#but as I wrote I thought of so many more

[pepperpottsandcompany]

Chrissy Cunningham, Edissy and Grace Van Dien

I don't usually make long text posts on here - hopefully I will make more about awesome female characters in the future - but I feel this situation requires it.

There are spoilers under the cut.

First off, I really liked Chrissy Cunningham as a character when she appeared. A lot of people did, and a large part of that is the actress making her so likeable. I assumed we were going for the bitchy head cheerleader stereotype when they introduced her, but I was wrong. She was really sweet, kind and had immediate chemistry with Eddie.

Obviously, the actors (Joseph Quinn and Grace Van Dien) made their characters so amazing and their acting made the characters have undeniable chemistry. Whether you see that as platonic chemistry or romantic chemistry, it's undeniable that it's there. The scenes they shared were wonderful and I actually got very attached to Chrissy in the short time we had with her.

Now, I ship 'Edissy' (Eddie x Chrissy) and I shipped them immediately. However I understand that some people see them as platonic and see a friendship there, which I totally understand. We don't all ship the same things. I also ship 'Steddie' (Steve x Eddie), and I love both those ships. They're great.

What is NOT great is the fact that a lot of people within the Stranger Things fandom - most of whom seem to ship Steddie as well - seem to think it's okay to post nasty and hateful things about Chrissy, Edissy and Grace herself. A lot of them have even sent Grace hateful messages on social media and genuinely made her fear going to conventions because she's worried about in person hate.

They are also claiming that Edissy is paedophilia because Eddie is around 19/20 and Chrissy is 17/18. They are both SENIORS, which means they are around the same age and even though Eddie has been kept behind a couple of years, he's still a teenager, like Chrissy. That age gap is NOT PROBLEMATIC and if you think it is, you need to log off the internet and go the fuck outside into the real world.

Edissy is a perfectly fine and valid ship, as is Steddie. If you don't ship it, awesome. Just move on with your life and don't harass people who do.

Moving on from people being gross about the ship, the fact that some of you think it's okay to harass and bully the actress who plays Chrissy on social media because you've decided you don't like the ship is vile and horrific. And a lot of people doing that are

a) super weird Steddie shippers who remind me of the horrible Lokius shippers in the Loki/MCU fandom who harass Sophia Di Martino for playing a female character that 'gets in the way' of their white mlm ship and

b) obsessed Eddie Munson/Joseph Quinn stans, who, a lot like the Tom Hiddleston stans in the Loki fandom (who send hate to Zawe Ashton, Tom's real life fiancée, as well as Sophia), or Robert Pattinson stans in The Batman/Twilight fandom (who send hate to Suki Waterhouse, Rob's irl girlfried, and a lot of whom seem to hate BatCat and Zoe Karvitz), seem to hold up their favourite purest bestest boy fictional character and the actor who plays him, but hates any woman who is close to him irl or in the shows/movies they're in, and seems to think they have some weird claim over them

You DO NOT have ANY CLAIM over a fictional character NOR THE ACTOR WHO PLAYS HIM.

The fact that you all have decided to bully and harass and young woman over a fictional romance that NEVER happened (both ships guys, BOTH ships) and are insinuating that the friendship between real people (the actors) is fake because you can't handle a a woman being friends with a man you see as your possession, is absolutely disgusting and you are all scum.

Also, so much of it stems from misogyny, and what's worse is that a lot of the people hurling this misogynistic abuse are other WOMEN. That is vile. It disgusts me. Women are people, and male/female ships are VALID. Also, the fact that you only harass the ACTRESSES in these situations tells so much. You all still see women (other women for many of you) as obstacles to what you want and as lesser then you. Go and revaluate your misogyny, internalised or not.

Also, while I'm here, all the people crying about Eddie being queer - you do realise bisexual and pansexual people exist? As well as a wealth of other sexualities where it's possible to love/be attracted to more then ONE gender. People in male/female relationships CAN BE QUEER. Eddie can like Chrissy AND Steve. It's possible.

Anyway, I got distracted. Chrissy is a wonderful character, Edissy is a great ship (romantic or platonic) and Grace Van Dien seems like a lovely young woman.

If you have been hateful towards Grace, or any other female actor, for playing a female character that you perceive as 'stealing' a male actor/character you like, or as 'getting in the way' of your gay ship? YOU ARE THE ONE WITH THE PROBLEM. You need to work on yourself and your misogyny and you need to leave social media and stop harassing real people.

I am ashamed to ship Steddie because so many abusive people ship it too and have decided that this is the 'superior' ship and they need to harass people who ship a different ship or need to harass the actress who plays one part of the other ship. I'm also ashamed to love Eddie Munson as a character because so many hardcore Eddie 'stans' (who also obsess over Joseph Quinn) are also being abusive towards Edissy shippers and Grace as well.

I adore Chrissy, and Grace, and I ship Edissy. I needed to say that. And the rest of it needed to be said.

To all those antis, haters, whatever you call yourselves. If you've harassed and bullied Grace or anyone on social media for liking Chrissy or Edissy, I wish the worst fates on you. Grow up, put down your phone and go and revaluate yourself and how you think.

[poorly-drawn-mdzs]

Gaslight, Gatekeep, Girl found dead in a hidden room.

[First] Prev <–-> Next

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

[skylersprompts]

DC x DP Prompt *31*

Dan… no, Bruce often thought back how his life had started. A young kid – not older than four years of age - had died in his sleep. His soul was leaving for the realms. And the Ancients had asked him if he was ready for redemption. Ready to live a new life, with all the happiness and pain it had to offer. He said yes, because nothing could be worse than rotting in the Thermos.

He had been wrong.

He had been shoved in the dying body of a little kid, his memory's of his past life simplified, so that his new brain could still grasp them without hurting him. He knew that he had been Dan once. Now he was little Bruce Wayne. He wasn’t allowed to ever take a life while he had his free will. He wasn’t allowed to ever tell anyone about his past live. He wasn’t allowed to use his powers, should he ever find the strength to reach his core again. The Ancients had made it clear that they would otherwise take everything from him. He remembered that his original, Phantom the Ancient of Balance had been against this, but he had been outvoted. If he should be able to heal his obsessions and never kill somebody, he and his family would share an afterlife together. His obsession unwrapped itself. Without being able to reach his core it was easier. His core was mending itself back together, his broken obsessions healing. From Danny's side he got the obsession to protect and belong in his fraid. From Vlad he got the obsession for control and family. And everything seemed to be perfect in the beginning. He had his Mother and Father. They were all safe. And he had as much control as a small child could have. He really was striving.

And then his parents died.

It broke him, not completely, but enough. And then he became the Batman. Being a hero, while also having something that was so vampire-esque was almost like a homage to whom he had been made of once. And even though he didn’t have a family anymore, except for Alfred, he at least could protect other people and gain some control back.

Than he got Dick, his first Robin. And everything was wonderful again, he healed again. Then he found Jason and he was brought into his little family and he loved it so much. All of this was worth it. Having his two sons and his father in all but name by his side was so much better then the Thermos.

He had been wrong again.

Bruce need for control and protect made him sometimes a bad parent, he knew this. But he never wanted to push his children away. He needed to find Jason and apologies.

And then he hold the broken body of his son.

This time the crack was bigger. Because he should have been able to protect his family. Because it was all his fault! He wanted to hunt down and kill the clown, he was holding onto a thread. He knew he would lose everyone if he let himself slip, but it was so hard.

And then Tim came into his life, holding him together, even though it shouldn’t be his job. But he healed, little by little. Until the Red Hood came. Until Jason came back and asked the impossible.

He couldn’t damn everyone and Jason to be erased. He couldn't lose his family, his son again.

[aroanthy]

kiryuu sibling stasis post-32 is so interesting to me. nanami tries to leave and is (temporarily but also, crucially, violently) prevented from doing so by touga and akio. after this experience she puts distance between herself and them: she leaves touga’s phone in the car, she resigns from the student council (though she dons her old uniform still), she repeatedly dismisses and undermines the authority of the rose code, of end of the world, of akio, of touga. but she’s still in ohtori, isn’t she? uncomfortable with the idea of leaving, uncertain if it’s really possible. she tried before, and it hurt her. deeply. it’s so interesting to me, nanami’s agency and how she limits her exertion of it after 32, when she realises it for what it is. contrast that with touga, who accepts this weird stalemate between them, who is, really, uninterested in having any relationship of any kind with nanami if he can’t gain something from her. he’s very passive with her after 32, compared to the passivity he’d always feigned towards her before in order to stoke reactions from her and then exploit them. i was thinking about how touga has always been able to sever his relationship with nanami, but chosen not to; first out of a sense of obligation (‘we should live to help each other’) then a realisation of how that could be exploited. i was thinking about how nanami has never realised her ability to leave, in part because it is limited by touga and the harm he does her. i was thinking about the desperation and confusion akio calls out to anthy with as she leaves. i was thinking about how different that is to the kiryuus’ strange semi-breakdown; touga doesn’t want or need nanami, and nanami might love her brother but she cannot trust him or feel safe around him, doesn’t want to see him anymore; she’s itching to leave, and just a little scared (you know, because last time she tried that her brother assaulted her), and he’s not doing anything because ignoring her means he doesn’t have to deal with the emotions of her leaving or staying. something something gendered power dynamics something something tragic siblings

[scintillyyy]

as we all know i LOVE rite of passage (detective comics #618-#621) and to the father i never knew (batman #480). i have analyzed them so much & i will continue to analyze them so much more in the future. they are so, so dear to me. i look at them with heart eyes.

at the same time, i blame them for fanon drakes.

because listen--the concepts that fanon drakes largely came out of are from these particular potrayals of them & particular panels from them--rite of passage is famous for the postcard letter, which fandom warped to mean they don't call tim (along with the drakes as selfish ceos) and the way thay they're portrayed as ostentatiously wealthy with the million dollar jet (leading to tim & the idea that he grew up ostentatiously weathly in the vein of bruce wayne wealth with his empty mansion and completely unaware what a banana costs or what normal people are like). the idea that they had tim as a business baby does have roots in jack saying that tim is going to take over the company one day (and tim not wanting to take over the company one day) in the father i never knew. now fanon has warped & exaggerated these traits immersely, but the initial concepts honestly stem mainly from alan grant's work on them (because it's the only time we see them *so* ostentatiously wealthy, on everyone else/the vast majority of the time they drakes are upper class but also jack and dana make tim do chores and he has normal sized rooms and boarding schools).

and i just wanna talk a little bit about how and why those traits came to be under him & why they ended up working in interesting ways in canon but end up falling flat in fanon. because those traits were put there for very specific reasons & when you lose or alter the context of them, it takes away what's interesting about them existing to begin with.

because let's give the main context for them: the drakes were this way under alan grant. and when alan grant is writing, alan grant is gonna put his agenda in there. and i say that in an entirely neutral way. and in the 80s, alan grant was an anarchist--notably creating the character of lonnie machin aka anarky. which brings us to our second main context: though he was never even a contender for it, alan grant had created lonnie with the thought that he could maybe make lonnie the third robin (unbeknownst to grant, wolfman and o'neil had already decided on and were creating tim drake specifically for the role--there were no other real contenders at the time).

so when you read through grant's issues on batman and on how he wrote the drakes you do have to take into consideration the following: that grant had a statement to make & thay he had a clear interest in foiling the robin that was created with that of the one he tried to. he wanted to explore a story of capitalistic greed and exploitation and its negatives. so when he writes the drakes as greedy, as ostentatious, as bitter people who argue over a beleaguered secretary's head in rite of passage it's because he has to *set the stage for how this greed will lead to their downfall*. and it does! it gets them kidnapped, it gets their secretary killed. it is a *lesson*, cautioning against greed--does he not have them also lament while they were kidnapped thay had they known what life had coming, they would have chosen to not waste any of the good things (their son)-- the things that *really* matter, not their greed or that which came of it. it is why that as they're reaping the consequences of their greed, tim is simultaneously in his own battle with anarky--so that he can be foiled against him, and making tim's parents stand for everything anarky fights against is *part of tim's foiling against lonnie*, part of his ideological fight with him--as tim is winning, his parents are losing. as tim walks away from lonnie, proud to be able to tell bruce that he tracked him down all by himself, proud to have won, tim is about to receive the worst news--that bruce was unable to save his mom and his dad is comatose, who paid the ultimate price for their greed. the exaggerated awful traits of the drakes work here *because* it fits into the bigger story as a whole--they need to be that awful to make a statement on how capitalism and greed kills and ruins you. and even then grant is not without sympathy for this--tim, as the person who loses so much as a result of everything, is treated very sympathetically despite being a foil for lonnie. tim may have won the battle against lonnie, but he lost so much more. even jack and janet are allowed their moment of realization that they made the wrong decisions before being punished for them. it works to service the inherent political statements embedded within. the exaggerated awful traits work as social commentary.

even in to the father i never knew, the themes of greed & what greed will cost are there (though there are also lots of other delicious themes as well). in here, tim and his lack of greed is played against the greed of his father and phil marin--his father wants him to take over the company, but tim wants to take care of the city--and meanwhile jack's company is being embezzled from by a man he trusts who *tim* ultimately stops. jack's greed and refusal to know his son almost loses him everything and he is unaware of it all. tim knows everything but can't tell him anything. again, jack's exaggerated awful traits work here as *social commentary*.

and when you take away this social commentary aspect of their traits when you exaggerate them and just make them awful to tim, you do start to lose what made these traits *work* in the comics. because then you just get awful for the sake of being awful. irredeemable with no remorse. a rich kid needing to be saved by a rich man. you lose the meat of what their exaggerated negative traits wete supposed to stand for when you lose the interplay of class and social commentary.

[incorrect-jojolands-quotes]

Hot take but I think what we saw in chapter 13 was necessary.

I don't think a lot of people realize how important it is for Araki to portray what he did, even if it extremely difficult to take in. Let me explain.

Araki has discussed about topics like racial and class disparity through both Steel Ball Run and Jojolion, but JOJOLands is different because the discussions are now very direct. We had Chapter 1 open up with police brutality and Chapter 13 open with intense bullying; both acts were committed by people of higher social standing/power and seemingly White (or white passing) and both are harming a dark-skinned queer individual. Not only that, remember that Hawai'i is an island stolen and colonized by the US and many indigenous individuals who were supposed to live and maintain kapu are being forced to endure housing problems, loss of culture, etc. due to gentrification and exploitation of its lands. 2020 was when we saw global protest towards the deaths of George Floyd and Breonna Taylor due to police brutality, which has spread as far as Japan in terms of demonstrations and rallies. Araki has made it clear that he tries to take real world experience into his writing, and this is no different. He is also no stranger to portraying law enforcement throughout his parts without glorifying or downplaying their behavior.

As a mutual of mine (who themselves identify as a black GNC individual based in US) has put it, those who identify or even appear as Black while identifying as trans-femme or women are subjected to some of the worse kinds of oppression possible in America. Queer women of Color are one of the most susceptible to sexual violence-- especially when they are young, and the darkness of their skin really plays into it. This is transmisogynoir; it is a hard pill to swallow and acknowledge, even if it feels excessive, and its a multilayer of oppression that connects a person's racial identity, gender, and sexuality as targets of discrimination. It's the fact that one is POC, a woman, AND queer that makes one a target--- not just one or the other. You can’t turn a blind eye to this because it happen constantly throughout America's history and American society even today, but you can't simply water it down or downplay it. In fact, many victims of transmisogynoir have no choice but to downplay their experiences because of their Black identities or because they appear too dark to be taken seriously; when they, especially if they are Black, try to hold people in power accountable, these individuals are suddenly labeled aggressive, indignant, etc. and they are further discriminated for attempting to speak up. Dragona downplaying the bullying isn't them just trying to avoid further conflict but a reflection of how many who were in similar situations like Dragona are forced to simply forgive and forget the trauma they have to endure. To downplay it ourselves is reinforcing the narrative that individuals like Dragona in real life should remain silent and endure their harassment rather than rightfully protect themselves and others from it.

Another thing to add is that the way Japan portrays and treats the LGBTQ community, particularly the trans community. In Japan, the process to legally change your gender is complicated and requires a lot of steps that include, but not limited to, being diagnosed with gender identity disorder, proving you have no kids/guardianships, and sterilization. This causes a lot of individuals to be forced to quickly transition as a means of getting their gender recognized, which takes away the time to let them explore at their own pace, and this is due to how the process can lead to hindering career and life opportunities that wouldn't be hindered had they already transitioned or stayed closeted. Many Japanese trans individuals unable to go through the process quickly either remain closeted or move away from Japan to transition at their own pace. So, as a result, the trans community and its struggles is not as noticed compared to outside of Japan. Another thing to add is that the trans community in Japanese media is often portrayed as comedic relief or a gag. Oftentimes, the trans character or character who diverts from gender conformity (i.e cross-dressing, acting more flamboyant) is the butt of the jokes. Some thing to note is that, when Dragona was first introduced, a lot of people thought that Araki put Dragona in simply for comedic purposes. I had people joke about how Dragona is just there because they believed Araki is trolling. Not only that, the racial issues that Japan has often results in jokes towards non-Japanese individuals in media, especially if they are of darker skin color.

So, Araki putting Dragona in these difficult situations is also meant to subvert expectations that his Japanese, and possibly Western, audience may be expecting. The expectation was to laugh and toss Dragona aside as a single-dimensional character, but Araki instead forced us to face the trauma through Dragona's experience head-on. We are made aware of Dragona's situation, how real and difficult the struggle is, and we end up emphasizing with it rather than laughing at it. Through this, we get a glimpse into real life experiences of trans POCs without it being downplayed and have it show how Dragona is a fleshed-out character with importance to the series. As some have put it, this chapter proved that Dragona isn't just a side character but arguably a complex individual on the same level of importance as Jodio. I don't think it would have been easy to have the same impact if another approach was taken.

While talking to others who identify as trans and/or GNC about their thoughts on the chapter, I was told by many of them that, while Dragona's experience hits close to home and was hard to digest, they appreciate seeing it being expressed and hope it will help other people understand their struggles. One noted how the introduction of Smooth Operators with the backstory as empowering, seeing the Stand as a symbol of surviving the trauma that comes with trans discrimination. I do find this a bit telling with how many people online who are against Araki's portrayal barely mention what trans/GNC people have said about it.

My main concern, as well as what I see people have rightfully critiqued, is the excessive trauma reinforcing the fetishization and violent voyeurism towards trans individuals; it also reinforces the problematic narrative that dysmorphia can only happen as a result of trauma and the trans experience can only be full of pain. There's also the issue that Dragona's experience also happened while they were under age and their harassment is similar to that of Lucy. It's a common trope in Western media to put marginalized people into these situations while upping the ante simply for clicks and pleasure, and even worse when the character portrayed is a minor. As I reiterate, it is a very uncomfortable chapter to read and I don't find it enjoyable at the slightest. Just because I understand why it is necessary doesn't mean I condone the approach done. I also understand Araki as a Japanese man can only relate and portray a queer American's experience to an extent. But, at the same time, the exposure was necessary because it gives us the awareness and a voice to trans people that is lacking within media even today. We need to be aware and acknowledge what our BIPOC trans community goes through as a means of being better humans--- and especially our younger community members. We need to make our society safer for them so they can thrive and have the respect they deserve. Oftentimes, that starts with how they are portrayed and how their experiences are portrayed. While it is still a journey and not every representation will be perfect, we can't simply toss it aside and bash those who try to show something realistic just because it is uncomfortable.

I only hope that Araki wrote Dragona and these scenes as a result of doing extensive research and reaching out to actual POC queer individuals, particularly transfemmes/women, to understand their experiences and have their blessings to use their words to shape Dragona. I feel like that would show that Araki was serious about discussing these issues through his characters rather than simply using Dragona's traumatic experience it for entertainment. I have higher expectations for Araki now, knowing that it may not be the last time he shows a character experience harassment and possibly have Dragona be harassed again, so I will keep my eyes open for this.

[emry-stars-art]

Thoughts on prince Riko’s “perfect court” before anyone escaped Evermore ( @thefoxesraven pls remind me if it was you with the branding vs tagging idea on that insta live)

@snazzy-jas-z-is-a-fan-of came up with SO MUCH of the possible politics and family ties of this au, it was incredible to watch and I think I finally understand enough to post about it 😂 there’s a balance of power between the two branches of Evermore royalty, which balance is shifting slowly to the Moriyamas and by the end of the story belongs solely to them with Ichirou as king. I’ll try to explain it in a different post if there’s interest

(And lest we go a day without Abram angst: he does in fact get his brand and more, when he’s taken back to Evermore and Riko takes the chance to reclaim his property ‘like he should have done to begin with’.)

[carnivalcarriondiscarded]

cough hack wheeze who wants a teeny tiny fantasy au snippet with uhhhh laughingstock Tension. it's like... half a scene! unedited & out of context As Is Tradition

~

“Nothin’ much. I think I’ll poke around nearby towns, shake down some travelers - see what falls into my paws.”

“I’m not sure that’s such a good idea, Barn,” Howdy says. He sweeps aggressively, spreading dirt more than gathering it into the usual neat piles. “Who knows if those ne'er-do-wells are still roaming around the woods - if you and Ed couldn’t take them, what makes you think you could alone? Or- or! What if you stumble across those cultists? I hate to think of you stuck in an ambush with no help coming, knowing fully well that-”

A large paw slips the broom out of his grip and sets it to the side, and Howdy stammers to a stop as Barnaby crowds him against the bar with a soft, “Howdy.”

Howdy swallows hard, bracketed on each side by strong blue arms. The look Barnaby fixes him with dries up his well of words and bristles his fuzz. Howdy’s heart hammers against his ribs. He can feel Barnaby’s body heat, and it’s lighting his blood on fire. 

“I’m not gonna be reckless, if that’s what you’re worried about,” Barnaby says. He barely needs to speak louder than a whisper for Howdy to hear him loud and clear. He smells like sweet smoke. “The other day was a one time deal, cross my heart. But, if it’ll make you feel better, I’ll take someone with me. I’m sure Jules is itchin’ to get outta town.”

“What would really make me feel better is if you stay,” Howdy blurts, just barely reining in the with me. He tenses, knowing that he’s toeing a dangerous line. One wrong word, and he’ll make the unspoken spoken - but the stress drains out of him as Barn’s eyes go soft. Perhaps that wouldn’t be so bad. Of course there’s no reason to worry, not about this, not with him. There never has been.

“You know I can’t do that,” Barnaby murmurs. “Not yet.”

Howdy doesn’t need to say that he knows. Not for the first time and with any luck, not for the last, it clicks in his mind that they’re on the same page - he doesn’t need to be a telepath to understand the thoughts behind Barnaby’s dark eyes. 

Barnaby says it anyway. “I gotta get him back. I can’t… there’s no room for anythin’ else right now.”

Howdy sighs through his nose and slumps against the counter digging into the small of his back. He nods and adjusts the lapels of Barnaby’s vest. His fingers ghost over soft blue, and Barnaby doesn’t flinch at the contact. If anything, he leans the barest millimeter into it. His gaze burns into Howdy’s, even if they aren’t meeting at the moment, but it isn’t a bad feeling. Quite the opposite, actually.

“Well,” Howdy says in a low voice, “if you find a good lead, send for the rest of us. I’ll be there as fast as my four legs can scamper.”

Barnaby smirks. “Even if you need to take a boat?”

“Even so, Barn.”

The smirk slides into something that isn’t a frown, but isn’t a smile. It’s too soft for a grimace, but too intense for simple recognition. Barnaby seems to sway forward, and Howdy is sorely tempted to meet him halfway.  

But Barnaby’s claw taps the counter, and he pulls away before anyone’s mind can be made up. Howdy’s hands slip from his lapels, brushing against fur as they fall and knuckles skimming over the smooth, fresh scar cutting across Barnaby’s belly. 

“I’ll be back before you know it,” Barnaby says, his eyes crinkling at the corners. He squeezes Howdy’s shoulder and then his back is turned, and he’s leaving. All Howdy can do is watch. 

And call out after him, “Your table will be open and waiting for you.”

Barnaby pauses in the doorway and looks over his shoulder at Howdy, and his grin is so full of affection that Howdy may just burst. 

“With a free pint?” he asks.

“Hey now, don’t push your luck pal.”

Barnaby bursts out laughing, and Howdy can hear it even after the door thuds closed.

[mads-is-tired]

One of my favourite things about Generation Loss are the accidents, the last minute thoughts. Frank, a beloved character, ended up being Charlie wanting Sneeg to have a friend while he was stuck in the cage for so long. Frank, who then went on to have disturbing lore in the set design of episode three (there's a deceased employee(?) poster in the office). The green to red filter in episode two accidentally had horrific implications for the slime demon in episode one (and evil Sneeg, yuck), which was again brought back in the set design of episode three (bucket of blood and guts labelled slime). Charlie involving himself in the carousel act of episode two during dress rehearsals, leading to theories of Sneeg seeing him with his guts hanging out when the hat is on his head. Also Charlie mentioned that he decided to portray the patient as a “dude” character so the filter switch was more jarring, rather than being panicked like the rest of the saw victims. I’m trying to think of more.

[chaotikanvas]

Ok, ok, so incoming ramble about the Glamrocks that I keep thinking about under the readmore! 

Disclaimer: I can’t promise too much structure to this since I’m just putting some thoughts down, but hopefully it’s still an enjoyable read or something to think about ghfdkñkjgh

—

SO!

A while ago, when I was first planning my first ever fic for SB (which has been thoroughly planned but not written and I haven’t talked about it here at all but that’s! Beside the point!), I started really wondering how the glitch/virus worked (I will keep referring to it as virus as I think it fits a bit more).

And I was so happy that the DLC seemed to be in line with what I was thinking or at the very least it supports my headcanon in a way!

(And oh gosh this is gonna take setting the scene a bit at first so bear with me)

So, I’d like to make a note first of all, that I’m not entirely convinced Glitchtrap is gone, because the end to the princess quest 3 minigame means Vanessa gets freed from possession (via opening the door). There is not a fight with him as a boss that seems to deactivate or get rid of him once and for all, at least. But what happened to him is entirely guesswork on my part. Also, while the DLC implies very strongly that all the other endings are not canon and more stories Gregory drew himself, there are still elements from those endings that I feel cannot be discarded, and they help understand the story. (The blob does exist after all and that is only discovered in the Burntrap ending, and it is my belief that the friend that has the schematics for the underground mentioned by Gregory must be Vanessa, because Freddy seems to have only vague recollections of the place when Vanessa had him clear the way for her before, and also he is not capable of accessing all areas of even the main pizzaplex)

(Also, I squint a little wondering if they changed their minds on which ending was the true ending because the Burntrap ending is the one that has animated cutscenes and a cgi ending image. I actually like that Princess Quest is the canon ending now, since Vanessa gets to be free, but it does come with some inconsistencies. But anyways!!!)

So taking all of that into account! To me, the way the virus works, and considering that there must be a supernatural element to it due to the existence of Glitchtrap, has to do a lot with it locking away the “consciousness” of the animatronics. Much like in the way Vanessa’s true self was locked away actually! In past games, the animatronics only seemed to act outside of their programming due to possession of some kind, but these specific ones seem to actually have self-awareness. I have no doubt that the way they were programmed influences their personality, but the DLC has really emphasized that they are not actually just limited to their functions. 

They have true intelligence! Not a surprise, since Freddy was clearly self-aware since SB, but I like that it seems to be a confirmation of it being the case in general and not just an exception. And I believe this because there are animatronics that are able to snap out of it after Cassie interacts with them. They do seem to think things are normal like any day in the pizzaplex, at first (Eclipse and Roxy) and it would seem like this means they are not truly sentient, but considering that Sun was aware all this time that things were very wrong, and that Moon would attack Cassie if not rebooted, and that Roxy later awakens, realizes the danger and goes to rescue Cassie from the Mimic, makes it clear to me that their self-awareness is the real deal. 

So not only would the virus have to infiltrate the robot’s systems, but it also would have to fight against the “consciousness” of the animatronics to gain control. While we know the Burntrap ending didn’t happen, I think when we see Burntrap trying to take over Freddy is a good visual representation of what might have happened over a long span to the other animatronics.

Ok, ok so! With all that said (again gfkjh)! I’m getting to the main point of this post, which is that I cannot stop thinking about the little backstory we got for Monty and what might have happened with Bonnie!

The damaged model of Bonnie we find in Ruin makes it clear to me that yes, it must have been Monty the one who destroyed him. The scratch grooves that join with the hole in his chest do match with the marks we have seen on other spots, (I thiiink Monty’s room has them), and we know the claws are the characteristic associated with Monty.

(And here I make a sidenote acknowledging some buts, because I went back to read the SB messages, and according to those, Monty only received the upgraded claws to play the bass, which means Bonnie was already gone by then. One of the messages states clearly that Monty received modifications only after being moved to the position of bassist, when Bonnie was out of commission, so either Monty already had really strong claws or it's a bit of an oversight there, but I digress!)

But! Even with that clear evidence, and here it’s where I admit it’s more speculation on my part, I find it a bit hard to believe Monty, the real Monty, at least, would destroy Bonnie just like that. Which makes me think Monty must have been one of the first, if not THE first of the band being infected with the virus. I think it’s a generally accepted headcanon that the virus alters the glamrocks personalities in a way that some of their main character traits are twisted in a destructive way. 

Now, Monty already clearly existed back when Bonnie was in the band. He had his own (large!) area even though he wasn’t part of the main band. The DJ is large and has his own section too, but he seems confined to it and was bought from outside the plex. And Monty seems to have been able to roam around anyways, so I think that probably means the higher ups were counting on Monty being a main animatronic in the future. (I have to wonder if the whole one man band thing from the backstory was something he did do for a brief time at the start, but admittedly that could have been added just in the cardboards). 

With all this in mind, Monty was probably the newest addition, a newcomer in a place that already had the four main animatronics. Almost known by no one in the public and without an established personality in a franchise he’s never been part of before. One of the messages says Monty could be more popular than Bonnie, after Bonnie’s disappearance, which makes me think he was mostly a side attraction, and nowhere near as known as the main glamrocks. Why mention that he could be more popular if the audience was as aware of him as the band right?

So, I think the main trait programmed for Monty’s personality is ambition. The backstory in his ride seems to hint at that. A young Monty with his own little music business, looking in amazement at the Glamrocks and dreaming of one day reaching their level. It would make sense to have one of the robots have this as their main trait, since kids would relate to the big dreams. And it seems to fit with other main traits from the other Glamrocks: Roxy seems to have been made with self-confidence in mind (winning races and having a beauty salon) which might be for encouraging kids, Chica is obviously all for being chipper and energetic and enjoying food (useful in an entertainment establishment that wants kids to indulge and get their parents to spend their money when they’re having a good time), and Freddy is meant to be nice and fatherly and the approachable gentle main face of the franchise.

(Though I am a bit sad Chica gets pushed aside a bit in regards to explicitly showing what she’s really like)

(As a small parenthesis from all this, I want to say that the Pizzaplexes troubles with the virus (or at least the more worrying behavior of the animatronics) are likely relatively recent before Gregory’s arrival. Could be months or a couple of years, don’t know how much exactly, but the fact that there are old messages all around, how some of those help give Gregory hints to where he can find stuff that is still there, how Bonnie’s Bowling Alley has not been rethemed to get rid of the evidence of his existence, Freddy’s hurt over Bonnie being gone sounding (at least to me) still fresh rather than from that long ago, and the message about the disappearances makes me think it can’t have started a decade ago or something like that)

Anyways! 

The Monty “rise to fame” story from the ride establishes that Bonnie “gave” his bass to Monty in order to have him join the band, though that Bonnie cutout is obscured. If they really wanted to make it seem like Monty had retired, why not make a cutout with the most important part of the story clear? They made one with Roxanne styling Monty’s hair! So maybe the plan had been to establish that (in the “in universe” narrative for the animatronics) Bonnie would be the Glamrock that took Monty under his wing and teach him the ropes of being a star? Though probably not with the plans of having him be a Glamrock at all, but maybe appearances with a Glamrock would increase the chances of the new gator attraction succeeding (again, speculation on my part, I know).

Coming back around Monty likely being the newest addition, him still not being established as a popular character would maybe mean that he was an easy target to spread the virus. Way more attention would be paid to the main stars, I think, so I think the probability of him being infected from almost the start is high. And with his main trait being ambition, and Bonnie maybe having been planned to be a sort of pathway to him being more known, it wouldn’t surprise me that by the time the incident happens, the virus has already twisted Monty’s ambition into jealousy and aggression and so he ended up destroying Bonnie that one day. Was Bonnie summoned by Monty? Did Bonnie go to Monty out of his own will because he noticed something was wrong? (which ouch if that was the case. It could very well be even that Vanny noticed that Bonnie noticed something was off and had Monty dispose of Bonnie in order to not have any secrets exposed) Who knows! But this is mostly what I think happened.

And why am I so convinced Monty would not have done this without the virus’ influence? Well… Mostly because of Roxy.

In the main game, Roxy is such a bully. Many of the phrases she says are outright cruel, and at a point where Gregory has done nothing to her yet. But in the DLC we see Roxy as she was meant to be. Encouraging. Lifting a child’s spirits up. Assuring them that they are fantastic how they are. 

We know that Cassie is a lonely child. A bit of an outcast who probably spent a lot of time in the plex while her dad worked. We know that her friends did not show up to her birthday and she treasures Gregory as a friend for being there when she was down. Cassie, seems to me, is the kind of child that would be an easy target for bullying. Insecurities and loneliness seem to be main struggles for her, which is why, if Roxanne was already a bully without the virus, why would she be Cassie’s favorite? Why would she be so nice to this kid that obviously needs the confidence boost Roxanne was made to provide? One of Roxanne’s literal lines in SB towards Gregory is “I bet you don’t even have friends!” Knowing that Roxanne knows this is an issue for Cassie, it seems even more brutal that if she’s in her right mind she would use that as an insult when chasing after Gregory. The Roxanne we see in Ruin is so kind. She is a source of comfort for Cassie, soft spoken, and making sure she feels like number one, instead of being self-obsessed (even if it’s born out of extreme anxiety over her own image). 

So if there is such an extreme change from a virus riddled Roxy, why would Monty’s extremes not be the same? We know not even Freddy is exempt from this sort of change though this one is more evidence from the books (slight not too consequential book spoiler and can’t quote from which book exactly it was, but I remember there was an off handed mention of Glamrock Freddy fighting over a plushie with a kid and then feeling dejected when people got angry at him, so it seems if Freddy was ever truly infected, his change of personality would entail being a spoiled main star?).

And it makes sense! Because Freddy considers all the Glamrocks his friends! We know Chica cares for him, because in the intro to SB she takes a step towards him when he malfunctions. And in the base SB game it looks like Freddy is just in denial about his friends (with the arcade minigolf game even having the famous Freddy in a trashbin course to hint at Monty’s jealousy, which you know could very well a real danger with what happened to Bonnie) (and now that I’m writing that it makes me squint a little at that arcade, since it’s very heavily implied the arcade in Sun and Moon’s room infected them so hmmmmmmm, but I digress), but honestly, seeing Roxy acting how it seems she’s supposed to act right before Cassie turns her off as the final node, really makes me think that the true selves of the animatronics are pushed back by the virus to replace them with a caricature of themselves that will obey Vanny’s commands. I mean, the Glamrock Freddy body is completely headless, and doesn’t even appear in the AR world! I don’t know whether it “attacks” because it’s what it would do if infected, or if it is simply leftover code from the way Freddy hid Gregory in his chest, but there sure as heck isn’t anything resembling a consciousness in there. Besides, we know Vanny was invisible to Freddy.

And if consciousness really is pushed aside by the virus, then it would explain why Monty is like that right now. (At least if my speculation of him being the longest with the virus is true) He would know nothing but anger and at this point he is acting like all he knows how to do is attack. Monty’s mind seems to truly be absolutely gone by now. :(

But aaaah this is getting way too long now fkjdghkjf

I guess I just want to talk about Bonnie a bit more, because we don’t have that much more about him that I can form any conclusions about. I do love the poster in his room! The fact that he really was this close to Freddy! They saw each other everyday and Freddy still decided to write a heartfelt message for Bonnie, that Bonnie decided to hang where he would see it clearly everyday! It really seems that Bonnie cared for Freddy just as much and that makes me so happy! It makes it all the sadder to know how heartbroken Freddy is over Bonnie’s disappearance…

Also I am incredibly confused by the whole wetfloor bot stuff! I don’t know if it’s implied that Bonnie’s “consciousness” somehow managed to transfer to the small bots (or why children screams can be heard from them), and if he managed to stay present through them after all. The little bots never really try to harm or sound alarms on Gregory unless shot at I think, so there’s that to think about! Or maybe Glamrock Bonnie was able to connect himself to them but not transfer? Kind of as long as there are any functional he too would be able to hang on? (Or did someone did that for him and it wasn’t himself who did?) Because deactivating the ones where we find Bonnie makes Bonnie’s eyes go dark. But why?? This I really have no idea about!

There’s also that one floorbot that remains beside a pile of Monty’s merch! And if Bonnie is looking or controlling the wetfloor bots that could mean a lot of things!! If Bonnie is in control, is the bot gathering the merch? Is it a negative thing? A sort of attempt to just collect the merch so it can’t be found ever again like Bonnie himself was? Or maybe, if Bonnie did have the most contact with Monty, did he get to know the real not-virus-infected Monty, and saw the merch as a way to remember someone that was briefly a good friend before things went terribly wrong? Hmmmmmm…

Well, I think that’s all I have! Just wanted to get my thoughts out there! It’s not very organized but if you made it all the way to here, thank you for reading!

[ch1zzie]

Forgot to post this here butttt

Working on a welcome home animation and mighttttt take me a while

[a-queenoffairys]

girl help I fell down a rabbit hole thinking about the power imbalance inherent in j*erlita's relationship and I can't get out

[purpleqilinwrites]

better than.

a/n: i fell in love with danmeshi over the weekend! i have so many thoughts and feelings about chilchuck and his wife and their daughters, so i wanted to write something about them. i wish we knew her name! since there's no canon name for her (yet??? please! i'm manifesting), i gave her one mostly for ease of fic writing but also because i think she should have one haha.

fandom: dungeon meshi

pairing: chilchuck tims / chilchuck's wife

genre: angst, general

info: told from the perspective of the wife; she is named (junnimay); takes place pre-canon

warnings: might not be canon-compliant

synopsis: for the better, she comes to learn that moving with the tides of life is a mercy in itself.

word count: 3.3k

Chilchuck Tims / Chilchuck's Wife

The apple trees were starting to clothe themselves in pale pink blossoms, releasing a sweet fragrance into the air. Kahka Brud took it as a sign of the winter's end, shedding off the furs and double-lined coats of the coldest months, and so did Junnimay. Reaching for one of the thinner woollen cloaks hanging by the front door, she whispered, "I'll be back soon, Fler," to her still-sleeping daughter before setting out for an early morning walk.

A contrary breeze made it difficult for her to shut the door quietly, a rather unceremonious slam of wood against wood following a series of laboured grunts from her lips. Fler had always been able to sleep through even the most turbulent of autumn storms; a little noise a ways from her bed surely wouldn't stir her from her needed rest.

Junnimay wiped her palms down on her cloak even if they weren't sweaty, and she started on the unpaved path that led to one of the larger streets of Kahka Brud.

At the place where the narrow local paths merged into the cobblestone main street, she greeted the elderly gnome couple having breakfast in their front yard. The younger of the two women stopped her with a shout in Gnomish and then waved for her to come closer. She approached the line of potted miniature trees that formed a makeshift fence between the public walkway and the gnome couple's property, and the elderly gnome pressed a still-warm bun into her cupped hands.

With a smile, she thanked the women in Gnomish, biting into the bread and telling them how delicious it was before she continued down the main street. As she chewed on a particularly large cluster of candied orange peel bits in her next bite, she pondered visiting the farmer's market on the way home so that Fler could have some candied orange buns to share at the tailor shop where she worked. It would be good to make a larger batch to share with the neighbours, too.

A splash of deep reddish brown dragged her attention to the present, the burst of colour out of place among the blush-pink apple blossoms and the grey-brown tree barks and the yellow-streaked blue sky. Junnimay almost dropped the last bit of the bun gifted to her, eyes wide as she took in the sight before her.

There were two half-foots under the large apple tree at the end of the street that opened to the southern market district. One of them shook out a grey bedroll that was much too large to have been designed for half-foot use, and the two of them took turns scooching into it and then reclining to watch the clouds.

The taller of the half-foot pair sported an uncannily familiar head of auburn hair, poking out of their shared bedroll that was made for one tall-man but could apparently fit two half-foots comfortably. She chucked what was left of the bun into her mouth before she took slow steps towards the mouth of the market district, keeping her eyes on the half-foot couple the whole time.

They paid her no mind, even if her gaze never left them minutes and minutes after coming from behind them to appear in front of them. They were too in love to notice her.

Chilchuck was lying in bed next to her, but his back had never felt so far.

Even when Junnimay was a child relentlessly chasing after him and his older siblings in a game of tag melded with hide and go seek, the distance of rows upon rows of tomato plants between her parents' house and his was tiny in comparison to the hand's breadth that separated Chilchuck's sleeping form from her. The entirety of the vast tomato field was easily crossed under her quick and stubborn feet, possible to traverse. She didn't feel the same way about stretching her hand out to touch her husband.

When she had yelled something or the other about getting caught in the tomato vines, Chilchuck would've instantly turned around and run to her. He always did, even if it meant that he would lose to his older brother, the person he hated losing to the most. She remembered that being the reason why she liked him; when she called for him, he made haste to come to her.

If she woke him up at this point in their lives, years and years after playing games with ever-changing rules in the tomato field that belonged to everyone in the village, would he be quick to awaken and ask her if there was anything troubling her? If there was anything he could do to help?

Chilchuck shifted as if her thoughts were so loud that they woke him. She squeezed her eyes and mouth shut, pretending to sleep the way their daughters did when they were still red-faced in the way half-foot children usually were in their most tender years. His blanket swished when Chilchuck pulled it tighter around himself, curling in on himself and inching all the more away from her. All was still on his side of the bed after.

She fell into a true sleep as she pretended. While pretending, she was trying to remember the last time her husband broke out into a run coming to her simply because she had called his name.

The neatly placed line of dark bottles filled with various alcohols that Chilchuck accumulated over the years never looked so inviting to Junnimay.

Between her and her husband, he was consistently the more avid drinker. Since she first discovered she was pregnant with Mei and Fler, she found that she hadn't had the same taste for alcohol that she once had as an adolescent. She used to sneak sips from her father's hidden stash of ales from time to time, careful never to take more than a single large mouthful off the top of the bottles that were full.

With Chilchuck out accompanying yet another party of adventurers to one of the dungeons scattered around Kahka Brud and her three daughters asleep, Junnimay thought it was a better opportunity than ever to indulge in a little alcohol. It has been years since the last time she partook, after all.

She tiptoed to grab hold of the bottle she felt was most appealing, the scarlet label on the front boasting that the mead within contained floral honey from a well-known apiary on the Southern Continent. Pouring herself an economical portion into a dark glass cup, she settled into the alcove overlooking the sea and cracked the window open to feel the salty night-time winds on her face.

"Mama," came a sleep-addled voice from past the kitchen and down the hallway. Junnimay made it to the dining table when she found her firstborn daughter rubbing her eyes at the threshold that separated the kitchen from the rooms.

"Mama," Mei said again, sounding a little more awake than she did the first time. "I think Dad's not coming back yet."

The staunchness in her daughter's statement made her inwardly flinch, and she tried her best not to show it on her face. Mei had always been an unusually perceptive child, and it worried her that her daughter might be picking up on the growing unhappiness between her and Chilchuck. She wouldn't be able to bury it from her girls forever, but she wanted to keep any marital issues hidden from their young and still innocent eyes. The world should be sunny and kind when they gazed upon it, more beautiful and right than when she was the one looking.

Junnimay put on a smile, approaching her daughter and putting her arms around her, stroking at her head of wild ginger hair. It soothed her somewhat when Mei immediately buried her face in her chest, her comparably smaller fingers clutching at the cotton of her sleeping tunic.

"Not for a while, little heart," she said, vacantly running the fingers of her right hand through Mei's hair to untangle the knots. "But he'll be back."

It had only been two days since Chilchuck left for his most recent dungeon expedition. He had never been one to complete a job sooner than he said he would, diligently seeing to it that the task he agreed upon beforehand was carried out as promised. It made him an excellent addition to any adventurer's party, but she realised it also made him an absent father and an unavailable husband.

"He'll miss my birthday again," were the condemning words Mei chose for Chilchuck, muffled from the way she was pressing into her mother and clinging. Junnimay's heart twisted at the disappointment in her daughter's voice, as if her father had let her down for the final time.

Mei suppressed a sniffle and tried to mask it with a sound of exasperation, little fingers starting to pinch at her flesh beneath the fistfuls of fabric already within her hold.

It reminded her that Mei, while able to pick up on subtle things that most children weren't, was still a child. It reminded her that Mei still needed her protection.

It reminded her that she was failing quite miserably.

Chilchuck was at the door for the first time in almost three years, and it was akin to seeing a ghost when she swung the door open, not quite knowing if it was definitely him after hearing his voice on the other side. Junnimay blinked twice, squeezing her eyes shut as she quickly completed a simple incantation of protection taught to her by one of the gnome neighbours, and then opened them once again. He was still there, so she moved aside so he could come in.

"The girls are all out today," she said, leaning against the closed front door to resume lacing up her work boots. "Puck's staying with a work friend in the meantime, so you won't be seeing her until she comes back at the end of winter."

He seemed rather displeased at her lukewarm reaction to his return home, but he didn't mention it. Mirroring the burgeoning pile of her grievances about their marriage, she kept silent when he pretended there wasn't anything to complain about. It was a complicated dance that the two of them had perfected over the years, intimately familiar with each step.

"Where you are headed?" Chilchuck asked, sweeping his eyes over her attire as if he were scanning his lock-picking toolkit for signs of wear and tear. She hated it, and it was bitter when she swallowed the feeling with an increasing level of ease, automatic.

"To the bakery," she said, needlessly undoing the fastening tie of her cloak and doing it up again, tighter the second time around. "My shift ends late, so don't wait up for me. There's leftover cured meat and cheese from Mei and Fler's birthday dinner last week in the pantry, if you want to eat."

Chilchuck crossed his arms rather aggressively as she spoke, and she felt validated at his show of displeasure. She was starting to become suspicious that he believed their marriage to be as intact as it was when they were walking away from the ceremony, but it gave her a twisted sense of unity that they were both looking at the same cracks and being afflicted with the same unpleasant feelings.

"The one along Third Street, right?" he asked.

It sounded to her like he was running out of things to say, and it made her all the more eager to get out of the house and fall back into the safety of her daily routine in which he was entirely absent. She had become comfortable as a mother of three daughters whose father's only contribution was a pouch of gold coins every full moon, delivered to the door by an administrative employee of the local Adventurer's Guild.

The money he provided for her and for the girls has been slowly and steadily increasing over the years, and she was glad that he appeared to be making a name for himself as a skilled locksmith. There was a sudden jump in the weight of the pouch put in her hands a few months ago. She wanted to ask about it since Chilchuck was here, but ultimately decided not to, keeping her questions about his work and his time in the dungeons of Kahka Brud close to her heart instead.

There was once that he had snapped at her for being too curious about his work, and that one time was enough for her to become unnecessarily cautious when speaking to her husband about the jobs he undertook.

She nodded, putting a hand on the doorknob and finding solace in the coolness of the metal against her skin. The silence between her and Chilchuck felt awkward with how large it was, taking more space in the house than even the house itself. When it became apparent that he had indeed run out of things to say, she pushed the front door open and stepped out.

"I'm off," she said, expecting him to regroup with a new adventurer's party on yet another dungeon expedition by the time she returned from her own work at the bakery.

In the early hours of the morning when she found herself home again, Mei and Fler were asleep in their beds. They left a note for her on the dinner table, saying that they ate at the tavern close to the main street and that they brought back a portion of wild boar stew for her in case she was hungry.

For once meeting her expectations at the exact line where she drew them, Chilchuck was nowhere to be found.

Mei was taller than her now.

It was obvious that her daughter was bending at the waist to give her a greeting hug, the height difference between them further exaggerated by the thick soles of Mei's work boots. A bittersweet sense of awe nipped at Junnimay as she was reminded once again how much Mei resembled her father.

"Mama," Mei said, linking her arm with her mother's as the two of them wandered the Central Market on an impromptu stop on the way to Fler's home. Junnimay thought it would be nice to take a long walk with her firstborn, since Mei had taken the opportunity to surprise her by picking her up from the bakery on one of her rare free days. "You deserve to be happy, you know?"

Junnimay froze mid-appraisal of the many kinds of honey on display at the store on her left, slack-jawed and wide-eyed as she turned her head to face her daughter. Where was this coming from? Briefly, her thoughts led her to the husband she recently left, and it brought to the forefront of her mind once again her every reason for finally acting upon what was in her heart.

Mei seemed to be taken aback by her mother's inarticulate but apparently tumultuous contemplation, so she cleared her throat, eyes darting to the side as she visibly mulled over her next words. "I saw you talking with a gnome uncle at the bakery. Your smile was so bright," she said, beginning to pick at the unoccupied holes in her belt with her free hand. "And I can't remember the old man ever looking at you the way the gnome does. I think you can be happy with him, now that the old man's out of the picture."

Bodies were skimming the pair of them in the passing as they stood in one of the many footpaths in the Kahka Brud's largest market. There were many sights to behold and smells to contemplate, and there were even more wares on sale. She had to be mindful of pickpockets in a crowd as thick as the one that eternally thronged this market, but she could only focus on the determined jut of her daughter's chin.

"I'm just saying," Mei said, making eye contact with her after allowing her a moment to ponder. "I want you to be happy. Fler and Puck, too. You deserve it more than most people."

Junnimay moved her arm from its curled position around Mei's and used it to pull Mei into a one-armed hug, squeezing. The wet warmth of tears pricked at her eyes, and she gave her daughter the widest smile she could muster in an attempt to keep her face from crumpling the way it did when she cried.

"I am happy, little heart," she said. "But I think I'm not made for a second marriage."

She watched the gears turn in Mei's head from behind the screen of tears in her eyes. Wiping at her face with the back of her other hand, she apologised instinctively to a male voice that yelled a phrase in Elvish for her to move from somewhere in the mass of people behind her.

Mei sported a scowl as she scanned the crowd over her mother's head to see who was intruding on their conversation. Junnimay laughed, making sure to steer herself and her daughter closer to the wall between the honey store and the one beside it.

"Did the old man ruin it for you? Marriage, I mean," Mei said, after her sweep of the crowd proved unsuccessful. The majority of the market-goers were tall-men who unintentionally blocked her view of the offending elf, lost in the commotion.

Junnimay felt the need to put on a smile, but remembered that Mei was too old to fall for it. Mei had been too old to believe her fanfare of a reassuring smile since she was just a child.

"His father told us that since we liked each other, we should marry. So we did," she said. The memories trickled into her mind's eye slowly, obstructed by years and years of trying to fill the space of both mother and father for her girls. Looking back on her childhood in a small village where everyone was a half-foot was akin to looking into an old spyglass, trying with much difficulty to spot something on the far horizon.

Chilchuck's father was far more authoritarian than hers ever was; if he said something was to happen, everyone around him made sure it happened. Her father, while affronted by the other half-foot's demand, was agreeable to the match and gave her his blessing since she had insisted that she liked Chilchuck enough to marry him.

"I wanted my parents to be happy, and I liked the idea of marriage at that time. I didn't stop to think about if marriage was the right thing for me," she said.

Noting Mei's silence and hoping to assuage any anxieties her daughter might have, Junnimay gave her another squeeze, smiling without the express intention of consoling. "But I don't regret marrying your father. Because of him, I have you and Fler and Puck. I gained the world's best daughters."

Mei chuckled at her bold proclamation, sighing affectionately when she leaned up to press kisses to her daughter's cheek. "Mama, you say embarrassing things sometimes," were the words that Mei spoke, but Junnimay knew her well enough to hear the words she actually wanted to say. She smiled into Mei's jaw.

"Are three daughters better than a husband?" Mei asked, a cheeky glint lighting up her eyes.

Junnimay squeezed her yet again, a tense fist of unease inside her chest loosening with the surrender of a long-kept confession that bared her heart. Even the golden afternoon rays of sun became brighter and more beautiful, her secret feelings being received most graciously by her firstborn. She was sure they would be received similarly by Fler and Puck too; the three of them were all warm-hearted women whom she was proud to have birthed and raised.

"By a thousand tall-men leaps and bounds, three daughters are infinitely better than a husband."

[crossbackpoke-check]

it’s all the rest of what i want with you

connor dewar/brandon duhaime :: 8k

Summary:

“Brandon,” Connor says with a sigh. “There’s no baby in there.”

“Not yet,” Brandon says. Connor feels his stomach twist, almost like what he would imagine a baby kicking to feel like.

in these trying times of dewvorce, may i offer you 8k of pwp inspired by @stillfertile’s wonderful art which i had. several breakdowns about 🫶 anyway please enjoy!!!

[poly-space-nerds]

Finally, after centuries of pining for this dark haired man in front of him, Hob holds Dream in his arms.

Finally, he thinks, as Dream kisses him passionately, hands holding his cheeks close. He opens his mouth, tongues sliding together.

He tastes- He tastes like- What does he taste like? Rain? A forest? An aged book? Blast. How come book characters always know what a person tastes like? See, this was why I was never a poet. It’s okay though. Maybe Shakespeare turned his head but look who’s holding him now? Ha you-

“Have you gotten lost Hob Gadling?” The voice of his stranger gets him out of his thoughts. He’s about to make an excuse when he sees the look on his lover’s face. It’s incredibly soft and fond. The corners of his mouth are lifted almost as if he’s amused by Hob’s daydreaming.

“Oh bugger off.” Hob says as he captures Dreams lips again.