#and not just in the context of the remakes! So I had ALL these ideas for Breeze Harbor

[postmakerkiwi]

♨️ Breeze Harbor Highwinds - Airship's Away! ⛵

Ah, feel that wind in your face, and the crackle of fires in your eardrum. This titan's ready for takeoff! Make sure all your things are in order and everyone's accounted for, because our next stop is the meadows of Zephyr!

photos by CatbatQuartet

[xamag-draws]

BBR thoughts 2024

Since I mentioned that I finally dusted off an old project of mine and was ruminating on how I'd remake it, I thought I'd elaborate a little, now that I've solidified some concepts. For funsies

This is gonna be a bit of a long and unfocused one, but I don't share my personal thoughts here often, especially the stuff about my projects I always marinate in. And for once it's something that people have existing context for, so hey why not

So for anyone who hasn't been following me for a gajillion years, The Black Brick Road of OZ was a webcomic that I posted around 2013-2015, back when I was in highschool going on college (which is kinda crazy to think about). It was sort of a darker twist on The Wonderful Wizard of Oz, although I definitely leaned a lot more into dark humor more than anything in those first few chapters

I don't think it's available to read anywhere anymore, and I know people have been asking me about it. So here's the full proper archive of BBR, as full as it can be with deceased Flash

I totally used it as an excuse to shamelessly and self-indulgently experiment. It had interactive pages and GIFs and was wayyy too overproduced for what I could handle or what was necessary, but I did have great fun making it while it lasted

Unfortunately, that excess and the fact that I've changed too much as a person by the time I was in college is what ultimately killed it. The direction I wanted to go in was practically unrecognizable from the original idea started back in 2011, so there were many old hold-ups that I felt ruined it

At the time I kinda wished I could start/rewrite it all over, but considering that I pretty much had the entire script done at that point, it felt like a pointless sisyphean task. So I just put it on a shelf and didn't look back for about 8 years, because I didn't know what else to do

Now to be fair, the nature of my art has always been iterative and cyclical; when I feel like my creative juices have run dry I prefer to leave a project to marinate and move on to something else; cycle through other old things and bring in new skills and perspectives into the mix when I'm ready again. Not very productive, but it is what makes me happy to work on my OCs; I'm doomed to hit a wall with them eventually and I need some time to be able to find a new direction

So that said, I'm glad that BBR was left to marinate for that long. I don't think I was prepared, emotionally or intellectually, to tackle it again until now. The Wizard of Oz book (and the entire series of them, really) has always been near and dear to my heart, but there's a lot of context around it that I'm only unpacking now that I'm older

I think I always inherently feel negatively about the stuff I've made in the past, like its faults always jump out to me more than the positives, especially the more time passes. I've never liked that, and I do really appreciate the kind things people have to say about BBR to this day. The fact that it still can be recognized and remembered is very sweet

When I left it, I already found it "kinda cringe", and that feeling only deepened with years. When I took my first look back at it, asking the question "how would I rewrite it now?", at first I took a very cynical approach, as in "everything would have to be torn down"

But the more I sat on it, the more I found that I still see some merit and charm in the ideas I was putting out; I just didn't know how to execute them at the time (not to pretend that I know what I'm doing now, but I certainly know more at least). Turns out a lot of my old concepts could be changed substantially with just a few small tweaks. So I'd say that's a nicer way to think about my previous work

If you haven't seen yet, I posted a first draft of my new designs for some of the characters (the main group, the Goods and the Wickeds). Definitely subject to change, but more or less how I see them now

I'm just playing with these concepts; by no means would I attempt to remake BBR right this moment. Call it a pipe dream among my other ones. But just for fun, this is the direction I'd like to take:

Nowadays I'd probably make it a visual novel, with more emphasis on the visual part than the novel because I'm no English prose writer by any means. It'd still let me play a little with the interactivity while helping cut some corners on the drawing part (only some, I imagine I'd go hog wild anyway)

I've always intended for some events inspired by the sequel books to take place in BBR's past. Stuff like Jinjur's revolt or Ozma's rule preceeds the main events here. So I think it would be fun to follow the past of a few key characters alongside the main story. One chapter focusing on the present quest to see the Wizard, then one focusing on the past events (that are maybe reflective thematically); rinse and repeat

I'm also sticking a little closer to the original text in some regards. Not everything that I enjoy from the books would be translated here, it's still just a very loose fantasy on the material; but I'd like to be closer in spirit at least

I like mature, wise and powerful Glinda, I like kind and vulnerable Tin Man, I like the Wizard being a pathetic yet loveable liar, so I'm sprinkling in more of that for example

I'd like to keep some whimsy, but make it more grounded and a bit more serious to be coherent in tone. I think the original TWWOOZ book was a more realistic fantasy in some ways, even for the standards of the time; I like its simple but vivid tactile descriptions and details like bringing attention that Dorothy needed to eat and sleep

I find it funny that Baum specifically was averse to making his books scary or unpleasant, finding that unnecessary for telling a compelling kids story, but they still can get pretty dark and disturbing, at least for our modern sensibilities. Let's just say that I intend to use the Evoldo and Chopfyt storylines for my purposes. In that way, I feel like a "darker" Wizard of Oz retelling can still mostly be tonally in line with the original and balance it with enough heart and occasional humor

I slowly grew to appreciate the quaint old-timey quality of the original series, as well. The first book is both timeless and very much a product of the 1900s. Originally I tried to give it a little modern or at least anachronistic spin, but it was moreso because it's what I knew best, so these days I'd rather intentionally lean into the time period. Still not fully historically accurate by any means, but at least directly acknowledging the influence

The events of the story span across 40 years of these characters' lives, so I'm drawing inspiration from the entire so-called La Belle Epoque: the time period around 1880s-1920s. Basically I'm cooking, and my soup is old Victorian fashion morphing into Edwardian fashion and slowly inching towards flappers

Some new Dolly outfits

Lots of crazy things, political changes and innovations were happening at the turn of the century, which I think is noted and reflected by Baum in the books as well; the character of Tik-Tok might not blow any minds now, but he was one of the first robot characters in literature at that point; and don't even get me started on Jinjur, etc. Plenty of really interesting stuff one could lightly ponder in an Oz adaptation these days

Aesthetically, art nouveau has always been a big artistic influence for me, and it'd definitely be its time to shine here. John R. Neill's illustrations of the Oz books often keep me company as well. Nouveau architecture in particular fits that fairytale whimsy extremely well imo

I'd allow myself a little bit of art deco here and there, but ultimately its intimidating geometrical splendor is an antithetical to the flowery nature of nouveau and I associate it with a completely different era. Definitely fitting some characters like my Wicked Witch of the West, but shouldn't be overused

One of my main problems with the original BBR was that eventually I lost track of what it was even about; and the original ending felt too mean and unfulfilling to be worth it. Now I'd like to stick to the theme of home and family as my main theme, but in a different, more bittersweet way than in the book

An interesting connection I made is that a lot of my aforementioned older key characters (the Witches, Jinjur, the Nome King, etc) all came from the same reformatory as kids, that's how they know each other. In my recent research I learned that in those reformatories it was usually frowned upon to release the children back to the families, which were seen as the original corrupting influence regardless of the circumstance. The reformatory did everything in its power to cut that connection and make itself the only family those wayward kids were supposed to know and love. That's an unexpected tie into the theme of home that I'd like to explore as well

So yeah that's the current state of it. I have a bunch of outfit concepts I'm slowly cooking, although I'm now sure whether I'd post them... But I do miss these funny guys, and I'm glad some people still do as well :)

[metamatar]

So the real crime of fascism was the application to white people of colonial procedures "which until then had been reserved exclusively for the Arabs of Algeria, the 'c***s' of India, and the 'n***s' of Africa." (p. 36) Here we must situate Cesaire within a larger context of radical black intellectuals who had come to the same conclusions before the publication of Discourse.

As Cedric Robinson argues, a group of radical black intellectuals,including W.E.B. Du Bois, C.L.R James, George Padmore, and Oliver Cox, understood fascism not as some aberration from the march of progress, an unexpected right-wing turn, but a logical development of Western Civilization itself. They viewed fascism as a blood relative of slavery and imperialism, global systems rooted not only in capitalist political economy but racist ideologies that were already in place at the dawn of modernity. As early as 1936, Ralph Bunche, then a radical political science professor at Howard University, suggested that imperialism birth to fascism. "The doctrine of Fascism" wrote Bunche, "with its extreme jingoism, its exaggerated exaltation of the state and its comic-opera glorification of race, has given a new and greater impetus to the policy of world imperialism which had conquered and subjected to systematic and ruthless exploitation virtually all of the darker populations of the earth." Du Bois made some of the clearest statements to this effect: "I knew that Hitler and Mussolini were fighting communism, and using race prejudice to make some white people rich and all colored people poor. But it was not until later that I realized that the colonialism of Great Britain and France had exactly the same object and methods as the fascists and the Nazis were trying clearly to use." Later, in The World and Africa (1947), he writes: "There was no Nazi atrocity-concentration camps, wholesale maiming and murder, defilement of women or ghastly blasphemy of childhood which Christian civilization or Europe had not long been practicing against colored folk in all parts of the world in the name of and for the defense of a Superior Race born to rule the world. The very idea that there was a superior race lay at the heart of the matter, and this is why elements of Discourse also drew on Negritude's impulse to recover the history of Africa's accomplish ments. Takirng his cue from Leo Frobenius's injunction that the "idea of the barbaric Negro is a European invention," Cesaire sets out to prove that the colonial mission to "civilize" the primitive is just a smoke screen. If anything, colonialism results in the massive destruction of whole societies-societies that not only function at a high level of sophistication and complexity, but that might offer the West valuable lessons about how we might live together and remake the modern world.

Robin DG Kelley's A Poetics of Anti Colonialism, published as introduction to a new edition of Aime Cesaire's Discourse on Anti Colonialism

[cipheramnesia]

This is the process my brain goes through every time I see anything about Netflix Avatar The Last Airbender.

My first reaction is always: Why? The original, although not without flaws, doesn't leave a lot of room to improve. A good remake or adaptation usually involves an updated context or change in perspective that adds to the original work and gives it new meaning. It's a risky undertaking because it usually involves wanting to take on something established as iconic and make it your own. But Netflix is a corporation and seems very risk averse for the most part. Its only investment is in the name recognition of AtLA. It's hard to visualize Netflix deliberately taking a big risk on an expensive show.

My second reaction is: How? The original series is about 1400 minutes over 61 episodes, and it still had to rush the ending. We're looking at 8 episodes of roughly 45-60 minutes per episode for season 1, which would require Netflix to let it run more than 3 seasons, if the series has similar pacing. Historically however Netflix shows have glacial pacing, and rarely make three seasons. Not really sure how they plan to tell the story if the series is anything like the average Netflix series, meaning it either needs to undercut the story or let the series breathe for at least five seasons. But nothing Netflix has done makes me want to watch anything they make as an ongoing series? Why bother, they cancel everything I enjoy. So I wonder how. What's the hook to say "this will be able to provide something new and interesting compared to the original, and will be allowed to tell the complete story."

Which leads me to think, but you can't judge if something is good without seeing it. Except none of this is about whether it's good, I just find myself wondering what are the odds it's worth the effort? They're low, and it has nothing to do with whether or not it's even any good on its own merits.

Following this, I ask myself, what would a good version of this be. Imagine you are making a live action series with eight hour long episodes per season based on a children's cartoon with 20 thirty minute episodes per season. You are trying to encompass a story which was presented over three seasons as a cartoon, and you do not know if you will have more than those eight episodes. It's made for Netflix which, in terms of a company which will protect the hard earned fruits of your artistic labor, is the fox guarding the henhouse. What do you do?

If you are looking to make something good, that respects your audience investment and your own work, you make radical changes to the story. You change the pacing, the character arcs, the plot arcs. You make sure you deliver a complete story in those episodes with as much respect for the original work and as many new ideas as you can.

Except, at that point, what is even the point of a remake. The only way to work with it is either to trust Netflix allowing you to finish the story (which you'd need to be incredibly naive to do), or tell a story so different it may as well be wholly original. And that's where I always end up. Like, it'll probably be fine, but what's the point of it all? Another vanishing digital property to get canceled because of some undefinable failure to return on investment.

I think about it a lot because the two ends of the spectrum seem to be "dunk on every new piece of information" or "wait and see" but the only conclusion I can ever reach is "why even care?" That's been the lesson to take home from digital streaming in general when it comes to series, but Netflix in particular, and honestly for movie series too. If it can't be self contained, the companies who produce and release these kinds of series just cannot be trusted with it, and there are too many good original stories being put out to care anymore about big budget promises that one day they will definitely for sure deliver a finished story, this time for real.

I care enough to think about why I don't feel anything at all about Netflix Avatar. It'll be fine, whatever else. Just fine.

[cleolinda]

The Scariest Movie I Ever Saw in a Theater: The Ring

I'll tell you up front that the story I'm going to tell you is about "The Ring (2002)," in the sense that it is about The Ring in the year 2002.

See, I don't know what The Scariest Movie Ever is. A quick google says that the consensus is The Exorcist (I haven't seen it, because I never felt like scheduling a day to freak myself the entire fuck out). But horror is specific, and not just to a person, but to a time and place, even. When I saw The Shining as a teenager in a well-lit living room with other people, I didn't even really flinch, but I bet it would play very differently to me now. I don’t think The Ring is at the top of anyone’s list, but twenty years ago, I had a personal interest in it—at the time, I was running a dinky little Geocities site devoted to movie news. Links curated and compiled from all the other, bigger sites I followed—basically, it was the linkspam format I have used on multiple platforms, including here on Sundays. And so, as someone who followed theatrical releases pretty closely for two or three years, I saw the trailer for The Ring, and I immediately knew it was going to be huge.

To locate you in time, this was just after three self-satirizing Scream movies and the Overcomplicated Serial Killer films of the '90s. The Ring was something completely different: chill aqua-blue color grading a good 5-6 years before Twilight; a mournful Hans Zimmer score; no jokes, no quips; and a slow, inexorable sense of doom. Grief, even, given that the movie begins with the death of the main character's niece. What immediately struck me about the first trailer was 1) the melancholy of it, and 2) how much it doesn't explain. Onscreen, you get the title cards,

THERE IS A VIDEOTAPE IF YOU WATCH IT SEVEN DAYS LATER YOU DIE

Concise! Understandable! A woman (Naomi Watts) is freaking out upon discovering that her young son has just watched it! Admirable job setting up the premise and the stakes of this entire movie in thirty seconds flat, without even any dialogue. That's all you need to know, and thus, the remaining minute of the trailer can do whatever it wants, and what it wants to do is be fucking weird. Echoing voices, TV static, a closeup of a horse's eye, ladders, a girl with dark hair, people reacting to things we don't see, drippy doorknobs, rain. Characters don't give us the whole plot in convenient soundbites of dialogue (like they do in a later trailer); we just hear lines, overlapping, murmured out of context—

did you see it in your head? she talks to you... leading you somewhere... showing you the horses... you saw it. did you see it in your head? she shows me things. Everyone suffers.

That you saw it has lived in my head ever since, and not once have I charged it rent. But the "best" part is Naomi Watts screaming at the end, because you don't hear her voice; you only hear this heartless telephonic beeeeeeep. It's 2002 and I'm watching this trailer, thinking, I have no idea what the fuck I just saw. This is going to be huge.

And it was, to the tune of $249 million on a $48M budget.

At risk of recapping what you might already know, Ringu, aka Ring, is a media franchise that spiraled out from a trio of Koji Suzuki novels into Hideo Nakata's film Ringu (1998), a landmark of Japanese horror, plus several other movies, some TV series, many comics, and even a couple of video games. The overarching story is about a murdered girl/vengeful ghost named Sadako Yamamura whose rage and pain have created a cursed video tape, you watch it and you die unless you pass the tape around like a virus, seven daaaaays, etc.

The "ring" in question is the rim of a well. Keep that well in mind.

The movie I saw is the U.S. remake, which itself had two sequels. (The iconic Sadako is now named Samara Morgan. Keep her in mind, too.) Director Gore Verbinski moved from The Ring to Pirates of the the Caribbean (!), and so Hideo Nakata himself would direct The Ring Two. I... honestly have only seen the first one. And I was right, it was huge, and it kicked off the American J-Horror Remake genre, for better or worse. But what gets forgotten about The Ring is its marketing campaign, which I followed pretty closely for my doofy little news site.

It was inspired.

The story of The Ring is partly the story of the sea change in the media landscape—how we watch movies. And the story of its marketing is a picture of the very last years before social media changed the wilderness of the internet into something that feels so big, like a billion people could see anything we say, and yet so small—only a tame handful of places to say it, owned by three or four companies, and corraled by algorithms.

Back around 1997-1998 or so, I worked at a video store (Movie Gallery, where the hits were there then, guaranteed) for about a year and a half. By the time I left, we had started adding DVDs to the VHS tapes on the shelves, but we hadn't replaced the entire stock. Video stores might have transitioned fully to DVD by 2002, I'm not sure, but people still commonly had both VCRs and DVD players in their homes. And I remember that The Ring was sold in both formats when it eventually hit home video. Which is to say—you know the analog horror genre today? Marble Hornets, Local 58, The Mandela Catalogue?

Analog horror is commonly characterized by low-fidelity graphics, cryptic messages, and visual styles reminiscent of late 20th-century television and analog recordings. This is done to match the setting, as analog horror works are typically set between the 1960s and 1990s. The name "analog horror" comes from the genre's aesthetic incorporation of elements related to analog electronics, such as analog television and VHS, the latter being an analog method of recording video.

Okay, but this is just what home media was like, and 2002 was at the very tail end of that—boxy black VHS tapes that degraded with time and reuse were just how we lived. At the same time, I'd been using CDs for music since about 1991, and all our software installs came on CD-ROM discs; a "mixtape" by that time had shifted to mean a rewriteable CD rather than a cassette tape. In college, I—well, I'll plead the Fifth as to whether I downloaded mp3s via Napster, but I was also taping Mystery Science Theater 3000 on VHS over the weekends. It was Every Format Everywhere, All At Once, and we kept half a dozen kinds of players around for them. Here in 2023, we stream and download everything invisibly, unless we choose to engage in format nostalgia. (I've already run into the problem of Apple Music deleting songs I really liked, due to this or that licensing issue, because I was really only renting them.) The year The Ring hit theaters was the edge of a last shimmering gasp of physical media where iTunes had only come into being the year before, and iridescent discs were still mostly what we used, but cassettes, both video and audio, were still viable. And so, people did not think it was terribly weird when they started finding unlabeled VHS tapes on their windshields.

Movieweb, quoting TikTok user astro_nina:

"Their marketing strategy was essentially 'let's get this tape viewed by as many people as possible without these people being aware of what this is, sort of raising intrigue," she says. One way they achieved this was by airing the tape, which allegedly marks its viewers for death within seven days, as a commercial with no context. The video would air between late-night programming "with no words, no mention of a movie, for like a month...so people would run into it and it would just go on to the next thing, and people would be like, 'what the f--k is this?'"

I remember seeing the Cursed Video as an unexplained ad at least twice, by the way. That TikTok also indicates that DreamWorks straight-up sent copies of the tape to Hot Topic stores, as well as planting them under actual movie theater seats. While running my movie site, I heard at least one story of someone finding a tape on the sink counter of a restroom at a club. Did the marketing department actually plant tapes in bathrooms—or did a freaked-out recipient leave it there, hoping to dodge the "curse"?

(I haven't embedded the Cursed Video here, by the way—but I could have. If you'd like to see the American take on it, you can watch both the full version and the shorter variant that appeared in the movie itself. A text description of what the fuck you're even looking at is here [content note for both: blood, insects, animal death, body horror, and suicide by falling]. The original version from the Japanese film is shorter, and it's eerie rather than gruesome.)

BUT WAIT, THERE WAS MORE: DreamWorks had something of an alternate-reality campaign going with a handful of in-character websites. This was only a year after Warner Bros. ran the groundbreaking "The Beast" ARG for A.I.: Artificial Intelligence: "Ultimately, fifty websites with a total of about one thousand pages were created for the [A.I.] game." (I lurked in the Cloudmakers Yahoo group.) Marketing for The Ring did not go anywhere that in depth, nor did it need to; it was both a smaller film and a smaller story. I saw at least two “personal” websites (seemingly amateur and a little tacky, like my own), but the one I particularly remember was about someone who owned/trained horses? I'm not sure if it was meant to be the actual Anna Morgan character—Samara's mother—or maybe someone who had noticed that the Morgans' horses were disturbed? I'm not even sure anyone even remembers this but me. Reddit users dug up a few other archived websites, but they're about Sadako, the curse and/or videotape; they aren't as subtle or character-oriented as the site I remember. (Honestly, I wonder if weird shit like "What Scares Me" or "SEVEN DAYS TO LIVE" were made by fans rather than a marketing department, but who knows.)

[The “About” page from Seven Days to Live on the Internet Archive.]

[The entirety of An Open Letter on the Internet Archive. “UPDATE” is a now-blank pop-up. I would bet $5 that it was originally a pop-up of the cursed video.]

I need to point out here that Facebook did not exist in 2002. It would not exist for another two years, and Twitter wouldn't exist until 2006. Even MySpace was not a thing until the next year. I didn't start my Livejournal until October of 2003. What we had, for the most part, were independent forums and blogs. We also had Creepy Internet Fiction like "The Dionaea House" and "Ted the Caver"; their use of the blog format, of people out there seemingly living their lives until something fucked up went down, gave the stories the shape of reality. And it helped that these blogs had comment sections, sure—sometimes more story unfolded there—but for the most part, an author could "abandon" a blog, and you'd just find the story there via word of mouth. Like the Ring blogs I remember, it wouldn't seem strange if no one replied to you, whereas today, you'd have to hire a writer to sit on Twitter, or Reddit, or even Tumblr, and interact with people in character. Could you do something like The Ring's mysterious, weird-ass blogs today? Would anyone even notice?

So: It's 2002, my head is full of Alternate Reality and eerie images and you saw it, and I'm hype as hell to go out and see The Ring. I'm perfectly happy to go see movies by myself, so I went in the early afternoon (best time to get a good seat). The movie ended up being a sleeper hit, and the first weekend, the public was still sleeping on it, so there were only 7-8 other people in that theater, grouped in maybe two clusters. I was off in my own little pool of darkness in the upper right quadrant. Functionally, once the lights went down, I was alone.

Despite some middling reviews at the time, The Ring is something of a horror classic nowadays. If you want a scary movie this Spooky Season, check out The Ring. Or don't, because it nearly killed me.

We're at the last, I don't know, third of the movie? And Our Heroine has tracked down the origin of the Cursed Videotape to some creepy mountain motel or whatever. SPOILER, it turns out that it was built over the Cursed Well (everything in this movie is cursed) that Our Villain was thrown into—that's why Sadako/Samara is a vengeful wet murder ghost crawling out of TVs now. While investigating this decrepit hotel room, intrepid journalist Rachel and her, who is it, her ex-husband? her kid's dad, idk, discover the well under the creaky old floorboards. And then, wouldn't you know it,

NAOMI WATTS FALLS INTO THE WELL

NAOMI WATTS FALLS INTO THE FUCKING WELL

THAT'S WHERE SAMARA'S BODY IS

[The rather slapstick moment when Rachel falls into the well. Does not include what actually happens next.]

I go absolutely rigid in my seat. Naomi Watts is splashing around this dark-ass death swamp of a well and I know, with as much certainty as I have ever known anything in my life, that Samara is about to pop up in all her pasty, waterlogged glory. All the sad creepy dread, all the desperation to figure out what the fuck all that shit on the tape was and stop Samara from killing Rachel's son, all the horrible contorted victim faces, all the alternate reality I’ve been soaking in, it has all come to this. I have to leave the theater. I cannot be having with this. I have to be gone from this place. My legs do not work. I cannot feel them. I am frozen. I want nothing more in this life or any other to get up and leave this cavernous pitch-black room, and I cannot. I start praying for death. I want you to understand that I am not trying to be flippant or humorous. This is genuinely what went through my head. I was too scared to even think, "You know, you could just pray to pass out or for motion to return to your limbs or something." No, I sat there in The Ring thinking, Please for the love of all mercy just let me cease being.

You know that scene in Mulholland Drive (also starring Naomi Watts)? Winkie's diner and the EXCRUCIATING tension? It was a little like that, except I wasn't watching it, I was experiencing it, and Samara was my dirt monster out behind the diner.

Except that the jump scare didn't actually happen. I mean, yes, Rachel finds Samara's body down there, but—I don't remember exactly, please don't make me go watch it again to tell you what actually happens. It's played more sympathetically on Rachel's part, as I recall, and she and her ex get Samara's body out so that she (Samara) can have a proper burial.

And then it turns out that this is not the end of the movie. It turns out that Rachel has Fucked Up.

I think I was relatively okay through the rest of it, although the climax is Samara emerging from a TV in her full glitching swampy glory to scare [SPOILER] to death. I don't recall praying for death twice. There's a point when you're so exhausted from fear chemicals that you're like, yeah, this might as well happen. Bring it, Soggy. I did have a hard time prying myself out of that seat afterwards, though, and my mom says that when I got home, I had the classic thousand-yard stare. How was the movie?

"It was great," I said, and I meant it.

I've seen things that were objectively scarier (I watched much of The Haunting of Hill House from behind a pillow, to be honest), and it's not like I've never experienced fear in real life. But I respect when a movie that can make me feel so intensely, and there's something weirdly precious about the way horror is a safe roller coaster, as it's often been said. So I love telling the story about The Time The Ring Nearly Killed Me—a movie that actually made my body stop working—and I love thinking of how embedded in a specific time and place that movie was for me. The last gasp of VHS when the Cursed Videotape still seemed plausible; the way the internet was still wild and weird and free; where I was in my life, keeping up so avidly with all the movie news, and finding myself in such a little pool of darkness early one afternoon. It's the scariest movie I saw in a theater; that's the alchemy of circumstance.

[suzukiblu]

comfort w tim please? (i just want some fluff dkjshekdb 😂)

Well, this excerpt isn't Tim comfort, but hopefully counts for Tim fluff?

Context: pre-identity reveal/identity porn/idiots to lovers TimKon.

"Sounds like supervillain talk, dude," Kon says. Tim resolves to dial back on that at this point in his career. He's laying groundwork, yes, but subtlety is still the wiser course of action.

"You say that like you've never socialized with a supervillain before," he says dryly.

"Well, usually ones who wear a bit less," Kon replies, grinning wickedly at him.

"So you're telling me I should invest in a crop top before I try to take over the world and remake it in my own image?" Tim asks still more dryly as he raises an eyebrow at him with a little smirk, and Kon laughs and steps in a little closer, giving him a not very subtle up-and-down with his eyes.

"Only if you're trying to recruit me for your evil plans," he says, grin turning sharp. Tim wants to lick his teeth. "So I dunno, what are your feelings on Daisy Dukes?"

"I'm going to be honest, I'm not actually that much of an exhibitionist so at this point we're just describing my ideal costume updates for you," Tim informs him.

"Oh yeah?" Kon asks with another laugh even as he visibly preens at the suggestion. Tim is all for that, personally. Both the preening and the theoretical updates, in fact. And, a little more weirdly, just the idea of having anything to do with what Kon might ever decide to wear.

Yeah, that's probably a later thought, Tim decides. Like, a private-time kind of later thought.

"You're solar-powered, aren't you?" he says reasonably. "Showing a bit more skin can't hurt."

"I wonder if Superman would buy that excuse," Kon says musingly.

"Power Girl exists," Tim says still more reasonably. "And Supergirl wears a miniskirt, last I checked."

"Valid," Kon says, putting on a mock-thoughtful expression and tapping the side of his jaw. "Maybe I'll put in some cutouts and go for a lower neckline, tell the big guy he's making the rest of us look like prudes. What do you think, bikini or high-cut bottoms?"

"I don't know the difference," Tim lies, desperately trying not to overheat and die at that question and every single accompanying mental image that his useless brain has so helpfully decided to supply. "You'll have to provide examples."

"Will I now," Kon says, grinning all over again and pointedly cocking a hip. "What, pretty boy, you want a fashion show?"

"Well I did want to be a photographer when I was a kid," Tim says, although it was definitely never that kind of photography he had in mind. Kon laughs again and shifts in even closer, though, so it's worth it. Tim is mortified, but also undeniably into just . . . all of this, really, just everything about this conversation. Robin can't flirt with Superboy, but, well . . .

He's taking advantage a little, he can admit, but it's still just . . . nice.

He's wanted to flirt with Kon for way too long, at this point. Indulging in a little bit of it isn't the worst thing he could do.

And again, it's Kon, so it's not like it's serious or anything. The guy won't even remember this conversation tomorrow, much less anything about Tim Drake.

. . . admittedly that'd be counterproductive to Tim's long-term goals here, but still. He's willing to take his time on this. There's a plan. It has steps. Layers. Processes.

"I like you, man," Kon says with a wider grin, which is in absolutely no way whatsoever in the plan. "You're funny."

It occurs to Tim, almost disbelievingly, that he might've . . . made a good impression on Kon? Somehow?

Well that's weird.

[galedekarios]

seeing @mercymaker's own post about the "apology" made me feel confident enough to air my own feelings about it now that i have had a night to think it over and not internalise it anymore.

i'm not going to further belabour the point again how this "apology" is not an apology at all, but a statement where he doubles down on everything, omitting important facts, twisting truths, dancing around the issue at heart, and so much more.

it's frankly exhausting at this point.

i want to address one thing specifically however since he thought it was prudent to dedicate an entire paragraph to it in his "apology".

the fact that he wrote this:

"Truthfully I am not sure when or if I’ll begin creating again but I will continue to ask for permission to credit/use someone’s works if I feel like I’m inspired like I honestly had been doing following the late March situation. I do not expect any forgiveness or positive reactions to come out of this tbh, I just know an apology was warranted and deserved. This time I’m actually taking a step back to evaluate it."

after he just said this:

"To one gifset in particular, the hands set, that gifset was honestly a pure coincidence/accident. I truthfully had no idea that the blog had done something similar first. Hands are a common theme in Gales romance that I picked up on and I had no idea a similar set was done prior. I can say this about other sets too but it was this one in particular that I can honestly say was an honest coincidence/accident. And I couldn’t have known that those scenes/themes bore any special significance to that blog. Also I want to acknowledge I was never seeking “mutualship” but more so I enjoyed them as a creator and most likely had tumblr technical issues. I’m sorry if my actions ever made you feel unsafe, that’s the last thing I’d want to make someone feel :/"

it's just... absolutely vile to me.

first off, i have to ask: which is it? are you "apologising" or are you still trying to pretend that the concepts gifs i created and you stole are "common" things that you "picked up on" and "had no idea a similar set was done prior", which you could "say about other sets too"?

i'm confused at this point...

i'm being facetious here. i'm not. he's not sorry. he's sorry he got caught. again. and that, this time, it reached other parts of the fandom that it previously didn't, where he couldn't lie anymore about how all of this is just a case of people bullying him, of people being exclusive and clique-y.

i don't understand why he singled that set out in his "apology", however, other than that he must know by at this point that it's the one gifset that most upset me. not only because he stole it twice, but because it is so meaningful to me.

so... let's look at the facts here:

he followed me from early on, ever since my blog got traction in the bg3 fandom after the full release of the game

he engaged with me via messages and comments at around this time

there was no talk abt this theme specifically in relation to gale until after my meta and gifset gained traction, despite being a set containing an original character, which generally does worse in terms of engagement

he stole several other of my concept gifsets that i posted around this period in time (gale + missing waterdeep, gale + saying i love you, gale of waterdeep vs gale dekarios, one of my oc compilation sets)

he contacted me to remake a gifset in particular that was an older set as well, just like the hands set

i showed side by comparisons in my original post (same scenes, same frames, same framing, same caption) and it was so blatant to the point of where several people reached out to me, confused if the copy is actually my set or reblogging it, thinking it was mine

i think it's pretty obvious what actually happened, considering the context and, to be honest, at this point i don't think even he believes his own lies anymore.

all i can say is that this was not about apologising - none of this was - it was about trying to save face and doubling down.

[coldgoldlazarus]

Something else I've come back to while thinking about my theoretical Metroid II re-remake, is another interesting thematic element of the descent.

I commented in a previous post several weeks back, that it's kinda interesting how for the most part Samus Returns and AM2R are pretty similar in how they interpreted most of the areas, with the distinct exception of The Tower. But on looking back at fully-detailed stitched map for Return Of Samus, it actually makes a lot of sense, and I was somewhat underselling the strength of its design before. The fact that the remakes mostly match up on what's a temple, what's a factory, and so on, stems in no small part from the tilework in the original game.

(Even the divergence between interpretations of The Tower comes from emphasizing different aspects; AM2R focuses more on the interior with all the beams, and the lake of acid/lava at the bottom, to make it a weapons facility and geothermal plant, while Samus Returns instead focuses on the twisting vines and thorns climbing up from the surrounding caves, to make it into a marshy jungle.)

---

But taking a step back to look at the big picture, there's a very very interesting progression as you delve deeper. The first section you visit seems to be a temple or a place of residence. Some weapons in the basement, and expansions out the wazoo, but the actual area is pretty innocious.

Second area, some sort of water processing facility given the pipes and the lake out back, which AM2R stuck close to, while Samus Returns reenvisioned it as more of a big dam structure. I actually like that slight modification a lot and will be incorporating that, partially because it fits slightly better with the following thematic progression IMO.

The third and fourth areas are sorta thematically linked with two sides of manufacturing; the factory, and the mines supplying it with raw materials. Here we see a more heavily industrious side to the Chozo, something AM2R in particular picked up on and emphasized further in a lot of ways.

Then there's The Tower. Has one of every beam, sits atop a lake of lava, thorny vines growing up the sides of the cavern it resides in. Setting aside both of the remakes' more colorful interpretations, there's something just very grandiose and dark about it, and one area where MII's level of screen crunch is kind of a detriment to fully appreciating. And I think, even in the absence of the need for redundant beams, AM2R had the right idea in labeling this a weapons facility.

(Following this is where AM2R inserts the Distribution Center. I love it, and it is a great extension of the industry idea, but in hindsight the placement after the Tower feels a little bit awkward.)

Long long tunnel, classic Metroid bubble area and Omega gauntlet. This all seems to be nature, so less relevant to this discussion, though the bit in the middle where the first Omega is introduced is something I wanna shine a spotlight on in a later post. Anyway, it's a long remote trek away from all the other places of civilization, ending with ascending a huge abyss to the final facility built above it.

And that final location, where the Queen resides, is a lab. Even before it was ever explicitly stated anywhere that the Chozo created the Metroids, I have zero doubt that the implications here were intended when the game was originally made. But it's an especially interesting thing when you look at the sequence it is the capstone to.

It's easy to miss otherwise, but looking at them all in context to each other, you wind up with a clear progression in the roles each facility plays. Simple hallmarks of civilization, to mild use of nature for that civilization, to heavier industry, to war. And beyond that, genetic engineering and extinction.

The Ice Beam is available again in the laboratory, behind a shattered statue. A gameplay convenience, but also a key piece of storytelling.

[centrally-unplanned]

I watched the Scott Pilgrim anime! I was deeply ambivalent, which I am sure is a shock to no one who knows me and saw it lol. I think I have a sequence of thoughts, so I will tackle the obvious one first to get it out of the way: Marketing, Adaptation, & Genre Drift in Scott Pilgrim Takes Off

Starting from top, if you don’t know, the Scott Pilgrim anime is not an adaptation of the original source material, but an alternate history version of the events where the titular Scott isn’t present for the majority of the episodes and Ramona Flowers is the main character. Which has been controversial! Not…amazingly controversial or anything, this is an extremely low stakes scenario and from my analysis the majority of people liked it. But controversial enough to get insufferable Kotaku articles “explaining the backlash” which don’t explain the backlash well. Let me see if I can do a better job - its fun to set low bars for yourself to clear after all.

The backlash starts with the marketing; really just the professional drama-trolls would have objected beyond an initial reaction to Netflix announcing Ramona Flowers vs the World; as a concept it makes a ton of sense, and it is essentially what they actually did (well, we will get into that). But that is not how it was sold:

“Join Scott in his fight for love, life, and rock!” I’d love to, still waiting for the invite! This is the first teaser for the show, and if you do a quick “frame count” it pretty equally privileges Scott & Ramona both, but Scott is still on top and it deliberately hides any sense that it is an alternate timeline. It even has this screenshot as one of its final moments:

Which I am pretty sure does not appear in the actual anime! If it does its in some flashback alt-timeline scene in a later episode, not its implied context (in the actual episode Scott ‘loses’ this fight). I can show more evidence - casting the original cast of the movie to make it seem like a ‘recreation’, statements by O’Malley where he plays deliberately coy with the idea of how similar it's going to be, and so on - but I think I don’t have to, because it was intentional, you don’t have to read the tea leaves on this. The bait-and-switch is part of the marketing, not an accident from it.

That is the step 1: people are thrown about being deceived. The step 2 is simple - this is a deception about an adaptation. I am someone who constantly complains about shows sacrificing cohesion & storytelling for “the twist”, but its too common these days to be that mad over it in a mass way. My designated punching bag over at Kotaku points this out:

This is a recurring theme for metatextual work like Final Fantasy VII Remake and the Rebuild of Evangelion films: initially they’re presented as retellings of beloved stories, only for it to become clear at some later point that they’re going to take more than a few liberties and tell a different story entirely.

The difference here is that FFVII and Evangelion are remakes, not adaptations. FFVII is a video game being made into a video game again; Evangelion is a tv show + movie being made into a movie series. The FFVII decision was controversial, but fundamentally you can just go back and play the original game; fucking everyone hated the idea of the Evangelion rebuilds being remakes because that is pointless, the originals have aged amazingly, and they had to deviate to justify their existence (they failed at that, but a story for another time). Meanwhile, Scott Pilgrim is a comic, that has never been a TV series, or an anime. There is the movie, but did you know a bunch of comic fans hate the movie? You see a lot of comments like these all the time (from a discourse reddit thread debating the new show):

Personally, I thought it was fun. I agree with a lot of your complaints honestly, but I don’t understand how you liked the movie? I can’t stand the movie because I feel like the characters are all flat, especially Ramona who has absolutely no personality at all.

I disagree btw, the movie is great, but it is a loose adaptation - hell it was released before the final volume of the graphic novels was finished, it has a different ending! A short, cohesive movie could never adapt a long-form, episodic graphic novel. And its live action, stylistically very different. So this TV show was both branded as, and was expected to fulfill a demand for, a first “real” adaptation of the comic, that people wanted. The fact that Evangelion deviated in its remake is a poor comparison. Questioning that people want full adaptations of works they enjoy isn’t really worth our time.

Now I personally don’t care about the above two - I am explaining the debate, but they aren’t problems for me. Step 3 is where I start caring - I think Ramona Flowers vs the World is a great idea. They thought they made that, and I wish they had. But in the process of telling the bait-and-switch of the story, they also bait-and-switched the genre. There is this great quote from O’Malley about the original graphic novel’s story from an interview (whose headline we will revisit in another post, don’t you worry):

Yeah, I mean, when I was writing Scott Pilgrim the first time, I just wanted to come up with a very simple story engine: fight, fight, fight, get to the end. That gave me something to hang all this other stuff on, all this slice of life hanging out in Toronto.

Its such a nice summation of what Scott Pilgrim is - the fighting against the evil exes? Its all sizzle and jokes, none of it matters. Its a plot device to structure the real story, which is a slice-of-life romance drama, coming-of-age narrative, and extremely intimate portrait of Toronto’s scene of indie music venues and hipster coffee shops. The joke is that Scott is dealing with all this crazy video game/anime shenanigans on top of actually having to navigate very grounded past emotional damage and present challenges of adulthood. The heart of the comic is not the fight scenes, some of which literally happen in the background while other characters are talking, but scenes of a group of friends hanging out at 11:00 PM at a dive Korean restaurant:

Scott Pilgrim Takes Off meanwhile is not built around this cast. Its built around a mystery plot and Ramona Flower’s evil exes, who she is investigating, and Scott Pilgrim, uh, checks notes travelling to the future and fighting his …aged enraged alternate self from the original timeline…? Anyway, Ramona’s evil exes are mainly joke characters, comic reliefs who engage in crazy shenanigans. Half of the episodes are structured around them, and their episodes are filled with extended comedy bits and very-long fight scenes. Episode two has a 13 minutes long fight scene between two of them, including build-up, over control of the League of Evil Exes. Hell, they don’t even live in Toronto - a ton of the new anime takes place in New York City and a bit in California. The comic meanwhile has panels just…explaining locations in Toronto sometimes:

Listing the hours of operation, its so cute! The anime has no time for this in between its sci-fi plots and fight scenes, and its far cheaper for it.

The decision to focus on shallow characters like Ramona’s exes is downstream of the decision to focus on Ramona without Scott -besides the exes the rest of the characters are Scott’s friends, who Ramona gets to know through him. Which is the final point here - who are the characters people love from Scott Pilgrim?

All of Scott’s friends ofc. Characters like Lucas Lee are memes, not people. Obviously Kim Pine, Young Neil, Knives Chau and so on appear in the anime. Sometimes they have great scenes - like the adorable scene of Knives & Kim playing music together, Knives’s first time really trying to jam:

Which goes absolutely nowhere from a character perspective - Knives & Kim barely interact after this. It sets up Knives doing a comedy-meta musical for the plot, sure…but that’s boring in comparison to real emotional connections, Knives doesn't have an arc. But they can’t have more, because our main character Ramona Flowers doesn’t know these people; she wouldn’t just hang out with them, and she is busy with her mystery investigation. She sees them when she needs them for plot reasons. Kim and Knives and Stephen Stills are much flatter this time around (Julie, to her credit, kicks ass in this one).

Obviously I could point out that Scott & Ramona’s relationship in the anime, given that they have literally one date before Scott vanishes, has no depth to it, but that is easy. The funniest way to summarize this character issue is if you check the tags on Tumblr right now, you are going to be awash in Scott/Wallace shipping posts. Like I swear, at times its straight(?)-up 50% of the posts going on, its a rabid gay horde out there lusting for this sugar daddy/baby dynamic. Which makes sense, they have so much sexual tension & emotional depth as friends…in the comic. In the anime they barely know each other! Wallace hates Scott and interacts with him maybe a half dozen times, primarily to tell him to move out, then does his own shit. This is all people projecting comic!Scott/Wallace onto the current show.

There are more downstream consequences of these decisions & other issues (like the overdone meta elements, or abandoning most of the indie-music aesthetic) but this has gone on long enough. The point is that telling a different version of the story would actually be fine. It would disappoint some fans, sure, but if done well you would likely win them around. Hell, the original comic’s ending kind of sucks, good time to polish some things. But if you change the main character and the genre and the cast focus and all the character dynamics…at a certain point its just its own new story now. A story irrevocably tied to the old one, but not about any of the things the old one cared about. I think you can see why that would be a harder sell than Ramona Flowers vs the World, even if it was a good zany action comedy anime in its own right. You will get backlash from this level of drift - and you will deserve it.

Also fuck Lisa am I right? Jeez, 0 out of 2 for moving picture adaptations. What you get for being blonde I guess.

[thediktatortot]

I would very tentatively like to put feelers out there for anyone looking to write long-form roleplay for final fantasy 7. I haven't written it with anyone in a very very long time and with getting back into the remake games it's spurned me to want to get back into it.

If you would be interested or are curious, I'll write all my info and what I'm looking for under the cut.

First things first.

Adults only, preferably someone 20+ though the older you are the more comfortable I will be as I am 32 and like to write about a range of topics including darker ones.

How I write

I write book style like you would see in a published story, so "talking like this" and story like this, with variations for emphasis.

Hard No's and discomforts

There isn't much I'm not open and willing to write, and usually it's a story by story basis, but I get squicked out by non-trans mpreg and would like to avoid overly ooc and crack fic style story.

What I like to write

I like to write from the Vincent POV and I like to keep the timeline pretty canon unless writing in parts of the timeline that have not been filled in.

My favorite parts of the timeline to write about pre FF7 events, DoC events and post Advent Children.

I don't have any concrete plot ideas just yet as I usually form those alongside my writing partner, but I am particularly interested in the Turks pre-Soldier program or post FF7 events.

How I write Vincent

I am of the mind that post-getting shot, Vincent is way more subdued due to memory loss from actually dying for a period of time, lucrecia even saying that she couldn't prevent decay of tissue in DoC. So there is a lot of himself he just does not remember due to that, however I do believe he has a sense of humor, is more talkative with those he is close with and has an interest in experiencing the world around him that is so new and updated.

Pre-getting shot Vincent however is a professional man who knows when to keep his personality subdued for his job. He is a Turk and he does his job well, this doesn't mean he doesn't have a life outside of that. Most of the memories we get outside of the few Vincent has of the time at the lab, are from lucrecia POV.

I like to give him a soft energy outside of work, open with his coworkers and his friends, but not willing to make a fool of himself as he takes pride in his ability to be calm, cool and collected. He will however dance, drink, play games and generally enjoy himself with those around him.

I like to give Vincent a tense relationship with his father, nothing bad just more of differing opinions and typical son butting heads with father.

Pairings I like

Almost forgot to write these as I really just like writing Vincent in any situation, but I do like Cid/Vincent and Reno/Vincent the most. I tend to enjoy Vincent with Cloud, Barret, Reeve, Veld & Sepheroth depending on the story and context.

Anyway:

I'm disabled and unemployed so I tend to have a plethora of time at my disposal so I am flexible to writing with people at most times. I am also not someone who is impatient with responses though I do tend to go through spurts of replying very quickly. I may occasionally give a boop or nudge just to make sure we are still golden and see if maybe we need to put things on hold, but I'll never push.

Just to note I played FF7 for the first time in 1998 so if there are any headcanons that may seem weird to you that I have, it's because of the near 20 years of reinforcement it's had.

[mirukokosana]

➪ 𝖠 𝗄𝗂𝖽?

✯ CONTEXT

You weren't sure how you were able to end up with a literal soldier. You were only told that you were with this soldier because you have the intel that he needed to finish his mission. Seriously, you didn't know what to expect from this but you were sure afraid of whatever was going to happen. You just wanted to enjoy your teenage life, but this might count. While you were told that you were going to be with this soldier, he was only told that you were a high-schooler.

✯ CHARACTERS

John Price, Kyle "Gaz" Garrick, John "Soap" Mactavish, Simon "Ghost" Riley, König, Alejandro Vargas, Rodolfo Parra, Philip Graves

How are they going to handle you? A 16 years old kid?

✯ SFW ✯

✰ This is a remake for my post in @shiyosugi

If you haven't seen it yet, which I am certain you don't, this is the post »» ★★★

I feel like I should remake it because I wrote that one like a year ago and it isn't that good. I also wanted to write about other things except for anime stuff.

My main account shall serve as an anime account only hence this account might be Call Of Duty content only, not actually but we'll see. Oh, I take request, I guess-

John Price

— He wasn't against the idea of bringing you along, but he can tell you were the one against the idea and teased you about it. "You're scared kid?"

— He kept you near him or in front of him, making sure you weren't left behind or lost sight of him somehow.

— He knew you had never held a gun before so he necessarily told you to hold his gun for a moment which wasn't even for a moment as he just continued on with his mission without asking for his gun back. But you gave him his gun back anyway, you weren't going to hold that for anymore seconds.

— He was a little curious on how you were able to get your hand on the intel he needed so he decided to ask. You said that you just know your way around this place and you were sort of a nosy kid. He was amused, "Guess kid being nosy isn't always a bad thing."

— When surrounded by enemies, he wondered of how he was going to keep you unharmed but he knew that the least he can do is making sure you were out of this mess alive with maybe a few scratches. You ended up unharmed somehow.

— You were just kid and still have better future waiting for you so he wasn't going to let you went through anything traumatizing, but you were nervous already just by being in this situation.

— When needed, you were the one who was going to talk with any civilian around and you were surprisingly good with words. "Are all people around your age good at getting what you want?" "You can say."

— Don't worry, he didn't doubt your abilities.

— After the mission, he was amazed that you didn't pass out yet from anxiety. "You did great, kid. Think you can do this again?" "No."

Kyle "Gaz" Garrick

— "Out of all people in the world... Why a kid?" He was obviously questioning about the situation you were in and he obviously didn't want to bring you along because you are just a kid. However, he knew that he needed you to finish his mission so he reluctantly agreed.

— First thing he asked you was how you even have all the information he needed, and when you said that you just knew your way around and being nosy, he was speechless. Teenagers nowadays.

— Since you were the one who needed protection, he made sure you were side by side to him so that he can easily move you around to hide you in case something bad happen.

— He was being extra careful with his weapons, he didn't want to accidentally hurt you.

— He would talked with you occasionally to make sure you weren't feeling nervous, he understood if you were feeling that way.

— Unlike Price, he wasn't even planning on giving you any weapons. You were going to stay on his side and you weren't getting yourself in danger.

— Even if you two were in danger, he made sure you weren't getting any single scratch on you. Man was being protective.

— When in a situation where talking to a civilian was needed, you didn't even let him do his move yet and you were already talking to them. You were the one who was good with words here anyway. He was obviously surprised that you started talking before he did but he just let you. "You famous around here or something?" "I told you, I know my around here."

— After the mission, he was obviously relieved that you didn't end up with any scratches somehow. Whatever, he was just glad that he was able to protect you.

John "Soap" Mactavish

— He was literally speechless. He had to bring you along?

— The first thing he asked you was your age, when you told him that you were 16, he started thinking of whether if it was fine for him to bring you along with that kind of age. Eventually, he had to let you tag along.

— He obviously have a lot of question for you which you answer one by one. The question was mostly about your school life. Nosy.

— When you told him how you were able to have the information he needed, he gave you an approving nod.

— He was a bit worried about the fact that you might get hurt. He needed to focus on potential enemies along with making sure you were close to him and protected.

— He genuinely enjoyed talking to you, someone who was still in their youth, comforts him somehow.

— Seeing you talking to a civilian and was able to get them do what he needed them to do sort of impressed him. Then again, you were a teenagers, they always knew what they were doing.

— After the mission, he told you that he would to talk with you again sometime, but in a more friendly situation.

Simon "Ghost" Riley

— You can feel his eyes judging you, he was wearing a mask and you were obviously focused on his eyes. You were even more nervous.

— He wasn't going to protest anything as he knew that he needed you, he reluctantly accepted the fact that he needed a kid to help him.

— He only asked about how you have the intel he needed, your answer didn't bring out any reaction for him.

— You were silent, he was silent, the mission was kind of awkward for you. He only talked when he needed to ask you something.

— If you were worried about getting hurt, no worries, he took care of all of the obstacles. He might didn't seem like he wanted to have anything to do with you, but you were still a kid and he was the one who can protect you. He was returning the favour.

— He was surprised that you suddenly started speaking to the civilians and told them to do something that he was just about to consider. He obviously needed to ask you how you were able to tell what he was thinking. You simply told him that you can read the situation. He appreciated that.

— Now he knew that he can count on you with dealing the civilians, he sort of loosened himself a bit around you. Guess you weren't that bad.

— After the mission had finished, he thanked you for your assistance and that was it. He might or might have not praised you, "You surprised me to be honest." "How?" "For a kid, you aren't that bad. I could use your help sometimes."

König

— (Out of all the guys here) He was really not expecting a high schooler to be helping him and it obviously made his jaw dropped, thank you for the mask he was wearing you weren't able to see it. "What?"

— Despite how surprised he was, he did not protest to have you helping him, though he was a bit concerned for you. He showed that he was taller than you in many ways so you felt a bit nervous standing beside him.

— He wanted you to feel comfortable around him so he made some small conversation with you, mostly asking and talking about how your school life so far.

— When you told him about how you were able to have all of the information he needed, he nodded at you. You weren't even aware that he was smiling underneath that mask of his.

— He wasn't expecting to enjoy your company and because of that, he was being very careful with his surrounding. He didn't want any injuries on your young body.

— When he saw you talking to the civilians for him, he was literally looking at you like you were his child or something. "You really know your way around here." "Yep!" He was like admiring you at this point.

— When it was time for you two to separate ways, he was a bit sad about it because he felt comfortable around you he somehow wished you were his siblings or something.

Alejandro Vargas + Rodolfo Parra

— Alejandro eyes were wide and Rodolfo was just looking at him. Rodolfo was the one who dragged you to Alejandro because he knew that he(Alejandro) will need your help.

— Alejandro couldn't believe that Rodolfo would just bring a high schooler to him, but when he decided to test you by asking one question about the mission he was working on, and you were able to give the answer and even proven it, he decided not to question Rodolfo's decision and then jist agreed to bring you along.

— You didn't really feel nervous around them because they made small conversations with you just to make you feel less tense with the situation you were in.

— With both Alejandro and Rodolfo keeping an eye on you, the risk of you getting hurt had lowered.

— You didn't mean to get in Alejandro way when you he was about to talk with the civilians. You casually walked over to them and started talking to them and asking them to do something that Alejandro was about to tell them to. "Seems like that kid is better with talking than you." Rodolfo teased.

— Now that the mission had done, Alejandro finally asked you about how you knew about all of the things he needed for the mission. You simply told him that you knew your way around and you was just nosy. Alejandro gave you an approving nod while Rodolfo couldn't help but chuckled at your answer.

— Alejandro would like to have you helping them again next time.

Philip Graves

— A member of shadows brought you to him and he was surely not expecting to have a kid being brought to him. When the soldier told him the reason of why you were brought to him, he wasn't really believing.

— He asked you some questions and you gave him a clear answer, he tried to hold back his smirk when you had proven yourself.

— You weren't really concerned about your safety because he made it clear that you were important to him. (Bro can have his men to guard you)

— He didn't know why but he asked you about some stuff about yourself, and you gave a less detailed answers. When you told him about how you were able to know about thing in his mission, you just told him that you knew your way around and nosy. He laughed at that "I guess teenagers nowadays can't be left alone with so much freedom."

— Even after his mission had done, he told you that he might kept your contact info with him for future use "Until then, keep yourself updated with a tons of information for me yeah?"

[moophinz]

I’m a firm believer that the plot of the first game, including the remake and added Nishiki context, could very easily be a great story if properly rewritten. The potential is all there, but it’s held back mostly by such old writing. Yokoyama has said he’s not fond of his old stuff, and that he feels his writing found strength when doing Y3.

We need some Shimano and Majima interaction. Majima introspection after his boss is killed. The Nishiki flashbacks can stay, but the ending needs to be totally reworked to include them instead of just leaving it as it was in the original with a Yumi focus. Since so much stuff happened to him far beyond her. More Yumi in general. There’s some heavy things we didn’t get to see with her, and she goes through such a drastic change offscreen. She had the idea herself to blow up the bar and the money. Kazama even says something along the lines of Yumi wanting to get her own revenge against Jingu. More Yumi and Kiryu even if that’s also in flashbacks.

I’m so sorry Majima I have no idea how to merge MES with the main plot without drastic changes

[phoebified]

ooooobliiiiigaaatory sso post because new dark rider design dropped! erissa (not sure why they didnt just keep elise or change it to eris? but that's ok!), the remake of chiyo, just dropped, and... she's white! interesting. there were a lot of ways sso could've saved the dark riders fumbles. there were a LOT of those fumbles, but the one i hammered on the hardest was chiyo, because i myself am japanese, and immediately know a bad design when i see one. likewise, i'm pretty spot on with calling how that character will most likely be written, and can make a few good solid guesses. i will say, i feel lots more in common with sabine, and am against the way they designed someone i could relate to and then painted them staunchly as a villain; likewise with all the dark riders, this may be sso's most diverse group yet, and they are villains. HOWEVER. at that point, they had already put them in-game, and now all i can hope for is some good old fashioned childhood "everything ends up fine" writing that shows these characters some love and perhaps sways them from their homocidal ways.

back to erissa.

why was chiyo's design racist? well, it wasn't just her. most of the dark riders were handled poorly. to be honest, i've talked SO much on this blog about why chiyo was such a bad design that i simply don't want to rehash it. was it the worst i'd ever seen? no. but putting in those stereotypes to a game children -- WHITE children -- play is like teaching children to hit bees nests for fun. it's pointless and hurtful to everyone.

SO: what do i think of erissa? she's cute! i like this design way better than the last.

that's it. whole idea. i think the colors are more comprehensive, i like the crochet details, i think the hobby horse looks a little silly but i kinda like it. overall, i am happy.

now you're probably wondering, "what, so sso can't make non white villains!?" and the answer to that is 1. don't be stupid and 2. of course they can. but they better put just as much effort into the rest of sso. they don't, though. our only buff woman is alex, who barely counts because she's kinda small as fuck in game. that leaves Sabine, who's more buff. her character is nonwhite, visibly has arm hair, and until proven otherwise, is nonhuman. not only that, she's evil. that sends some pretty strong messages, and, side tangent, but to anyone too goofy or too stubborn to see how that's a problem, i'm excited to see how the children in YOUR family turn out, be it yours or other family member's. will YOU teach them what racism is and why it exists and the complexities of it that people scoff at that allow it to continue to exist day in and day out, or will you let them play all the other games that DONT revise their writing, where the good characters are straight and white and every other type of "normal" and the enemies are gay or nonwhite or both? anyway. i hope you see my point.

"children will experience this stuff ANYWAY!" sure. why add to it?

"oh, so you're pulling a save the children thing? so what, you want everyone to be th3 same?" no. i want them to take chiyo's design, make her clothes look better, make her default state not like a mouse, and put her in the game as sso's like. only japanese character. i'd fucking love that! do you know how little representation there is for weird japanese girls? we dont got dick or shit. it'd be so fun to have a slightly redesigned chiyo as an npc, i'd totally fucking adore that! different clothes bc i think her past design was a little. ourgh. it'd be fun and cool if they made her like, a budding emo? omg that'd resonate with so many people i'm sure, and the purple hair is already suited to it. black hair would also be cool, though. do you see what im saying here, though? context is everything. im sad sabine is a bad guy. im sad every white girl who plays this game gets someone to relate to. i guess i too really relate to and like anne, but that's where the similarities end. it's easy to say "why does race matter?" in a sea of white people if you're white, but it can get lonely playing any video game if you're not white. sso is one of the best games ive found in terms of trying to really add diversity (although im still waiting for updated fat npcs), and that's why i weighed in so heavily. it matters to me. i love this game. i think they've done so much good with it recently, i'm really just beyond impressed and in love.

i think erissa is a good design.

[celestie0]

Girl I was balls deep in my attempt to make fanart for u a couple months ago

Like I had the reference pictures collated and I sat my ass down and picked up an pencil with the intention of actually drawing something after ages

cause basically I became a lil sad cause I felt like I forgot to draw bc last year in school I took an external art subject and it didn’t occur to me that doing a hands on subject through distance study wasn’t the brightest idea

anyway that fucked me over and led to me dropping and taking up fucking legal studies 😭

Even though I’m a bit more STEM based I can still fw the wordy subjects but not this someone pls save me why am I being assessed on the bi cameral structure of parliament

saur yh I’m super lazy as is with anything so that situation just put me off drawing and art completely

congrats to me setting every world record for yip yapping and going off track

ummm yh for context it was like my 10th read through of the kickoff chapter 6 scene that compelled me to collate a bunch of reference pics that ranged from twitter smut comics to bathroom sinks and eventually I gave up because anatomy is a bitch

I changed into a dress with the same type of neckline I think reader was wearing bc of the way it tucks under her boobies and I was this close to just shamelessly positioning myself in front of the mirror to make my own references

then ofc I got distracted by a half baked portrait of Rose from titanic that I drew when I was like 15 and ended up drawing a two hour long remake of the same picture

only for my friend to tell me it looks like Mary Shelly’s ghost

Should I know who that is

To be fair it looked nothing like her but I mean it was an improvement from thinking all my ability just went poof and I drew better when I was 15

never the less I was somewhat disappointed with the product and I haven’t drawn since

wait I wanna show u actually lemme try

https://share.icloud.com/photos/0edTRG9Tb54pRh9Qe5unszRrg

the Mary Shelly in question

do these links work I’m scared I’m gonna accidentally leak personal details or my whole camera roll lol

also IM NOT AN ARTIST don’t judge me peeps I’m just a girl idek how to drive yet

I feel bad every time I send an ask I feel like I’m force feeding u Ellie babes u have the patience and commitment of a saint

also OMG IF YOU MADE ART FOR ANY OF MY FICS I’D SOB!!!!

I want to 😞🫶 but alas prospect of fanart from me will most likely never see the light of day

that crack scene in ihm was tempting tho everything u write is just so visual

♥️ mwah my gorgeous gorgeous writer wifey

hellooo my dear PLS the ramble of this ask is legendary and i found it very entertaining xD

ouuu the dress that reader wears in ch6 of kickoff is actually based on a dress that i own, here's some pictures of it!! i'm curious if the dress you have is similar!! but yea this is the official outfit reference hahah

looking at it now it's kind of a mild sweetheart neckline lol n yea def tucks under the boobs very nicely xd i was actually gonna sell it on depop a couple months ago when i did a closet cleanout but i was like nahhh i gotta keep it bc it inspired that scene

taking your OWN reference pictures sounds so badass. and its ok babe it's the thought that counts haha <3 i feel u about the losing passion/talent in art thooo aaa i used to draw too but ehh hobbies fizzle

ahh i can't see the cloud photos :(( but anywho thanks for the yap my dear!! i ate it up. also side note but i'm so glad my writing comes off visual to you!! i always worry there's not enough description in my scenes so that's reassuring to hear. much love!

[fennecfics-the-simp-king]

Big Khonjin House art dump ..again-

My friend Lavender got me into Wrongjin House recently, and I can’t turn back… it’s all their fault, blame them/j

The grey guy is supposed to be y/n for that stupid fanfic I mentioned like a month ago I think- I’m going to post the chapters soon I’ve just been going through some art block-

I’m really proud of the colored in sketches on both pages… also Noel’s school uniform is something else I’m proud of-

Also the ones at the bottom, it’s very out of context but it’s based off a silly idea and Lavender had at like 4am :,]. Also they gave suggestions for me to draw some of these sketches on both pages.

Once again, blame @peppeppeppepperoni-pizza for the Wrongjin House sketches. /silly

I don’t have a changed name for her, so I’ll just be referring to her as W!Noel because it’s simple enough ._.

Also here are the stupid covers for my KH x Reader fanfic idea I’ve been working on. The really bland left one is the old cover, and the beautiful right one is the remake. You can tell because it’s like a thousand times better-

[alpineshift]

Ooooh prompt ideaa yess!!

“What could you possibly be this stressed about?”

Nico to Jack when Jack is spiralling because a few days ago Nico just off handedly mentioned Jack coming to Switzerland to meet his family for the first time and Jack goes full on ‘what if they don’t like me?’

arrrgh cute omg I'm shifting this to an au where they're pretty seriously dating but Jack isn't an NHL player/plays a different sport, so he's just never met Nico's family when they visited for Devils events.

8. “What could you possibly be this stressed about?” 

After the third time Jack's gotten up to fiddle with something (remaking his coffee, changing his sweater, staring out the window) instead of cuddling with Nico on the couch, Nico finally caves and points it out.

"Hey--is something wrong?"

Jack literally jumps. Nico narrows his eyes.

"Nothing. Why do you ask?"

Nico looks pointedly down at the Nature Valley bar wrapper Jack is currently twisting into a knot. His boyfriend makes a face, tosses it aside, and gets up, pacing around the coffee table and the couch. Nico watches him go, patient, taking in his messy curls (Nico loves running his fingers through them) and the #13 t-shirt he's commandeered (Nico loves seeing Jack wear his shirts)

"You said that we should go visit your family in Switzerland this summer," Jack finally says in a rush. Nico waits for the next part--then frowns and sits up when Jack doesn't continue. He doesn't understand; the way Jack said that, Nico would've thought something terrible was going to happen.

"Yes? I always go back in the off season, I figured it would be nice if you came with me and met them, if you had the time." Jack sputters, wide-eyed, and Nico feels like he's strongly missing context now. "Baby, what--I don't get it. What could you possibly be this stressed about?"

"What if they don't like me?!"

The confession bursts out of Jack like a gunshot, and now the two of them are staring at each other from across the living room like two...well, Nico doesn't know what. Two people that managed to stun each other stupid?

"What--what do you mean? Why wouldn't they like you?"

Jack sputters again, cheeks red, and gestures inarticulately at nothing. "I dunno--what if I don't make a good first impression? What if I say the wrong thing? What if they think I'm too stereotypically American? What if they don't think I'm good enough for you? What--"

"Alrighty," Nico says, levering himself off the couch so he could get all up in Jack's space; pulling him into a hug, the best, tightest, hiccup-inducing kind that makes Jack complain about getting squished like a grape (not that he doesn't secretly like it.)

"You're thinking of all these what ifs. But you know what? Ever since I floated the idea to my family about hosting you, my mom's been texting me non-stop asking about your favourite foods, what you like to eat, if you're allergic to anything. My dad's been asking if you're into football, if you'd like to watch a game with him sometime. Luca's already planning a drinks night and Nina wants to take us all to the beach. They're so excited to meet you, because they all know I'm head over heels for you. But--if you're not ready yet, I don't want to push--"

"No, no," Jack says hastily, his voice muffled against Nico's shoulder, his hands clinging to Nico's shirt. "I do want to meet your family, I just. I like you so fuckin' much, Neeks. I'm just nervous. I don't want to screw anything up."

"You won't," Nico promises. "They're gonna love you, Jack. I know they will."