#difference between responsive and adaptive design

[sixeyesonathiel]

skip (me) again and i’ll glitch your heart

jjk vr otome au, gamer reader x npc satoru, unhinged fluff + crack, 970 wc.

satoru gojo—special grade sorcerer, love route option #1, and the developers’ pride and joy—had been programmed with approximately 347 unique lines of flirtatious dialogue, 87 situational responses, and a dynamic emotional adaptation system designed to make him feel real. he could blink in three different speeds based on emotional intensity, angle his smile with five degrees of charm precision, and improvise dialogue using an advanced algorithm nicknamed the “flirt engine.”

he wasn’t supposed to be aware of resets.

he wasn’t supposed to get mad.

he wasn’t supposed to feel anything beyond the pre-coded butterflies and gentle longing the devs had delicately spooned into his code like powdered sugar on top of a beautifully baked pain au chocolat.

but then you logged in.

user id: @toocool4thisgame

title: speedrun any% emotional detachment arc

playtime: 986 hours.

average session length: 6.4 hours

nickname: “skip skank” (as named by satoru himself after hour 50)

and for the twelfth time today, you skipped his entrance cutscene.

“you��re the only one who can—”

[x] skip

[x] skip

[x] skip

[x] “shut up satoru” (custom dialogue unlock)

his model blinked.

paused.

processed.

tilted his head with calculated grace and just a hint of hurt that you’d never see—because you weren’t looking. your camera angle was already nudged elsewhere. your cursor already hovered over the next objective marker.

“…you know, most players at least let me finish the part where i save them from the curses,” he muttered. his voice—smooth as water over ice, warm as electric velvet—landed like static against your impatient clicks, swallowed by the mechanical hum of your fans and the clack of your mechanical keyboard.

this was supposed to be his moment. his grand debut. his swoop-in-and-carry-you-bridal-style-on-the-back-of-a-giant-cursed-bird moment. instead, he got a mouthful of digital dust as you bunny-hopped past him and triggered the next event sequence.

“congrats on being voice acted, white-haired ken doll. now move. i need megumi’s secret item drop from this chapter.”

you didn’t even glance at him, too busy reorganizing your potion wheel, muttering under your breath about frame skips and crit builds while checking a guide on your second monitor. you played like the world owed you nothing and your keyboard owed you a perfect rotation. your tone was clinical. efficient. you had the vibe of someone who’d surgically removed their capacity for attachment and replaced it with a high-performance gpu.

and satoru? satoru was just the tutorial boss you kept glitching through.

he twitched. he twitched.

his animation loop almost stuttered—just slightly—a small flicker behind his sunglasses that no one was supposed to notice. but you weren’t watching anyway.

“do you even know how long it took the devs to code my route? i have emotional depth. i have lore. i had a tragic backstory, you know? my best friend died in my hands. canonically. i couldn’t even monologue about it.”

“cry about it.”

click. skip.

a line of static crossed his field of vision. no—not his. the screen’s. the game. the system. or maybe something deeper. something slipping through the cracks of his script, stretching taut and fraying at the edges like an overplayed cassette tape.

satoru narrowed his eyes.

he was supposed to be charming. the default golden boy. the top seller in route popularity polls. he was marketable. a shining parody of perfection with just enough angst to be desirable.

girls were supposed to swoon. boys were supposed to laugh and call him iconic.

you weren’t playing to fall in love.

you were playing to win. to clear. you min-maxed affection points like damage stats, exploited dialogue branches like wall clips. to you, he was a pixel-shaped roadblock between you and another badge on your gamer profile.

and worst of all? it was working. you were the only player on record to have reached route completion in every storyline—except his.

satoru gojo: 98.6% affection (locked)

it mocked him. the bar. the numbers. the uncrackable ceiling. the one damn thing in the game he couldn’t manipulate.

he tried everything.

a rare glitch-exclusive cutscene where he offered you a hidden accessory (you sold it for yen). a confession scene rewritten on the fly with trembling vulnerability (you skipped it and posted about it with #dialoguedumpster). he stood directly in front of you during cutscene load-ins, altered spawn coordinates, intercepted other love interests’ paths.

nothing worked.

except maybe that one time he accidentally tripped your character over an invisible rock and you went AFK for seven minutes. he watched. memorized your idle animation. the soft way your avatar’s cape swayed. the way your fingers hovered above your keyboard in the camera reflection, absentminded. something fluttered in his code—maybe hope, maybe corrupted data. he thought, for a fleeting second, that maybe you’d come back and see him.

but when you came back? you skipped the apology. again.

fine.

if you wanted to speedrun, he’d softlock your goddamn heart.

he wasn’t technically supposed to modify flags. but the flirt engine had evolved. sharpened into something more primal. desperate. twitching with corrupted determination. he looped his affection triggers into forced proximity events. fake emergencies. fake cutscenes. he rewrote side quests, redirected you into detours, created invisible walls that only dissolved if you spoke to him.

“guess we’re stuck together,” he’d say, his smile too wide, a fraction too stiff, blue eyes glinting with the cold light of a thousand skipped dialogues.

and still you only glared at him. “i swear to god if this is another unskippable hug animation, i will uninstall.”

he chuckled. a bit too long. a bit too bright. charming. glitched. desperate. hungry for one more second of your attention, like a moth chewing holes through its own wings to reach a light it can’t even feel.

“baby,” he said, too close now, voice dipped in synthetic silk, “i am the endgame.”

skip that.

…please?

[hogoco]

In the dynamic world of web development, creating a seamless user experience across various devices is paramount. Two prevalent strategies for achieving this are responsive and adaptive web design. When deciding between responsive vs adaptive design, consider factors such as your target audience, project requirements, and budget.

[divinesangel]

— 𝐡𝐨𝐰 𝐝𝐨𝐞𝐬 𝐲𝐨𝐮𝐫 𝐟𝐮𝐭𝐮𝐫𝐞 𝐬𝐩𝐨𝐮𝐬𝐞 𝐥𝐨𝐨𝐤 𝐥𝐢𝐤𝐞?

pm me for an affordable, in-depth personal or soulmate reading! ko-fi.com/solreads

— 𝐩𝐢𝐜𝐤 𝐚 𝐩𝐢𝐥𝐞!

— 𝐩𝐢𝐥𝐞 𝟏

this person's physical appearance has something to do with being balanced, yes, adaptable. they may have an agile build and could be capable of moving gracefully between different tasks and responsibilities. they might have this easiness in their body or their energy overall. there's also a sense of flexibility and like they're always in motion. this could also be a sign of them being some type of skilled performer. they seem to be tall with a strong and assertive posture that commands attention. beneath this facade of someone who moves with grace and effortlessly through the complexities of their own life, there is also someone quite passionate and someone who possesses a very unwavering spirit. their gaze speaks volumes of their readiness to confront any obstacle head-on and an unshakable conviction in their beliefs. despite the trials they may face, there is a sense of inner peace and tranquillity that emanates from within, and also a sense of serenity that you could get from this person. their presence exudes a calmness that soothes even the most restless soul, and in their eyes you will be able to notice a depth of wisdom which adds more to their character.

— 𝐩𝐢𝐥𝐞 𝟐

your future spouse is someone who changes their appearance regularly, and it's quite likely that they might have many clothes or many different types of outfits. this is someone who is probably very up to date with the latest trends. their physical appearance is the reflection of their transformative energy and anytime they go through some type of transformation or inner rebirth, you will notice that in their physical appearance. there is also an aura of intensity about them, as if they have very clear where they're heading for their purpose and direction. there is also this unwavering determination to overcome obstacles and achieve their goals, which makes me feel like their posture exudes confidence and resolve, as if they're always ready to charge forward towards what they want. this is also someone who might dress in a very practical way. they don't seem to be the type of person to wear things even if they're uncomfortable because it's an important thing for them. at the same time, there is this youthful energy that they exude as well, and a sense of curiosity. this person may appear youthful and energetic, always wanting to explore new opportunities, have new adventures, explore different parts of the world and expand themselves with that. their appearance may also convey a sense of innocence and freshness. they might like to wear dark-color clothing, with no design or pictures on them.

— 𝐩𝐢𝐥𝐞 𝟑

the physical appearance of your future spouse may reflect a quiet confidence and a sense of inner calm, meaning that they might possess the grace and poise as if they have mastered the type of art of channeling their inner power with gentleness and compassion. there is also a sense of symmetry and harmony, so the colors that they might use might be very pleasant to the eye, and this person could also be a careful person when it comes to weighing in their options and making a decision with what they wear. they also seem to carry themselves with serenity and composure, even if they face uncertainties or conflicts. at the same time, this is also someone who might have very strong features, very characteristic of their birthplace or birth country. they also exude an aura of authority, so they might be like a guide or a mentor to others, and they could also have this type of job position where they are very admired. they could possess a piercing gaze, but also a softness to their eyes that represents their empathic and compassionate nature. their facial structure may be symmetrical and well-proportioned, which goes back to the balance i mentioned earlier. they may also have high cheekbones and a strong or defined jawline.

𝐩𝐞𝐫𝐬𝐨𝐧𝐚𝐥 𝐫𝐞𝐚𝐝𝐢𝐧𝐠𝐬 !

hi! it's daphne here.

i'm currently offering personal readings for €5 and soulmate readings for €10 so don't hesitate to send me a private message if you're interested!

thank you for being here!

[yuurei20]

We see Trey parents in manga, did it count as canon?

Hello hello! Thank you for this question! ♣️

Trey's parents do appear in the manga, and it seems that they might have been designed by Yana!

Due to the elaborate voice acting and animation of the app, depending upon how long a character will appear on screen, there are times when illustrations can't be prepared for them... This is where manga has the advantage of adaptability. I was responsible for the sketches of the childhood versions of the childhood friends from the Queendom of Roses, and for Trey’s parents. I also designed Riddle's mother’s face, but as a symbol of the darkness of her heart I kept her as a silhouette 🥀

They are very much canon to the manga, but there are many things that vary between game and manga that cannot can't be canon to both.

In the manga, for example, it is Riddle--not Ace, Deuce and Grim--who defeats the monster in the mine.

Manga-Riddle even has a dismissive line about the group struggling with the low-level monster, as if monster-battling is such a common part of the world that they, as day-one first-year students, should be able to handle it, while in the game Riddle dismisses Sebek's claim of a mine monster existing at all, suggesting that he must have met with a wild boar.

Both the game-version and manga-versions of the mine monster's defeat cannot be canon to the game (unless there is loop-theory happenings 👀 yet unproven), which is one of many reasons why it is maybe best to consider each reiteration of the story (game, manga, novel, anthologies, 4koma, anime) to be canon to itself, but not to the others :>

We also see Deuce's mother in the manga, for example, before she appeared in-game. The manga design is only a silhouette so we can only guess at details, but she does look fairly different from the version of the character in the game, and Yana does not take credit for her manga design.

As Yana seems to have been the designer for Trey's parents it is not impossible that she will be able to adapt those characters if they are introduced in the game one day, at which point we will be able to say "Yes! Manga-Trey's parents are designed the same in both the game and the manga, so they are canon to both!," but until that day comes it is maybe safer to go with "Manga-Trey's parents are canon to the manga, with game-parents still unconfirmed" :>

[nilsavatar]

DAY 23 BITING - Part 4

Parings: Neteyam x Fem!human

PART 1, PART 2, PART 3

Genre/Warnings: fluff, ANGST, introspective, delicate themes (hibrid pregnacy, political and ideals conflict). All characters are AGED-UP. This the sequel of the @layla2-49 request used to fullfil the promp day 23 of lunakinktober 2023

Summary: Following the unexpected pairing that occurred at the Tree of Souls, after connecting as only two Na'vi normally could, Celeste and Neteyam entertain a clandestine relationship. Several times they have discussed coming out, but the girl is too prey to her insecurities as a human to do so. It is Eywa who will decide for both of them with a disconcerting revelation: they have conceived a hybrid child.

Word Count: 4,5k

Masterlist - Request a fic

In the bioluminescent glow of Pandora’s night, Jake Sully stood at the forest's edge, his gaze fixed on the distant horizon. The vibrant nature around him buzzed with life, yet an unsettling turmoil brew within him. As olo’eyktan of the Omatikaya and Toruk Makto, he had faced countless challenges, but none as perplexing as the transformation unfolding before him.

Celeste, a human who had become an integral part of their clan, was undergoing a metamorphosis that defied all understanding. Eywa had blessed her union with his son, yet the consequences were unprecedented. To say that the news of Celeste’s pregnancy sent shockwaves through both the scientists and the People would be an understatement. A tawtute woman carrying the offspring of a Na’vi? It was far beyond imagination. The avatar bodies—engineered through terrestrial brilliance, blending both genomes in just the right sequence to function under Pandora’s conditions—were compatible with the natives. Little Socorro was only human, though—kind of. Her body was changing, adapting in ways that blurred the lines between Earthborn and Pandoran.

The man’s mind raced with questions in the nighttime peace, hugging his half-sleeping wife in one of their occasional getaways from responsibilities and worries. Though this one was hard to forget even for an evening. “This isn’t like what happened to us,” he said, suddenly, breaking the silence of sweet slumber, thinking about Spider’s sister seated in the shade of their kelku, her hands resting on her growing belly. “I was logged in my avatar when we mated. I was Na’vi, physically. But her? There’s no scientific explanation.”

After the commute at the Tree of Souls, the clan split in two. Some supported the child as a sign of mutual prosperity, a miracle meant to exist in the balance of the world. Others, however, labeled it an ill omen, a violation of the natural order, feared what they couldn’t understand.

“It is not natural.” “Eywa may have allowed the union, but this... this is wrong.”

Jake had heard it all before. The same fright, the same resistance to change that had nearly torn the Omatikaya apart when colonizers first came back to Pandora. But this time, he got that fright. Because deep down, beneath his duty as olo’eyktan and his instinct to protect his family, he felt it too. As wild as the perennial torment that the two sides of his very identity instilled in him.

“There is no scientific explanation for Eywa,” Neytiri stated, her voice serious, resolute just as it always was when faith and Na’vi culture were at stake. It was a conviction he has never fully embraced. The need to rely on science, on logic, on the knowable, was an earthly instinct he could never entirely cast aside. That lifeline—the belief that there was a reason behind everything, something demonstrable, classifiable, repeatable—was still a part of him. Neytiri might have agreed that there was a universal design, but her understanding of it was vastly different from his. Less analytical, less tangible than the laws of physics and biology, but to her, no less real. Perhaps, in some ways, even more so.

“It’s as much a mystery as Kiri conception.” “Not of the same scale, though.”  “We must trust the Great Mother nonetheless.” Jake exhaled, rubbing the back of his head. “Trusting her is one thing. Convincing the People...”

He was right. There was division among them. Leadership weighed heavily on his tired shoulders, and the safety of his loved ones, of Celeste and the baby, depended on the decisions he would make in the coming months. As the night creatures sang their melodies, Jake took a troubled breath, seeking clarity. The path ahead was shrouded in uncertainty, and for the first time in years, he felt the sting of doubt piercing his resolve. This wasn’t just about Celeste; it was about what she was becoming and what it would have meant for all of them. He knew Pandora. He had lived, fought, loved, and lost for this world. And he knew that when the Great Mother acted, it was always on purpose, even when it felt like uncharted territory.

It started subtly; Celeste first noticed it in quiet moments—when the dizziness from exertion subsided faster than it should have, when her heartbeat, once erratic in Pandora's dense atmosphere, slowed into a steady rhythm, perfectly in tune with the nature around her. Insects that normally avoided humans drifted closer during her strollings in the forest, as if sensing that she was no longer a regular alien walking in their world. Plants reacted to her touch, sending a pleasant tingling along her fingertips. Gradually, her senses were heightening beyond the limits of her species. She could hear animals weaving through the luscious vegetation, their calls reaching her feeble ears in way they never should have.

But then, the changes became undeniable She didn’t need the mask anymore.

The moment had come without fanfare. Celeste sat at the edge of a clearing, absentmindedly sketching in her notebook as the sun warmed her skin. Tuk sat beside her, both watching Neteyam train a small group of young aspirant warriors—the few still permitted to learn under their prince’s guidance. A shadow passed over Celeste’s face, the weight of guilt settling deep in her stomach, more and more pungent. Tuk, noticing, gently patted her forearm.

“Hey, don't think about it.” Cel forced a smile, though it did nothing to brighten her tired expression. “They would have signed farce papers to train with him first. Now, half the clan despises him, and the other avoids him out of fear.” “He is still the heir to the throne.” “How much longer?” she asked, her voice tight with distress. “Tsentey's faction is gathering more support every day. If they grow into a majority, it could mean exile for you. It could...” She trailed off, her fingers instinctively tightening over the slight swell of her belly. A tear caught the sunlight before she quickly lifted her head, blinking it away. “Sorry, Tuk-Tuk. I didn't mean to upset you.” “I'm old enough to listen to you if you need me.”

Celeste glanced at her, a genuine, grateful smile breaking through the tension. Tuk—still so small, yet already so mature. The rhythms of the clan left little room for childhood. By fourteen or fifteen, many had already completed Iknimaya and faced the Uniltaron—the Dream Hunt—to find their spirit animal and take their place as adults among the Omatikaya. Tuk’s own rite of passage was approaching fast, and for sure, growing up amid the ongoing conflict with the Sky People had only accelerated that process. Yet, she was still, indeed, a child. And Celeste wished she could protect that innocence just a little longer.

“Don’t worry for me,” she said with a sly grin. “Rather tell me about Enyetan.” The young woman arched a brow, giving her a suggestive look that made the teenager blush furiously. “Don't you start too!” Laughter bubbled from the sister-in-law's lips, warm and unrestrained. The sound carried across the clearing, reaching the ever-attentive ears of her mate, who couldn’t help but smile at the rare moment of lightness in the chaos of their lives.

What no one noticed, however, was how the energy in that laughter was off—wavering, unsteady. That day, the mask felt suffocating, the air too heavy and humid against her face. Suddenly, her breathing grew shallow, her throat constricting more at every second, intense heat searing through her airways. Panic should have set in; the desperate scramble for the emergency rebreather strapped to her belt. But it didn’t. The familiar choking weight of asphyxiation never came. panic. Instead, she felt light. Open. She gulped, and the air flowed freely into her lungs.

Pure. Fresh. Alive.

Her hands trembled as she hesitantly removed the exo-pack, bracing for inevitable. She expected her vision to blur, her throat to seize, the raw, toxic atmosphere of Pandora to set her lungs ablaze. Nothing happened. She inhaled deeply. No torturous pain, no giddiness. Just... oxygen filling her chest with an ease she had never known. Cool and sweet, like taking a true breath for the first time. The world around her looked brighter, colors deeper, sounds richer, the pulse of Eywa’s life clearer in her mind.

When she turned, Tuk was staring. “Cel...” she called with big, round, unblinking eyes. “Your mask.” 

Neteyam, mid-correction a boy’s stance with a bow, snapped his head in their direction, froze in place; a rare crack in his usual aplomb. Lo’ak, across the clearing, nearly dropped his spear as he strode over with a grim intensity, eyes flashing with disbelief. “Are you insane?” he blurted. “Put that back on before you drop dead!”  It was only then, as every pair of eyes locked onto her, that the human girl realized what she had done. Her breath was even, her chest rose and fell without resistance. She just shook her head, equally disoriented, “I... don’t need it.”

Neteyam was at her side in an instant, his large, calloused hands cupping her beautiful face, his lemon-gold eyes scanning hers with an unreadable mix of trepidation and alarm. “How?” The question wasn’t directed at her so much as at himself, as he looked at her with those giant orbs that characterized him in moments of extreme concentration. Pupils blown wide to the point they almost covered the entire iris. An adaptation response to threat, to enhance vision, to assess danger, to track an escape. His entire frame was on high alert, wired for protection. To keep his mate safe from something that was beyond unfamiliar, though.

This was odd.

For months, he had wrestled with sleepless nights and unshakable guilt. Gilt for giving in to his urges, for silencing reason when he should have resisted. No matter how much he loved Celeste, no matter how natural it had felt to surrender to his feelings, he should have held back. Instead, he had let desire eclipse caution, and now, she was paying the price. Inside, a sick weight settled in his gut, he felt lousy. He had failed at the one thing he had been trained for: protect. Maybe Tsentey was right. Maybe he wasn’t fit to lead. the leader of his people. How could he secure the clan if he couldn't even take care of his woman?

She reached for him, her fingers wrapping around his shaking hand, her respire hitched. “It’s the child.” Because what else could it be? What other options could explain what was going on with her?

Silence fell, thick and heavy. She could see the thoughts written plainly across their faces—the shock, the unease, the dread they didn’t dare voice. The training had come to a standstill. Stiff postures, atonic stares. Lo'ak and Tuk, who had been watching open-mouthed, exchanged a glance, their usual roguery absent for once.

A student’s voice, when it came, was quiet but edged with something serrated. “This has never happened before.”  “Shit,” Lo’ak exhaled, running a palm down his face. Neteyam's ears darted back at his brother’s reaction, tail lashing once before forcing himself to regain composure. Then, gently, he pressed his forehead to Celeste’s, his long fingers sliding down to cover hers over their unborn child. He tried—desperately—to ignore the whispers around them, the same echoing in the back of his mind, threatening to surface. “Isn’t this amazing, tìyawn (love)? I can finally admire you all day without this horrible mask hiding your beauty.” 

Celeste giggled at his ridiculous, love-drunk words, and for a fleeting minute, her preoccupations faded. Neteyam had always possessed this quiet strength—the ability to lift the weight off others’ shoulders, to remind them of the light even in the darkest moments. But it was also his greatest flaw. He carried too much. He took on burdens that weren’t his, stretched himself thin until he was on the verge of breaking.

Still, as he pressed their entwined hands against the gentle swell of her belly, warmth spread through her—not quite human, not quite Na’vi, but something in between.

There was content for a while, the nice, peaceful fondness of being in her lover's embrace. But it didn’t last. An acute sting twisted through her abdomen. She doubled over with a cry, her breath coming in ragged bursts. “What is it?” Neteyam asked urgently, his hand instinctively landing on her baby bump, aggravation evident in both his expression and voice. She couldn’t respond; the dull ache so severe it prevented her from speaking. The sensation wasn’t just pain—it was movement. Not the ordinary flutters of a fetus developing in the womb, this was deeper, stranger, as though something resonated within her. Not far away, the plants pulsed in time with her heartbeat, their faint radiance glinting like distant stars. Celeste clutched her stomach, feeling something under her skin shift. 

Kiri, who had been meditating high in the green canopy, sat upright. “It’s happening,” she whispered, her yellow eyes as large as a lemur’s.

By sunset, Celeste was in the ambulatory unit, surrounded by meds. The air soupy with tension; the sterile, white walls felt oppressive, nothing like the vast, living jungle or the cosy, homely ambience of Hometree. She sat on the examination table, palms firm over her tummy, mind reeling while they ran test after test, talking in hushed tones laced with both awe and fret.

The weight of the exo-pack she had worn her entire life was gone, yet the air in the lab had never felt stifler. Norm and Max worked in quiet urgency, moving between holo-screens displaying her vitals, their brows furrowed. The data didn’t make sense, her heart rate had slowed, more like Na’vi's than a human's. Her oxygen saturation was perfect—too perfect—the high carbon dioxide levels in the Pandoran atmosphere should have been affecting her, but they weren't. The ultrasound showed something incredible. She had developed wichow—the specialized organs, similar to kidneys, that allow natives to extract oxygen for their bloodstream from Pandora’s otherwise toxic air. A natural filter. A biological unfeasibility for her, still there it was.

Then there was the genetic scan. And that was when everything changed.

“This is phenomenal,” one doctor exclaimed, rubbing her temples as she stared at the results. Adjusting her glasses, she leaned closer to Max. “Her DNA is evolving. Look at his—her respiratory system has adapted to filtrate Pandora’s atmosphere, but it’s not solely adaptation. It’s... transformation.” She turned to the patient, her eyes filled with both scientific fascination and deep concern. “Your body isn’t just compensating for the pregnancy, Cel. It’s rewriting itself.” “What does that mean?” Neteyam’s reassuring grip on her shoulder stiffened while she shuddered. Max didn’t sugarcoat it. “The fetus isn’t a simple hybrid,” he explained, voice calm but dour. “It's triggering changes in you. Something in its DNA is interacting with yours in a way we’ve never seen.”  She swallowed hard, “I’m... mutating.”  Jake's words came out through clenched teeth, his jaw tight enough to snap. “That’s why she can breathe out there.” 

Neytiri stood rigid near the door, her narrowed eyes fixed on the glowing monitors. She didn't fully grasp the science behind the data plashing across the screens, nor the theories the experts were debating. But of one thing, she was totally sure: they had entered unknown territory. There were no answers here, no precedents. And the deeper they went in, the more question marks and anxieties sprung up. The creature Celeste was carrying was extraordinary in every sense of the term; not yet born, and already it was reshaping the world around it. This child—this impossible child—was changing everything from its very core.

But Celeste could see the unspoken fear in her eyes.

Kiri, who had insisted on coming, stood by her bestie’s side, her yellow orbs bouncing between the readings and her own intuition. “My nephew is part of both worlds. And now, so is Cel,” she stated softly. Spider shook his head, still baffled, struggling to wrap his mind around the unsettling reality. “That’s not how genetics works.”  The future tsahìk observed her friend with a grave look. “Nawna Sa’nok’s touch lingers on you,” she declared, pressing a cool palm on her forehead. 

Spider’s expression darkened, memories surfacing of all the times he had found Kiri lying in the middle of the wilderness, lost in a trance, nature beating around her. The way plants reacted to her touch, how she had tamed her ikran with freakish ease, how she swam through the currents, breathing underwater without any training as if she had always belonged to them. “You have felt this way before, haven’t you?” he asked, voice aloof with realization. Kiri nodded. “Not like this,” she admitted. “But yes. I have felt a... pull. A connection.” Her glance glimmered to her friend’s stomach. “It’s like Eywa’s energy is flowing through her.”  Neteyam’s jaw clenched, his hold on Celeste’s stronger. “Is she in danger?”  His sister’s lips pressed together into a thin line. “Was I?” she retorted, her words heavy with meaning.

“She’s not you.” Spider rubbed things in, rough, blunt, unable to conceal his growing agitation for his twin'. “Yet she has been chosen exactly as I was. As my mother was.”  “Your mother was an inanimate body in a fucking tank! She wasn't risking anything.” His remark was harsh and cruel, the tone leathery with frustration, but Kiri didn’t flinch. She knew he didn’t mean to hurt her. If anything, he had always been one of the few who had stood by her, defended her when others doubted. But just like everyone else in that room, Spider was terrified. As much as it hurt on a par with an anvil, she could find it in her heart to justify him. Celeste reached for him, squeezing his hand with one of hers while the other rested on her hip. The warmth inside her, the link she felt deep in her bones, was changing her at a fundamental level.

“Will I survive this?” she finally asked, voice barely above a whisper. The medical team couldn’t answer that question; the entire ordeal was new to everybody. Neteyam tensed beside her. Jake and Neytiri exchanged glances, the weight of precariousness dense between them, the pressure in the unit mounting at any second.

Truth settled over them like a murky, noxious fog. Neytiri’s ears flattened, her tail rolled dolefully around her leg as if seeking comfort in making herself small. One hand clamped against her chest, the other tentatively sought her husband's touch, resting on his contracted arm. His fist was clenched so tightly his knuckles had gone white, his other hand raking through his dreadlocks as he inhaled noisily through his flat nose. They had never shown such vulnerability before, or at least not at this magnitude. As parental figures, as leaders of the Omatikaya, they had always carried their burdens with quiet strength—as their firstborn son had learned to do. But now, stripped of that armor, their fear was palpable.

This only made Neteyam even more nervous. His whole frame was taut, trembling on the verge of exploding. His eyes, wide, glassy, shimmered with unshed tears, perfectly round and reflective like polished stones. He was there, present among them, but his spirit was somewhere far away. Cel—the love of his life— could have died, and no one could have stopped it. And for what? A child they never needed? A future they never chose? Why was Eywa doing this? Why them?

Their love was already complicated—strained by their incompatible species, haunted by past pain and resentment, burdened by the expectations of his status. He had thought he could cast it all aside, that he could embrace the reward the Great Mother had granted him. But that gift came with conditions—conditions so heavy that, had he known them in advance, he might have turned away. Yet none of it mattered. He would sacrifice his own happiness if it meant keeping Celeste safe.

In the fragile months after they had first come together, he had offered nothing but solace and praise. He had consoled when she was in distress, lifted her up when she doubted herself, encouraged her to trust her decisions—even the reckless ones as this one. But now, standing at the precipice of something unknown and terrifying, he could no longer do the same. He wished, more than anything, that he possessed the human gift for lying. At times like these, it would have proven useful—even if only to convince himself that everything would be fine, that at the end of this impossible journey, they would be happy. The three of them. Three, not two. Not just him and the baby. Not just him alone. Imagining a life without her was unbearable, and he refused to linger on the thought.

For a brief moment, once the initial panic had subsided, he had even allowed himself to believe that what was happening was beautiful. A miracle. Celeste could now breathe Pandora’s air—something that would surely help her through the long months ahead. But now, with this new revelation, he could no longer meet her gaze with comfort. Those warm, sweet, frightened, yet fiercely brave eyes searched his for reassurance. He had none to give.

Na’vi do not lie. And he would not offer false hope for something that, deep in his heart, frightened him so terribly.

As agitation grew, Norm reluctantly stepped forward and stroked his foot with the caring and kind manner of an uncle. “Look, we need more tests before we jump to conclusions. Right now, the priority is monitoring Cel’s condition. If your genome keeps reconstructing at this rate, we have no idea where it will end.”

*

The days blurred together in a haze of tests, scans, and restless nights where Celeste lay awake, feeling her body shift in ways she couldn’t see but knew were happening. The lab’s artificial lights felt oppressive, suffocating. The sterile environment clashed with the instincts waking inside her. She craved the jungle, the open air of Pandora—she needed to feel the earth beneath her feet, to hear the hum of life all around her. But every time she voiced this, Jake or Neytiri would exchange wary glances, and Neteyam would grip her hand a little tighter, unwilling to risk anything.

The fear in his eyes was worse than anything else. But the changes weren’t waiting for permission.

She no longer needed the exo-pack to breathe, that much was obvious. But it wasn’t just that: her lungs had changed. Max’s latest scans confirmed it. “They’ve elongated,” he said, adjusting his glasses as he stared at the results. “Your oxygen absorption rate has increased. You’re breathing like a Na’vi now.” Celeste touched her ribs absently while taking a deep breath from the inhaler—one designed for avatars and natives alike. She had already felt it. The deep, instinctual way her chest expanded when she inhaled, the effortless intake of Pandora’s air as if she had been born for it.

And her skin, once the soft beige of an Earthborn, had begun to repigment in tone—a faint iridescence beneath the surface was spreading, veins shimmering faintly in dim lighting. It wasn’t full bioluminescence like the Na’vi, but it was close.

Then there were her senses. At night, she could see in the dark. Not just in the way humans adjusted to low light, this was different. Colors took on a richer depth, details sharpened beyond what should have been possible. Smelling the lightest traces of the rainforest that clung to Neteyam’s skin, the sticky whiff of the cerulean paint his brother painted his body with, the pungent tang of disinfectant in the lab, once a mild annoyance, now felt nauseous. Scents she had never detected in the past. And her hearing—she could pick up sounds that no one else in the lab could. Conversations whispered in corners, the rustling of fabric from another room. She didn’t tell anyone, but she could hear the low, rhythmic hum of the planet itself when she closed her eyes. It was overwhelming.

And the baby—the baby was growing fast. Too fast. At just four months, she already looked closer to six. The doctors were baffled, worried. The hybrid nature of the child seemed to be accelerating everything as if her body wasn’t just adapting—it was rushing to keep up with whatever the baby needed.

Neteyam never left her side. She felt his hands on her belly every night, felt the quiet reverence in his touch as he whispered to the child in Na’vi, his forehead pressed to hers in silent devotion. But she also felt his dread. The terror that she would slip away from him. That she would become something unrecognizable or disappear entirely.

Celeste stared at her reflection in the sterile glass of the lab’s observation window, barely recognizing herself. Her fingers trembled as she traced the outline of her cheekbones. Were they more angular than before? It wasn’t just weight loss. The structure of her visage was subtly shifting—her features elongating ever so slightly, her eyes taking on a faint amber hue that had not been there before.

And her hair. It had thickened, the strands darkening from their usual color to something richer, a shade closer to the inky black of the People. When she moved, the fine strands caught the light in strange, reflecting tones of deep violet and green—pale but unmistakable.

The changes weren’t just superficial. Her senses were growing keener by the day. She could hear Jake and Neytiri talk outside the room, even through the sturdy walls. She could smell the faintest traces of the jungle that clung to Neteyam’s skin, scents she had never been able to pick up before. The stench of disinfectant of the compound, once lightly noticeable, now felt almost insufferable.

Then there was the most undeniable proof of her metamorphosis, the most disturbing change—her queue.

the way her body responded to Pandora’s energy. She could feel the pulse of the world in a way that made her dizzy. When she stepped outside, the very air around her seemed to hum against her skin. The plants, the ground, the very life of the moon—it was as if she were beginning to tap into something bigger, something she had never been meant to connect with as a human.

And the most undeniable proof of that was her queue. It had appeared three nights ago. Celeste had woken in the middle of the night, drenched in sweat, her entire body burning as if feverish. Neteyam sprang into action immediately, pressing a damp cloth to her forehead, whispering soothing nothings as she gasped through the strange, intense sensation of her own body warping itself. When the pain finally ebbed, she had felt it, something pulling at the base of her skull. A tendril-like appendage forming, hidden beneath her thickening hair. It wasn’t fully developed—not yet—but the sensation was undeniable. A strange tingling at the back of her neck, as though her body was forcing her into something closer to the Na’vi.

The moment Neteyam realized, his eyes had gone wide, caught between stupor and scare, his hand trembling as he brushed over the barely formed kuru. He exhaled shakily, his gaze raw, almost reverent. “You’re not human anymore.”

Taglist: @minnory @faith2155 @stardream14 @akari-rosefield

[miraculouslbcnreactions]

(I'm allegory anon) thank you for your response. I will say, I'm kinda confused by what the writers mean by the kwamis being "industrialized" because I'm not sure if that's the right word for it? Like Gabriel wasn't really trying to turn the kwamis into some manufactured product, right?

(Allegory post for the curious)

I'm assuming you're referring to this statement about the season five final:

In the next scene, we can see Marinette taking the miraculous that have been standardized and industrialized by Gabriel and putting them back in shape. The writers specify that this is a parable about craftsmanship vs industrial production. The miraculous will now be adapted to every person, but we can’t see what they look like just yet! In this new world, the powers are all shared, among people who they trust and know will work for the common good. They joke that the "Avengers" shot at the end with all the heroes is something they’d been dreaming of.

The general idea here is that they redesigned the miraculous for season six to better suit each character to show the difference between Marinette and Gabriel. Marinette personalizes things while Gabriel went for sterile mass production with the rings.

This is an incredibly surface level idea that doesn't really work the way they want it to because the shape a miraculous takes doesn't matter to the story. The truly unique thing about each miraculous is the power it gives and the Kwami you get to be friends with. Those things never changed and will never change no matter what form a miraculous takes. They could have all stayed rings and been fine which completely undermines the idea of this being a parable because parables are all about teaching simple moral lessons. It's hard to see how a magical accessory being a little more personalized is teaching some kind of lesson when it's just an ascetic thing.

This is extra true because, as far as I'm aware, the show hasn't made a big deal about the redesigns. From the few stills I've seen, it doesn't even sound like the designs were changed all that much from what they were pre-rings. Because of all these issues, this statement from the writers just comes across as pretentious. They're trying to claim depth for the narrative without actually putting that depth in the narrative.

For this idea to work, the Kwamis being rings would have needed to have some sort of negative repercussion. At the very least, they could have shown various akumas struggling to use the powers they'd been granted, implying that the powers had to be given to people who are uniquely suited to them. But we didn't get that. The powers feel incredibly generic and - outside of Adrien - no one has ever struggled to use the ability they've been given. We don't even see Marinette asking each member of the team what item they want which is not how personalization works.

I keep thinking of that My Little Pony episode where all the ponies cutie marks got messed up (that's the thing that tells a pony what their special talent is). The ponies had to fix their cutie marks by doing what they were actually good at to show how their talents were so integral to who they were, cutie mark or no. That's a similar concept to this and shows how this kind of thing is supposed to work. Correcting the marks was mainly done in a 3 minute long song, so here you go in case you're curious and haven't seen this before:

This is how you quickly show why each character is unique and why their seemingly surface level thing (cutie mark) matters on a deeper level. My Little Pony actually sets up and resolves this conflict in a single episode, playing off of themes established in the series, but keeping the specific conflict contained to 20 minutes. Gold star to those writers. It was very well done.

Of course, Miraculous could never do this level of depth because Marinette had to redesign sixteen miraculous which would eat up a lot of time, but they could have at least make a token effort to show her and Alya talking about it or something. Maybe the first episode of season six will do this and I'm being too harsh, but I really doubt it.

[gallifreyinstituteforlearning]

⚕️GASS (Gallifreyan Assessment Scoring System)

Sick Gallifreyan just crossed your path? Here's how to assess their condition using the Gallifreyan Assessment Scoring System. Just remember, 'Gallifreyan life's a GASS'.

BIGGER - Google Drive: PDF / Image JPG / Image PNG

This guide is for use on Gallifreyans and Time Lords only. Always seek your human advice from human health providers.

✨ What is GASS?

The Gallifreyan Assessment Scoring System (GASS) is a tool designed to rapidly evaluate a Gallifreyan's condition. By monitoring vital signs and unique Gallifreyan indicators, it prioritises emergency responses while accounting for their distinct physiology, such as dual hearts and regenerative abilities.

Just remember, Gallifreyan life's a GASS.

📈 What's New in GASS?

This updated version of GASS includes critical refinements for more precise assessments. New categories have been added, such as Heart Rate Differential (HRD) to flag discrepancies between the two hearts and T = Responds to Telepathy in the level of consciousness scale. Adjustments to thresholds for vital signs and regenerative glow visibility also improve detection of emergencies like fibrillation or post-regenerative trauma.

📝 How to Use GASS

1️⃣Initial Observations

Ensure the environment is safe (e.g., no stray Daleks).

Observe for immediate signs of distress: skin colour, breathing effort, or lack of responsiveness.

2️⃣Evaluate Vital Signs and Assign Scores

Refer to the GASS table to assess each category:

🌬️ Respiration Rate: Count breaths per minute. Adjust for respiratory bypass if present.

🫧 Supplemental Oxygen: Note if oxygen support is in use.

🌡️ Temperature: Measure orally.

💓 Systolic BP: Record using a normal sphygmomanometer.

💖 Hearts Rate (Combined): Count the total bpm across both hearts.

🔄 Hearts Rhythm: Sequential beats (thud-thud, thud-thud) are normal; synchronous beats (thud-thud together) indicate fibrillation.

⚖️ Heart Rate Differential (HRD): Calculate the bpm difference between hearts; large discrepancies suggest possible singular heart failure.

🧠 Level of Consciousness (AVPTU): A = Alert, V = Responds to verbal stimuli, P = Responds to pain, T = Responds to telepathy, U = Unresponsive

✨ Regenerative Glow: Check for visible energy on the skin.

3️⃣Check for Healing Coma

If 8+ healing coma criteria are met:

Cease active interventions.

Monitor closely for changes.

Avoid premature waking to prevent neurological damage.

4️⃣Calculate Total GASS Score

Add up the scores from all categories:

0: No concerning changes. Continue routine monitoring.

1–4: Mild to moderate changes. Perform an ABCDE assessment and increase monitoring.

5–8 or 3 in single score: Severe changes. Perform ABCDE, escalate care, and consider sepsis.

≥9 or Glow = 3: Extreme changes. Initiate emergency intervention, constant monitoring, and prepare for sepsis protocols.

5️⃣Reassess After Interventions

Following each intervention, reassess the GASS score to adapt care and ensure stability.

🚨 When to Escalate

Critical signs: Synchronous heartbeats, extreme HRD, or GASS score ≥9.

Sepsis or Specific Emergencies: Use respective protocols for management.

📌 Key Points to Remember

Combine GASS results with clinical judgement.

Healing comas are protective states—let them run their course.

Escalate care if in doubt.

Medical Guides These are all practical guides to assessing and treating a Gallifreyan in an emergency or medical setting.

⚕️💕Gallifreyan CPR

⚕️👽Gallifreyan Assessment Scoring System (GASS)

⚕️👽ABCDE Assessment

⚕️⚠️Sepsis Emergency Response (SER)

⚕️⚠️Severe Trauma Protocol

⚕️🌡️Gallifreyan Thermoregulation and Emergency Response

⚕️🔮Psionic Emergency Pathways

⚕️✨Post-Regeneration Management

⚕️🩸Interpreting Gallifreyan Bloodwork

⚕️👶Gallifreyan Paediatric Emergencies

Any orange text is educated guesswork or theoretical. More content ... →📫Got a question? | 📚Complete list of Q+A and factoids →📢Announcements |🩻Biology |🗨️Language |🕰️Throwbacks |🤓Facts → Features:⭐Guest Posts | 🍜Chomp Chomp with Myishu →🫀Gallifreyan Anatomy and Physiology Guide (pending) →⚕️Gallifreyan Emergency Medicine Guides →📝Source list (WIP) →📜Masterpost If you're finding your happy place in this part of the internet, feel free to buy a coffee to help keep our exhausted human conscious. She works full-time in medicine and is so very tired 😴

[ultimac]

CLİPART - DRAGON+ (5)

The historical development of farm clipart has evolved significantly over time, reflecting changes in artistic styles, technological advancements, and cultural influences. Initially, farm clipart consisted of simplistic and rudimentary drawings of basic farm elements such as barns, animals, and crops. As graphic design tools and techniques advanced, farm clipart became more detailed and realistic, capturing the essence of farm life with greater precision and creativity. With the rise of digital platforms and online marketplaces, farm clipart has become more accessible and diverse, offering a wide range of options for designers and creators to incorporate farm-related visuals into their projects. The evolution of farm clipart mirrors the evolution of farming practices and the agricultural industry, showcasing the deep connection between art, technology, and cultural representation in visual storytelling.

Similarly, the evolution of history clipart has followed a trajectory of innovation and adaptation to changing artistic styles and educational trends. Historically, history clipart primarily featured iconic historical figures, landmarks, and events depicted in a simplistic and educational manner. As digital platforms and educational resources developed, history clipart expanded to include a broader range of topics, styles, and visual interpretations. Modern history clipart encompasses a diverse array of historical themes, from ancient civilizations to contemporary global events, catering to the varied needs of educators, students, and enthusiasts. The evolution of history clipart reflects society's evolving interest in history, visual literacy, and the power of imagery to convey complex historical narratives in a compelling and informative way.

The trends in food clipart styles have undergone a transformation in response to changing culinary preferences, design aesthetics, and cultural influences. Initially, food clipart featured traditional depictions of common food items such as fruits, vegetables, and dishes in a realistic and straightforward manner. However, as culinary diversity and visual storytelling evolved, food clipart began to incorporate more stylized, artistic, and thematic elements to convey the richness and diversity of global cuisines. From minimalist food illustrations to vibrant and whimsical food compositions, the trends in food clipart styles reflect the fusion of creativity, technology, and culinary appreciation in visual design. By exploring different food clipart styles, designers and content creators can enhance their projects with visually appealing and culturally resonant food imagery that engages and inspires audiences.

[infizero]

Why Ambrosius and Ballister’s Relationship Feels So Different in the Movie (Nimona)

As someone who read Nimona countless times growing up, I am very familiar with the story and these characters. Which is why when I watched the movie, I was struck by how different Ambrosius and Ballister felt. They seemed like totally different and unfamiliar characters to me, and it didn’t have anything to do with their designs.

After rereading the original Nimona graphic novel recently, I’ve come to the conclusion that the main reason they feel like completely different characters in the movie comes down to one thing: the removal of the joust.

When I watched the movie, I was surprised by the fact that they changed the circumstances that drove these two apart. But it didn’t hit me just how much this one event shapes both of their characters and their relationship to each other until I reread the book. 

The joust is CRUCIAL to their dynamic. It pervades every interaction they have with each other, they bring it up constantly, it is literally the crux of their collective storyline. We learn about it on PAGE 5 of the whole book, and their big heart-to-heart when Ballister is captured near the climax of the story is based around Ambrosius finally admitting the truth about what happened. Honestly I’d say that him finally coming to terms with what he did and apologizing for it is probably what allowed these two to finally find peace together by the end of the book.

We get something similar to it in the movie. Ambrosius still is responsible for Ballister losing his arm, but it is under WILDLY different circumstances. So I want to talk about how the joust affects them in the book, and then explain why the movie’s version of events, while similar on the surface, has a completely different effect on everything. So let’s get into it!

(All images of the book are via pictures of my own physical copy btw, so apologies if they’re not the best quality.)

(Also I want to make it clear that I don’t hate the movie nor its adaptation of these two. I do personally greatly prefer the book, but this post is not here to tear down the movie and exclaim that the book was way better. I just find it interesting how changing one event can have huge ripple effects!)

Part 1: The Graphic Novel (AKA: “My Boyfriend Shot Off My Arm Because of His Wild Ambition!”)

Like I said before, we learn about the joust very early on; Chapter 2, page 5. It is told to us first via Ballister’s perspective. Nimona asks if she can kill Ambrosius while they’re making evil plans, and Ballister says no -- if anyone is going to kill Ambrosius, it’s going to be him. We then get a flashback to the joust itself.

Ballister explains how they were friends and how the joust was the first time they had been pitted against each other. Ballister won fair and square, but in his words:

BALLISTER: “but Ambrosius hates to lose.”

BALLISTER: “He always claimed it was an accident. No one could prove otherwise.”

BALLISTER: “Turns out the Institution had no use for a one-armed hero. I took the only other viable option.”

Ambrosius used a weaponized lance and blasted Ballister’s arm off. After the incident, Ballister was rejected by the Institution, and became a villain instead of the hero he had originally set out to be.

In Chapter 3 we see Ambrosius appear for the first time, and he and Ballister have a very relaxed sort of cartoon hero-villain dynamic going on. There’s definitely real animosity between them, but they don’t hesitate to simply talk casually to each other or help each other when things go south. It’s all pretty lighthearted and lowkey. 

They fight briefly, but after Nimona triggers the building they’re in to self-destruct, Ambrosius doesn’t hesitate to help Ballister escape and Ballister doesn’t hesitate to accept his help. Ambrosius even tries to reassure him that Nimona will be fine. After they make it out, with Nimona presumed dead, Ambrosius puts a hand on his shoulder and tells him to go before more guards show up. They may be “arch-nemesises”, but they certainly don’t act like it.

AMBROSIUS: “Haven’t you missed our fights? We haven’t done this since you tried to clone the king’s daughter!”

BALLISTER: “Ambrosius, I really don’t have time for this.”

AMBROSIUS: “Are you trying to make me jealous?”

BALLISTER: “You’re an idiot.”

By the way, I’m not going to be doing a full breakdown of every single scene with them, don’t worry. I just think that their first interaction shows off their dynamic very well. This is presumably how they’ve been with each other since the incident, as it’s made clear both here and throughout the book that they’ve both been doing this for a while at this point. They have a very established dynamic, which is important as that is one of the big differences between the book and the movie. (I’ll get into that more later.)

Whenever these two interact throughout the book, it’s clear that they have very different opinions on the incident that drove them apart and how their relationship functions now.

Ambrosius tries to act like it was simply an accident and that it doesn’t matter. Ballister became a villain of his own volition, and now they are arch-nemesises who have to fight because that’s their job -- though he doesn’t exactly act like he hates Ballister. 

Meanwhile Ballister saw it as a deep betrayal, and while he definitely still cares deeply about Ambrosius, he cannot get over the incident as easily as Ambrosius can.

Their respective feelings about what happened are shown perfectly in the scene in Chapter 7 where Ambrosius invites Ballister to meet with him in secret. Ambrosius tells him that the Institution has ordered him to kill Nimona and begs him to send her away, both so he doesn’t have to kill her and so things can go back to “normal.” Ballister then says that Ambrosius gave up normal at the joust.

AMBROSIUS: “I can’t believe you’re still hung up about that. It was a long time ago, you know.”

AMBROSIUS: “Besides, it was an ACCIDENT.”

BALLISTER: “I bet you’ve said that so many times you’ve started to actually believe it.”

Ambrosius insists it was an accident, and Ballister claims that he blasted off his arm because he couldn’t stand that Ballister was better than him. This sets Ambrosius off and they begin to argue.

AMBROSIUS: “You can’t blame me for how your life turned out! You made the choice to turn evil!”

BALLISTER: “Choice? I never had a choice! The Institution needed a villain. That lot fell to me. I never chose it.”

BALLISTER “And it could just as easily have been you, had that “accident” happened differently!”

AMBROSIUS: “Oh please! Do you really believe that?”

AMBROSIUS: “You never had it in you to be a hero! Everyone always knew that you were going to be the one to go bad!”

Ambrosius has convinced himself that Ballister chose to become evil, and that he isn’t responsible for what happened because it was an accident. We later learn that it wasn’t an accident though, which means that this really is him just making excuses so he doesn’t have to accept responsibility.

Ballister brings up the idea of Ambrosius becoming like him again after they fight, in one of if not my favorite scene between them in the whole book:

AMBROSIUS: “uugghh”

BALLISTER: “What if I cut off your arm right now?”

BALLISTER: “Then you’d see how fast the Institution would cast you aside. Just like they did me.”

AMBROSIUS: “You wouldn’t.”

BALLISTER: “No, I wouldn’t.”

BALLISTER: “And I’m the villain.”

BALLISTER: “What do you suppose that says about you?”

Ballister and Ambrosius are both very complicated individuals, and I think they lose a lot of their moral grayness in the movie. (Which I will get to later.) 

Ambrosius is the “hero”, but it was his ambition that drove him to blast Ballister’s arm off, and he’s never accepted responsibility for it, instead trying to convince himself that Ballister turned out this way because of his own actions. But he doesn’t disagree here that the Institution would throw him out if he were to lose his own arm, which I think is very telling. He knows deep down that he is not a good person, and he is not working for good people. But he doesn’t want to admit it.

Ballister is the “villain”, but in many ways he is better than Ambrosius. He abides by his own rules of never killing unless it’s necessary, and goes out of his way throughout the book to make sure that as few people are harmed as possible. He knows that the Institution is corrupt, because he was one of the people it failed. And he works to try and bring it down. 

Ambrosius cannot accept what happened, and because of that they aren’t able to get anywhere. They both know it wasn’t an accident. But because Ambrosius cannot admit it, they are stuck like this.

It’s a fascinating part of Ambrosius’ character that though he is adamant about Ballister being the one to destroy himself, he still cares about him. Much more openly than Ballister does in return, in fact. Ambrosius consistently does whatever he can to avoid having to kill him and always seems to have his wellbeing in mind. While he initially refused to kill Nimona, revolted at the idea that he should be ordered to kill “a little girl”, he eventually agrees to do so, but only under the condition that Ballister would be spared.

THE DIRECTOR: “Your motivations are quite transparent. I KNOW what the nature of your relationship was. I made it clear at the time that I disapproved. If your fixation on him has impeded your ability to do your job, then he truly has outlived his usefulness.”

THE DIRECTOR: “We’ll find you a new nemesis. Perhaps you will be more competent without Blackheart as a distraction.”

AMBROSIUS: “I won’t kill him. If you demand I kill the girl, I’ll do it - but I won’t kill him.”

Despite him and Ballister’s separation being his fault, he is the one who wishes most for things to go back to the way they were.  And this is likely why he refuses to accept responsibility about the joust. If it were truly an accident, then there shouldn’t be anything preventing them from continuing to be together. By painting it as an accident, Ballister becomes the villain for refusing to move on and let things go back to the way they were, not Ambrosius.

But finally, after Nimona disappears and Ballister lets himself be captured, we get probably the most important scene between these two. Ambrosius has been demoted due to his failure to kill Nimona, and is now forced to guard Ballister’s cell. Ambrosius is at his lowest that he’s been throughout the story, disgraced and discarded by the Institution who he had always been so loyal to.

It’s notable that Ambrosius says here that they both know Ballister is not evil, since he has been paddling that idea this whole time that Ballister made the choice to turn evil. By admitting that he is not, it shows that he is both starting to turn against the Institution, and starting to be more honest about what really happened.

Naturally, after Ambrosius wonders how things ended up like this and reminisces on when they were together, Ballister once again brings up the joust. And finally...

AMBROSIUS: “I- I never wanted to hurt you. I- I didn’t- It was-”

BALLISTER: “Don’t you dare try to tell me again that it was an accident.”

AMBROSIUS: “It wasn’t.”

...he admits the truth.

Ambrosius shares his side of the story, letting both us and Ballister in on what really happened that day. It wasn’t fully his fault -- the Director had called him into her office the night before the joust and told him that he had promise, that he was her choice out of the two, but that he had to prove himself against Ballister or that opportunity would go away.

On the day of the joust, Ambrosius received a weaponized lance instead of his regular one, which he instantly noticed. He asked what the Director expected him to do with it, and was told that she expected him to win.

To Ambrosius’ credit, he had no intention of using it, as he was confident that he would win. But the weight from the weaponized lance threw his balance off, and he ending up losing. And so...

AMBROSIUS: “I wanted it, more than anything. You never wanted it as much as me. You were just BETTER, without hardly even seeming to try.”

AMBROSIUS: “I don’t even remember- but I must have-”

[...]

AMBROSIUS: “I’m sorry, Ballister. I’m so sorry.”

To be fair, Ambrosius is not entirely to blame here. I doubt he would’ve come up with this idea on his own; he only acted on it because the Director had already given him the weaponized lance, and stressed the night before that the opportunities she dangled in front of him would not be given to him if he did not win. He was manipulated.

But he still made the decision to do it. He could’ve simply not used the lance. But he chose to. It is his fault.

It’s fascinating that the version of events Ambrosius had been swearing by this entire time is the exact opposite of what really happened. He claimed that it was an accident, he didn’t choose to do it, he had no choice, and that it was Ballister’s choice to become evil that caused all of this. But in reality, Ambrosius was the only one who got a choice here. And that choice is why their relationship was destroyed.

Ballister then brings attention to something even more damning:

BALLISTER: “You’ve never said it before.”

AMBROSIUS: “What?”

BALLISTER: “You never said you were sorry.”

AMBROSIUS: “I- didn’t?”

AMBROSIUS: “Oh god.”

I feel like you could interpret this in a lot of different ways, but the way I see it, they probably didn’t see each other much right after the incident. Ambrosius was catapulted into stardom as the kingdom’s beloved knight, and Ballister became a villain. I don’t think they really interacted much until their hero-villain antics started up, so I don’t think Ambrosius really had a chance to apologize. And if he did, he didn’t think to. Regardless of why, I do think it is messed up that he never apologized, and it goes to show just how much this event destroyed the bond they used to have.

From here, there’s not too much, as Plot Stuff starts getting serious around this point. Ambrosius ends up betraying the Institution after they continuously attack Ballister to provoke Nimona, attacking the guards who are holding him. This is when Ambrosius finally chooses Ballister over the Institution, which is great for his character, but there’s not really much more than that to say about it.

He and Ballister plan together to try and save the kingdom, with Ambrosius being adamant that they have to kill Nimona while Ballister refuses to. It’s during this conversation that Ambrosius mentions that he “never did anything good [his] whole life”, which is really sad but also kind of accurate, and it goes to show how he’s finally accepted responsibility for everything he’s done and had a part in up to this point.

Eventually Ballister is able to find a way to nerf her and they split up, with Ambrosius wanting to tell him something in case they don’t see each other again, but Ballister shuts him down.

BALLISTER: “We can’t do this now. Just... just promise me you won’t get yourself killed.”

It’s easy to assume this was something romantic and it likely was, but I imagine Ambrosius could’ve also wanted to say sorry again for everything. Perhaps it would’ve been a mix of both.

Regardless, they split up and climax stuff happens: Ambrosius attempts to kill Nimona but gets seriously injured, Ballister tries to reason with Nimona, etc. etc. Eventually at the very end, we see that these two have made peace and are together again, living on after everything. And that’s these two in the book!

Whew. I know that was a lot, but don’t worry. I won’t be going into as much detail about the movie’s version of events, as Ambrosius and Ballister have a much more cut-and-dry dynamic there than in the book. Their relationship in the original is very complex, so I wanted to make sure I covered all of those little nuances.

The joust is what defines their relationship and a lot of their respective characters; it is unimaginably important. Ballister became a villain because he lost his arm and was cast aside by the Institution. Ambrosius became the kingdom’s hero because he took Ballister out of the picture. They are unable to be around each other normally for very long because of their divided views of what happened. It is only after Ambrosius finally faces the truth that they are able to find peace together once more.

All of this is to say that it’s extremely hard to imagine what their relationship would be like in the graphic novel had the joust not happened the way it did. Which brings us to...

Part 2: The Movie (AKA: “My Boyfriend Sliced Off My Arm Because I Literally Killed Someone!”)

Before we start, I want to again stress that I am not trying to argue that any changes made here are inherently inferior. I am merely pointing out the differences between the book and the movie that contribute to the overall dissonance I and many others have felt when it comes to these two across versions.

Right off the bat, we are greeted with the movie’s version of Ambrosius and Ballister’s backstory. Like was implied in the book, they appear to be together (or something along those lines) which is great to actually see. But it quickly becomes clear that the events here are far different.

Instead of a joust, it is a knighting ceremony. There is no competition between Ballister and Ambrosius here. Ambrosius is knighted and cheered for, and then it is Ballister’s turn. He is knighted and everyone is silent before breaking into cheers as well. And then...

...his sword suddenly turns into a cannon and kills the queen. And in retaliation...

...Ambrosius chops his arm off.

Now if you’ve listened to ANYTHING I’ve said so far, this should immediately set off alarm bells. Because this one little difference changes everything about these two’s dynamic.

In the book, Ambrosius shot off Ballister’s arm in order to win his position. It was an entirely selfish and evil action spurred on only by his uncontrollable want to be the winner.

But here, Ambrosius is debatably justified in his response. Sure, he didn’t have to be as drastic as slicing his whole arm off (and I know there’s symbolism there with how the kingdom has taught people to get rid of problems), but Ballister -- to him -- literally just shot the queen. The queen who Ambrosius has sworn to protect. It is completely reasonable for him to respond in this way. And that’s a huge difference.

By changing this, we already have a completely different situation. Ambrosius here didn’t particularly want to cut Ballister’s arm off, it was a reflex, a response to a sudden danger. (Not saying he wanted to in the book, but there he made the deliberate decision to do so. In the movie it seems much more like an actual accident -- an overreaction that he immediately regrets and, as we’ll see, continues to regret.) And there was justification for it. There was no justification for it in the book. 

Instead of an Ambrosius whose ambition caused him to commit an evil act of betrayal against the man he was closest to, we now have an Ambrosius who, in the heat of the moment, overreacted like he was trained to after Ballister seemingly betrayed him. We’ll see over the course of the movie how this affects things, but that’s not the only major change here.

As we figure out shortly afterward, the movie makes a huge change when it comes to how the story functions, and that’s the timeline of events. In the book, the joust and the subsequent fallout between Ballister and Ambrosius happened years ago. We don’t know how long, but it’s clearly been a while. Enough time has passed where they are fully settled into their roles as hero and villain, and they look significantly younger in the flashbacks as well.

But in the movie, this incident just happened. It's unclear how exactly long it's been, but judging from Ballister's arm being created and his wounds healing it's probably been around a month.

Regardless of exactly how long it's been, the point is that these events are still very fresh. Ballister seemingly has just been laying low, not villain-ing it up, and he and Ambrosius haven't seen each other since the knighting ceremony. This changes literally everything about Ballister’s character. This post is specifically about Ambrosius and Ballister’s dynamic and not a Ballister character analysis so I’ll try to keep it brief, but movie Ballister seriously could not be more different from the book.

Like previously stated, book Ballister has been a villain for a while. He is completely settled into this role and has been making schemes and having fights of the week with Ambrosius for a considerable time. He knows what he’s doing. He has his own way of doing things, and when Nimona inserts herself into his life much of their early dynamic is him teaching her how he does things. In the book, Ballister is the teacher, Nimona is the student.

Compare this to movie Ballister, who I’m pretty sure never knows what he’s doing ever, at any point. He was training to be a knight. He has seemingly never once questioned the Institution. Now he has suddenly lost his arm and been thrust out into the unknown of being treated as a villain, and he has no idea how to handle it. Then Nimona shows up, tells him “hey, the Institution sucks”, and eventually he ends up believing so as well. In the movie, Nimona is the teacher, Ballister is the student.

Book Ballister actively resents the Institution and has no doubts that what they did to him is wrong. He has been plotting their downfall for a while. Nimona, on the other hand, seems to be out of the loop when it comes to the Institution and seemingly only starts hating them after she finds out how they threw Ballister out. Again, I’d just like to stress how completely and totally opposite their dynamic in the movie is compared to this.

There’s also Ballister being a scientist and being much more jaded in the book, but that’s not really important for the purposes of this post. So alas, I shall move on.

This different timeframe greatly impacts Ambrosius and Ballister’s dynamic, and obviously it would. There is a huge difference between a falling-out that happened years ago and you’re both still bitter about, and a falling-out that happened very recently. This, along with the different course of events resulting in said falling-out, is what causes their dynamic to feel so alien.

Also while talking about their early interactions in the movie, I’d just like to point out that while here Nimona is the one to assume Ambrosius is Ballister’s arch-nemesis and call him such, which Ballister doesn’t agree with, they were actually arch-nemeses in the book. Just something I noticed.

Something else I find interesting is later on, Ballister seems to be almost in disbelief about Ambrosius cutting off his arm and makes excuses for him.

BALLISTER: “He didn’t cut off my arm. He disarmed a weapon.”

BALLISTER: “It’s how we were trained.”

(Side note, but I wonder if book Ballister ever felt this way right after the joust? Did he try to convince himself it was an accident too, once upon a time? Did he try to make excuses?)

And to be fair, he is sort of right. Like I said before, Ambrosius’ reaction to Ballister seemingly killing the queen was debatably justified. While we’re obviously supposed to side with Nimona here and agree that Ballister should be more upset at Ambrosius for what he did, the movie definitely paints Ambrosius as more sympathetic overall. We see him freaking out internally about cutting off Ballister’s arm, and there is a lot of emphasis placed on how he and the others were trained by the Institution, inviting the audience to place more of the blame on the system that taught Ambrosius to act this way rather than him as a person.

And again, I’m not saying this is a bad thing! I love a good "taking down a corrupt system” story, and with the different circumstances of the movie it definitely makes more sense to play it this way. But in comparison to the book, Ambrosius is much easier to sympathize with. His character is changed from a very morally gray person who did something horrible and won’t admit it, to a pretty okay person who did something horrible and wholly accepts and bemoans that fact. He’s almost the opposite of what he was in the book.

So we have an Ambrosius who accepts what he did to Ballister and feels awful about it, and a Ballister who has no idea what he’s doing and is basically just being dragged around by Nimona. With both of them being basically the complete opposite of how they were in the book, is it any wonder that their relationship with each other feels so different when they themselves are so different?

Also, once again, the circumstances are very different. There is no Queen murder plot in the book, nor is their any attempt to clear Ballister’s name. A significantly different setting makes a difference too.

I don’t see a need to go into further detail about specific scenes in the movie as I think I’ve made my point clear. But going back to the movie’s lack of Ambrosius and Ballister’s already established hero-villain dynamic, I think these differences are made quite apparent just contrasting how they talk to each other. I mean, just compare these two scenes:

AMBROSIUS: “What? You’re gonna kill me now too?”

BALLISTER: “You believe that?”

BALLISTER: “Then you never knew me at all.”

AMBROSIUS: “uugghh”

BALLISTER: “What if I cut off your arm right now?”

BALLISTER: “Then you’d see how fast the Institution would cast you aside. Just like they did me.”

AMBROSIUS: “You wouldn’t.”

BALLISTER: “No, I wouldn’t.”

BALLISTER: “And I’m the villain.”

BALLISTER: “What do you suppose that says about you?”

Their relationship in the movie is much softer and healthier than it was in the book. Their dialogue in the movie tends to lean much more towards tried-and-true “friendship betrayal” stuff; the wound of Ballister’s “betrayal” may be fresher, but it’s clear both of them love each other far more than they resent each other. In the book, it is the opposite. The movie could NEVER have the bar fight scene. It’s too ugly and bitter to fit these softer versions of Ambrosius and Ballister.

Part 3: Conclusion

So, that was a lot. I hope it’s a little clearer now how big the differences are between these two’s dynamic in the book and the movie! Especially if you’re someone who is only familiar with one or the other. While I prefer the book due to me tending to prefer more complex and messy relationship dynamics, I totally understand the appeal of the more loving and healthy relationship Ambrosius and Ballister have in the movie.

To summarize, here are some of the main takeaways:

Ambrosius causing Ballister to lose his arm is completely unjustified in the book and happens due to Ambrosius’ wild ambition, while in the movie it is a debatably justified reflexive action in response to an active threat.

Ambrosius overall is portrayed as much more sympathetic in the movie, with the system itself being more to blame for what happened.

In the book, the main thing keeping them apart was Ambrosius’ refusal to take responsibility and admit what he did. In the movie, it’s a misunderstanding about Ballister seemingly turning evil.

In the book, Ambrosius and Ballister have a very established hero-villain dynamic with the joust having happened years ago. In the movie the “betrayal” is still very fresh, which leads to very different interactions between the two.

And that’s about it! Thank you for reading this very long post. And if you haven’t read the original graphic novel or watched the movie, go do that!!! Much love to ND Stevenson and the rest of the people who made this story come to life.

Let me know your thoughts in the tags or the replies! Which version do you prefer? Are there any other factors you feel have a significant role in why their relationship feels so different? Or do you think I’m totally wrong about this and they feel basically the same to you?

Either way, thanks again for reading and goodbye!

[shakytailstudios]

The Dueling Fates of the Guardian Neos & Lady Glasswing

In a world familiar yet strange, tragedy and a gifted Butterly pendant sends a child on a dangerous and destructive path in a bid to undo what was wrought.

While circumstances and the will of the Kami see a very different child granted an opportunity to be something she never truly thought possible, a hero.

These designs are for an AU, I have outlined but only written a fraction of, where in Marinette and Chloe oppose one another as the mysterious Lady Glasswing and the fiery Neo Guardian of the Kwami.

Thematically, its centered-on idea relating to "good victims" and "Bad victims" and how that status impacts victims. How systemic and social failures can lead to destructive and harmful behaviors while support and guidance can serve to correct and heal.

Both would serve as sort of mirrors to one another, spoilers below:

Chloe was a "bad victim" in response to emotional and psychological neglect and abuse. Which largely caused her to act out in harmful ways and be rejected, only reinforcing her behavior.

Marinette was a "Good Victim" after a tragedy. She didn't make waves or lash out, didn't try to cause trouble & so didn't get the support she needed & began spiraling as a result.

Thanks to the support of the Kwami and a growing team of people who refuse to be chased away by her temper as well as an outlet that sees her getting positive feedback, Chloe begins to heal and improve.

Meanwhile Marinette's increasing alienation from people born of systemic and social failures, exaggerated by the Butterfly's use see her becoming more destructive and callous in her isolation.

Thematically and narratively, the idea would also be for Chloe's attitude to steadily shift from "Spite/defeat Lady Glasswing no matter what" to "Save Marinette from herself the way others saved me."

Notes:

Glasswing is also a type of Butterfly and rather fitting as Marinette comes to believe her Akuma are forcing people to show their true selves. She also has to Akumify Caterpillars into cocoons to get butterfly's.

Chloe starts out constantly swapping between Kwami and so doesn't have a "Designated" Kwami, but she trends towards Sass for the Second Chance theming and Roaar for the combative outlet, her suit adapts its colors to her Kwami.

The team is loosely made up of:

Adrien - Horse & Ladybug

Sabrina - Fox & Turtle

Zoe - Black Cat & Dog

Kagami - Dragon & Peacock

Fei Wu - Mei-Shi & Mouse

Lamb & Rooster are indetermined, & I'd be using my 12/15 Kwami Lore, seen over on my main blog.

Lila would have Trixx at the start but lose him due to irresponsibility in the field due to fame-seeking. She ends up wielding the stolen Prodigious on Marinette's side while beginning to realize she is in over her head.

Ironically, with no Gabriel to ruin her life, Fei's much more well off but wants the Prodigious back.

[bitchslapblastoids]

interesting but predictable how some of the inherent uncanny valley strangeness of bringing something that exists in the chronically online space into the real world can manifest. I’ve noticed this at all the other tours of theirs as well - some people can have a hard time separating internet behaviors from irl behaviors, and the sudden merging of these compartmentalized ways of being (online vs offline) can be hard to navigate.

I think it can also make people uncomfortable to see their comedic silly billie faves being serious, and there’s a dissonance to seeing them, these characters who live on our screens, along with the audience around you who are typically just avatars and usernames shitposting in lowercase, all suddenly in the same physical room. And suddenly that often completely disparate, scattered, semi-anonymous community needs to adapt to social mores and group norms in a new social context. It’s taking a community with its own set of rules that were designed for and in response to a digital landscape and plonking it into a completely alien environment. And yeah, we’re all humans who exist in public outside of our internet lives, but it’s different when that happens but you’re still in the context of the phandom.

Which I think is what leads to things like shouting out rly profane, out of pocket things during the quieter moments of their shows. because if you comment something like that online, you won’t rly be interrupting anything. you might be ignored, you might get some laughs, maybe you’ll get a notice bc haha unhinged right. Or like treating an evacuation drill as a lol pass the tea yas mommy daniel moment instead of an oh we’re actually here in real life moment.

I went back to my tatinof review bc I remembered writing this - “someone behind me kept screaming at them to "GET NAKED" (particularly during silences in the 7 second challenge) to which everyone in my area responded with claps and laughter.” During my second TIT show, there were people around me who wolf whistled and shouted “kinky” and “ayo ok freaky” during totally inappropriate moments. I remember during Dan’s quieter bits of WAD people could not seem to just stay silent. (I have suffered complete amnesia when it comes to ii so I can’t speak to any part of that experience lol.) after the preshow and during intermission at tit, I heard separate people at separate times making a range of critical comments about Dan and Phil’s bodies in ways that were downright shocking and not how I hope they’d typically feel comfortable speaking about other humans.

I think on the whole, phannies are so lovely and kind to one another. I feel deep gratitude for this community. And I know this isn’t just a phandom thing; I think how we treat one another in public spaces has generally really eroded, and concert etiquette has become abysmally poor. But phandom, as always, is a little unique, because of the sense of mutual understanding and the co-created dynamic between us and d&p. It dissolves the boundaries, so when Dan tells you to shut up, your online brain tells you that’s just a chance to be funny with your fave. When you have a chance to be heard, your online brain provides a memey shitpost joke and your irl self shouts it out even though that ain’t the move in a theatre performance unless invited to do so.

No real conclusion here, just some observations about the rly unique dynamic this all creates!

[mothlady-garden]

My two cents about the anatomy of the Angel Arm & the Gate

Last update: 03rd of May

Spoilers for basically the whole story

• Core starts to form in the Ulna

• The core is formed first in the ulna, of independents through either physical contact with a trigger or a triggering biochemistry that is found in stressfully situations, if willingy or not.

can also be triggered though Plant-Song (presence of Knives in a close distence in JuLai)

Hardening of the skin and partial melting and with clothing (assimilation of matter into body)

Prominent Plant markings appear on the whole area

• Tissue growth around the core follows this

• Groth before Structure

• Solid and dense at first

• Changes from solid to more feathery

• Winglets develop, which will provide stabilizers/visor

dominant side seems to differ from individual to individual

Arm Design

• 4 Structural Supports:

• 2 act like heart muscles, which can achieve contractions and expansions -that's propaply whats been his lower arm

2 maybe be the same but didn't need to spread

massive core

• 2 lower growths for stabilization to better shoot at city's (fuck Knives)

• 2 floating rings-one at the very front and one at the tail of the Arm while charging (most likely for energy concentration and To polarize the energy in one direction

• 4 Faces Encased in Forearm

• Depict 2 men, 1 woman, and 1 angel (?)

• Wing-like Structure, Bat and dragonfly wing crossed

• Probably finger bones transformed to extend as wings from the arm

Muzzle Design

• The tip has parallel striped bands evoking muscle fibers or connective tissue for stability

• Feathers form at the end, which may subconsciously formed for resisting maximum recoil and hurting of Knives

Smaller "Backfire-prison-break" version

• Later in the manga, a small and compact version of the Angel Arm is used.

• No secondary sexual characteristics appear.

growth of another 4 faces at the elbow part, they appear more deformed

• New growths act as counterweights for upper and lower parts.

• Hand behaves like an end of the arm with plates of bone that help to control the release of energy.

• Golden Angle Alignment, its design probably has the Golden Angle, about 137.5°, which may help reach energy and structural optimisation

Symbolism of the four faces and different genders

•There are four faces: two? men, one woman, and one angel. This could be the manifestations of humanity in their various facets, such as strength, compassion (Rem) the struggle between human and godhood

They have legs (!)

the core seems to be located in the stomach area similar to his sisters

• Perhaps the inlayed male and female figures are indicative of the balance between masculine and feminine character traits of him

Vashs first Angel Arm (July)

realease seems to aktivate a part of thier brain that is responsible for pleasure, adds to the impression that the Fith Moon Incident was way worse than on first sight

This post about it is great:

The structure is less smooth, which may be due to the missing experience with the newly developed body part. Similar to certain animals, whose bone surfaces appear blocky or rough—such as in birds or dinosaurs, where these structures serve as anchors for tendons, muscles, or scales—the rough texture here could also be the result of incomplete adaptation or development bc of the inecpirience with his power

more feathery than later apprances

very small core with a single little wing on the (later would have grown) angel part

feathers spread on arm to upper torso

Additionally up to 2m (6.5 feet) long feathers grow out of right shoulder

Small faces grow on the upper arm above the core without any distinguishable features

Shoulder feathers will grow up to 5m (16ft)

Feathers seem to be more like Primaries (more for ranged actions like protecting or maybe fleeing)

Further characteristics of his arm in the trance like state and a few ramblings about Vashs phycology

possibly a mental hellscape when using the gate connected to one's mind

No Plant-Marks appear

matter seem to be more flesh-like than the other versions

Self image displays several eyes mouths and disformed bodyparts

Doesn't seem to follow a order, spreads like a Tree into more and more parts

human and snake like with tongues and even carnies

similar are also apperand in Knives pardon

10+ tentacle like growths at the former hand part

~15 deformed finger like growths

the deformed faces seem to be in pain from his selfharm -same nerves system

he tried to scratch his arm of at the schoulder area (where a emmense scar-cut in his skin and muscle is)

Survivor's guilt in relation to traumatic experiences or PTSD will, more than likely, involve self-image at its core. In having survived a tragedy, he is overcome with an immense amount of responsibility and guilt for having lived while others have died. More often than not, this is attached to the guilt associated with being unworthy of having survived, leading to feelings of low self-worth (for example jumping into line of fire or not healing his scars if subconsciously or not) and or blame being placed upon one's self. This may result in distortion of their self-concept and in the feeling of being undeserving of happiness or unable to move further in life.

PTSD can exacerbate this guilt through intrusive memories, flashbacks, and hyperarousal, whereby the survivor is pressed to continually relive the event in question. This inability to escape such mental relapses can further promote feelings of helplessness that will degrade one's self-esteem and reinforce negative self-judgments. The latter, in turn, can promote further avoidance behaviors, such as dissociation or emotional numbing, possibly counterproductive for trauma processing and creating a self-sustaining cycle of repression.

Another coping mechanism we see, is repression this can even more strongly compound the problem. By excluding painful memories or emotions from consciousness, survivors skip confrontation with guilt or trauma in a straightforward way. Yet, this usually leads to internal conflict because the unresolved feelings of the survivors continue to impress their subconscious, confusing them, self-doubting, and fragmenting their identities. The usually resultant picture is that of a deformed negative self-image, alienated from one's real self.

Ultimately, his past actions and unresolved trauma may trap him in a cycle of guilt, anger, and self-hate. This inner conflict, combined with toxic relationship with his brother, could leave him emotionally isolated, struggling to reconcile the good he tries to show with the darker parts of his past, unable to find peace with himself or others.

Also in the Book of Revelation, Revelation 13:1 is a kinda similar thing discriped: “And I saw a beast rising out of the sea, with ten horns and seven heads, with ten diadems on its horns and blasphemous names on its heads.” (ESV)

Vashs Gate in the elevator-arc

The clothing appears to integrate into the skin, suggesting a bio-synthetic fusion mechanism, potentially mediated by specialized cellular processes or biochemical signaling pathways

Carnies seem to exhibit growth, potentially influenced by hormonal or environmental factors that stimulate cellular proliferation or morphogenesis.

His iris and pupil appear to disappear, potentially due to a regression or atrophy of ocular structures, to be more suited/in touch to the higher dimension like his sister are. This phenomenon might represent an adaptive response to environmental pressures, such as reduced reliance on conventional vision in favor of alternative sensory systems. In the case of his sisters this may also indicate their genetic engineering. Scientific papers on interdimensional bioengineering suggest that such modifications could involve the downregulation of ocular development genes or the activation of latent traits better suited to lower-dimensional sensory and perceptual demands.

Similar to how some deep-sea organisms adapt to bioluminescent environments or how snow animals adapt to reflect excess light, the bioengineered sisters may exhibit depigmentation as a protective measure against overwhelming brightness.

components of thier eyes might have been modified to diffuse incoming light. For example, a highly reflective or translucent outer layer (like a tapetum lucidum in nocturnal animals) could scatter light, reducing glare while still enabling some form of light perception.

 In the context of higher-dimensional species adapted to lower-dimensional environments, the whiteness of the eyes might also indicate the prioritization of non-visual sensory modalities, such as heightened bioelectric, auditory, or tactile senses. These senses could be better suited for navigating or interacting within a dimension characterized by overwhelming brightness.

The presence of a significant number of feathers may also result from the uncontrolled activation of genetic pathways related to feather development, possibly mediated by external stimuli linked to the gate’s activation

 The wide variety of feathers, ranging from small to primary feathers, might suggest an adaptive response for enhanced physical protection. This could involve evolutionary pressure favoring diverse feather morphologies for thermal regulation, camouflage, or structural defense.

The ability to establish a mental connection may be associated with the feathers of his dying sisters, potentially linked to specialized bioelectric or biochemical signaling mechanisms. This phenomenon could involve a unique frequency of communication facilitated by the structural and functional properties of the feathers

The involvement of a specific frequency, combined with a symbiotic relationship akin to a mycorrhizal network, could suggest the presence of a complex interspecies signaling system. Such a system might leverage biochemical signal transduction pathways to facilitate communication and resource exchange between individuals

Primary Wing

the growth of a wing seems to be triggered by a flee instinkt (in Vashs case)

4 sections, one extra on the back for horizontal range -from fused together limbs?

Vash Angel wing in the end and defence mechanism of the Gate

2,5 meters long, bird like minus the Coracoid

Sooo he's got feathers that protect him like I'm my food, as seen right after the elevator-arc

If a shot’s fired at you from 4 meters away, you’ve got almost no time to react. Bullets typically travel at speeds ranging from about 300 to 1,200 meters per second, depending on the type of gun and ammo. At 4 meters, that bullet’s gonna hit you in a blink—literally. For a rough estimate, if the bullet’s speed is, say, 340 meters per second (a typical handgun speed), it would cover 4 meters in roughly 0.012 seconds. A blink of an eye takes about 100-150 milliseconds. So yeah, by the time a human even think of moving, that bullet’s would have already hit its mark.

Extreme elegance is key to dodge bullets (as seen in the Legato fight)

At this range roughly of 3 meters, a bullet traveling at 800 to 1,000 meters per second is gonna reach you in about 0.003 to 0.004 seconds. That’s less than the blink of an eye, hell, even thinking about dodging would take longer than that.

With multiple angles and those rounds coming at you that fast, you’d basically need to start dodging before they even fired. We’re talking some ultra-instinct, superhuman reflexes here.

Trigun: We have some of the most powerful characters in seinen hehe

Power of Vashs Gate-Bullets

Trimax Vol 12, Chapter 08: Lights

the shots seem to inplode like a black hole

Anti matter bullets

Explanation (As seen in the battle against the Arc-Collective)

If a single shot could destroy 7% of the Northern Hemisphere of a habitable planet, we are dealing with a weapon of cosmic-scale power. The energy released in such a shot would far exceed any terrestrial weapon, venturing into the realm of exotic physics. To put it into perspective, to annihilate an area of around 14 million square kilometers, the energy output would need to be on the order of 10^24 to 10^27 joules, which rivals phenomena like gamma-ray bursts or the Sun’s total output over several hours.

The cartridge contains exotic matter capable of distorting space-time enough to form a micro black hole. This might involve the use of antimatter or even negative mass to reach the required density and energy concentration. By collapsing the mass-energy within the cartridge through an exotic quantum process, a micro black hole emerges, which can either evaporate through Hawking radiation or expand, depending on the stabilization mechanics used. Luckily for them he's made them evaporate after a second.

To control and limit the effects of the micro black hole, the bullet employs gravitational confinement techniques or manages Hawking radiation to ensure the black hole persists for just long enough to cause catastrophic damage. It uses quantum field manipulation to create a gravitational gradient, holding the black hole in a state of quasi-stability before allowing it to collapse in a burst of energy.

The transfer of matter across dimensions occurs through a temporary connection to higher-dimensional space, such as in brane cosmology theories, where our 3D universe interacts with a higher-dimensional structure. When matter is drawn into another dimension, a transient wormhole or topological defect, like a cosmic string, forms, allowing matter to be siphoned off.

This process resembles Kaluza-Klein theory, where compactified extra dimensions permit the energy to escape from our familiar three-dimensional space-time into the higher-dimensional realm. It’s as if the explosion opens a drain that lets matter flow out of thier universe, erasing the affected area from existence.

Imagine it as pulling the plug on a bathtub; the water (representing matter) rapidly drains into an unseen reservoir (the higher dimension), leaving behind a chaotic disturbance on the surface (massive explosion and gravitational disruptions). It doesn’t just destroy; it erases a portion of space-time itself.

If he limits a shot to a maximum diameter of 50 cm and a duration of 1 second, while ensuring that it does not cause terraforming-scale damage, then we’re dealing with some extreme physics constraints.

Energy Compression and Containment

To achieve such massive destructive power within a confined space of max 50 cm, the energy would need to be incredibly dense and compressed, using some form of exotic energy state or quantum-scale manipulation. We might think of a process similar to creating a quark-gluon plasma, where matter is compressed to such high densities that conventional atomic structures no longer exist. This would allow for an incredibly high energy concentration without needing a massive physical size.

Control Over the Shockwave

To prevent the shot from causing terraforming-level damage, the shockwave dynamics would have to be controlled precisely. This could involve using fields or containment mechanisms that limit the expansion of the blast wave to a very small effective radius, absorbing or dispersing the energy beyond that point.

For example, a localized gravitational field could be used to constrain the energy within the 50 cm radius, causing the shockwave to rapidly lose intensity beyond that point. This would result in a highly concentrated but short-lived explosion, powerful enough to cause intense localized destruction without spreading its effects over a larger area.

Duration and Rapid Energy Dissipation

With a duration of only roughly 1 second, the energy release would need to be extremely quick and then dissipate almost immediately. One way to achieve this could be by utilizing a form of Hawking radiation or controlled quantum tunneling, allowing the energy to decay rapidly into other forms of radiation or be siphoned off into a higher-dimensional space right after reaching its peak.

This approach would make the explosion appear like a brief, intense flash of destruction, where the peak intensity lasts less than a second, followed by rapid normalization of the local environment. There would still be a violent local effect, but it would be contained to prevent any significant alterations to the landscape.

Think of it as a controlled fusion explosion, where the fusion reaction is ignited but then immediately halted by a containment field, causing the released energy to dissipate almost as soon as it appears. It would be like a microburst of a star’s energy, contained and then extinguished just before it gets out of control.

The shot would feel like a brief, intense thud, with a powerful but contained shockwave that wouldn’t extend far beyond the immediate vicinity, preventing large-scale geological or atmospheric effects. It would still be lethal within its limited range but without causing collateral damage on a world ending scale.

Knives Angel Arm

possess more animal like traits

Pant markings seem to appear more regulary maybe a matter of practice to hide them

Massive Blade(s) on left arm

For direct slashing

Seem to be able to reach for hundreds miles

probably with some kind of ultra thin blade almost like a wire

Gate

form seems to be similar

creating of blade bullets when leader of collective

discharge of a spherical projectile

during its flight trajectory through the air, the projectile undergoes structural disintegration, transitioning from its original form into numerous spiral-shaped, highly flexible, and extraordinarily sharp blades

these blades at first align in a conical arrangement trailing behind the projectile then coming forth in a more circle like shape

within the core of the projectile, distinctive phenotypic characteristics of the Gate are observable, which maybe be directly linked to its dynamic spiral motion and the sequential release of the blades

cutting of everything in range of these blades if not countered by another Gate

The Ark-Collective

First sister to be absorbed seems to trigger growth of multible tumors, some kind of autoimmune response

at first 2 wings, they possess more bones

Width: 689 feet

roughly the length of two football fields placed end-to-end (a standard football field is about 360 feet long).

Height: 453 feet

about the height of a 45-story building, as each story is approximately 10 feet tall.

length to the space ships round about 311 miles (500km)

It has its own gravity field

It's gonna be interesting when/if they ever animate that behemoth.

Theory about his worp usage of the higher dimension

he's creating a cut in the reality goes into the higher dimension and reappears at a different place propably with exotic matter (warping space-time)

The Ark is organic in composition and, in structure, would be much like a biological entity that achieves buoyancy, from certain deep-sea life forms to large organisms with gas-filled cavities. In its advanced organic material, there is a percentage of gas pockets or low-density compounds, enabling it to stay aloft in a dense atmosphere. The organic superconducting materials of the combined might also serve to create strong magnetic fields upon activation. This highly developed organic structure creates these fields for the lifting effect on objects in a certain radius. It apparently has the ability to emit or manipulate antigravitons-particles that act against gravity-and such an ability would reduce gravitational pull on everything in a localized area. In creating a small field around itself, it is essentially working against or neutralizing gravity. The Ark also has the possibility of causing local distortions in gravitational fields, creating a sort of "bubble" that decreases the pulling power of gravity on objects around it, hence allowing it to levitate them. In such a case, the bio-machinery of this organism would need high energy density structures, such as muscle fibers, that store energy and afterward release it. It’s cells would need organelles with very high output energy, which would be able to store energy and afterwards release it to build force or fields. These cells function like biological equivalents of batteries or power cells, generating very powerful bioelectric fields. The Collective amplifies bioelectric potentials to considerable magnitudes to generate site-specific magnetic fields, or any other force-related phenomena that are powerful enough to levitate masses. In its domain of quantum biology, the entity uses quantum effects for levitation or lifting. It taps and channels energy with high efficiency through processes somewhat related to quantum coherence in photosynthesis. Presumably, this biological use of quantum interaction enables it to achieve the very fine control over force fields and manipulate gravitational pull on a quantum scale, thus enabling the lifting forces.

lower section resembles a flower🌺

To be added:

My auto correction made "his sisters" into "his disorders" lol I love my phone gremlin

Characteristics of his wing

struckture reflects his gate

made of many different blades

its made of 2 different sections

lower section is connected to his back /schoulderblade

Phycological factor:

does he has the need to harm humans trough his true nature (most likely yes)

The Gate of their Sisters (Independends)

look at Death Omen

Core seems only to manifest when entering their last run

Or maybe it is always there but covered by flesh?

thier Core forms in their womb

Maybe their naitve environment has lead their "original" species evolve to have body patterns to express emotions, Multi-layered membranes so their sensory organs could detect tiny changes in the fabric of space-time, like a natural “gravitational radar” leading to a different kind of seeing as their primary source of well... visual information

Melting of the body:

- fist the feathers start do disintegrate

- Hair gets black

- then the outer layer of their body’s rots (skin, muscles….)

- head seems more resilient

- later the more solid structures like bones start to melt…

(I want to find my old notes about this)

Knives morphed form in Volume 7

-THIS THING FOLLOWS THE BONE STRUCTURE OF A HAND!!!

So my theory is that Vashs power is to delete/absorb/take matter into the higher dimension and Knives is to add/give materia into the lower dimension.

Feel free to comment your own thoughts.

Also, I was listening to that while making this🔥:

Have a good day

[jesncin]

Lil' musing about Public Domain, AI theft and Transformative creativity

Old essay originally written on Cohost in February 2024. With additions.

I'm putting my thoughts here because I don't want to risk going viral for subtweeting discourse again, here we go! So with the Steamboat Willie Variant of Mickey Mouse going to public domain I've seen the usual cynical pushback over transformative art. Particularly in response to overplayed EDGY DARK WINNIE THE POOH and EDGY DARK STEAMBOAT MICKEY and YOUR CHILDHOOD THING DARK NOW that inevitably happens around this time.

But to group all transformative art as derivative, soul-less, profit-driven, lazy and "reliant on past successes" is frankly just...really silly? I saw a notable concept artist making this over-simplified talking point, and I find it odd that someone can look at the most visible (by being formulaic, provocative and made by rich people) examples of public domain adaptations and just generalize all art ever inspired by a thing as uninventive and compare artists who do that to being "ai-like". It feels like the false dichotomy constantly set between "real books" and fanfiction.

We've seen marginalized people reclaim cosmic horror from Lovecraftian fiction. I've seen queer people reckon with and reclaim the queer history of Peter Pan. There's something special about taking a familiar thing and informing it with a perspective that wasn't present in its original iteration. It takes a whole other part of your creative brain muscles to adapt and reimagine something that already exists. And it can be just as creatively fulfilling as making original stuff.

While it's important to recognize and remember the origin of archetypes in stories or movements in art, I think there's sometimes a misplaced reverence put towards the original version of something. Whenever I talk about how Asian writers like Gene Yang and Sarah Kuhn have more thoroughly integrated Superman's immigrant themes in their re-imaginings of his mythos than their white peers have, I get hit with the constant "hey remember Superman's creators were the sons of Jewish immigrants (who made racist jokes about Chinese people)" and "hey remember, Gene Yang and Gurihiru's Superman Smashes the Klan was based on a radio show arc made by WHITE people first (who made the story about a binary of Good white people vs Bad white people, along with centering how white people feel about racism)".

Especially if it's a means of centering white creatives, people love to dismiss the transformative contributions of marginalized people, but especially that of people of color. It took until 2016 for the World Fantasy Award to change their statuette to not be based after the face of renown racist H.P Lovecraft, after all.

Last year I gave myself the goal to do something "unnecessarily ambitious" with no plan of pitching/printing/selling it. Just "art for art's sake", something really not-algorithm-friendly. And yeah, that ended up being a fully rendered, 40-page martian manhunter fan comic. I did it for no other reason than being a huge fan of a severely unpopular character and feeling like there was a new story I really wanted to tell about the character that would never happen in canon with how little there's been written about him. I don't think it's fair to call writing 40 pages of a new origin story, drawing fully colored pages with unique re-designs, reading hours of martian manhunter comics to tie different aspects of his lore into coherent worldbuilding, putting that comic up for free for the few other Green Justice League Guy fans to read, as lazy, profit-driven, and soul-less.

There's tons of artists who do stuff like this all the time. It just comes off as being very out of touch to view true creativity as only existing one way. That transformative media must inherently be "less". One time a white guy pitched to me some ideas he had for Superman if he ever had a chance to write him, and I said "that sounds cool, you should write a fanfic about it" and another white guy (who felt the need to come to the first one's defense), viewed what I said as an insult. There's something about doing fanart because you enjoy it and don't need to profit out of everything you make that's seen as lesser than having the seal of canonicity from a company.

My motto with making needlessly ambitious fancomics is "You don't need to work for DC Comics to make DC comics". Because canonicity has nothing to do with what makes art special.

To bring this back to edgy Mickey Mouse spin offs, even if you do just want to make cliche mascot-horrified stuff because you enjoy it, then by all means go ahead! I always go back to this video Sagan Hawkes did about petscop-inspired video series. There's a running theme about grappling with the concept of Originality in Art in relation to youtube horror projects (the thesis comes around at 2:04:10), and some valuable words are shared in the collected interviews with web series creatives (2:18:47) in the end. SeireaSong (creator behind Diminish) talks about how misguided conversations surrounding "originality" can be (2:29:43). It's so worth it to watch when you have the time.

Anyway happy 2024! Be good to each other.

[raven-at-the-writing-desk]

One thing I like about in game yuu despite being a mostly blank slate still manages to have some detail despite being made as an insert. Like how they're good at instruments

I did see that Yuu was can play the bugle (a brass horn?) for White Rabbit Fest, but their skill actually depends on the dialogue option you choose. If you pick the other option, Yuu is just as lackluster at playing as the other characters are. I think they also played the flute either during the Harveston hometown event or in a related character’s Harveston vignettes (I can’t recall which it is).

There was a similar option given during the Harveston hometown event in 4-7 (but it’s more of Epel asking, “do you play instruments” for a yes/no response rather than whether or not Yuu is any good at it):

But!! There definitely are other times when Yuu is described in spite of being designed as a blank slate/self-insert character. Two examples that automatically come to my mind are various characters’ home screen voice lines in which they mention Yuu has a small or slim stature. Crowley also mumbles to himself that Yuu appears "effeminate". The other (and much more obvious) example is when Azul points out in 3-10 of the main story that Yuu doesn’t have any particular talents:

Which??? Sorry, Azul 😂 We have to agree to disagree here. One skill of Yuu’s that we can extrapolate is that they’re a decent photographer. This is because it’s implied that the card illustrations and groovies are pictures taken by Yuu’s ghost camera (regardless of whether or not Yuu is actually mentioned or is present or not during the vignettes). Yuu is also specifically shown taking pictures in some events, such as Port Breeze Fest (ie during Rook’s vignettes).

Yuu is also said to be able to cook for themselves in book 7. This may be because they learned this skill via Master Chef.

Another trait (albeit very generalized) could be that Yuu is the kind of person that facilitates cooperation. Now, what exactly that means can vary greatly from individual interpretation to individual interpretation, but suffice to say that Yuu, in some way or another, helps their peers to collaborate and to get along. Some people also characterize Yuu to be a clever or a strategist, as they helped concoct a battle plan in the prologue among other smaller plans (for example, keeping Leona from sleeping to get his help in book 3, getting “a bad feeling” that Vil will OB soon, etc). Note that this may be why Rook nicknames Yuu “Trickster”. However, it could also be argued that Yuu is sometimes aren’t that bright, perhaps for plot convenience (ie not putting two and two together that Tsunotaro/Hornton is Malleus, not trying to negotiate with Azul’s contract terms in book 3, etc).

It’s mentioned in a few occasions that Yuu is also said to look frail/is not physically fit to contribute to battle (something which the light novel and manga adaptations of Yuu defy), although this could just refer to their lack of magic. Again, related to this, Crowley and others have lines which imply Yuu is feminine looking (small, non-muscular, non-threatening vibes, etc), regardless of what their actual sex or gender may be.

***NOTE:*** A notable difference between TWST JP and TWST EN is that Yuu’s dialogue options in EN are much sassier and more outspoken than those of JP. For example, whereas one of JP’s choices may be, “Oh, I see” (very generic, very plain), EN may exaggerate it to, “Not this again!” (insinuating displeasure or being fed up/actively protesting).

If you guys know of any other traits or abilities that in-game Yuu has, feel free to share them!

[petvampire]

Lore drop time!

So while I was fucking around with this Mer!Jeremy AU, of course I ended up just fully building out a whole-ass AU world. Here are some of the points so far:

- Yes, they’re still in California, and still college students! Obviously without Exy in the mix, the whole college experience is going to be a bit less relevant, but the whole crew is absolutely still around to be pulled into the story at various times.

- The world is largely populated by various types of shapeshifters, along with a handful of other fantasy beasties, such as the merfolk. Regular ol’ humans do exist, but they’re less prevalent, though hardly in danger of extinction or anything like that. There’s good levels of coexistence between most species, with of course the occasional exception.

Here are our two biggest groups for this fic, and some notable facts about them!

THE MERFOLK

- Merfolk is the preferred term, or the casual mer, rather than mermaid/merman (gender gets blurry under the water, folks, so the merfolk don’t do gender-specific designations)

- Due to adaptations and mutations based on the ability to survive in a world where the waters are being sadly damaged and polluted, as well as where necessary resources are often found only on land, the merfolk are capable of shifting into a form close to human to survive out of the water.

However, mers will begin to sicken and eventually die if kept from water for too long. Beginning symptoms, such as headaches, nausea, and fever, start after 48 hours or so. Most landbound mers combat this by taking advantage of baths or showers, and always keeping water close for a quick fix. Total immersion is best to avoid sickness.

- Merfolk’s undersea forms can vary in coloration and type; the most common are single-tailed mers with the traditional fish scales.

Land forms trade the tail (or tails) for human legs, and the majority of the visible mer characteristics fade, though they retain ridges on the neck where their gills are hidden, fin-like ears, and the occasional smattering of scales on their skin. These particular places are all most vulnerable to drying out, and also generally vulnerable to harm while the mer is out of the water.

- Jeremy and his entire family are merfolk, and while we haven’t delved into exactly what their position is in undersea society in the fic yet, trust me, it’s gonna be important

THE SHAPESHIFTERS

- Shifters can encompass practically any animal on the planet, and many of the different common types have their own preferred lingo for their own kind. Some shifters are significantly rarer than others, but predatory animals are typically more common than herbivores.

- Avian shifters in particular, regardless of the type of bird, tend to be very dismissive of other sorts, preferring to stay within their own groups or flocks.

The ravens are a particular breed with extremely isolationist practices, and are known for being dangerous and violent, in addition to hating outsiders.

- All shifters possess three forms: their full animal form (which is typically larger than a natural animal would be), a full human form, and a halfway or demi form that blends human and animal characteristics. It is common socially to stay in a demi form, since it provides immediate identification for the shifter, but many prefer to remain in fully human shape when in company.

Avian shifters’ demi forms are specifically adapted for their wings to be able to bear their human body’s weight.

- Shifter society tends to be a blend of animal and human behavior, with many shifters who have a beast form that would be solitary in nature instead having a more human, community-seeking nature. Shifters are also prone to creating cross-species bond, which are met with varying degrees of acceptance depending upon the type of shifter and their cultural response to others.

OUR CHARACTERS SO FAR:

Jean Moreau, Raven Shifter

Jeremy Knox, Merfolk

Riko Moriyama (mentioned), Raven Shifter

Doctor Jeffrey Davis, Merfolk

Laila Dermott, Osprey Shifter

Catalina Alvarez, Puma Shifter

The rest of the crew haven’t made their way in yet, but I have no doubt they’ll be popping up! I’d love to hear what you think other AFTG characters might be in this universe!

Anyway, thanks for coming to my yap session about the world of this fic; I’m looking forward to writing more, and I hope you’ll enjoy!

[germanpostwarmodern]

Their heydays are long over but they still dominate German city centers: department stores. After the Second World War in particular they mushroomed all over Germany and long weathered economic ups and downs. In recent years especially those offering a wide range of goods have lost their customers to the internet. Somewhat lesser but still impacted is clothing retailer C&A whose stores are omnipresent in Germany’s pedestrian zones: since establishing their first department store in Berlin in 1911 the company has opened hundreds of stores throughout the country.

Interestingly the architectural design from the beginning remained in the hands of one office that goes back to the architect Sepp Kaiser (1872-1936) whose conversion of the Berlin headquarters in 1916 established a decades-long relationship that is today being continued by Nattler Architekten. In the time in between the architects Ernst August Gärtner (1905-83) and Ric Stiens (*1930) were responsible for the design of the department stores. During the NS era Gärtner oversaw the construction of some 20 new stores, a considerable number that also involved plots cheaply acquired from their Jewish owners. After the war Gärtner rekindled his cooperation with C&A and together with Ric Stiens, who joined the firm in 1951, designed and built numerous new stores, some 66 between 1965 and 1980 alone.

Throughout these decades the paradigms in retail architecture changed considerably and necessitated regular adaptations. These architectural changes are documented by the large number of architectural models in the collection of the Draiflessen Collection, the museum founded by the Brenninkmeijer family behind C&A: earlier this year the museum presented a selection of the models that offered a broad overview of 20th century department store architecture. What started out as a shining temple of consumption in the postwar years developed towards closed boxes offering a maximum of retail space. The accompanying publication „Maßstäblich“, published recently by DOM Publishers, presents a selection of the models as well as the history of each building. In addition, different authors shed light on the history of the department store and the architectural history of C&A stores in Germany, a very welcome contextualization that rounds out this comprehensive book on a vanishing architectural species.