#also sorry for anything that sounds off

[notsodailycake]

I have fallen for you baiting with the Zelink kids, I’m begging to hear something about them

If you need something specific maybe their names and favorite hobbies or who they most take after

Whauwie YES

OK OK SO, so far i have built already how they come to be and all, I'm just working on how life will be like after totk (dont have the game yet, but friends do so imma be asking for sum help)

But so far, we have 2 kids! Both of them are girls, 3 years apart. Older sister is named Sonia (yes in honor of Queen Sonia herself), and the youngest is named Adira

Sonia is more like her dad, especially in terms of looks, but she had inherited her mother's eyes and thurst for answers. She's very energetic and adventurous, and likes helping others

She tends to be the guinea-pig to alot of her sister's projects and creations since she has almost no self preservation. She enjoys it tho, thinking it as a fun activity to try out new things and hang out with her sister. She also enjoys carving things, mainly toys and masks. Most of her sister's toys were made by her when they were around 11 and 8

Although she is usually quite the airhead, and not really the brightest (like her dad, cough-), she definitely inherited her mother's overthinker mind. Doesn't help that she also tends to think little of herself, being the firstborn of the Princess and Hero themselves, alot of people put her under alot of high expectations and although her parents tried their best to show she didn't have to prove her worth, the gossip around town was hard to ignore, doesn't help the fact that her sister has started to become a prodigy to her mom, creating inventions to help hyrule and planning to bring the royal system back when she's old enough

Sonia though, has no intention of bringing the royal life back, nor to continue it. Like her dad she wants to explore, she's fascinated by history and wants to disvover every small relic left unseen. And she wants to travel beyond Hyrule one day as well and help those she comes across her path. But also perhaps, escape the duties and expectations others put on top of her, and perhaps prove herself better then those expectations

She loves her sister tho, despite everything, and will never admit to her how jelouse she actually is of Adira. How jealous she was of Adira of being able to hang out with their mom so much, have so much in common with her, sometimes she wonders if she has anything from her mom other then her eyes

Adira is alot like her mother, especially in the looks department, but she has her father's eyes and thurst for chaos. She's usually quiet, but very sassy when needs be, and although seeming quite shy, she got quite the temperament and wont hold back her tounge

Like mentioned previously she becoms a prodigy to her mom, creating and getting invested on inventions to help hyrule and planning to bring the royal system back when she's old enough. She spends most of her time studying and working on anything technology finding it fun to see what possible outcomes it came give

Although sometimes the pressure is too much, as much as her parents give her the liberty to explore her interests, as she had started to show advancements in her creations and helping hyrule, as well as proclaiming to bring back the kingdom (even tho she was a child when she said that), all eyes were now set on her and she is terrified of any failure, and to disappoint everyone, she usually confides on her sister who never cared of her status and just liked to be around her for her (and well, she felt too embarrassed about it to tell her parents about it, they didn't need to worry about such simple things in her eyes, they already fought the townsfolk so much bc of that, she didn't want to make them dislike her parents bc of her)

She admires her sister alot, looks up to her and wishes she could be as cool as her, as free as her, but she isn't good in any sort of physical activities and is usually just stuck in the lab. And that causes a smidge of jealousy as Sonia is able to bond more with their dad then Adira ever could, she feels like she has nothing in common to her dad other then his eyes and need for chaos (which the second part was something looked down apon by others)

And those are the basics i have so far, there is more but I'm unsure about it for now, and aren't 100% concrete yet, so i wont share at the moment

But before i end this, here are some small fun facts:

Both Sonia and Adira are pure glutons, just like their dad XD. They have cooking sessions together quite often, helping around the kitchen when they can;

Sonia loves horses as much as her dad does, but she is terrified of riding them, because when she was little and riding one for the first time, the person who set settle on didn't do it properly and she fell, head first into a rocky ground, and to add onto it, the horse stepped right onto her pinky. Now she has small panic attacks trying to ride them

Sonia actually used to hate Adira. Since Adira was a rainbow baby, Zelda and Link did kinda get overprotective with her, and accidentally neglected Sonia. That didn't last long after Sonia did cause a whole scene with running away and almost getting killed- but that's likez a whole other story in itself lol (i might make a more detailed post about this later). But after that incident they were able to work things out and Sonia ended up being way more protective over Adira then her own parents

[eerna]

me explaining why Will/Elizabeth/Jack love triangle was a perfect little one-movie arc that wasn't present in the final movie because it was never about choosing and instead just about dynamics and character development so they all outgrew it by then

[flipflopitstimetomakeart]

regretevator redesigns & rewrite, part 4: infected

i am not the biggest fan of the whole “scene infected” thing that the fandom (and yeucc?? this stuff is canon????) decided to adopt, so instead i made him very plainly represent the time period he’s supposed to originate from: 2016! this man is the epitome of 2016 fashion and humor, and i love it.

btw, in this au, infected goes by “kasper”, and the infection he has does not control his thoughts, just his immune system. LOL

prev (fleshcousin)

next (gnarpy)

[hecksupremechips]

Come back home when you have some sense

You can throw your life away just not at my expense

You’re not the son I raised

[ellenchain]

I'm playing some old missions again to update my challenges and was surprised at how good I find the 7 Deadly Sins compared to the newer content (pff) But playing Ambrose Island, I realised again how little we know about Lucas Grey's past.

Apart from the fact that Grey suddenly comes around the corner with a mission that also happens to have something to do with Providence, I'm sure it's down to IOI looking for content that fits in with the overall game. So no further questions.

But still I ask myself: Who was Noel Crest for Lucas Grey?

Because have you noticed that Grey sounds super, super sad when Crest dies? Or when he announces him? Or when he briefly talks about his past? In general, Grey was extremely vulnerable in this mission. John Hopkins does a fantastic job as always, but I really wonder why Grey is so emotional. I mean, I melt every time he says "I'll see you soon" when the mission is over. It's very sweetly purred. Longingly, even.

Crest was probably one of Grey's confidants, they worked closely together. But for comparison, Sean Rose, the guy who ran the big militia in Colorado (on Grey's behalf), also seemed to me to be a confidant of Grey. Otherwise he wouldn't give him such a task. Grey himself worked in the house alongside all the others (we remember the cellar). Intense co-operation, as with Crest. And we see Grey directly after 47 has done his deed, namely on the hill with his sniper rifle. But here, he didn't look sad at all. More like "well, now they're dead, crap, I'll have to think of something else now"

With Crest, I had the feeling that he needed 5 minutes to himself to process the death of his former... friend? I don't know, maybe I am reading too much into it.

Are there any fan theories on Noel Crest and Lucas Grey yet??

[carcarrot]

ok sitting down for a moment at disneyland. elaborating on the post-beat concert shenanigans in the tags

[rose-n-gunses]

I'm late to the party, what's going on in hellcheer land?? I knew grace is dating a johnny depp fan but has more happened? (Feel free to just ignore this if you don't wanna answer btw, i know you might not wanna invite drama onto your blog!!)

I am going to risk answering this but only because I have no idea.

I am honest to God probably the worst person to ask about this because I am so extremely Out Of The Loop when it comes to the goings on of celebrities because, to be quite frank, I don't care. What famous people do in their personal lives doesn't affect me and my opinions on things are rarely anything more than "oh cool" or "ew". The most involved I get is following some on Instagram but even then it's only a select few.

I think a lot/the majority of whatever is going on is/was happening on twitter and i don't have twitter so i've only ever seen whatever's trickled onto here (which even then is very very little because, again, it doesn't affect me and also I think I've just tailored my blog to my tastes so that stuff doesn't typically cross my feed beyond the occasional reblog from a mutual or that one anonymous ask I got one time)

That being said, fiction ≠ reality and characters ≠ the individuals who portray them. I am in hellcheer land, as you put it (which I like that btw, I'm going to keep using it lol), for Hellcheer The Characters. I will acknowledge that there is "drama" that is either starting or continuing to infiltrate hellcheer land even though it has no place to do so. Hellcheer is fictional and fandom is supposed to be a fun community experience and by allowing your feelings about Certain Matters to significantly affect the fandom and other people you are making it an unfun community experience and that's kind of mid tbh :( If there's going to be drama (which there inevitably will be) it needs to, imo, not be brought into hellcheer land because, again, hellcheer is fictional and characters are not real people and real people are not characters

[threewaysdivided]

How Different do you think Young Justice Season 3 would have been had Jay Olivia and Michael Chang returned?

[For context, we’re referring to this post where I broke down the major writing/directing credits for each episode of Young Justice Season 1 and found that former Teen Titans 2003 directors Jay Oliva and Michael Chang had handled over 75% of the episodes in Young Justice Season 1 before vanishing from the credits of all later entries, and this post where I summarise how those later entries actively destroyed the arcs, themes and narrative of the original season.]

TBH it’s kind of hard to tell.  I have a few ideas, but like I was saying in that first post, it can be unwise to pedestal one or two members of a creative team when there are so many factors that can impact the final quality of a work.

Here I think it’s important to mention what a director does.  In situations where the director and writer are separate roles, the job of the director is to adapt the script to a visual form – working with the writers/editors to make changes as needed.  Directors direct how scenes are constructed, presented, acted and “shot” – which affords them a great deal of subtle influence over the pacing, focus and framing of a story.  The visual language of film can do a lot to control what information the audience prioritises as important, and how they interpret/perceive it.  Unsurprisingly, when you have bad, fragmented or inconsistent directing, you end up with stories that lack direction.

While Chang and Oliva having such a presence in the direction of Season 1 definitely lent it some of their specific personal creative flavour, I also think a lot of the major benefit came purely from having two people (and likely others who formed part of the S1-specific creative team) who were experienced in working together and had direct input/oversight of more than 75% of the season from start to finish.  That kind of creative cohesion makes it easier to track and maintain the continuity and progression of a narrative.  Compare and contrast with Outsiders, where you have a rotating shift of three less-experienced directors and a huge revolving door of new writers, with no-one working on more than a single episode in a row, the same directors almost never getting paired with the same writer twice, and a general sense that the story was being produced episode-by-episode with very few people having a clear sense of what had come before or would follow after.

One of the challenges is that the declining quality from Season 2 onwards points to something being fundamentally broken in the creative process at DC Comics/ Time Warner productions.  Young Justice Season 3 was the straw that finally broke my trust in Detective Comics Comics but it came on the heels of things like the original Suicide Squad movie (see this Folding Ideas video for an excellent dissection of those production and editing issues) and the transparently marketing-driven disaster that was Batman vs Superman.  It feels rather like modern-day DC is producing the in-house equivalent of shovelware: underinvesting in the timing and budget that its creative teams need for proper writing, editing, revisions and post-production in favour of churning out superficially saleable high-profit-margin products to cash in on recognisable IP’s and existing fandom markets.  Faced with that kind of incentive structure and production-crunch it can be very hard for a single (or handful of) creative team members to make course-corrections.

That isn’t to say that good media can’t be produced under tight conditions, but doing so generally requires a well-thought-out creative plan for the project.  And unfortunately, that kind of plan is something Greg “I don’t write endings” Weisman is notoriously bad at both creating and sticking to.  This was one of the problems I ran into when doing my YJ: Invasion autopsy: while you can correct some of the surface level problems, the root issue lies in a core story that’s bad from base principles and fundamentally incompatible with what came before.  Again, this can be overcome if other production team members are given enough time and creative authority to review and revise that story-core, but that doesn’t seem to be the production environment S2+ was allowed.

With all that said, I think it’s safe to conclude that, under the circumstances, Young Justice: Outsiders was likely always doomed to be a mess.  The combination of a lack (or even discarding) of a clear show-bible to act as a guide, a lack of clear project-plan (or, at least, plan-communication) from the showrunners,and a lack of pre-/post-production time for other team members to figure out what story they were even telling is pretty much a guaranteed recipe for narrative failure.

However, assuming that a pair of Oliva/Chang-like directors had been on the revival team, with input into most of the episodes, I think we might have at least seen some improvements to execution:

Firstly, we may have seen better cohesion and focus.  In the multi-layered onion of bad storytelling decisions that is the later seasons, the outer layer that many people seem to have bounced off is that it’s hard to care about what’s happening.  YJS2+ are boring and badly paced on rewatch, and a not-insubstantial part of that is bloat.  There is a plague of random new characters, exposition and world-details that don’t meaningfully contribute to the narrative (and for the record, I should clarify that ‘narrative purpose’ is a lot more than just ‘plot advancement’ – the problem here is that these elements are actually purposeless to the point of being distracting), scenes and ‘jokes’ that overstay their welcome due to a lack of proper substance, and ‘twists’ that exist for expectation-subverting ‘shock bait’ rather than moving the story. 

At a surface level, the later seasons desperately needed someone to ask: both ‘what is the focal point?’ AND ‘what is the purpose of this moment/scene for the story?’ and actually make Greg Weisman give them a coherent answer beyond ‘just trust me, it’ll be totes smart when you (read: I) figure it out later’.  Like I’ve said before, there’s a lot of fat that could have been trimmed; shallow scenes that could have been reworked to serve characterisation and themeing, ‘references’ that could have had their screen-time reduced to passing easter-eggs, and other wasted time that could have been better allocated to developing a core cast of ‘focus characters’ with an understandable dynamic to help anchor the broader character web in a relational status quo.  Considering what we saw of Season 1’s character-focus, and Oliva and Chang’s previous involvement in Teen Titans 2003 (which was also very good at prioritising, reinforcing and maintaining characterisation/ character dynamics) I think some improvement in story-focus, especially towards characterisation, could have been achievable.

The other gain we could have potentially seen is more sensitivity and tactfulness in the presentation of certain story beats/ characters.  For this I want to highlight framing:  whether something is respectful or offensive comes down less to the inclusion/exclusion of particular elements and more to the way in which those elements are presented to the audience – the priorities, assumptions and worldview revealed by the delivery.   

Let’s do a couple of case studies just to get our heads around the idea:

For Example One, we’re going to make the point by jumping straight in the deep end of sexual assault and fanservice in media feel free to scroll to the next paragraph if this is a no-fly topic for you.  Our contrasting studies will be The Millenium Trilogy (a noir series I’ve previous referenced in contrast to the YJ revival) and the shounen anime Sword Art Online, both of which contain assault and rape scenes.  Millenium’s depictions of assault keep the perspective on the victims, focusing on the pain/ powerlessness/ degradation/ anger they experience during and after the violation, and examining their reluctance/ aversion to reporting these crimes, while maintaining a respectful detachment towards describing the acts themselves.  In contrast SAO contains an infamous scene where an arc villain attempts to rape the female lead, while the camera fixates on the fanservice of her breasts quivering as he tears her shirt off (in addition to a concerning amount of other fanservice scenes where female characters are penetrated, groped or “peeped on” in ways that are clearly nonconsensual and unwelcome).  From this we can conclude that the issue isn’t inherently with sexual assault being present in a story – how it’s framed makes the difference.  The Millenium Trilogy respects the autonomy of its female characters, using assault scenes as an important narrative device to confront the audience with the violence of systemic sexism and condemn the cowardly entitlement it enables as part of its wider critique of misogyny; Sword Art Online degrades, objectifies and disregards the autonomy of its female characters by using narratively unnecessary sexual assault as a vehicle to ‘reward’ its target audience with fanservice.  What matters is how the subject is handled: is the sexual assault of women treated as a serious problem in need of criticism or as a guilty-pleasure ‘treat’ for boys to enjoy?

Moving to a gentler and more home-field example, let’s compare how pregnancy is handled in Young Justice Season 1 vs Outsiders.  It’s easy to overlook in the wake of the brick-to-the-face that was “you got a baby in there!” but Season 1 also included pregnancy as a plot-beat; Queen Mera announcing the news that she is “with child” during the episode Downtime.  However, there’s that difference in framing:  after it’s announced, Downtime quickly moves past the physicality of Mera’s pregnancy to focus on why it’s narratively important - because Mera and Orin are the royals of a hereditary monarchy and their child will be first in line to the throne of Atlantis.  Despite this being her only episode in Season 1, Downtime also gives Mera multiple characterising moments outside of child-bearing; introduced her first as a Queen and teacher/mentor to the students of the Conservatory, and later demonstrating her power as a battle-mage during the Manta-trooper attack – her pregnancy being almost a footnote outside its narrative-relevance.  By contrast, I think the reason that “baby in there” line from Amistad gets memed so heavily is because it highlights Outsiders unnecessary fixation on the physicality of female characters being pregnant, in addition to a disproportionate tendency to depict female characters as married, pregnant or mothering in the absence (or even at the cost) of narratively meaningful plot or character development – reducing these characters to little more than “pregnant sexy lamps” (as @mimeparadox so eloquently put it in their recent review of similar issues with the Gargoyles revival).  Again, the difference is execution: where Season 1 used pregnancy in a character-specific and narratively-relevant way, Outsiders not only assumes but enforces it as the expected path for female characters – sacrificing both characterisation and screentime for a subtler form of fanservice: one that reinforces and validates a specific worldview of gender (and which has been increasingly revealed to lurk beneath the surface of performative ‘feminists’ like Eric Schneiderman and Joss Whedon).

At this point, I think it’s worth noting that Jay Oliva and Michael Chang are both Asian-American men (i.e. less likely to be blinded by privilege a problem that Greg Weisman has always struggled with), that Chang himself was lead director on TT2003’s anti-bigotry episode Troq and that TT2003 on the whole is often praised for its respectful depiction of female characters (and also Victor’s cyborg status).

Given this, I think similar direction could have resulted in more respectful depictions of non-white and disabled characters.  As it exists, the revival at large (and Outsiders in particular) has a HUGE issue with unnecessary and disproportionate violence towards and villainization of characters-of-colour in a way that inadvertently reveals the bias of the creators; shock-value violence towards marginalised characters being treated as more acceptable and less needing of commentary because they clearly weren’t expected to be as relatable or worthy of empathy as the “main” characters.  Different direction could have seen some of the more needless violence removed in favoured of equally-shocking-but-more-narratively-purposeful elements, some of the narratively-justified violence reframed in a way that was more empathetic to the personalities and bodily autonomy of the victimised characters, or - given more time for revision - used to make a critique of in-story bigotry by presenting the disproportionate targeting of marginalised protagonists as being the product of systemically prejudiced antagonists (rather than casually-bigoted producers).

Similarly, I think better direction could helped respect female/femme characters more.  From Season 2 onwards Young Justice has an increasing problem with the male gaze in how it frames and poses women; Outsider’s borderline-fetishistic obsession with depicting late-term pregnancies again being a particularly egregious example.  Many of these scenes either didn’t need to be included (hence the meme-potential of wasting screen time on a toddler explaining how pregnancy works to a mature audience) or could have been made more narratively meaningful by prioritising specific characterisation over generic ring-fingers and pregnant bellies.   This male gaze issue was at its most insulting with Halo; even if different directors couldn’t change the incredibly disrespectful character-design decision to vacuum-seal a nonbinary, hijab-wearing minor inside a boob-socking, ass-grabbing, wasp-waisted super-suit, they could have worked to preserve Halo’s modesty and gender identity with posing and camera choices that minimised the attention drawn to Halo’s sexual features, and presented their body-language and posture in a less-feminising way.  

This likely wouldn’t have fixed the underlying biases baked into Outsiders’ plotlines but I think there was the potential to soften the execution to the point that they could have felt more like a “missed the mark” than the farcical offensiveness that we got.

That said, I don’t think anything could have truly saved this series.

As I said at the start, I think the thing that ultimately doomed Young Justice was the lack of a long-term story vision; the ego and overambition of showrunners trying to build a story that runs on teasing twists, mysteries and future-resolutions while also openly wanting it to go on forever.  Those two elements are fundamentally incompatible if you want a satisfying experience, and without a clear guiding plan you can’t expect the underlying creative team to successfully find a story’s identity during a rushed pre-production.  You can’t provide direction if you don’t know where you’re going.  It would be like trying to invent an entirely new plane and build it as it’s taking off: a crash is inevitable, the only question is the extent of the damage.

At best, I think we could have seen another Invasion-level non-story: a few isolated good character moments bogged down within a season that, while not overtly offensive, was still thematically confused, overstuffed with characters, driven by contrivance and insulting to the intelligence of anyone actually trying to follow the narrative.  A slow zombification, riding out a few extra seasons on plausible deniability, rather than Outsiders’ rapid crash-and-burn seasonal rot into an offensive cash-grab parody of itself.

And, in a way, I’m kind of glad that Oliva, Chang and the other Season-1-only creative team members didn’t come back for that.  Because, even if it would have resulted in a more palatable product, it would have come from forcing a group of marginalised creators to salvage a privileged dude’s mess.

I’ve spent far too many words over the last few years trying to unpick the layers of why Young Justice is such a narrative failure post Season 1 and now I feel like Benoir Blanc.  Because these problems are a glass onion and at their clear centre, Greg Weisman is an idiot.  He’s a demonstrable bigot, who had a publisher back away after he trashed their franchise with misogynistic queerphobia.  He’s a sex-obsessed loser who tried to launch a Not-Safe-For-Work production company writing Gargoyles Parody Porn while wearing an eye-patch and pretending to be a ‘fan collaborator’.  His writing reveals a consistently toxic attitude towards abuse, consent, boundaries and power dynamics.  Based on some of the creepier things he’s said/written, he could be potentially unsafe for certain fans to be around.  And even setting all that aside (and it’s a lot to set aside) he’s just obviously a hack: he claims things that are neither present in or even supported by the text, he promises future developments and fixes/explanations that he rarely if ever delivers, and he uses those holes as a springboard to pitch separate-purchase side-content that also seldom delivers, in a way that suggests he either has no idea what he’s talking about or is intentionally lying to grift his fans.

And, look, this problem is far from exclusive to Weisman: it certainly didn’t start with him, and it’s not even exclusive to the arts.  Across industries we are currently realising that we’ve let privileged guys who can talk a good game coast by on an assumption that they were qualified to hold their positions of influence, even as we held them to far lower standards of scrutiny than we would equivalent people of any other demographic.

Young Justice was never going to survive long-term (any more than the Gargoyles revival is) because the creative load was always resting on that rotten core.  I think we as a fandom were very lucky that Season 1 had both a sincere creative team and the production schedule needed to overcome it and give us something as good as they did.

I wish we could have seen that quality continue. But, at the end of it all, I’ll make peace with the disaster we got.  Because it was at least a somewhat honest reflection of its lead creator, rather than enabling him to keep failing upwards on the back of his colleagues' contributions.

So yeah. Better directors would probably have resulted in better surface-level polish... but you know what they say about polishing turds. No matter how much sugar they added, Outsiders couldn't be turned into a brownie. You'd still be being fed crap.

And frankly, whether it’s his characters, his audience or his co-creators, I’d rather not continue the pattern of letting Weisman shove the burden of dealing with and correcting for his bullshit onto less-privileged people.

[bluehexagone]

Realism is fun till it isn’t and I realize I’ve already committed too far and can’t just scrap it but I know it will take me too long so here are some sacrifices you may see finished later on

[follineo]

UUUUGHGGHGHGHGH,,,,

[corvid-language-library]

A lot of the kids I teach like Kimetsu no Yaiba so I kinda wanna watch it so I'm familiar with it but also I watched some street interviews with Japanese people about anime and it's the most commonly-given answer to the question "what's the most overrated anime?"

[nametakensff]

Writing more s/teddie tonight, finally 😭

[motherhenna]

wanted to share an almost full-body pic for the first time in probably almost a decade because for once I'm actually proud of how I'm progressing and think that the changes I'm making will end up being permanent bc I'm genuinely enjoying them. Plus, the few selfies I have shared over the last five years have been very photoshopped and at flattering angles, so I feel like most of y'all don't know what I actually look like. So this is me in my children's theater teacher fit last monday!

I'm 17 lbs down from my highest ever weight, but my trainer thinks I'm probably up at least ten to fifteen lbs in muscle. I'm cooking my own food, eating more reasonable portions, and going to the gym at least five times a week because I want to, not because I feel shame or guilt. And now that I'm working as hard as I am, I'm a lot less triggered by looking at new pictures of myself because I know I'm doing my best. I'm still obese, and probably will be for awhile more, but I'm starting to appreciate what I look like and feel like. And hopefully it'll just get better from here!

[battle-subway-ghost]

// actually- using this bit where Paris is knocked out to slide in for a moment. This blog is coming up on 200 followers soon (which- Holy shit, I still can't process that completely. Thank you??? I never expected this blog to get this big in the first place.)

...But onto the main point.

I've had this idea in my head of a larger scale event- illustrated, different universe, all that jazz, since late October or so. It'd expand on a lot of personal lore, and a shared story between the mod behind @tinkatinktrain that's been in the works for years now.

[devotedlystrangewizard]

the school arc to me is so good because it drags ciel out of his position as a powerful figure and literally places him in the shoes of the person he could have been. the circus arc ALSO drags him out of his position as big bad queens watch dog/head of the phantomhive estate but the school arc feels like a mockery of a future that never was. this is what he could have been had his parents not died. and even then its NOT because he will never be that kid.

he never was.

[cathalbravecog]

Tony Trapezoid Dama first digital design concept + reference !! They've been in the works for a while, it feels good to finally put that onto a digital drawing... Sorry about all the empty space on the canvas, RIP

This may be their ref for a while, but their design may still be a subject to change!! But for now, this is their design. (They still need to be drawn from their side and back view as it has some details you can't see from this angle.) (They also still need a suit name, but that doesn't worry me currently as they aren't even a C.O.G.S. INC. employee.)

Anyways, as you can gather from the image, they're the child of Belle! If someone has a grandchild, that means they have kids of their own, and Tony here is the OC for that! They're based on touch-tone telephones and radios... And also Touch Tone Telephone and other Neil Cicierega things. One thing you should know about me is that I love Lemon Demon references in my OCs,, (Has an OC universe based mainly on Lemon Demon)

They once were like every ordinary Suit, just with an interest for the unknown and telling stories - and letting others have their own stories be heard, giving others a voice. Their rather charming personality made them a great radio host! However, after the Toon invasion, they began hearing various conspiracies about them. Already having an interest in the supernatural, they began tying the Toons onto these various supernatural dangers and giving into their growing paranoia. Believing everything they've heard, (Which was a characteristic they've always had - believing almost any story told on their show), they only grew more isolated and their show devolved more into conspiracies of many kinds which turned off many listeners.

Seeing how much harm the Toons were causing to fellow Suits did not help either, in fact, it only strengthened their downfall. They grew more anxious over-all, and seemed more invested in their show and theories than going out. Despite all this, they still care about their family deeply and seem to do everything out of genuine concern and care. Though, they have seemed to stray away for the most part... Oh what would they do for the good ol' days...

Seeing that their mother and at least one of their children have joined C.O.G.S. INC. after, well... The whole Atticus incident - It shook them a little bit. Being so close to those Toons is DANGEROUS! However, as time went on... They took note of how well the two were doing. Even Collin seemed slightly more enthusiastic. Perhaps it's not as bad of an environment as they thought? Regardless, they keep an close eye in case of any tragedy they oh so dread.