#and thats another thing im exploring

[vanquishedmelon]

I'm really out here developing a full backstory for the Warren line from the time they claimed the manor for good to the time of Penny's birth...... as if I would ever fully flesh out and write it..... like I've got all these ideas and I just want to ramble on about them but WHY when in a week's time I'll move onto something else and forget about this

[luck-of-the-drawings]

[OLD ART ALERT] A COLLECTION OF SCENES FROM THE GILLIONS CATSCRATCH ARC THAT BROUGHT ME GREAT JOY. i love fishy chips especially when its just gillion being delirious and violent and hostile

[becauseplot]

Penciled Lines

(Cross-posted on ao3, if you prefer to read it there. Reblogs still appreciated!)

Missa wakes up, and he thinks he might be doomed. This doesn’t scare him nearly as much as it should.

Missa is awake early—by his own metric, anyway. His nocturnal nature causes “early” for him to mean “early night” and not “early morning.” Regardless, “early” means that Philza is not asleep yet, still going through his nightly rituals. “Early” means that Philza is sitting up in (his? their?) the bed, pillows propped up behind him, notebook in his lap, sketching away.

And when Missa wakes up to the soft scritch-scratch of a charcoal pencil on textured paper, his forehead just so happens to be brushing Philza’s hip.

Missa can hardly breathe.

Oh no.

He knows that if he gives any indication that he is awake, Philza will stop sketching, close his notebook, shift himself over until he is politely seated on his side of the bed, and greet Missa with a friendly smile. Philza has done it before, when Missa wakes up early. That’s how Missa knows he’ll do it again.

Thus, Missa can hardly breathe—his breaths have to be the slow in-out of sleep. He can’t so much as twitch, either. He has to keep quiet and play dead or else he’ll be found out. Seen. Caught living the lie.

“Husband,” Philza calls him. They’re not married. They share a bed. They’re hardly ever in it at the same time. They have a son and a daughter. Neither of them know Missa very well. Philza has had an extra set of armor and a skull on his backpack for months, waiting for Missa. Missa doesn’t even know Philza’s last name.

Philza is a good man and a good friend—and Missa doesn't deserve him. Still, he takes what he can get. Curls around it. Hoarding every innocent kindness Philza extends like a starving creature: the generosity of a backpack fully stocked with equipment; the trust Philza places in Missa to watch the kids when he’s asleep; and now, the courtesy of not moving his hip from Missa’s forehead to ensure his “sleeping” isn’t disturbed. Missa clutches all of these little offerings in his greedy claws and hugs them into his chest, even as the guilt eats away at him.

Because, regardless of the lack of mutual feeling, he loves Philza. He loves him so, so much, and that is why he is doomed. He can’t afford to lose what little he has. He can’t cross that line. 

So Missa lies beside Philza, forehead pressed against Philza’s hip, pretending to sleep so he can imagine that they’re not just lying in bed together, but lying in bed, together; and later, when Missa truly wakes, he will sit on his side of the bed and look at Philza’s face soft with sleep and think about how lucky he is that he still has a side-of-the-bed to begin with.

Missa doesn’t mean to drift off. When it starts to happen, he’s hopelessly torn between shaking himself awake and thus giving himself away, or remaining how he is, silently fending off the inevitable. In the end, Missa clings to that scritch-scratch sound of Philza’s pencil on the paper for as long as he can before the fog at last pulls him under. 

Eventually, he dreams. In fact, he dreams of the calloused fingers he dreams of every night, hands like his own, an artist of Death, cradling and shading the contours of his face—a softness dashing charcoal across his jaw, and over his cheekbones, and perhaps on his lips, too, if he’s lucky. Defining every edge of him.

~*~

A deep sigh. Phil stops sketching as Missa shifts in his sleep. He tilts his head up so that the tip of his nose is now just nearly brushing against Phil’s hip. The motion disturbs the wild splay of his dark hair, revealing more of his face: eyelashes, cheeks, warmth. Tender blush of something Stygian and otherworldly. New.

Phil’s lips tilt upwards. He turns to a fresh page, and he starts again.

[puppyeared]

Been LOVING your lil magician folks recently please continue they're beautiful and very cute and cool and also very well-designed!! 🥺❤️

thank you for the kind words !!! im not much of a writer, but i do have some sort of story in mind for them.. theyre bitter rivals who end up as roommates bc of their scatterbrained elderly landlord lol

[rearranging-deck-chairs]

Hi hello I watched all of carmilla in a weekend when I was 17 because a student teacher who in retrospect I had a bit of a crush on mentioned that she knew one of the actresses. also I am pretty invested in all your recent vampire stuff because I watched iwtv in 2 days last week because your edit intrigued me

oh hiiii 🫶 thank you for indulging me. thats so cool that you watched iwtv! did it live up to the expectation?

i also watched carmilla at 17! or like, 17-19. i found it when s2 had just started and followed it to the end. did something permanent to my brain but i think it was a good thing. on rewatch now im like, i was right to like this. like it's a solid show, it's good. it has its flaws obviously but it's well written, the emotional moments still get me, i can see why i liked it and i still like it now even when it's not anymore, you know, meeting every need that baby gay me didnt even know they had

what it doesnt reaallyy do though - i dont remember if i posted abt this or if i left it in my drafts but - is explore vampirism as a concept. their subject matter is more lesbianism than vampirism. which is great! thats what they wanted to do and they did it and it's very good. but reading interview with the vampire the book rn im realising how much potential vampires have to be metaphors for like so many things and i started wondering like 'wait, did carmilla just not really engage with it or did it all go over my head'. but it just didnt really engage with it all that much. which again is fine bc that wasnt what they were doing. im glad they were more about the lesbianism than the vampirism

but there's this interesting difference in framing, because in iwtv they keep calling armand 'ancient' right? and emphasising how old he is. and he's like 500? and i was like 'wait isnt carmilla like 400?'. she isnt, shes 340, but still, thats getting there, you know? and we know quite a lot about her history, but kind of just the Big Events. when she was turned, the events of the novella, coffin of blood, silas. thats sort of what we know. but none of the long lonely slog of history day to day you know? with armand i feel like we can really feel how much time everything takes. how every one of those years is made up of single days. with carmilla i dont feel that as much. i keep kind of thinking about daniel, when louis calls him a boy in the first episode, saying "im an old man, with all the triggers that come with it"

because carmilla might look 18 (or mid twenties at this point) but she has lived all that time. shes also seen her native land be claimed by like a succession of ruling powers, right? like armand. shes been buried alive, like louis. when lestat is born, shes already 80 years old, shes lived a whole human lifetime, and the entire adult part of it shes been a vampire. shes lived through 1680-1870 being a lure. i compared her to abigail hobbs in some tags on a post, i dont know if youre familiar with hannibal the tv show, but i do also kinda keep thinking about that comparison

if youre not familiar, in the first episode of hannibal the murderer of the week is this guy garrett jacob hobbs who kills and cannibalises girls who resemble his daughter. and later on it turns out she was made to be his lure. like they'd go places and he'd sent her to the victims to make friends and maybe get them back to their home or smth. not sure if they specified all the details. but that's what carmilla did for mother. and in s2 we hear from mattie that while every couple of decades carmilla had to lure victims for the fish god, she also seemed to just enjoy humans between those times, right? like the doctor, gets lonely, gets a new companion. but we've only sort of got mattie's mocking word for it ("dont eat him, hes a poet! or her, shes got such a wonderful voice. or that one, shes just too pretty to ruin"), we don't know exactly from carmilla's point of view what she was doing or why. if mattie's talking about stuff that happened after the blood coffin, 1950-now, then i think it's a fair assumption based on what carmilla says in the s1 sock puppet show that after she'd figured out what the real situation was and what her role in it was, when she'd started trying to save girls from being sacrificed, that she mightve been doing the same trying to save people from becoming mattie's victims. it's probably more likely that she was just trying to find excuses to stop mattie from sucking someone dry rather than actually having like an aesthetic based morality. but it might be a bit of both. im still trying to figure out what her philosophy actually is, like i dont know what existentialism actually means ghkfjghkj but i will

i also found it pretty striking in the movie when shes turning back into a vampire she says like "this was supposed to be done, you know? the blood lust, the self-loathing, the sleeping tied to a chair in my own bedroom". thats what defines her vampirism, wanting blood and hating yourself for it (the third part is a joke/reference to s1 but also i think meaningful for how she sees her relationship with laura when she IS a vampire. little bit of that 'she will reject me for my monstrousness' shining through). and thats what defines vampirism for lots of vampires across the genre obviously, but i dont know, it struck me. we dont get a lot from carmilla's pov, we know a fair amount about her, but the story is always told through laura. we get laura's diaries, but just snippets here and there from carmilla, what shes thinking, how shes feeling

and i love that shes a philosopher. i love that thats how she seems to try and find something to hold onto, in a world that kind of moves around her, having been murdered, kidnapped, turned and groomed to be a lure on the cusp of adulthood, never having been properly loved (the relationship with her father wasnt good she says in s3, and her mortal mother i dont think has ever been mentioned (like laura's)). the only good relationship she seems to have had for the better part of 3 centuries seems to have been mattie, and mattie seems to love being a vampire. i can imagine carmilla just sort of going along with anything mattie wants to do just because shes so desperate for that friendship. not like, against her will necessarily really. but more like, she hasnt even had the space to develop her own will, you know? and philosophy lets you do that. philosophy gives you frameworks to understand the world and to develop your own opinions on it. and by the 21st century she seems to have developed those opinions, she has a sense of her own values, but shes also still stuck in that same situation. shes jaded and cynical in the face of laura's optimism and strong moral code a lot of the time in s1 because she feels probably pretty powerless. like she does what she can to save some girls but at the end of the day shes scared of her mother and she has nowhere else to go really, right?

i like how she grapples with that over the course of the series, in tandem with laura grappling with her black and white morality. she sort of jumps ship from her mother to laura bc theyve fallen in love, but then laura still stuck in her hero thinking refuses to see her monstrous side. not literally bc i think the biological vampirism never seemed to be a problem for laura, but morally. the having murdered. carmilla needs laura to see that and love her while seeing it bc the last girl she loved rejected her for being a vampire.

but you see her kind of swing back and forth in s2. she softens first with laura but then they break up and she leans back hard into the sarcastic cynic defense mechanisms, leans hard into "im a monster, dont expect heroism from me". but thats like, it's sort of learned helplessness i think. it's powerlessness, resignation. bc morally shes not a monster. maybe she doesnt have as strong a drive to help other people as laura does and is a little more selfishly hedonistic in that she just wants to enjoy her/their life, but she doesnt hurt people for fun, she never has. she just sort of didnt have another option for a Really long time. so she pretends she doesnt care. "im a vampire, this is what i do, this is who i am". but clearly from the way she talks about it when she turns back into one, she doesnt enjoy it

and i like how she goes even further in s3, where she starts swinging even more to the heroic side, bc she sees hope. shes like "wow if we kill my mother, i'd be free". theres hope and she becomes like a lot more active. and shes like that at the start of the movie too, a lot happier, a lot more relaxed, and then vampirism is back and bam depression gfhgkjh like shes immediately more gloomy, ashamed of her past and her self, retreats into herself

sorry i just took this as an opportunity to dump all the carmilla thoughts floating in my head on you. you didnt ask fhkghgjh consider this an open invitation to you or anyone else to come talk to me about carmilla

[zeldassecretwell]

listen. listen. hear me out.

trans zelda and trans link (of course), HOWEVER (long speculation and gender worldbuilding/headcanon follows):

link, afab and genderfluid. as a child, shrimply does not Care about gender. does not cross her mind (homeschooled and fucks around in the woods too much for it to be relevant to his life). But when they pull the sword, suddenly there's all this attention on them and guess what? The Hero Of Legend is a boy, and so Link must be a boy, always. He doesn't really mind at first, because it isn't like he cared anyways, but it eventually becomes stifling as he realizes that he, as The Hero, is expected to perform a certain kind of masculinity (and only ever perform that kind of masculinity).

zelda, amab and trans, she/her. grows up as aware of gender roles as a child can be (given that those roles are tied to the monarchical power structure that she's born into). Sees that her mother is 1) the one with the divine heritage and 2) I'm going to assume favorite parent since I dislike Rhoam intensely. Is like, yeah sure I'd like to be a girl, sounds neat! Rhoam et al. are like but your roles...no...be a boy... And then her mom dies when she's like 6 and everybody's like well shit The Princess Of Legend is a girl, and Zelda is an only child, so now we will choose to see you as a girl. And at first Zelda doesn't mind because she thought being a girl was neat anyways, but then it becomes stifling as she realizes that she, as The Princess, is expected to perform a certain kind of femininity (and only ever perform that kind of femininity).

I just think it's incredibly interesting how gender can play into the themes of destiny/expectations/personhood/choice/self discovery if you operate off of the assumption that the botw/totk universe has an (even slightly) different system of gender. because most societies do in one way or another. FOR EXAMPLE:

- link starts dressing more fluidly and expressing themself more after he wakes up post amnesia, moving away from rigid, stoic masculinity of pre-calamity

- zelda cuts her hair post botw. she cuts her hair. oh my fucking god! she cuts her goddamn hair! she is louder and more outspoken, and she leans into being a scientist. and she cut her hair!!! because she IS a girl, but not the one that her father wanted her to be.

- and on the topic of how this influences the rhoam-zelda dynamic: you could read an element of rhoam projecting onto zelda (and zelda very much perceiving this) "well, if only you had been 'BORN' a girl, maybe your powers would work sooner" or "well you wanted to be a girl, so why do you complain about the kind of girl that you must be for the good of the kingdom (read: the kind of girl I want you to be)"

- THUS. INTENSE ZELDA LINK BONDING (romantic or platonic doesn't matter) VIS A VIS BEING TRANS AND THE WAY EXPECTATIONS SHAPED THE WAY THEY WERE PERCIEVED AND THE WAY THEY PERCIEVE THEMSELVES. CAN I GET AN AMEN.

- also, last little note - because I'm assuming (as much as one can) that the kingdom of central Hyrule is to some degree imperialistic and subjugating other regions in the country pre-calamity - other societies in hyrule could have gender systems that differ from that of Central Hyrule (and this is sort of present in canon but. you know. in the way that canon is the way it is. well.). ERGO. none of the Champions have to be in line with the central hyrulean concept of a cisgender person. I rest my case.

[angy-grrr]

There is gonna be more than that coming from the poll, but whatever it is vote Kacchan/Deku for best hero. Idc who wins i just need them to be together again

if they just announced it today without saying anything before, I would probably immediately do it.

Right now im just bitter because of the hype -I thought it would at least slightly relate to the actual story (adaptations of other stories, extra content for the volume which once again may I remind everyone is extremely short, almost half what a manga volume usually looks which is a huge problem).

This disappointed me extremely, as its not even related to any content from the manga beyond the characters it uses. I get that many ppl will work on this, and that artist will get excited over being able to get the spotlight, some will be able to ask specific questions, and a character will get a statue and a movie.

Still extremely disappointed because of the "special project will be announced on the 5th *wink wink*".

I can't feel excitement over it as, in my mind, I lost something that felt better -more content related to the story. So at best this would be "oh cool I can try it", a feeling pretty similar to the other announcements -not my favorite thing in the world, but I wont reject it and try to see what comes out of it.

This isnt at best to me right now

[turtlespancake]

me when i write a character who is prone to dooming themself and then they run off and doom themself. core traits are stubbornness and a willingness to disregard their own humanity gET BACK HERE IM NOT DONE WITH YOU

[kiddokori]

things i like about totk so far: the depths,

i am going to be so completely honest i thought id be able to think of more. um. this is awkward

[tommygettingwrittenoff]

i need eddie to get another guy friend in season 8, and buck loses his shit about it (again), so he breaks up with t because he's convinced that the weird feeling he gets when he sees them together is because he is Really attracted to the new guy.

[bbboar]

The other week i had a friend ask me essentially what the appeal of Gortash was and the experience was embarrassing, humbling, illuminating, devastating.

I am always delighted to explain why i like a character who is honestly kind of atrocious (love me an asshole, love me a villain etc) but ngl 80% of the appeal of Gortash to me is the durgetash dynamics and the rich potential for horrifying, romantic, gross, gorey, loving, tragic, expansions of canon implications. And i truly truly truly feed off the stuff my fellow enjoyers come up with. Its an ecosystem.

This is a house that has been built upon headcanons and character analysis. How these fucked up villains would commit cardinal sins against their respective gods because they like each other so much. How they see see the horrors in each other and not only not flinch, but admire them. And you can take that and do so much with it!!

Kind of reminds me when i was super into venom/eddie and it was bcs fic writers and fellow enjoyers were doing The Work!! They were analysing, they were expanding from canon, they were adding more story and depth etc And thats the beauty of transformative works but the down side is that you can look at canon and be like "Oh yeah i forgot you were bare bones".

Just like how i spoke to Gortash yesterday in-game after not having spoken to him in what was irl weeks and what washed over me was a feeling of "Oh. I have made a feast of crumbs"

Like im sure when i do my durge run, there will be perhaps a decent meal but i am also very aware of how much of this ive built up in my own head

[dandyshucks-moving]

there's this one photo I've seen floating around a few times with the words "I wish we could've met as kids, you would've loved the softer me" and I think about it every now and then

so ... art ʅ(๑ ᷄ω ᷅ )ʃ

[opens-up-4-nobody]

...

[puppyeared]

throws oc lore at u <3 (anton belongs to @poicyss )

[rainbowresurrection]

I ended up reading The Price of the Phoenix and while it didn't make me want to bleach my eyes like Killing Time, I still didn't like it as much as I hoped I would. Don't get me wrong, the homoeroticism was intriguing to me, but the actual writing and storyline itself left me with a headache. I think I get my hopes up with these books, given all of the possibilities that the written word has for Trek, and it inevitably sets me up for disappointment lol

[grand-line-shenanigans]

For the girlies who enjoy the caves and the cliffs (it's me, im girlies)