID HIM SO FUCKING DIRTY i get that they didn't have as big a budget back then but come on man ToT

"when the sun rises in the west and sets in the east. when the seas go dry and the mountains blow in the wind like leaves. when your womb quickens again, and you bear a living child. then he will return, and not before." LET THE BARRENNESS BE PART OF THE CURSE why did they cut that

when tywin says "because you are my son" tyrion fucking Hates him for that bc he knows that if jaime were he tywin wouldn't spare him a second glance, he's only Tywin's Son now that jaime is prisoner and might die at the hands of the starks

things I appreciate about the show:

arya shooting a bullseye from behind bran. queen

jaime being a dick to everyone all the time for no reason. just going around starting shit. also that scene outside robert's bedroom where he talks to jory. jaime in general

ROS!!!!! MY GIRL ROS MY ABSOLUTE QUEEN ROS

"she's our guest." "she's our prisoner." "do you find the two to be mutually exclusive in your experience, my lord?" lmaooooo get his ass maester luwin

"sometimes possession,,,,, is an abstract concept"

THE DRINKING GAME!!!! first of all it gives us more insight into shae as a person who is so different from tyrion's established worldviews, secondly tyrion is always going around saying offensive shit and he thinks nothing of it bc a) people say offensive shit to him all the time and that's one of the ways he deals with it and b) he's usually right BUT when he makes all those assumptions about shae he's totally wrong and she stands up for herself, but my favorite part of that scene is that tyrion is hesitant to share this traumatic story from his past but he's just made bronn and shae confront their traumas so now he has to share too. and I think that's beautiful

all of varys and petyr's bitchy conversations when they're alone in the throne room

this only covers the first book/season I might make more of these as I keep reading

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allwormdiet · 2 days

Text

Interlude 6

Justice for Paige McAbee

This is. Fucking evil. Chaining a woman up like an animal and parading her around the courtroom. Like what the shit.

Utterly fucking barbaric

Brief detour I guess to provide exposition on the existence of rogues

Going from heartbreak to outrage this quickly in succession was some fucking whiplash when I first read this arc, fucking tell you what

Actual torture.

The inhumanity of this entire arrangement is borderline sickening to see play out. What an utter failure of the system

Oh hey you two

I can see how people would get. Touchy. About a power like that. But touchy enough for a life sentence is fucked.

Also, credit where it's due, Bakuda's ingenuity in this situation is still pretty well on display

Bakuda is playing with fucking fire here, and not just pyrokinesis, har har

Okay you know what, callousness and cruelty aside, this is a fucking badass display from Bakuda.

Okay so what the fuck is up with the ABB capes, actually. Bakuda built a bomb that would've devastated, like, the entire Eastern Seaboard, and probably even further beyond that into the west and north. I'd say that she was slumming it as part of a gang that's only got a minor presence in one city and a few neighboring areas, but honestly Lung feels just as cracked.

Dude basically only fights harder over time, he would've taken down everyone in that warehouse if Skitter didn't make a Hail Mary play with Newter's hallucinogen. Kaiser, Sundancer, Bitch, Newter, and one or both of the twins would've been fucking smoked, maybe Labyrinth if Coil's guys didn't bother to pull her out. This dude could've been putting up massive numbers throughout his entire reign as the head of the ABB.

So what the fuck was he doing instead? If he's a gang boss with this kind of power at his fingertips, where's the fucking appetite that should come with it? Skitter didn't even think he was an A-lister before they fought and he proved her wrong, she thought he was like, a step above Uber and Leet? In what world does that misconception become publicly accepted?

I'd say this is gonna bug me, but uhh, Lung's going to the fucking oubliette to end all oubliettes so it's a bit of a moot point, isn't it

Like, okay. Fucked up, sure thing. But this is still such a massive injustice; it was a one-time thing and she couldn't have possibly known if this was the first time it ever happened. You could've demanded training for her power, if nothing else, but you throw her into Hell on Earth. Fuck me.

This is a level of determination that I think has so far gone unmatched in this story. Like, I'll give Taylor time to pull off something even more outrageously self-harming for the sake of an objective, it's her story after all and there's a lot of words left, but Bakuda really is something else.

Of course that "something else" does include being an abrasive piece of shit, but hell, she's a parahuman, I don't think I've met one of them that's without some kind of baggage.

Maybe there's a world out there where after her trigger event she comes down on the other end of the hero/villain line. Bombs aren't exactly heroic but she could build non-lethally for standard use and save the big damage for shit like Endbringers. Plus the obvious potential of having a bomb Tinker as an EOD expert, that would be game-changing.

She'd still probably be an asshole, but like. You don't have to be pleasant to be a hero, we know that one for sure.

Alas.

I was torn between wanting Paige to get out of this and wanting Lung and Bakuda to get what's coming to them.

Hi Dragon, wish you weren't the warden of the worst prison I've ever heard of in my life, see you later in the story maybe

Also. Six hundred prisoners in the Birdcage. Not counting whoever's died. That's a fucking lot of them.

Wait what the fuck happened to Newfoundland

Oh, Dragon hates this too, well there's a small fucking mercy.

Also, "the hole the men opened into the women's half of the Birdcage" is a fucking alarming phrase. We're just fucking letting anything fly down here, huh? Jesus Christ.

Dragon's description of the Birdcage's security measures is. Fucking extreme. This is a fucking nightmare, an absolute cavalcade of human rights abuses that I can't even begin to fathom.

Have children been born in the Birdcage? If not, who's preventing that? Is everyone being covertly dosed with contraceptives to keep them from having children? Do the block leaders have people on hand to deal with abortions? How do you handle dietary restrictions? Religious restrictions? What if it turns out you were wrongly convicted?

Literally everything about this place is a horror show. Every implication is dark as fucking Vantablack.

Gross

I guess this is what passes for society down here, huh

Well shit, I guess I'm glad Bakuda has some enrichment at least.

Okay, so, Marquis is a supervillain who's taken over a cell block, and he's a Brockton native invested in learning what he's missed out on

...Easy money says he's Amy Dallon's old man.

Not entirely shocked that Lung's spent time behind bars, though I assume that was before he got his powers.

And uhh. I'm gonna be real, I feel kinda bad for Bakuda here. Like she's a piece of shit, obviously, but for all her insults she seemed happy to work for Lung, enough that she made a point of freeing him from the Protectorate and putting him back in charge when she could've stayed in charge, taken advantage of his arrest and done whatever she pleased

and now he's gonna kill her. Because she insulted him. Because it'll make life in prison easier.

I mean, shit. I do not like Bakuda's odds in this exchange. It probably doesn't take a lot for Lung to have her debilitated, and from there the kill is even easier. Maybe he dies too, but I don't expect that to be the case.

Current Thoughts

Justice for Paige McAbee

The Birdcage is, I think, a very reasonable simulacrum of Hell, and its very existence probably gives in-universe philosophers, ethicists, defense attorneys, and human rights activists fucking hives.

Also, justice for Paige McAbee

I'm not going to mourn Bakuda, but maybe I'll mourn the version of her that could've been in a kinder world.

Last thing, just in case we weren't clear:

Justice for Paige McAbee

#wormblr #parahumans #worm liveblogging #liveblog #worm tangle

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flippinpancakes64 · 2 days

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Omg hi I love your writing and I wanted to request a jasper x autistic reader where reader gose on like really long rants about stuff their interested in like video games or something jasper doesn't know jack shit about. I feel like he would get along grate with someone like that where he could just sit comfortably and just listen to them talk for hours on end.

Jasper with an Autistic! Reader

Shoutout to my roommate who has autism and helped me make this 👍

College has been a lot, sorry for not posting in a while, hopefully some Jasper fluff can make up for it

Thank you for requesting and I hope you enjoy!

He loves it

It’s perfect for him

He’s not a big talker, so having you do all of it for him is perfect

And it doesn’t matter what you’re talking about

He is more than happy to just sit and listen

Planes? Cool, he’s always wanted to learn more about them

Some video game he’s never heard about? Chill, he’s down to listen

And he will never tell you to stop

If you want to yap, he’ll let you yap

I mean, he doesn’t need to sleep, eat, or use the bathroom

So he’ll never need to leave

If you have a tendency to talk with your hands (shoutout my roommate) he thinks it’s so funny

Like just watching you gesture wildly about something is so funny to him

The only time he would ever (kindly) tell you to back off just a hair is when you’re eating

Like, you’re in the cafeteria

Yapping, as one does

But you keep putting down your fork to gesture and keep talking

He will just hold a hand up and urge you to eat first, talk later

He’s so patient though

If anyone ever makes fun of you for how much you talk, he is your first defense

He hasnt killed anyone over it

But he’s also not opposed to

All in all this is the perfect setup for him

You mean to say he just gets to sit there and watch the person he loves ramble about something they love and he doesn’t have to do anything?

Score

And the best part is that he remembers it all

Every character name, weird little fact, all of the dates, everything

Perfect vampire memory

#jasper cullen #jasper hale #jasper cullen x reader #jasper hale x reader #twilight #the cullens

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isolaradiale · 17 hours

Text

. . . . .

"Mmhm, I see, I see... Your father did tell us you had a bit of a mishap with your art project. We couldn't help coming to give some advice." Solaris muses, circling the diorama of the city. Currently, it's been moved to a coffee table.

"Yes, he told me I should try and spin it as if I had done such a thing on purpose. But I don't see how I could possibly..." "Oh, we had an idea for that!"

Mimosa flutters from behind, resting her hands on Janus' shoulders. The glint of mischief hiding in her rosy glasses does not escape his notice.

"We could help you mirror it in the city proper, you know!" "What?" "It's an interesting theory. The structures you made still stand, but what gives them life and personality has been greyed out." "I wouldn't say that--" "So how do you fix it? Do you paint them with the hues and values they're supposed to be, or do you pick something new?" "What do you do with the spots where the paint bled together? Do you paint over that, too?"

As the two bounce back and forth in this terrible game of brainstorming, Janus begins to put his hands to his cheeks in mounting horror.

"Oh, no. No no no. Absolutely not--" "If we make someone look like an old black and white movie, what happens? Will they try to change to technicolour?" "Would they paint themselves the colour palettes they're used to? Maybe it's something entirely different. If we make those hues correspond with their personalities..." "I--I'll have no part in this! The last time something like this happened, everything--" "Ah-ah, don't worry."

Mimosa leaves Janus side to twirl next to Solaris, who makes an artful pose himself, as if framing the splotchy mess of a diorama in his hands.

"We have this one completely under control. Not like last time." "I'll make sure of it. Just a little bit of editing... ah, Mimosa, what if we..."

Janus can only move his head as the two take their leave, watching them scheme and snicker. He turns back to look at the model of the city. And in a scramble that almost makes him trip over his own feet, he rushes to his boxes of paints.

"--I have to at least put the base coat back on, or they really won't have anything at all!"

. . . . .

Welcome to another zany event for the fall season! It looks like Mimosa and Solaris aren't done causing trouble, but this time, it should be harmless. Right? (Right...?)

Taking inspiration from a creative mishap, the Stars have decided to effectively render the city in greyscale--including the people residing in it--to see what really makes everyone so colourful. Thankfully, most people will start with a base hue.

What does that mean, though? Here's a handy-dandy list of notes!

As soon as it strikes midnight that night, your muse will find that they've been completely greyscaled, save for one colour that represents who they are at their core, and only that colour! - Think of it like those 'what colour is your soul' quizzes. If your muse was only one hue, what would it be? For example, a character that is inherently cheery might turn completely yellow or pink, while a hot-headed character may turn red or orange to reflect their personality.

Your muse cannot help but feel and act whatever hue/personality they seem to be. However! The more your muse interacts with the people around them, the more colours (and feelings/facets of their personality) will open up to them. This will also physically reflect on them. - If your cheery yellow muse bumps into a sad, blue muse, you'll both have a new colour to express. Now you can feel happy (yellow) AND sad (blue)! And perhaps a sort of melancholy joy, like watching your best friend win that prize you wanted instead of you. Of course, you're happy for them, but sad you didn't win. - Or maybe those two colours mix into being green with envy... And suddenly, you have a new colour ;3

Any inanimate object your muse interacts with (except their Island Issued Cell Phone) will take on your muse's hue. Every step you take will leave a colourful footprint in its wake, every hand rail will have colourful handprints. More on that later.

With enough interactions and perspectives, your muse will be back to their old selves in no time! If, that is, they want to go back to their old selves at all. Maybe another colour palette suits them better than before...?

"It can't be that easy, though."

And, you're right! The experiment did more than reduce everyone to solid (or no) colours! Some other strange things are happening, too. Such as...

The NPCs of the city have not escaped unscathed. Unlike you, though, they have no hue to them at all. However, they'll absorb colours from your muses by proximity and action. - If your deep-green jealous muse is around, NPCs will turn deep-green too, and may want what you have--and might try to take it by force. But a calm mint-coloured muse may just leave you alone and soak up some vibes. - This extends to creatures of the island, too, so watch out!

Sources of water in the city (the ocean, lakes, ponds, swimming pools, etc) will wash away at least one colour from you. (You can still drink and cook with it without any effect, though.) Better not get caught in a rainstorm any time soon!

To combat this, you can find paint cans with a random colour paint in them around the city. You never know what you're going to get, though!

The city itself is completely greyscale, so navigating it might be a challenge without any colourful landmarks to stand out. That being said, your muse will leave colour wherever they go, like they're a giant paint roller. And so will everyone else's muses! Figuring out populated areas will be Very Easy, but you might get disoriented in places that don't get a lot of foot traffic.

These are the major issues...... for now :)

FAQ

"Do I have to pick a hue at the beginning? I can't decide on one."

It's entirely possible that your muse can start in greyscale, and just has No Personality. In that case, they'll take on the hue of the first person they interact with.

"What do we do if a colour has multiple associations with it?"

Each association of that colour is a valid one, and there are no incorrect colour associations. Each colour is whatever you need it to be in the moment. The definition of "red" for your muse may not match the "red" of your RP partner--and that's okay! What may be helpful is to make an event info post explaining your colour choice, how you interpret it, and how it would affect your character!

"Do we have to stick to basic colours like red, yellow, green, blue, etc?"

Nope. Maybe your muse is a mauve, emerald, beige, or aquamarine. Pick any colour you think is best for the moment!

"In theory, could we use the paint cans laying around to add hues to others by splashing them with it or something?"

PVP is enabled, if you want to be a menace! (with mun permission, of course)

"Is the comic in black and white for plot reasons?"

No, I'm just lazy :c

Have a question you don't see on here? You can message the Masterlist!

See you in a week! Make sure to get as many colour perspectives as you can, okay? :)

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