#but the fact that most of what this movie did for this story and characters surpasses anything the show ever tried to do is undeniable

[tmntheadcanons]

tmnt 2003 headcanons: Horror Movies

Mikey:

Absolute scream queen

He's so dramatic. He's covering his eyes, screaming and hiding over a movie he's seen probably 15 times.

He'll be cowering one minute and then the next he's info dumping about the lore.

But Mikey LOVES horror movies the cheesier the better.

and he doesn't just watch the movie he knows all the facts about the lore, the actors and the production and he will talk your ear off throughout the whole movie.

Raph:

Raph gets too invested and starts yelling at the tv.

You know those videos of dogs barking at horror movies? That's him.

He'll yell at the protagonist and then 10 seconds later he'll act all cool and start insisting that he'd be able to take down the ghost/serial killer.

He will describe in detail how he would mma-style wreck that guy and escape the creepy cabin completely unscathed.

He's out loud re-writing the story where he's the main character.

Donnie:

Donnie ruins the movie because something scientifically inaccurate will happen and he'll be like "Wrong."

He cannot suspend his disbelief for even one second.

He'll predict what's going to happen in the movie but his predictions are always way more horrific than what actually happens and everyone is like "How did you even think of that what's wrong with you?"

Donnie will watch whatever you put on the tv but horror movies aren't his favorite because he thinks they're usually pretty bad.

Leo:

The fun of horror movies for him isn't even the movie it's his brothers reactions.

Leo himself is completely stone faced.

Leo getting all comfy cozy with a blanket and a cup of tea to watch the most gory movie they own.

One time during a tense scene something just possessed Leo and he HAD to jump scare Raph. It was like he was taken over by his older brother instinct. And he got Raph so bad because he was NOT expecting Leo to do that. It's one of his fondest memories.

[aerithisms]

i think my problem with this dw season arc accusing the audience of fanbrain for theorising about ruby is that it both feels deceitful and isn't actually that compelling from a character perspective. the season goes out of its way to build up supernatural mystery around ruby and even invokes susan more heavily than ever before in a way that is deliberately trying to get the audience to make those connections. and then it turns around and says you stupid idiot why would you ever try to connect these dots i have deliberately tried to get you to connect.

building up a mystery only for the character to be ordinary is an impossible girl arc redux only this time accusing the viewer of failing to see the humanity of the companion, whereas the impossible girl arc was turning that accusation on the doctor. 7b didn't really blame the audience for viewing clara as a puzzle and in fact several times spells out the fact that clara is perfectly ordinary before the big reveal to give the audience a chance to catch on. as 7b goes on, instead of laying the mystery on thicker, the audience just gets more and more affirmations that clara is a normal human being (rings of akhaten, journey to the centre of the tardis, hide). i found this approach compelling because it was rooted in character, focusing on the doctor's disconnection from humanity/the gendered dynamic of a man treating a woman as his manic pixie mystery to pull him out of grief. s14's meta approach of accusing the viewer feels both unfair, given it has deliberately led the viewer towards theorising, and personally less compelling to me because it wasn't tied into character in any way.

the thing about rey's parentage in tlj is that the reason rian johnson chose to go for that reveal was that it was the only answer that was interesting. none of the theories - rey is a skywalker, rey is a kenobi, and even the eventually canonical rey is a palpatine - were interesting or satisfying because they brought nothing compelling to the table for the story being told. the only satisfaction to be gained from those answers was a fanbrained "omg rey is important because she's related to that guy from the other movie." on top of that, rey desperately wants her parents to have been important, to give her life and her abandonment some kind of significance. so them being ordinary provided the most compelling trajectory for her character because it was the thing she least wanted to hear. it forced her to do the most introspection and growth, as well as tying into the film's themes about the capacity of ordinary people to be special. it wasn't just a choice made to "gotcha" the viewer, it was rooted in character.

i don't think ruby's mother being ordinary accomplishes the same thing. by invoking susan, s14 is engaging with the most egregious example of the doctor's streak of abandonment, which has potential to be very compelling in relation to ruby (and now also the doctor's) own abandonment issues. theories that ruby might be susan, or be somehow related to susan, or somehow related to the doctor, weren't just fanbrained "omg she's related to that guy i know from the classic series." they were theories genuinely rooted in character and the potential to explore both the doctor and ruby's issues with abandonment. and this is something the show willingly led fans towards by invoking susan so much in the first place. so for the show to turn around and act like they were shallow out of nowhere ideas when they were not shallow and were based on potential character conflicts the show itself deliberately invoked, feels misguided.

as well as that, ruby's mother being ordinary does not require that same growth from ruby as it did for rey because it is exactly what ruby wanted to hear. she never wanted her mother to be important, she just wanted to know who her mother was and have a connection with her. so finding out she was a normal woman who still loves her and wants to be a part of her life is everything she's ever wanted. it doesn't introduce interesting conflict for her the way rey's parents being ordinary did for her, because they were written as different characters with different hangups over their abandonment.

tl;dr i don't necessarily dislike ruby's mother being ordinary as an idea but compared to the things it was inspired by - 7b and star wars - it is not nearly as compelling in terms of how it relates to the characters or themes. and the meta angle, while conceptually interesting, doesn't quite work for me because it feels a little manipulative of the audience.

[fictionstudent]

You've misunderstood what "realistic dialogues" are

Create realistic dialogues—it’s a basic advice that most of the writers have heard. Doesn’t matter if you’re writing novels, short-stories, screenplays, comics, or anything else, I’m pretty sure you’ve heard it somewhere. It’s the first advice writers generally hear when they are starting out.

But what I think is that most of us kinda misunderstand it. At least, I did until really recently. And I feel many of us do—just because we don’t really scrutinize every single word those online articles say.

I want to get deeper into this advice of characters and dialogues being realistic, what it actually means, and what people make out of it.

Because in most of the novels and movies that I’ve seen, characters are never comparable to real people. But what’s the difference? That’s the question I’m trying to answer.

***

Problems

You must have heard another piece of advice related to characters and dialogues—­observe real people’s interactions. And then you do. And you begin mimicking these interactions in your stories—whatever you’re writing.

But the thing is that this advice doesn’t work. But why is that, you might ask. Well, the reason is simple—most of us speak in odd ways. And if you take those interactions as they are, and try to publish them, you’d never get anywhere. You’d never get published.

See, there’s a lot of problems in the way we people generally talk to each other—we repeat certain phrases a lot, we stutter a lot, we don’t follow grammar most of the time, we don’t pronounce each and every word completely fine, we sometimes also make up words.

And we’re always hopping from one topic to another when we talk. Sometimes, we may even talk about two-three topics at once—especially when more than three people are involved in the conversation. And we also don’t complete our sentences. And the list goes on.

But the main thing is—we don’t speak perfectly. Most of our speech is full of defects that go against the rules of grammar or principles of style—we shouldn’t repeat phrases often when we write, we should use perfect grammar.

And we as writers should make sure our characters are talking about a single topic, and not deviating from it too much during their conversation. That’s because of the fact that the dialogues should have a purpose, the scenes should have a purpose, and if your characters are always shifting topics, the readers feel that you, the writer, is confused about the scene, that you don’t know what this conversation is about, that you don’t know your characters well, that you don’t want to advance the plot with these dialogues, thus rendering them purposeless.

We also stutter a lot, and use a lot of ellipsis when we speak. But readers don’t like them. It takes away their flow. And no one likes to read choppy prose.

We also don’t complete our sentences. Sometimes, we half-bake our sentences in our head and begin speaking them, and then get stuck midway because now we don’t know how to say the ideas in our head in a grammatically correct way. For example, you might have wanted to say, “Not everything is in our hands,” but you might say, “In our hands… Not everything is in our hands.”

For a second, you speak out the first words in your head, then realize the sentence should have begun from another word, and then maybe repeat the correct sentence or just stop midway because you’ve given enough clues in your sentence that the other party has understood you. You do this many times when you speak. I do this when I speak a lot. And I’ve observed others do this too. But if you write such sentences in your story, the readers won’t like it.

***

Solutions

Now you might ask—how do you write dialogues that are good enough to get published? The answer is quite simple, actually.

Maintain a balance between realism and perfection.

You see, your characters are not real because of if they stutter like real people or not, or if their speech is filled with defects like a real person’s speech’s defects or not. Your characters are not supposed to be real, remember. They are supposed to be realistic—they should not be real, they should act real. And that happens when you give their unreal speech the characteristics of a real speech, while making sure you’re weeding out stuff that breaks the principles of style.

Let’s suppose you’ve made a character. Write how they’d speak. And then take out all the imperfections—the stutters, uhms, and all that stuff that we talked about. Not all of them, but most of them. All that shouldn’t repeat often.

Also make sure your characters are talking about topics that are relevant to your story. There’s another advice—know the ending before you begin a story. Do that with each scene too. Know how the scene will end, and what purpose will the scene serve, before you begin writing it. Plot it out a little—roughly. It’d help you write dialogues that are not jumping around random topics.

Like I said, take out most of the imperfections of daily-use speech from your dialogues, while not taking out the characteristics of the character. Maintain a thin line between realism—these imperfections—and perfection.

The characters should have realistic characteristics, and distinct speech. This distinct speech and characteristics is where you give them differences—each character is different from other in how they speak and what words they use, after all. That’s where you give your characters realisticity—and that’s different from realism, even though it’s a word I just made. I’d define realisticity as something that’s real-like, but not real.

Best way to learn writing dialogues is to not just observe real-life interactions, but to learn from other comics, novels, and movies too. Especially movies. Movies are great at such dialogues—the actors generally sprinkle a lot of realism to their dialogues when they act it out. They are low on rea

Also, learn from texting. Head over to Discord, Reddit, or Instagram, talk to new people, and observe how they type. Most of us don’t really type out the uhms too much when we type, and make complete sentences before we send them. Texting is a good way to learn writing dialogues.

[aaronwarner]

just finished watching miraculous the movie... wow, it must be embarrassing for astruc to be surpassed by a movie that did so much more for the story in 1 hr 40 than anything he tried to do with the show for the entirety of five seasons

[wreckedhoney]

uuuug every so often i see writing tips passed around and i want to make a post but i can't find the right words to convey "aaaauuggh don't do what The r/se of sk/walk3r did"

(long tags warning bc i haven't learned how not to type like i'm not popping off yet)

[idiosyncraticrednebula]

I will never understand why some people feel the need to defend the indefensible.

[whencartoonsruletheworld]

funniest disney history facts i can think of atm

literally EVERYBODY thought the lion king was gonna flop and pocahontas would be their greatest movie ever made. people begged to ditch lion king and work on pocahontas.

the reason robin hood ends so abruptly is that there was an actual ending planned and storyboarded but the crew spent too long arguing about everyone’s fursonas to finish animating it

madam mim was way less comedic in the original book but because her character was too similar to maleficent (who was in their latest film at the time), the sword and the stone crew decided to differentiate her by making her fucking hilarious

when making a goofy movie, jeffrey katzenberg (studio chairman at the time) told bill farmer to give goofy “a normal voice.” farmer, who had been voicing goofy for eight years at that point, including in the goof troop show that a goofy movie was a sequel to, was very confused. after making an attempt they decided to scrap that note completely.

as of march 2023, farmer is still voicing goofy, and tony anselmo has been voicing donald since 1986. the 2017 reboot of ducktales, which was slated as “wanting to do for donald what goofy movie did for goofy,” featured both actors as those characters; they had also been doing the voices for the original ducktales and goof troop/goofy movie. all the times goofy and donald interact in the 2017 ducktales however, donald was voiced by guest star don cheadle as a joke

current voice of mickey mouse bret iwan has stated that he has attempted to play kingdom hearts and did not do well

disneyland’s current world of color halloween overlay features a plot that is basically “the disney villains simultaneously adopt a goth kid” and i love it

people will make jokes about “well math says that the beast would’ve been 11 when he was cursed” well that was actually the original intent, but a flashback scene of baby beast was scrapped because he looked “too much like eddie munster”

when disney sent a representative to pixar to check on toy story production, she was like “this is all great! what style of music are you thinking” and they were like “for what” “for the songs” “we uh. we weren’t gonna have. any songs” and she went dead silent and then went “i have to make a call” and left the room

saludos amigos and the three caballeros were made as ww2 propaganda. the government commissioned disney to make movies to make latin america like them so that they wouldnt side with the nazis and provide them an in to invade, and latin america really liked donald duck so

saludos amigos was apparently the first time many usamericans realized that latin american people were like. people. film historian alfred charles richard jr said that the film “did more to cement a community of interest between peoples of the americas in a few months than the state department had in fifty years”

while latin america generally liked both films, chilean cartoonist rené rios boettiger fucking hated the chilean segment of saludos amigos, seeing the main character of pedro the plane as a weakass bitch, so in response he created condorito, the most popular comic character in all of latin america

disney wanted to adapt ts eliot’s old possum’s book of practical cats. his widow adamantly refused, and then sold the rights to andrew lloyd webber bc he wanted to make it sexy and she said “tom would’ve liked that”

in case you haven’t seen the defunctland, walt disney wanted epcot to be a futuristic utopia where he was basically the dictator. then he died so they just made it another theme park

speaking of defunctland the first defunctland video was on disneyworld’s alien attraction and please watch it. please it’s so funny

after the huge failure of the black cauldron disney was going to shut down its animation department. the department tried to convince them to keep them alive by showing them the one scene they had finished for the next movie– the mouse burlesque from the great mouse detective. it worked

the only attraction the black cauldron ever got was in tokyo disneyland where they put a tour under cinderella’s castle where everyone had to escape the disney villains trying to kill them, only to end at the horned king and the cauldron, who would try to sacrifice them to satan. this tour was popular but was closed in the early 2000s as the tunnels didn’t fit earthquake regulations and i want it in disneyworld so bad

walt disney once referred to his unionizing workers, led by goofy’s creator art babbitt, as “commie sons of bitches,” and i want a mickey build-a-bear that calls me a commie son-of-a-bitch whenever i squeeze its paw

[artist-issues]

I Hate How She Talks About Snow White

"People are making these jokes about ours being the PC Snow White, where it's like, yeah, it is − because it needed that. It's an 85-year-old cartoon, and our version is a refreshing story about a young woman who has a function beyond 'Someday My Prince Will Come. "

Let me tell you a little something's about that "85-year-old cartoon," miss Zegler.

It was the first-ever cel-animated feature-length full-color film. Ever. Ever. EVER. I'm worried that you're not hearing me. This movie was Disney inventing the modern animated film. Spirited Away, Into the Spider-Verse, Tangled, you don't get to have any of these without Snow White and the Seven Dwarfs (1937.)

Speaking of what you wouldn't get without this movie, it includes anime as a genre. Not just in technique (because again, nobody animated more than shorts before this movie) but in style and story. Anime, as it is now, wouldn't exist without Osamu Tezuka, "The God of Manga," who wouldn't have pioneered anime storytelling in the 1940s without having watched and learned from Snow White and the Seven Dwarfs in the 1930s. No "weeb" culture, no Princess Mononoke, no DragonBall Z, no My Hero Academia, no Demonslayer, and no Naruto without this "85-year-old cartoon."

It was praised, not just for its technical marvels, not just for its synchronized craft of sound and action, but primarily and enduringly because people felt like the characters were real. They felt more like they were watching something true to life than they did watching silent, live-action films with real actors and actresses. They couldn't believe that an animated character could make kids wet their pants as she flees, frightened, through the forest, or grown adults cry with grieving Dwarves. Consistently.

Walt Disney Studios was built on this movie. No no; you're not understanding me. Literally, the studio in Burbank, out of which has come legends of this craft of animated filmmaking, was literally built on the incredible, odds-defying, record-breaking profits of just Snow White and the Seven Dwarfs, specifically.

Speaking of record-breaking profits, this movie is the highest-grossing animated film in history. Still. TO THIS DAY. And it was made during the Great Depression.

In fact, it made four times as much money than any other film, in any other genre, released during that time period. It was actually THE highest-grossing film of all time, in any genre, until nothing less than Gone With the Wind, herself, came along to take the throne.

It was the first-ever animated movie to be selected for the National Film Registry. Actually, it was one of the first movies, period, to ever go into the registry at all. You know what else is in the NFR? The original West Side Story, the remake of which is responsible for Rachel Ziegler's widespread fame.

Walt Disney sacrificed for this movie to be invented. Literally, he took out a mortgage on his house and screened the movie to banks for loans to finish paying for it, because everyone from the media to his own wife and brother told him he was crazy to make this movie. And you want to tell me it's just an 85-year-old cartoon that needs the most meaningless of updates, with your tender 8 years in the business?

Speaking of sacrifice, this movie employed over 750 people, and they worked immeasurable hours of overtime, and invented--literally invented--so many new techniques that are still used in filmmaking today, that Walt Disney, in a move that NO OTHER STUDIO IN HOLLYWOOD was doing in the 30's, put this in the opening credits: "My sincere appreciation to the members of my staff whose loyalty and creative endeavor made possible this production." Not the end credits, like movies love to do today as a virtue-signal. The opening credits.

It's legacy endures. Your little "85-year-old cartoon" sold more than 1 million DVD copies upon re-release. Just on its first day. The Beatles quoted Snow White in one of their songs. Legacy directors call it "the greatest film ever made." Everything from Rolling Stones to the American Film Institute call this move one of the most influential masterpieces of our culture. This movie doesn't need anything from anybody. This movie is a cultural juggernaut for America. It's a staple in the art of filmmaking--and art, in general. It is the foundation of the Walt Disney Company, of modern children's media in the West, and of modern adaptations of classical fairy tales in the West. When you think only in the base, low, mean terms of "race" and "progressivism" you start taking things that are actually worlds-away from being in your league to judge, and you relegate them to silly ignorant phrases like "85-year-old cartoon" to explain why what you're doing is somehow better.

Sit down and be humble. Who the heck are you?

[shiny-jr]

Get you a guy with thighs bigger than yours.

- Warning: Gender-neutral reader. 

- Characters: König.

- Summary: Thick thighs do not save lives.

- Note: This came about because I was just talking crazy in the dms with a mutual. I originally wasn't going to ever let this see the light of day, but then I decided, why the hell not? If I get smacked with delayed embarrassment, I'll just delete. Yeah, I know this isn't what I usually write and post, but oh well. Anyways, after this, we will be back to our regular scheduled content shortly. Oh, and sorry for minor mistakes, I wrote this like at midnight.

. . .

You decided to put a movie on. Just for a distraction. After about an hour into the movie, the leather couch got a bit uncomfortable since it stuck to your skin. So you slunk down to the floor, bringing a pillow or two down with you to use in case extra comfort was needed. The movie was beginning to lose your attention, but you still watched the screen attentively as if you were still focused on the film's plot.

What ended up catching your attention, was the slight shifting couch. Well, slight probably wasn't the correct word, as the movement was anything but light. It was safe to assume the shifting was from a guy who was well over 200 Ibs and a few inches short of 7 ft, although you didn't know the exact numbers because you never wanted to ask König outright.

It was easier to hear the movement, as the large figure scoot a few inches over. Instead of sitting beside you like he was a few seconds earlier, he had not so discreetly moved to take your vacant spot and sit directly behind you. He tried to stay quiet, he really did, but it wasn't so easy for him given his size. At the very least, he treaded carefully, not bumping your back once with his legs or accidentally knocking the back of your skull with his kneecaps.

You didn't move, but your eyes slowly glanced downward, where you could see the tip of his boots. Custom made, as most department stores didn't carry anything in his size. Most articles of clothing he had were custom-made or bought in special stores, save for that odd black diy mask he often wore over his head like a hood to hide himself from the world. Too afraid to lean back and accidentally make contact and disturb this fragile peace, you remain still despite the slight ache in your lower back that make you want to lean back and stretch. But you don't. All you could do was try to revert your attention back to the movie and not think any unholy thoughts, that is, until you heard more movement.

To not bump his knees against you, Konig spread his legs a bit and leaned down. The edges of his homemade cloth mask brushed against your back as you stiffened up, and you could make out the shape of his head beside yours as he whispered, "Do you, uh, want some...?"

Yes. "What???"

"Popcorn? Do you want some popcorn...??"

Oh.

After deciding whether or not you'd accept his offer, silence ensued, only fueled by the movie playing on the television. You weren't gonna lie, you have no idea what the hell was going on in the story anymore. A solid minute passed when he spoke again, sounding just as unsure as the first time. He spoke, as if whatever thoughts he had on his mind earlier where left to simmer for long enough.

"Scheiße. Sorry, should I have not moved here...? You can still lean back if you want?"

"Oh, okay... I, um, I'll do that."

Your back was starting to ache a little from sitting up without support, so, feeling just as awkward as he was feeling, you leaned your back against the couch. Instantly, as soon as you did that, your peripheral vision was covered by his knees and part of his legs. The movie was pretty much pointless now, as you were currently wondering whether you should thank whatever gods existed or curse them for the fact that König did not have shorts on. Even without shorts and with specially fitted cargo pants, they could not conceal the insane bulk of his legs. Especially his thighs. Good lord. The two pillows you brought down before from the couch were essentially useless now because on each side of your head were his limbs that rivaled the best of My Pillow.

Think of something else, anything else, is what you tried to tell yourself.

That idea would go out the window as soon as you felt something in your hair. Carefully twisting a few strands, you felt some thick and calloused fingers gently try and feel the texture of your hair. But it lasted only for a brief second, as he immediately pulled his hands away and murmured a tiny bit louder from his whisper earlier, "Ah, sorry, I should've asked first. I should not have done that. I am sorry––"

"It's okay, I... don't mind." You shrugged it off, and much to your surprise and contentment, he continued.

The first few seconds had a bit more hesitancy, but as time ticked by, seconds turned to minutes, his boldness increased. It started with his large hands carefully feeling the texture of your hair, then it became slow brush strokes as his thick fingers ever-so-carefully untangled knots in your stands of hair. Until eventually it escalated, and he gathered the courage to do something so bold as to scratch your skull. He could easily take your entire face in one hand and crush your skull, but he didn't. There was no sign of any such roughness. Instead, his fingers and nails continued to comb through your hair, lightly scratching your scalp. At first when he did this, he paused, and waited for any objections or signals of a negative reaction, but after no such thing, he continued and seemed pleased.

It was after about five-minutes and heavy mental debating in your mind that you decided to suck it up and go for it. What's the worst that could happen? Honestly, you didn't even expect to make it this far.

So, after taking in a breath, you let your head fall to the side. It wasn't like those romantic scenes where you watch the character lean their head against a love interest's shoulder. Oh no, you were skipping that part, your ear landed right on his thigh. Which was probably due to the cushion you placed underneath you on the floor that elevated you a few extra inches, or else you might've missed. In that moment, right as the side of your head landed on its intended target, you felt him freeze. His fingers stopping, nails still on your scalp. A second passed, then two, then three, like time froze.

You were almost tempted to pry yourself off and apologize, but you really didn't want to. But you had to ask. "Is this alright...?"

"J-Ja... I mean, yes..."

Your eyes widened, and you were sure you had on some goofy kinda grin but at least you weren't facing him so he couldn't tell. Once you heard his response, your shoulders slumped, relieved of tension you didn't even know you were carrying.

Even with your head against his thigh that wasn't plush but was still definitely comfortable, you realize you were no better than a man as you resisted the urge to just reach out and squeeze his other thigh that had gotten closer without you even realizing it. You had to dig your nails into your knee to prevent yourself from acting on impulse.

It was definitely almost pure muscle from what you could tell with your head on one of them. Firm but somehow still soft. Thick thighs, in fact, do not save lives, because these thighs have ended who knows how many between them in finishing moves on the battlefield. Lucky bastards. Trying your luck agian, you place a shaky hand on his other thigh, but he didn't react. A good sign? Possibly?

Forget goth gfs and thick plush thighs, apparently giant anxious austrian soldiers with thighs as thick as tree trunks and strong enough to obliterate skulls like melons were the new fad.

Movie totally forgotten, your vision was entirely covered when König leaned down a bit from his spot on the couch and you tilted your head to look up and meet his gaze. The masked man stared at you, his blue eyes peering down at you through the two small slits cut into his mask for his eyes to see. His mask partially dangled, but not fully, so not revealing himself to you. When your gaze traveled away, abruptly his thighs got closer, squishing your cheeks and the sides of your face but not enough to hurt. Just a bit of pressure to get you to look up again.

Oh god.

There was literally no space between your face and his legs anymore, and your arms instinctively went to the outer side of his thighs to try and pry them apart a bit. You didn't try much, maybe because you enjoyed it or because you didn't exactly have strength strong enough to rival his, so all you could do was clutch the pockets of his cargo pants that were just above his knees, your nails digging in softly just to get a quick feel.

Once he saw he had your attention again after he applied a bit of pressure, he cocked his head to the side and continued to look down at you through half-lidded eyes darkened by the shadow of his hood. Then he spoke, but this time with no apprehension in his quiet tone.

"You do know I've ruined others that were in a similar position to what you are in right now?"

[bellshazes]

dreaming up a syllabus for an imaginary course on metanarratives about gameplay, which i think would go something like:

unit 1: who do you think you are i am - auto-documentary & games

Vlogs and the Hyperreal, Folding Ideas

The Slow Death of Let's Play Videos, Meraki (to ~10:00)

World Record Progression: Mike Tyson, Summoning Salt

ROBLOX_OOF.mp3, hbomberguy

Life as a Bokoblin: A Zelda Nature Documentary, Monster Maze

optional: Braindump on the History of Let's Plays, slowbeef

unit 2: what like it's hard? - intro to challenge narratives

Chapter 26: Games as Narrative Play: Two Structures for Narrative Play, Rules of Play

A different kind of challenge run: Minimalist 100% (BOTW), Wolf Link

Surviving 100 Days on Just Dirt, Mogswamp

Can You Beat DARK SOULS III with Only Firebombs, the Backlogs

Is it Possible to Beat Super Mario 3D World while permanently crouching?, Ceave Gaming

The Pacifist Challenge - Beating Hollow Knight Without Collecting Soul [CHALLENGE] - Sample

optional: How to 100% Snowpeak Ruins in under 15 minutes, bewildebeest

unit 3: nelly you don't understand, i AM the narrative - form and function

The Future of Writing about Games, Jacob Geller

Can You Beat GRIME Without Weapons?, the Backlogs

Mushroom Kingdom Championships, Ceave Gaming

My Life as a Barber in Hitman 2, MinMax (Leo Vader)

MyHouse.WAD - Inside Doom's Most Terrifying Mod, PowerPak

optional: Mega Microvideos, Matthewmatosis

the theme and structure is mostly intended to introduce at least one critical or historically contextual work followed by examples of the type of narrative in question.

in unit 1, this is the idea of "How do people talk about their own experiences in the context of YouTube and playing video games?" across three rather different kinds of documentaries. unit 2 is intended to take that lens of who is telling what tale and dial in on challenge running, where i first noticed the way some videos turn the story of overcoming a challenge into its own narrative that is distinct from but related to the narrative events of the game itself. unit 3 circles back to the bigger picture with a variety of examples that, to me, are maximally metanarrative, the emergent story of the player-narrator now functionally replacing the game's embedded narrative.

bonus unit: broken narratives

Glitch & the Grotesque at the MLA, Sylvia Korman

Watching time loop movies to escape my time loop, Leo Vader

The Stanley Parable, Dark Souls, and Intended Play, Folding Ideas

Breaking Madden, Jon Bois

The TRUTH about the Pizzaplex in FNAF: Security Breach, AstralSpiff

this one is highly underdeveloped, but i'd love to work out something more robust building on randomizer challenges that produce intentionally bizarre, semi-ironic "lore," and bois-esque endeavors to break games so hard the story itself crumbles. but that's really out of scope so i'm just including the links to things i couldn't bear to get rid of. more rambling abt the challenge runs I chose under the cut.

Challenge runs represent one of the most obvious places to start, due to being extremely plentiful and having a hook that makes a "here's how I did X thing in Y video game" format almost unavoidable. Minimalist 100% is an underrated and sweet straightforward example that I mostly include as a baseline for reporting-out style narrative; here are the facts, here's what happened, this is the thing that it is. Mogswamp's 100 Days on Just Dirt is similar in style, but the physical measuring of days is a delightful and, more importantly, external narrative device.

Now oriented, we get a taste of Ceave Gaming's narrative approach to Mario challenges with the no-crouching run, and while we still aren't at the degree of player-characters being constructed for the narrative's sake, the spirited belief in crouching sets the stage for other rhetoric in more extreme cases we'll see later.

The Backlogs' entire body of work qualifies here, but GRIME is the strongest inspiration for putting this list together. I include the DS3 firebombs run because what was initially a factual description of how his wife's use of firebombs inspired him to play differently in the original DS1 firebombs run has developed into full-blown multi-game narrative arc with the Firebomb Goddess (his wife, who also voices the character) compelling his in-game character to achieve his destined quest. Grime takes that even further,

In-Game Documentaries

I include Life as a Bokoblin mostly as a contrast to My Life as a Barber - there is a level of fictionalization and roleplay involved in the Zelda in-game documentary that highlights exactly what I want to single out when I am talking about metanarrative, the story about a story.

[chironshorseass]

what bugs me most about the pjo show is that i know they could’ve done better. i knowwwww they could’ve been as faithful as they wanted to the books. for anyone saying “oh, but it’s an adaptation! it isn’t meant to be the same so stop whining that they took stuff out or that they’re adding things in different order!” well yes, i agree that adaptations aren’t meant to be a carbon copy of the source material for the simple fact that it’s adapting the source material into a different medium (television), yet it’s just that! a form of adapting the things that are unable to be channeled from, say, a book—or on the contrary, adding things that make sense for television but couldn’t be channeled into the books otherwise…all of this in a faithful manner. a good adaptation is one that stays true to the source material by properly adapting its themes, characters, symbolism, context, pacing, and the overall story/plot so as to not only be seen as a sort of love letter to the fans, but also to reach a wider audience.

just look at the hunger games! the movies are so faithful to the books to the point that most of the scenes are taken straight out of the books, dialogue and all. and they’re movies, aka less runtime than a freaking tv show and they still did it better. did the hg movies have to take a few scenes out? yes; they have only so much time to tell the story as it is told in the books. did they resume things, like the games themselves? also yes. but did most of the important scenes and character moments stay in the movies? also also yes. again, THESE ARE MOVIES!!!!! a medium much more limited than a freaking tv series with multiple episodes that have enough run time to add even more scenes from the books than what could be possible in a 2 hour (max) movie!!!!!!!!!!!!!

and yet they STILL changed so much that rly had no business being changed other than that the writers decided they felt like it because…..a lot of it im not even sure. and the worst thing of it all is that freaking rick riordan took part in script writing yet so much of the source material has been watered down???? they make a whole ass episode about a monster fight with the majority of the scenes from said episode not even present in the books instead of sticking to the perfectly good source material???? and by doing so they delete the small details that are very much integral to character development and plot???? huh???? the math isn’t mathing. don’t get me wrong, i do like some changes, but then i think: at what cost do they add these things when there was a perfectly good narrative without it? like, at what cost do we get the whole turning to gold sacrifice scene if they’re gonna take out all the fun details that make the lightning thief the lightning thief? for example the silly water park merch and then annabeth displaying her spider phobia and her mortification at going to the thrill ride of love with percy and then being broadcasted to olympus. this is just one episode, but they’ve been doing it in all of them. and u know, it’s not that i don’t hate-hate most these changes. again, what bugs me is that this was supposed to be a faithful adaptation. again, it’s a tv series, with so much more time to develop everything from the books. rick is behind it, who apparently hated the movies for how unfaithful they were. the cast is great. and yet…the script is so mediocre. the spark is lost. character traits are looked over in place for weird pacing and even weirder changes. if the hunger games could do it, then surely a pjo tv series could as well? apparently not? i really really Don’t Get It.

[galactic-rhea]

It's ranting hours sunday for me: Y' know, I think when people complain soooo much about Padmé getting with Anakin, they're failing to see a lot of things. BUT ESPECIALLY...That it was her choice, and if speaks a lot of her character and personality.

She was already done dirty by the movies by getting so many deleted scenes, but then if you try to take away the agency she had on marrying a human disaster or her choices, like her forgiveness/understanding, it's actually undermining and flattening her character.

The fact is that she's actually very similar to Anakin, she's stubborn, deeply traumatized, compromises a lot for the sake of others and loves beyond reasoning. We, the audience, know that Anakin will become Darth Vader and one of the most iconic villains of history; so everything he does can be seem as a red flag that really isn't there.

From Padmé's POV, Anakin has done terrible things, but it's capable of incredible acts of love and compassion. They're in circumstances that aren't normal at all, she was queen at 14, and he was born a slave and joined the space wizard monks and his normal is kill or be killed. Our modern and omniscient POV can't be applied onto them because there's no point of comparison in this sci-fi-shakespearen tragedy-soap-opera-fantasy.

Besides...she was actually right in the end, and I don't believe is "feminist" or progressive to take away a big part of her core personality, that actually had repercussions in the whole story, and make her out to be either unaware and naive of marrying a monster, or (the worst one, imo) being jedi-mind-tricked-brainwashed-abused by her husband.

The "right, correct, girlboss and queen" actitude does more damage than help, leave Padmé to be a person. A person who wanted to have a fairytale romance with some guy who would fight for her and makes her laugh.

Also, the hell why you wanna blame her for something Anakin does, come on. That's a whole other can of worms, though. My point is, that trying to avoid or re-work-or re-contextualize the fact that she chose Anakin despite him literally telling her about murdering a whole village, is actually changing a big chunk of her personality traits.

She was a child queen, then a politician at the edge of an inminent war, manipulated by the same guy that groomed Anakin into a massive murderer, saw her people being taken into camps, had assasination attempts weekly and had to rip off of her individualism by becoming a public figure, giving up her sense of being a person by having several almost identical decoys, she had to stop being just Padmé to be Queen and then Senator Amidala and she did all of that showing little to no emotion.

Then Anakin does all what she herself had to rip off of her in order to be a politician: Honest, passionate, and able to show emotions; like love or anger.

She has morals and she represents democracy and justice, in a way. But I fully believe that inside her she had the same passionate anger and love capable of burning the galaxy that we know Anakin had, which makes them different sides of the same coin, and I think she realized that. Anakin perhaps didn't , as he never stopped of seeing himself as a slave and therefore inferior, whereas he held Padmé very highly, but I think Padmé saw them both as equals. She didn't have a "I can fix him" mentality, she had a "We're the same, we're both lonely, confused, hurting and scared of losing everything. And if he's like me, then I know he can do the right thing for love."

In other words: She was as insane as her husband, she only seems normal because she wasn't put into the monk warrior order and groomed by the devil for over a decade. (And I don't mean insane as, 'she's crazy for loving a murderer' harley quinn style, I just meant it on a daring, hopeless romantic and tenacious way)

[artycomicfangirl]

I just wanted to redraw art from last year a bit properly. Fandesigns for different Sarasaland Cultures? Right here!

Although, I wouldn’t call this her ‘Royal’ outfit in Birabuto. Obviously it’s too plain I think. More rough on the edges.

This is more suited for casual and active movement. So likely she’s able to fight at a moments notice if she wants!

Now once again, my little personal notes!

• I thought since SMB movie Peach is actually really active already. I’d like to think Daisy is active as well…x2, with a side of wild, strength and crazy! One woman army!

• Daisy at an older age would most likely be proficient in most of the weapons that are native to the Kingdom. I’m going by this idea inspired from the fact that Daisy is known to be a very all round athletic character!

Think of a moment where you would be sneaking around at night. Then all of a sudden, a dagger comes flying at your direction. Lodging itself into the pillar behind you…centimeters away from your neck.

• There was actually one story which surprisingly, Is one of King Toto’s most favourite and funniest story in the past!

• At one point in her pre-teen to Mid-Teen years, there was a point in time where her training shifted. No more simple training! More difficult, more pressure, more tactical and strategic. Young Daisy would have had a bit of a hard time keeping up. But she admirably would not give up and pull through every time. He was overseeing a performance that would display young Daisy’s skill as she fights one of his guards. Daisy, having had enough of feeling like she should struggle, would be suddenly filled with a fiery determination in his words. And it was that was when not only did she managed to bowl over a guard. But broke a part of one of the pillars in the process.

🔶🔶🔶🔶🔶🔶🔶🔶🔶🔶🔶🔶🔶🔶🔶

“Your Majesty! You have a beautiful palace! But…what happened to that pillar over there? A large chunk of it has been broken off!

“Oh? That! Ah, not to worry. That was made by the Princess when she was but a fledgling…with a Spear!”

“…O-Oh…”

🔶🔶🔶🔶🔶🔶🔶🔶🔶🔶🔶🔶🔶🔶🔶

[doctorbunny]

A little speculation about Corpse Disposal and J-horror

But I'm a little bored so sharing a part-theory, part-headcanon on Muu and Rei

So we unfortunately don't see much of Rei in "Its not my fault" but I want to point out three key times we do

The first time we see Rei in the MV, is her wet sleeve (we know its not Muu because Muu wears a pink jumper under her blazer)

Then, after a lot of bug stuff, we're finally back in the real world, where Muu has just killed her Post-After Pain. In INMF, we don't see the surroundings as well, just the dirt track and bushes. But in AP, we see this is right next to a rushing river (Muu's undercover card also features a bridge as a landmark)

The next time we see Rei after her corpse, is a flashback to the start where she turns the hourglass over. Then it cuts just further back to before Rei stood up - as she pulls herself up off the floor She's alive and absolutely soaked after a session of intense bullying (which we saw Muu insert herself into in AP)

However, I want to now switch a little to talk about cinematography and a concept called the Kuleshov effect The video I linked is pretty concise but the gist is that if you put two shots next to each other, even if they were filmed separately, the brain interprets it as a continuous scene (so if you film a character looking off screen, then a picture of an apple on a table, we're going to assume they're looking at the apple)

Therefore while we understand chronologically that the sequence of events is Rei (wet and alive) -> Rei's murder on dry land ↺ Flashback to Rei still wet and alive Which I think everyone understood as a commentary on how this power struggle was a constant cycle of the hourglass being turned over

I think visually, it also implies a sequence like Rei was bullied -> Muu kills her -> Sopping wet, Rei crawls back to the classroom

But wait! That sequence suggests a missing step How did Rei get wet again?

Well, we know Muu killed her next to a river And if you were a scrawny teenage murderer with a body on your hands, would you leave it there where someone could see it while you grab a shovel and stand in broad daylight digging a hole in tough ground??? Or try lighting a fire in public??? Of course not!

It'd be much easier for Muu to, in a panic, just roll her body into the convenient river and let all the evidence wash away!

(Of course, if Muu was panicking, she might not have been very careful. Given she ended up in MILGRAM, there must've been something tying Muu to Rei's death and in T2 Muu seems to have finally remembered losing her left shoe...)

Fun fact: this is the same shoe Cinderella loses in the animated Disney film (and the best known version of that story came into English from France)

Shoe break over, back to the Endless Queen's Game

So, if we assume Rei's corpse was thrown in the river, what does it matter? Its just a pointless headcanon

But I speculate the meaning goes deeper!

So that image of Rei, soaking wet, crawling off the floor reminded me of something: J-horror ghost girls! Specifically the most famous of ghost girls Samara/Sadako Who became a vengeful spirit after being thrown in a well and now crawls out of TVs to kill people who watched her VHS tape

Her story too is a cyclical one (its called 'Ring' for a reason), the only way to break the curse is to copy the tape and have someone else watch it, who will then become the victim unless they can themselves copy the tape and show it to another unsuspecting patsy

The story goes back further because this movie is based on a novel, which is based on the legend of 番町皿屋敷 Banchou Sara Yashiki. There are many versions but generally a maid girl Okiku is proposed to, and when she rejects the proposal, her master breaks one of ten plates and promises to forgive her if she marries him. When she declines again, he beats her to near death then throws her into a well (sometimes it's a jealous mistress instead of a master)

Interestingly, Atrophaneura alcinous (swallowtail butterfly) larvae found in Japanese wells became known as Okikumushi お菊虫 (Okiku bugs), tying back to the whole insect thing...

It's been said a bunch now, but the name 'Rei' can be read as 霊 meaning ghost (seen in words like Yuurei 幽霊, a more common word for ghost than Rei on its own)

We know Muu is afraid of ghosts too (though I must admit she says Obake, not yuurei, but both words refer to ghosts)

Remembers the i/井 in Sakurai/櫻井 can be read as 'well' I'm sure that has nothing to do with anything

Uh, I can't think of a conclusion because its 1 am and I had to look up a bunch of spooky images

TL;DR: I think Muu may have quickly shoved Rei's body into the river next to where the murder happened (maybe forgot her shoe at the scene of the crime) and now she's scared by the cycle continuing and Rei coming back to haunt her

[cherubfae]

Hello! I'm not sure if you do single characters or not but What if the reader (who's a big fan of horror) wanted to show Alastor some classic horror movies. Their reasoning? "So you can make fun of it," If you do a collection of characters, then it can be like a movie night for the hotel.

Hiya love!! Yes, I do! In fact I'm currently working on a longer Alastor fic at the moment :)) it's like this request was made for me bc I 100% will force Alastor to watch the Scream franchise with me 😭 it's my fave. I'm a mega horror fan, haha! Maybe I'll have to write for slashers again like I used to! I'll just write Al since he deserves some love for himself!! Pls excuse me bc now I'm gonna be thinking about 1920s GhostFace Alastor 😩😩🩷💕

What's Your Favorite Scary Movie? || Alastor x reader

tags: fluff, gn!reader, Alastor critiquing horror media, plot to the Scream franchise, my horror obsession might be showing lmao

Getting Alastor to have anything to do with post 1930s technology was a task and a half. He might've made a deal with Vaggie not to have anything to do with such frivolous technology, but you weren't Vaggie. You were his sweet, dear partner. And he'd never admit just how tightly wrapped he was around your finger.

He seemed to genuinely enjoy the first few Halloween movies as well as the first Texas Chainsaw Massacre. Alastor took a great of interest with Hannibal Lector from The Silence of Lambs. He was deeply considering watching the television series you told him of. He thinks Freddy Krueger is a piece of shit and wished he could do him in with his own hands.

The next movie, however, seemed more susceptible to being torn to pieces by his ever-watchful eye.

"So the point of this picture show is what... Billy is angry because his mother abandoned him and he doesn't know how to deal with those big feelings at his age?" Alastor gives an indignant snort, looking bemused at the old television screen currently playing a VHS of Wes Craven's 1996 slasher classic Scream. That's as new of tech as Alastor would allow, so you made do.

Snorting out a laugh, you lean against his arm. Alastor's crackling gaze flickers to you his smile softening around the edges. He did very much adore your laugh.

"That about sums it up, yes," you grin, biting down on the corner of your chocolate bar.

Alastor leans his back against the sofa, pulling the blanket wrapped around you two closer. "I don't know how that Macher boy thinks that peer pressure is a justifiable defense for murdering people." He unwraps his own piece of bitter chocolate and pops it into his mouth. "Own up to your choices, for Heaven's sake. And people find these two attractive? Are they not in love with one another? Surely anyone with two good working eyes could see this."

The sixth Scream movie damn near has Alastor foaming at the mouth, each and every movie felt as repetitive as the last with slight twists and changes. He was polite to keep most critiques to himself, eyeing how much you clearly enjoyed showing something so near and dear to your heart. While the plot was rather lackluster, he had to admit he was interested in the severe brutality of the sixth and despite his opposition to new media, felt that it was a decent enough film. With such a repetitive storyline, he didn't really expect that sort of twist.

"There's one more we can watch!" You grin, holding up your copy of Scary Movie. Alastor's eyes look ready to pop out of his skull as if to say 'Oh god, another??' "I don't think you'll guess who the GhostFace is!"

"Is it the man called Doofy?"

|| I DON'T GIVE PERMISSION FOR MY WORKS TO BE REPOSTED, RESHARED, OR EDITED. TUMBLR IS MY ONLY ACCOUNT AND THE ONLY PLACE WHERE I POST MY WRITING. ALL CHARACTERS BELONG TO THEIR RIGHTFUL OWNERS, THE STORY BELONGS TO ME. || CHERUBFAE © 2024

"What the fuck-- how."

[deadliestgalaxy]

SPOILERS FOR GOTG VOL. 3 - DON'T READ IF YOU HAVEN’T WATCHED IT YET!

I have a feeling that everyone (who calls themselves fans) that didn't get the meaning of the ending in GOTG Vol. 3 has never read a single comic of them or is only a fan of some characters/relationships. Many complaints I've seen are about the end and Gamora and Peter’s romance, which sounds kind of childish. You don't need to agree with me, but I’d like to elaborate on that.

James Gunn's writing is always about the detail of things and he is not afraid to do something “bad” if it is the best for the STORYTELLING. This is what most of these people don't get: the most important part of these movies is the story they are telling. The characters help the movie tell the story, it's their story after all — but there's no protagonist or greater good that puts them above the narrative.

(This is different from Gamora’s death in IW btw. It was not the only way they had to make the story flow; they just wanted to “humanize” Thanos and by that, they chose to kill her character. It was an action ADDED not CRUCIAL to the story.)

Vol. 3 is about found-family and growing up; finishing cycles. They will always be family, as we will always be part of their story (that’s why we understand Groot now). However, life chapters end just like in real books, and these Guardians as a TEAM “chapter” has ended for them and for us.

This is very common in the comics. Most times they are all separated, doing solo missions, until something goes wrong and they reunite again. They never stop being friends, why would it be different in the movie universe?

But the end suggests they are not family anymore.

Did we see the same film? No, it doesn't. We can see that in James’ subtle writing: the way they all still respect each other, their understanding of one another, and how they all would die for themselves if needed. That won't change just because they are not physically together — just like when you finish school you won't ignore your best friends, even if you create new relationships (which you will).

But Gamora is not part of the family anymore.

Well, if you see it this way, I can't change your mind. What I can say is that the story IMPLIES that she still is, in fact. And the number one clue is that she (in 2 days) understands Groot. Remember, we also understand him because the fans are now part of the Guardians family — so understanding him and being family are correlated.

Anyhow, I know this is not enough for most people, so hear me out: Gamora’s arc is about respect and healing. She starts the movie skeptical about working with the guardians — she just wants the money— when in reality, she acts like this because she is AFRAID and feels PRESSURED to be around her “old” family.

Imagine: you died but then another version of you comes back without knowing anything of your present life. People will expect you to act in a certain way that maybe you started to act after you met them; they will expect you to like certain things you don't know of; people will EXPECT you to attend to their needs. It is a lot to swallow at once. You are afraid because you don't know them, you don't think you deserve all this love and commitment out of nowhere. So you run away. You run away to find things on your own, to grow out of this pressure you feel and discover the whole universe of possibilities you have ahead.

That's what Gamora did. But then, the mission went south and now she is stuck with her “old” team. The film shows us her character exploring the ship, listening to music... trying to understand them. At one point she even says to Rocket “You must be a very loyal pet for them to do all this for you” (or something similar). This is her way of putting into words how she visualizes the current scenario she was put in. Slowly she recognizes that they are a family, and by the way they act she finally gets how and why she also must have loved them in the past.

She goes from “I don't give a fuck”, not open to them, afraid and pressured to “I bet we were fun”, understanding and respecting them, even fighting for their family to survive.

(If she still didn't give a fuck she wouldn't have fought for them and with them when she could have just run away again.)

But she has already created new relations, so she goes back to those for now. It is what she is familiar with in this timeline. Does that mean she will never contact the guardians ever again? NO. Remember: James’s writing is about DETAILS, nuance. She is open to them again, and the final part of the movie shows this to us, especially her last interaction with Groot, Peter, and Nebula being friendly.

Oh, but Peter and Gamora will never be a couple again, their romance ended when she went back to the Ravengers.

… Again, if you see it this way I can’t change your mind. What I can confirm is that she doesn’t close herself to the team — especially to Peter — in the end.

When she says “I bet we were fun” it's the first time she acknowledges their former relationship without distancing herself from it. She could've said “I bet you were fun” or “I bet she was fun”, but instead she prefers to include herself with “we”. She pauses before letting go of Nowhere, stopping before entering her ship — what moves her forward is Nebula, who can see her sister’s changed attitude but still encourages her to take a step forward and go explore the galaxy, because she knows Gamora is not mature and ready yet for those feelings; just like she wasn't ready to be openly sentimental when Gamora joined the Guardians back in 2014.

And Peter is also not ready. Just like Gamora needs to find herself again and discover who she is, Peter needs too. He is lost without her after IW, we can see it during Holiday Special and in the beginning of Vol. 3 when he passes out because of alcohol abuse. Both don't know who they are in this new reality — and they will only find out with time. Time heals and reveals.

In the end, Peter doesn't have the same thought as in the begging: he doesn't want her to be who he once knew, he wants her as she is, this new version whom he still loves so much and wants to know more of. Although he wishes she could stay, he knows that she has her own time and while she learns about herself he will go do the same.

So yes, they’re not explicitly together as a couple in the final scene — neither they kiss nor make out, whatever you believe a relationship is made of — but they’ve changed and are open to one another. The last scene does not appear to me as an “I’ll never see you again”, but as a “Goodbye, see you soon”.

(Aside from all the small bits we had through the movie of a developing relationship between them; my favorite one being when Peter activates the auto-destruction code and Gamora smiles at him.)

Besides, you can't force anyone to fall in love in 48 hours!!

Yes, I also have some minor complaints about the story, but I can recognize that — with all the turbulence the characters and the production faced in the last few years — it was a satisfying end with a limited amount of time to a badass trilogy. The end is definitive but also open to future possibilities for all our favorite characters in their universe — some we might never see and it will only be to our imagination.

Again, you don't need to agree with me, but I had to do this, or else I would implode with thoughts. Thank you if read up here! My ask box is open if you want to talk more <3