#hes not REALLY there but this is important to his lore

[homunculus-argument]

Honestly, "high art" of any kind isn't really any more or less incomprehensible or unapproachable than Tumblr meme culture. It's basically the same kind of thing, really, but with a longer time span and more reading to catch up to - things making references to things that were a thing earlier, and everyone kind of supposes that everyone who sees the work also has some background knowledge of the previous work being referred. Just imagine an art history teacher breaking down a tumblr post like

"...And here we see the next poster replying with this image. Here, this image of a statue has a very exact symbolic meaning. The figure of the statue is the Greek god Apollo, here in his role as a prophetic deity, which you may have concluded from the original post referring to future events that may or may not come to pass. In his hand, he is holding a dodgeball, raised on the level of his head, as if ready to throw it. The threatening aura of the image is multiplied by the way the statue's eyes have been edited to gleam omniously - the poster replying to the Original Post is expressing a symbolic, indirect threat, that the future that the Original Post's author described might come to pass, as if the patron deity of oracles had personally cursed the Original Poster to a fleeting gift of prophecy, as swift and brutal as being slammed with a dodgeball."

[scrolling down powerpoint presentation]

"...The second reply, here, has an image of a smiling woman wearing a helmet, standing in a row of people in similar uniforms. This reply requires some slightly deeper konwledge of Tumblr meme lore to understand - the image is a fragmet of a larger whole: a single frame of a gif, of a clip from the movie Starship Troopers. What is important here is the omitted context, which is the line that this nameless character famously says in the scene: 'I'm doing my part!' By posting this image, instead of the entire captioned gif, the replier highlights the implied obvious meaning behind it: They are not merely announcing their intention to actively work to see that the future that the Original Poster foresaw will come to pass, but wordlessly taunt them by implying 'you already know what I mean to do.' It is - in joking - a threat."

"And as you see here, the Original Poster has replied to these comments with a gif, which depicts an encounter between two robotic arms. The swift and dynamic action of the gif serves to express the OP's emotions, as the first robot represents the author themselves, and the second one is a stand-in for the two previous repliers. The way the first robot arm grabs the second one and starts beating it against the floor represents the author's anger. As surrogates for the two parties engaged in the conversation, the author is expressing their personal desire to grab the two previous posters and violently beat them against the floor."

[raven-at-the-writing-desk]

Hello Miss Raven!! So it’s unfortunately a pretty well known fact that the TWST English translation has a bad habit of botching important dialogue and lore, and even removing lines altogether, and I saw a reblog a day ago regarding that.

The original post was a fact sheet on Leona & how he interacts with women (alongside other stuff but that’s besides the point). And the reblog I was looking at was saying that the English translation just makes it sound like he’s a feminist, when it’s implied in the original JP game that the beastwomen tend to be more aggressive, giving Leona a reason to be afraid of them. And that reminded me that on the TWST fandom wiki under Leona’s trivia he said he’s intimidated by them, and every time I see that I remember that just can’t seem to find that detail at all anywhere in the English game.

So I wanted to ask you what did the original JP game say about how male and female beastmen interact with each other and why Leona would be cautious around them? Because this is a piece of info that I really would have liked to see in ENG, and I’m kind of annoyed I didn’t know about this before.

I believe this is the Leona lore post you’re referring to? Both TWST wikis (the fandom one and the .gg one) state the same trivia point about Leona being “intimidated” by beastwoman. I’m assuming this is where the reblogger picked up the idea of beastwomen being more “aggressive”, and this being Leona’s reasoning for being “intimidated” by them.

In a nutshell, the claims of Leona being a feminist only in EN + beastwomen aggression and Leona being intimidated by that is not true. The “Leona is a feminist” take was around long before the official English localization, and that’s because the Japanese text also has Ruggie (Leona Ceremonial Robes vignettes) and Cater (Cater’s School Uniform vignette) commenting that Leona is “nice” and “respectful” to women. To claim that they made Leona feminist in the localization is false. They never use the word “feminist” in JP or EN though; the label came from the fandom interpreting this bit of lore as Leona being more considerate of women.

As for the reasoning! Leona states in his Ceremonial Robes vignettes that “[Beastwomen are] already way stronger than us. Goin’ against them only brings more trouble.” I believe that someone probably misunderstood that second line of dialogue as Leona fearing the strength/aggression of beastwomen. He never actually indicates or implies that he feels that way. However, these vignettes being cited for the trivia on the wiki likely led to some confusion.

So if Leona isn’t afraid of beastwomen and their physical fitness, how is that second line supposed to be interpreted? Well, let’s think about his character. Leona is a smart guy. He dislikes having to put forth effort into pointless things, especially if he can plan ahead and avoid it. As I tend to say whenever I talk about his Big Brain Cells, Leona likes to work smarter, not harder. Again, look at this line:

“Goin’ against them only brings more trouble.”

It’s likely Leona just wanting to appease his sister-in-law to avoid having to deal with the fallout of not fulfilling her request. It would otherwise be a pain to deal with—and we’ve seen Leona act in various ways to avoid such pains. For example, he goes to Playful Land with Jack to make sure his dorm member comes back alright (or else Leona is responsible for the consequences), purposefully not choosing a vice dorm leader so he doesn’t have someone to challenge his authority, and generally has convenient excuses prepared to get out of things he doesn’t want to do.

If we want to think of it from another angle, this better fits what we already know of Leona’s cunning. He knows when to call it quits and make a strategic surrender. The most notable example of this occurs early in book 6, when he stops fighting Styx agents and willingly gives himself up to them. He also throws in the towel in book 2 and refuses to play because he already knows that his team is destined to lose to Malleus since they didn’t succeed in eliminating him beforehand. In the situation with Leona’s sister-in-law asking for a picture of him in his robes, Leona is acquiescing because that’s just the smart thing to do. Why even argue if he knows it won’t be fruitful? It’s wasted effort.

I would like to add that physical strength isn’t even the only factor here. Ruggie points out in one of his Chats that “Girls have both the grit and the camaraderie to triumph when the goin’ gets tough.” Grit refers to courage or resolve. The latter, resolve, lends credence to the idea that beastwomen are also determined or strong-willed. In which case… yeah, I don’t think they’d back down from an argument/verbal fight or a physical one.

If we circle back to the previous paragraph, it supports the interpretation that Leona giving in to what his sister-in-law wants is the result of him wanting to avoid a pointless and prolonged fight if he refuses. Cuz like… why waste that time and energy to come out of it with nothing, right?

If it was true that Leona listens to what women day only because he’s actually scared of beastwomen, then that doesn’t explain his interactions with non-beastwomen. Why would he agree to attend a party for an enchanted portrait (Rosaria), which has no means of harming him? He agreed to the proposition as soon as he heard Rosaria is a lady; there didn’t need to be a threat or significant verbal pushback for him to go. As Leona states in Cater’s School Uniform vignette, “Portrait or not, I respect ladies and Rosaria is a lady.” (I think the reblogger may have been confused and was actually referring to THIS line being made “more feminist” in EN. In JP, Leona says something closer to, “Even if it’s a portrait, a woman is a woman.” JP does not have the “I respect ladies” portion.)

Sooo, in conclusion… Leona agreeing to do as his sister-in-law says does not necessarily mean he is intimidated by beastwomen; as I’ve explained, there is an alternate explanation with evidence in canon: he wants to avoid pointless hassle.

I hope this helps to clear things up ^^ I know the localization isn’t exactly perfect, but let’s take care to not assume changes or mistranslations!

[pastabaguette]

sorry for all the posts today, but this one is very important: alternian video game edits.

i actually have reasonings for all of their blood types, and a few classpects, so i'll dive into them here:

monika: i'm thinking that early in the game, during acts 1 and 2, she maybe masqueraded as a jadeblood or higher. only during act 3 does she reveal herself as a fuchsia to the protagonist.

gordon and alyx: gordon is probably a tealblood, or somewhere around there. fairly high, but not too high, i think. alyx is an olive, and eli is an indigo. azian was probably a gold. (or lime?) i did have to keep gordon’s orange HEV suit, though. surely you understand. okay, troll half life lore: i think on alternia, all the main characters in the half life franchise are like, olive or above. the rebels in follow freeman and the guards are all lowbloods, so that the player doesn't feel too bad about sacrificing them, or something like that. i think this would be something that would happen in an alternian video game, at least.

agent 47: 47 is actually a mutant, due to being manufactured in a lab. he's a weird ice-blue color. he's still got that piercing stare. i felt a little sad changing his iconic red tie, but i do have some thoughts on that as well. obviously, red in human culture tends to symbolize passion, among other things, and in this case, violence and aggression, because it's the color of blood. however, because trolls all have different blood colors, i think they might have different meanings attached to colors than humans typically do. i think that typically, the colors that would most commonly represent aggression in alternian culture would be blue (cobalt and indigo) and purple. now, i know that the sea dwellers exist, but since the vast majority of trolls are lowbloods, they would have a lot more contact with the land-dwelling highbloods, rather than the fish. so, 47’s tie is blue. (i also just think it looks cool matching his eyes)

chell: I made chell a bronzeblood. she’s a test subject, but not one of the special ones (astronauts, olympians, etc). she’s just another lab rat. (also, a lot of her outfit is orange…)

now for classpects! i only have two i’m sure of as of now:

gordon freeman is an heir of hope. this one is fairly obvious to me. a common belief is that heirs have the ability to become their aspect, in a way. in half life 2, gordon quickly becomes the main symbol of the resistance on earth. for the rebels, he himself IS hope.

agent 47 is a prince of life. again, it’s a common interpretation that princes are themselves void of their aspect, and they destroy that aspect in others. this is really literal, obviously, but as a hitman, 47 kills people. literally destroying life. as for his own lack of life in himself, it’s pretty simple as well. 47 is almost always described as entirely void of emotion and empathy. others often remark on his soulless stare, a lack of life behind his eyes. so, as a prince, he fulfills both criteria there.

holy hell, that was a lot of words. i didn’t intend to talk this much. feel free to add your own thoughts; i’d like to hear what others think. these descriptions were a bit rushed, and i don’t really consider myself to be very good at communicating my thoughts, so a lot of things may have been lost in translation. i’d be happy to try and elaborate on my reasonings for any of them.

(oh, also, please no alyx spoilers. i haven’t played it yet!)

[wilcze-kudly]

Using the Avatar state scenes as an example and saying this is katara relationship with aang is so vile 🤦‍♂️

https://www.tumblr.com/sunandmoongobrrr/662596151677190144?source=share

Ugh this take again. It honestly always exhausts me to see this because the thing about Aang going into the Avatar state is that it is, at it's core, a defence mechanism. Aang goes into it in life threatening situations, or otherwise, incredibly distressing situations. I've even pointed out its similarities to panic attacks:

Katara is an incredibly empathetic person, and she is able to emphasise with Aang's pain. Because a) she's just that type of person and b) her and Aang share the trauma of genocide and loss.

Katara's interactions with Aang when he is in the Avatar's state aren't based around tempering his anger, but providing comfort and reassurance. It almost seems that Katara just reminding Aang that she is there and that she cares is usually enough to calm him which makes sense. Because, at the core of it, Aang's greatest pain, likely the root of most of his nrgative emotions is that he is the last airbender. His people are dead, have been dead for ages. He is alone, the last of his kind, and it destroys him.

Aang: [To the winged-lemur.] You, me and Appa; we're all that's left of this place. [Looks at the lemur.] We have to stick together.

Enter Katara, who reassures Aang that she is with him, that she cares, that she won't leave him. Because she sees that he is hurting. She hugs him as normal people hug their friend when they are upset, and later, when their relationship is more established, it's just enough for her to make eye contact with him and remind him that she's there.

Katara : Aang! I know you're upset and I know how hard it is to lose the people you love. I went through the same thing when I lost my mom. Monk Gyatso and the other airbenders may be gone, but you still have a family. Sokka and I! We're your family now!

And I truly don't think Katara does this out of a sense of obligation or fear. She does this because she sees her friend, and later, romantic partner, is hurting. And she knows that pain intimately. So she offers her comfort. Of her own free will, because she cares.

Katara : Do you remember when we were at the air temple and you found Monk Gyatso's skeleton? It must have been so horrible and traumatic for you. I saw you get so upset that you weren't even you anymore. I'm not saying the Avatar State doesn't have incredible and helpful power ... but you have to understand ... for the people who love you, watching you be in that much rage and pain is really scary.

I think the emphasis on "the people who love you" is important here. Katara isn't afraid of the Avatar state itself. She is saddened and scared for Aang, because she knows he is in pain. And he is someone she loves, be that platonically, or romantically.

Side note; I always found it so cool that when Aang went into the Avatar State in the Avatar State episode and wreaked havoc on general Fong's base, Katara, who was literally in the middle of it, remained completely unharmed.

See, the theme with Avatar is that holding onto anger and pain can be incredibly self destructive. We see this, of course, with Zuko, but also with Aang and Katara.

Of course, we're shown how one's anger affects others, but we also see how painful it can be on oneself. Which is a very poignant theme that isn't often explored.

This is what Aang was trying to communicate to Katara in The Southern Raiders. And this is what people like this, who commented under OP's post don't get.

Oh, something crazy? Like for example going against her entire morality and do something she might regret for the rest of her life? That type of crazy? Hell, look at how strongly "The Southern Raiders" ties back to "The Puppetmaster", an episode about a victimised Southern Waterbender driven to near madness by her grief pain, and rage.

Aang isn't stopping Katara from feeling anger, he's trying to make sure she doesn't do something that will weigh on her and compromise her morals and ideals, because he knows how important they are to her.

Aang: The monks used to say that revenge is like a two-headed rat viper. While you watch your enemy go down, you're being poisoned yourself.

Hell, he even supports and believes in her, letting her take Appa and believing she would make the choice right for her. Which she did, in the end.

Aang: I wasn't planning to. This is a journey you need to take. You need to face this man. But when you do, please don't choose revenge. Let your anger out, and then let it go. Forgive him.

And no, I don't think he was trying to save face, since he has never had a problem disagreeing with Katara before, for example in the Avatar State episode, where he followed his sense of duty as the Avatar, despite acknowledging and valuing her criticisms of the matter.

Aang and Katara's relationship is one of mutual support, particularly in helping alleviate each others pain, since they are both genocide survivours, both lost a parental figure to the fire nation, both value their cultures and desperately try to perserve them etc.

I think some excellent aymbolism of this can be in how Aang tries to help Katara with her dismay and discomfort around losing her mother's necklace, something she's expressed was very valuable to her due to her loss. First by making a symbollic replacement, and then risking himself by retrieving the necklace from Zuko.

I also genuinely enjoy that in both of these instances, Katara put the necklace on herself? Like it would be so easy to just make a cliche meaningful scene where Aang puts it on her and "proposes" but theres almost something more appealing to me of Katara taking the necklace from Aang and putting it on completely on her own.

Katara does not need Aang to calm her down when she's angry, because, with the exception of the Southern Raiders, her anger is usually benign squabbling which is completely normal 14 year old behaviour. Wheras for Aang, his anger usually rears its head on rare occasions when he's in deep distress.

But Aang is there to comfort Katara, to bolster her confidence, to support her, make sure she's having fun almost whenever she needs it.

These are just a few examples of Aang providing comfort to Katara.

These actions may not be as bombastic and awe worthy as Katara ripping Aang out of a state of deity like power, but they are nonetheless important to Katara and make a big difference.

Aang and Katara's live language with each other is providing comfort, in any way they can. Be it by alleviating anger and pain, making the other feel good about themself, or connecting over the horrific genocides that brutally deprived them of their loved ones. You know, just normal couple things 💗

And this is where I could slander Zutara, but I'll simply tactfully say that Zuko... prioritised things other than Katara's comfort and happiness.

Also, incredibly rich that one of OP's examples of Aang going into the Avatar state out of anger was in the comics. OP neglected, however, to include the scene leading up to this where Aang is extremely calm and nonconfrontational until Zuko grabs Katara and refuses to let go of her despite both Aang and Katara telling him he's hurting her and then attacking Aang after Aang knocks him away from Katara.

Like hun this is not a good look.

And another point I'd like to raise is this persob in the comments who apparently watched the show blindfolded.

why are we still here just to suffer etc etc. Like have you folks even watched the show why do you have beef with a twelve year old who commited the crime of loving a girl his age. If you're that fucking upset about it you can just not have him do that in your mind palace you don't have to pick violence.

Aang is a genuinely amazing character who deserves so much more than what his haters say. It's fine if he's not your fave character I just don't understand why people have to be dicks about it.

Genuinely the only good thing I get from examining this type of bullshit rethoric is that it lets me inspect Kataang more closely and find new things I genuinely love about it.

[folk-enjoyer]

Song of The Day/history of cotton eyed joe

do you want the history of a folk song? dm me or submit an ask and I'll do a full rundown

"Cotton Eyed Joe" Terry Callier, 1963

As a disclaimer, "Cotton Eyed Joe" is my least favorite American folk song and I'm going to talk about why, and I'm going to talk about why Terry Callier's version is subversive and good.

The Earliest date we have for the song's origins is from 1882 when it was Published in "Diddie, Dumps, and Tot, or, Plantation child-life" by Louise Clark-Pyrnelle. This book is a nostalgic recollection of her childhood as a plantation owner's daughter. She reminisces fondly about slavery, missing the old plantation days. Honestly, some of the quotes within this book are beyond parody, in one sentence she says "... My little book does not pretend to be any defense of slavery" and in the next sentence when referring to the morality of slavery she writes, "there are many pros and cons to that subject", later at the end of the chapter she laments about the forever lost emotional connection between the Masters children and the enslaved people. hate this woman and her little book.

It is also important to note that this book goes out of its way to caricature black people, throughout the book she exaggerates accents and dialects to dehumanize them. This is a recurring theme in early publications of this song. Another early publication of the song comes from Dorothy Scarborough in "On the Trail of negro folk-songs" 1925 who got it from her sister who also learned it on a plantation, in Texas. She writes "This is an authentic slavery-time song" This book, if you can believe it, is remarkably racist and dismissive of black music, even as a more "progressive" songbook of black folk songs.

In 1922, the song's history was documented a bit more extensively by Thomas W. Talley in his book "Negro folk rhymes". He writes that it has "deep roots in black traditional lore". Thomas W. Talley was also just a cool guy in general, this book is one of the first compilations of African American folk songs, and it has been a pioneering book in its field. Even today, this book is still one of the best sources for the history of African American folk songs.

So, this is a black song. This was a black song whose first wave of popularization was through the caricature of black people to be amusing for white folks. Let's move on to its second wave of popularization.

The song was first recorded in 1927 by "Dykes Magic City Trio" (all white band) then about a week later by Fiddlin' John Carson (white performer) then in 1928 by Pope's Arkansas Mountanaineers (all white band) then in 1929 by Carter Brothers and Son (all white band) and then it wasn't really recorded for a while because of the great depression and the war but the times it was recorded, it was by white people. We know this because it was mostly recorded by John Lomax and despite documenting southern folk songs, he almost went out of his way to avoid recording black people singing them. Then, in 1941, it was recorded by Burl Ives (painfully white).also covered by a few white country singers like Adolph hofner bob willis but I think you get the point. It wasn't until later that year that it would be recorded by a black person, performed by josh white in 1944-45, who covered it as a lullaby.

However, it wouldn't be until the 90s, during its 3rd wave of popularization that it became its most grotesque. "cotton eye joe" was recorded and released by Swedish Eurodance band Rednex in 1995 as a, to paraphrase reviews, 'Way to make fun of backwater southerners'. This song became incredibly popular throughout Europe and in the USA as well, charting as a number-one song in several countries, sometimes for weeks. Not only is this song incredibly classist, it is, whether by omission or deliberately, fundamentally racist, adding to the whitewashing of black folk and minstrelsy of black people. The attitude and humor derived from the Swedish version are the same as the version in 1882 when it was a "classic slave song".

So, why is Terry Callier's version important, why talk about it? Terry Callier's version is the first version of the song that I have heard and it is not a comedy. It isn't meant to be funny. It slows the melody down and draws attention to itself. It's almost a ballad, showcasing Joe as a tragic but mysterious hero, maybe a love song. His voice is angelic as well. Terry Callier once again, subverts expectations and creates something beautiful out of a song that has been so whitewashed and appropriated that no one remembers its tragic origins.

Thomas W. Talley

some other versions by black folks Josh white 1944-46 Nina simone 1959 The Ebony Hillbillies 2004 Leon bibb 1962 Ella Jenkins 1960 Josh White Jr 1964 Queen Ida 1985

[oswildin]

Debated making this, but oh well, here we are…

I rewatched the Loki series.

Going to add here quickly that I have been a fan of Loki since 2012/2013, and I personally relate to his character for a multitude of reasons.

Now, I enjoy the series, but I wish they made it more character focused than they had. I do feel like they prioritised story in terms of making it fit the next phase over exploring and expanding on Loki’s character to some degree (a lot of it was surface level).

For example, I would’ve loved to have seen:

Exploring Loki’s Jotun heritage, even if it was a variant of him in the void that embraced it, dropped his aesir form, a conversation between Loki and his Jotun variant as they explain why they chose to embrace it, giving a different view to maybe how our Loki sees himself/the Jotuns. If ‘What If’ could have a frost giant Loki variant, why couldn’t the show?

Expanding upon what happened to Loki during that year after his fall from the Bifrost. The reason for this is self explanatory really, it would add more lore/depth to his experiences/actions during the Avengers. Maybe address the trauma he has from it.

Loki fighting with his so-called ‘desire’ for a throne more. By this I mean, I felt he flipped pretty quickly from his plan to overthrow the time keepers to just following along with Sylvie - which is fine, but I kinda thought there would be more push back from him. I get it was a life or death situation and Loki’s whole thing is ‘survival’, but it would’ve added to their dynamic and the fact the writers clearly wanted to push how Sylvie was different to other Loki’s.

Exploring Sylvie’s backstory more. It really did feel like it was an afterthought, which is a shame. I suppose they left it ambiguous for certain reasons, but I think they should’ve had more flashback scenes of what Sylvie could remember. I think it would’ve helped people understand and relate to her more. (I do love her though).

Actually showed Loki’s gender fluidity & shapeshifting ability more. Again, self explanatory really & important to his character, plus the whole implied only ‘woman variant’ thing with Sylvie should’ve not been a thing, like at all.

They should’ve given Loki more time to process everything. This show really should’ve had 8 episodes each season, I get that’s not the writers fault, likely Disney/marvel’s doing. Perhaps then the shift in his character wouldn’t have felt so jarring, especially considering he’s 2012 Loki. I do agree they wrote him as if he was Ragnarok!Loki, and that’s not necessarily a bad thing, but it just felt jarring considering the last we saw of this Loki was Avengers. But then I could also argue that maybe he thought ‘what’s the point of it’ because the TVA know everything about him, but I digress.

Used Sylvie more in S2. It did feel like they didn’t quite know what to do with her, her and Loki clearly just needed to sit and discuss the citadel fight, but the closest thing we got is in EP3 where Sylvie says ‘this is all rather familiar, isn’t it?’, referencing their different/opposing opinions on the TVA/He Who Remains. And also maybe the pie room scene, but it’s very vague/not directly addressed.

Explored the fact that Mobius is not a good guy more. Because, he isn’t. And that’s okay. To me, the whole point of the show is based on Loki’s quote of ‘no one good is ever truly good, and no one bad is ever truly bad’, and whilst they do reference Mobius’ own morally grey actions/traits, they don’t particularly make it clear and most just see him as this ‘happy go lucky old man who likes pie and loves Loki variants’. In fact, I actually really liked the scene where Sylvie confronts him - which is a very unpopular opinion to have it seems, lol.

Delved into the psychology of Loki further than surface level/what we already know about him. Yes, we know he’s the God of Mischief. Yes, we know he isn’t evil. Yes, we know he is redeemable. Yes, we know he’s cunning, manipulative and selfish. We get that he projects this ‘illusion’ of himself, but it was only really mentioned in S1 EP1, maybe slightly EP2, before it’s never really mentioned again. I suppose S2 does this to a degree with the bar scene and EP5 of S1 in the time cell with Sif - also I think they tried to take the narcissist angle from the pov that it’s because of his low self-esteem as to why he needs validation and it’s a defence mechanism, but they didn’t particularly make that clear and made it seem like he just thinks highly of himself.

I know it seems like I have a lot of issues with the show, and I do, but I still enjoyed it. It’s okay to be critical of a piece of media and still enjoy it.

I do prefer S2 to S1, mostly because I prefer the direction they took it in and whilst I, of course, wanted better for Loki, I can’t deny S2 EP6 is a stunning finale. I sobbed so hard during the ending and still feel the grief that I actually lost someone I knew personally. But I also have hope that this means Loki is now a main player in the next phase (am I delusional? Maybe).

I enjoyed the dynamics, the back and forth/chemistry, the story was interesting, the set & costume design, the acting, the directing/colour grading, the music (Natalie Holt, you are genius), the emotions, the fun, the characters…

So this is not a hate post by any means, I will once again state, I enjoyed the show. But, I do have issues with it, and that’s okay too.

Please, dni if you’re just going to be argumentative or confrontational. I also don’t want to hear that just because I enjoyed the show that I’m ‘not a real fan’ lmao. I’m sorry, but I’ve been a Loki stan for over a decade, and I will not have someone tell me I’m not a real fan because of a piece of fictional media. Also, please do not mention anything regarding ships on this post, I do not care for it because it always ends up in arguments and I am a multishipper so I don’t tend to fight for any side. Thank you! :) /gen

[silenzahra]

My first Super Mario fankid: Violet "Violetta" Fiorella 💜✨

Surprise! 😄

(I know I'm VERY late jumping on the trend of Super Mario fankids, but I'm afraid I'm a very slow writer, and also, I've been incredibly busy lately, but hey, better late than never I guess!)

Even before I lost my old blog, I came up with the idea of my very first Super Mario fankid, and since Luaisy are my favorite couple, of course they had to be the parents! 💚🧡

Since I can't draw, I've used a couple of picrews to create my girl, both as a little child and as a teen, and you'll see that I actually really liked the second picrew as I just couldn't stop creating more and more outfits for her 🤭 (There are actually a couple that I haven't included but I'm always happy to show them if you're interested because she looks so CUTE).

I've been working on this little girl for a couple of months now and I couldn't wait any longer to introduce her to you all at last! Besides, today is the perfect day because it's her birthday, so I hope you're ready to meet Luigi and Daisy's first daughter! 😄💜 (in my lore of course!)

Special thanks to my beloved big sister @vulpixfairy1985 for helping me out regarding some of the nicknames for my beloved Violet! I owe you big one 🫂💖

@bberetd @megamagimugi @peaches2217 @oh-my-gosh-its-j0sh @pepperycar

@kelbreyworshipper @keakruiser @dragon-fly34 I thought perhaps you'd be interested in meeting this little girl 😊 Also, @itsavee4117, you might find a little surprise regarding this post 🤭💖

You'll also find hints to two of my stories, Green, Orange and a bit of Purple and Biggest fear, as well as my own headcanon posts: Mario and Luigi Musicians, Luigi the Bookworm and Luigi serenades Daisy. Also, here are the picrews I used: this one and this one.

Without further ado, let's-a go! ✨

✨💜 Violet "Violetta" Fiorella 💜✨

Violet: age 5 - age 13

Violet Fiorella is Luigi and Daisy's first daughter. She was born at dawn on the first day of autumn, being a late baby, as she was expected five days earlier. She inherits Daisy's facial shape and Luigi's slim, lanky body. Her mouth and nose are like her mother’s, while her eyes and hair, she got them from her father. Her skin is tanned like Daisy's, and her cheeks, rounded like her uncle's, are dotted with freckles.

Her name was chosen not only because of the flower, but also because it alluded to her mom's favorite color, purple. Her dad wanted to add a middle name reminiscent of flowers, but in Italian, his native language, so that his daughter’s European roots would be important in her life from the very beginning.

Early years

Almost from the moment she was born, Violet proved to be a very sweet and giggly child. She’s always smiling and showering everyone with hugs, and as soon as she learns to give kisses, it becomes her favorite way to interact with others. Her father holds her in his arms? Kiss on the cheek. Her mother tucks her in to sleep? Kiss on the forehead when Daisy leans into her. Aunt Peach and Uncle Mario bring her a new toy to add to her collection? She hugs and kisses them as she laughs nonstop, and of course, they melt.

Violet is brave, daring and very curious. She wants to explore the world on her own, no matter how dangerous it can be or how small she still is. Everything catches her attention. Her dad's mustache, which she starts to pull almost every day as soon as she learns to grab things. Her mom's freckles, which she traces so enthusiastically that more than once she’s been about to stick her tiny finger in Daisy's eye. Uncle Mario's hat, which she doesn't hesitate to steal from him every time she’s with him, which gets a few laughs out of Mario, especially when he sees how big the garment is for his niece. Aunt Peach's brooch, so bright and shiny that she can't help but try to take it off. Always so practical, Peach finds the perfect solution: she gives Violet a small pendant with the same type of jewel embedded in it, so that aunt and niece match.

Because of the adventurous spirit that runs through her veins, Violet is not afraid of anything. From the instant she starts crawling, she starts wandering around her home on her own, taking advantage of the slightest occasion when her parents look away from her, even if it's only for a mere second. This makes Luigi and Daisy twice as vigilant, especially when she starts to walk. They’re forced to take certain measures to make their house completely safe for their intrepid little daughter, such as covering all the sockets or putting fences in the most unexpected places.

Violet learns at a very early age that, when she wakes up, it’s better not to cry, but to climb the bars of her crib, so that she can escape to explore on her own without her parents' supervision. Luigi and Daisy, exhausted after watching over her safety and dealing with her inexhaustible energy during the day, receive no warning that their daughter has woken up and thus they must be alert again. Also, because their little girl is so active, Luigi and Daisy often fall fast asleep after putting her to bed and sleep very soundly, so Violet knows that every morning, she has precious time before either parent wakes up and the fun is over.

Fortunately, from the first time this happens, Polterpup is quick to come to the aid of his new little friend. As soon as he notices that Violet has climbed out of her crib, he rushes to her side. Luigi and Daisy usually leave their bedroom door open so that Polterpup can comfortably get in and out during the night instead of walking through the walls, which is why Violet has no trouble reaching the stairs. Polterpup barks at her, worried that she might hurt herself, but since the toddler won’t stop exploring, the dog lunges forward just as she jumps up and the girl falls onto his back with a loud laugh that turns into a squeal of excitement.

Which, at last, causes her parents to wake up, and as they rush out of their room, they find Violet riding on Polterpup and laughing happily while the puppy, barking enthusiastically, carries her back and forth through the house as if they were in the middle of a race. It is here that Luigi and Daisy realize that they must do something if they want to prevent their daughter from getting hurt and their poor ghost dog from having to babysit her.

While Daisy was pregnant, Luigi acquired the habit of reading for some minutes every night before bedtime, not only to her as it’s become their custom since they started dating, but also to their baby. He has vivid memories of his mama reading to him and Mario when they were little, and he wants to keep this beautiful tradition. He used to stand cross-legged next to Daisy, holding a book in his hand while stroking her belly with the other, and Daisy used to fall asleep to the soft cooing of his voice. After Violet was born, Luigi continues to do this, this time carrying his little girl in one arm while Daisy, after breastfeeding her, rests at his side. Both mother and daughter fall peacefully asleep listening to Luigi, giving him a few minutes to enjoy the warm presence of his two flowers without interruption.

Because of this, as she grows older, Violet proves unable to rest without her dad's goodnight story, which fills him with pride and joy. As soon as she learns to grasp things, like a good curious child, Violet begins to take her father's books away from him to glance through them and examine them herself, observing them as closely as if they held all the secrets of the universe. Luigi has to hold back tears of emotion when he realizes that his beloved little daughter will be a bookworm like him.

In Luigi and Daisy's home, music is never absent. It was key during their courtship and continued to be so after they got married, and of course also when they welcomed their first daughter. In fact, soon after returning home from giving birth, Daisy gets into the habit of taking her baby in her arms and gently rocking while sweetly singing and cuddling her, and Violet giggles with delight. Luigi often joins them, sometimes even grabbing his ukulele to improvise some tunes, as he used to do for Daisy.

This way, Violet begins to adore music and dance from a very young age and falls completely in love with her dad's instruments when he uses them for her for the first time, especially his guitar. She grows up surrounded by notes, chords and dances, and learns to keep time almost at the same time as she learns to clap her hands. Music and dance are in her blood, and her parents couldn't be prouder.

Since Violet is named after a flower, Luigi takes her to his garden when she’s only a few months old and begins to show her the plants and flowers and tell her about each one. To no one's surprise, as soon as Violet discovers the beautiful flowers with which she shares a name, she begins to feel a special fondness for them, and as soon as she learns to express herself a little, she asks to always wear something purple in her outfit, preferably with a flower pattern. Luigi teaches her how to braid flower crowns, and him and Violet together, they create a series of different crowns that she then gives to Daisy under Luigi's attentive and moved gaze.

Given that both her father and uncle are of Italian descent, they often speak in their native language to the girl ever since she’s born. Luigi, moreover, often calls her Violetta, the diminutive form of her name in Italian, and she adores it and always showers him with kisses whenever her dad addresses her by that nickname. She also loves that Uncle Mario calls her by her middle name, Fiorella, or that he uses some of the affectionate nicknames he’s given her, such as Fiorellino or Petalo, both words that refer to flowers in Italian. After all, as Mario always tells her, she is his favorite flower of all those that exist in the world.

Daisy, for her part, usually speaks to her little girl in Spanish. Most of the songs she sings to her as a baby while rocking her in her arms are in her native language, many of them written and composed by Luigi, Daisy's favorites. The princess also buys tales in Spanish for her daughter, and joins her husband in reading them to her, with Luigi narrating and Daisy playing the characters, gesturing in an exaggerated manner to make Violet laugh. Besides, Daisy calls her Violeta, the Spanish version of her name, but she does so with a different intonation from Luigi, which makes Violet always able to differentiate the way her name sounds in her parents' respective languages. Daisy often chooses to call her “florecilla” or “mi pequeña flor,” which brings the most radiant smile to the little girl's face, and she doesn’t hesitate to hug her mom and shower her with kisses.

Besides being very active and curious, Violet is also very imaginative. The stories Luigi tells her prompt her to ask him many questions in search of other ways in which this or that story could have ended, and Luigi always encourages her to invent the ending she likes the most. And Violet does: with her eyes sparkling with excitement, she tells him how the evil witch or the ruthless ogre is defeated by a brave warrior in shining armor who defends and protects the princess before anyone can harm her. Many times, she even draws the scenes she invents with her colored pencils. Luigi treasures each of her drawings with all his affection, but Daisy worries that they have almost no room left on the fridge to hang them.

From a very young age, Violet shows a great affinity for sweets that becomes excessive over time. She is often discovered by Daisy or Luigi in the kitchen, climbing on the counter with the help of Polterpup and stealing cookies, and this scene keeps repeating over time even after her parents start to devise new hiding places for the cookie jar. Also, when Luigi and Peach prepare a cake together, they can't leave it unattended for a second, especially if it's chocolate, Violet’s favorite flavor, or else they'll run into the toddler attacking the cake with her tiny fingers and devouring the cake frosting before going for the sponge cake. Just like her mother.

Over the years, her parents try hard to teach her to be patient and wait for the cake or cookies to be served during tea time, and, of course, they set her limits when it comes to sweets. For, on more than one occasion, Violet has been sick to her stomach for having such a sweet tooth and disregarding her parents' advice and warnings.

One thing she’s inherited from Uncle Mario, besides his adventurous spirit, is his stubborn side. Even though Violet is usually a quiet baby, on very rare occasions she throws tantrums that cause her face to turn as red as her uncle's cap and Luigi to seriously fear for the endurance of her lungs. Fortunately, Daisy soon discovers that, as in Mario's case, it is Luigi and Peach who can get little Violet to calm down as quickly as possible.

As she grows up, Violet’s stubbornness continues to show up, although, fortunately, not very often, as the gentleness inherited from her father is stronger.

Family

Luigi and Violet often have fun gardening, singing together around the house and going to the children's section of the library or bookstore. The girl already has her own bookshelf in her room, and Luigi is more than happy to help her expand it so they can read her new addition together. As his daughter slowly grows up, Luigi develops the habit of telling Violet stories at any time beyond bedtime: while feeding her, while dressing her, while bathing her... And Violet is always spellbound listening to him. It is, in fact, thanks to Luigi that Violet develops a love for reading and stories and, indeed, she ends up becoming a bookworm like her father.

Since becoming a father, Luigi has composed numerous songs for his daughter, many of them created half-heartedly with Mario, who also melts with love for his niece. Often, Luigi grabs his guitar and starts singing to Violet, who promptly joins him in clapping her hands and singing the lyrics in unison. This is how many mornings tend to pass in Luigi and Daisy's home, and it isn't long before Violet asks to attend a concert by her dad and uncle. Unfortunately, she’s too young by then (four years old), so she still has to stay at home.

When Violet is one year old, her parents try playing a movie for the first time, and find that the girl seems entertained, but, halfway through the film, Violet suddenly gets up and asks her parents to go out into the garden to run and play a bit. Daisy almost melts when she realizes that her daughter has inherited this from her, as she needs to do exactly the same thing every time she sits down to watch a movie with Luigi. Little Violet's energy is just as inexhaustible as that of her mother.

It's thanks to this that Violet and Daisy start to go out into the garden to run and climb trees together as a way to let out their endless adrenaline. They also have a great time dancing around the house and improvising karaoke sessions that delight Luigi. Daisy encourages her daughter to unleash all her energy and bring out her wild side, no matter what anyone says. Not only does she not scold her for wallowing in the mud after the rain, but she joins her and they end up laughing together in the middle of a mud puddle, with Luigi shaking his head resignedly, but unable to erase the loving smile off his face.

Eventually, moreover, Daisy begins to teach her daughter how to fight, not only as another way to let her adrenaline loose, but also so that she can stand on her own two feet. At the same time, she shows her the different dances typical of the four kingdoms of Sarasaland and encourages her to continue cultivating her mind in the company of her father. Thanks to Daisy, Violet becomes an excellent warrior, as well as an expert in the original dances of the empire over which she will one day rule.

Aunt Peach loves to organize tea parties with her niece, and Violet has a great time playing princesses with her and all her toys. Peach also loves to do her hair and sew her not only clothes, but also stuffed animals, and she often takes her niece shopping. Violet doesn’t have a specific preference for one type of clothing, but likes everything: dresses, skirts, pants, overalls, blouses, shirts... And the same goes for colors, although she has a certain inclination for blue, purple and pastel shades.

So she loves it when Peach surprises her with new dresses or a trendy jeans and blouse outfit, clearly influenced by the culture Mario and Luigi come from. Peach and Daisy often get together for snacks and shopping and take little Violet with her, whether it's to buy her clothes or books, treat her to ice cream or take her to the park to play. And she has a great time going out with her mom and aunt.

Later on, moreover, Peach decides that she should start teaching Violet how to behave in court, because, after all, her niece is the heiress of the Sarasaland empire. Luigi, despite not being an expert in the matter, joins her whenever he can, imitating his friend's gestures to make sure he instills them in his daughter, but Peach is the main one in charge of telling Violet about the best way to run a country and about the importance of diplomacy to establish good relations with other kingdoms.

With Uncle Mario, the girl has even more ways to release all her adrenaline. He always encourages her to play active and fun games that make her run around the house or the garden and laugh out loud, so that when it's time to go to sleep, she usually falls asleep right away, which both Luigi and Daisy appreciate. Mario has a great time playing tag with his niece, playing hide-and-seek, or pretending to be a huge monster that wants to catch her to tickle her. Other times, on the other hand, he happily pretends that she’s a brave and fearless heroine who valiantly faces the monster and takes it down with the same weapon: tickling. Mario himself often sleeps like a baby after spending an afternoon in the company of his niece.

Just as Daisy begins to teach her daughter how to fight, Mario does the same. He teaches her different techniques from Daisy's, so that Violet knows a variety of ways to defend herself if necessary, and he’s also the first one to show her the power-ups. With Luigi's permission, Mario starts with the simplest one: the mushroom, which makes Violet laugh hysterically as she looks much bigger and taller than she is. Later, both brothers show her the Tanooki Leaf, with great enthusiasm from both of them, although Luigi can’t help but feel a bit nervous and even fearful for his daughter’s safety. For the Fire Flower though, they decide to wait until she is older.

Violet loves alone time with each member of her family, especially her father, but she loves it when they all go out together to enjoy a picnic or shopping at the Coconut Mall. This gives her the opportunity to sing and dance with them all, to play her craziest games with Uncle Mario, and to take her favorite plushies for her and Aunt Peach to take care of together.

From a very young age, Violet loves to be dressed like Peach and Daisy, with long and beautiful dresses and wearing on her head her own “little princess” crown, a gift from Aunt Peach for her eighth birthday, when she also gives her this nickname. This is a custom that Violet never loses, as she’s very aware of her role as future heiress of Sarasaland, and wears her dresses and crown with pride, always feeling comfortable in her princess attire.

Even though she has dresses of all colors and for all tastes, her favorites are those in her parents' signature colors, being the ones that remind her of her uncle and aunt the second ones in the list. Of course, Violet loves to give them her own distinct touch with her light blue or lilac stockings, always with floral patterns.

On the other hand, she also loves to wear overalls and pretend to be a great plumber like her dad and uncle, and she continues to wear these garments as she grows up, as she finds them very comfortable and manageable. And both Luigi and Mario are unable to hide their excitement at the sight of their beloved Violet wearing an outfit so similar to their own, even when she’s no longer a child.

Violet loves to combine her parents' colors in her outfit and mix them with the blue of her overalls or the purple and orange of the flower crowns she often wears in her hair and that her mother gladly lends her. Her favorite overalls are dark blue, similar to her father's, although she also has some lilac ones that she adores dearly. She also loves the striped socks that Luigi usually wears, though in Violet's case, she prefers to wear them green, orange or yellow. Sneakers are her favorite footwear, comfortable and perfect for running, dancing or fighting, and she has them in several colors.

Mario and Luigi's family adore little Violet with a passion. Mia and Pio are always over the moon when her parents bring her to Brooklyn, and they often go out together as a family to show her where her dad and uncle grew up. Mia also sews tons of clothes for her granddaughter, often agreeing with Peach to combine their skills and create a lovely outfit for Violet between the two of them. Pio loves to take her out and play with her and is incredibly proud every time he discovers that his granddaughter has inherited some of his traits.

Violet loves devouring the delicious pizzas at Punch-Out Pizzeria and running around Central Park chasing the ducks, especially after hearing the story of the vampire duck that attacked Luigi the first time he and her mom went out together. Also, when Luigi first takes her to his favorite bookstore in Brooklyn, she falls in love with it at first sight.

In the Mushroom Kingdom, as the niece of Princess Peach and her consort husband, Violet is treated with all the comforts and luxuries, as befits a little princess. She’s adored by all the Toads, court, palace guards and ordinary citizens alike, and they keep greeting her and giving her gifts whenever Luigi and Daisy take her for a visit. Mario and Luigi's best friend even proclaimed himself as little princess Violet's new best friend from the day he met her, and she always has lots of fun going on picnics with him or embarking on a new and not at all dangerous adventure together. Like spotting squirrels around Peach's castle or hanging on to the legs of a bramball for at least five seconds without getting a puncture. Besides, Toad tells the best jokes and always knows how to make his little friend laugh.

In Sarasaland, of course, Violet is treated with all the honors that the future empress deserves. King Crisanto is delighted in his role as grandfather, and all of Daisy's other parents also shower her with attention and make sure to remind Daisy of all the fighting techniques she learned with them so that she can pass them on to her daughter when the time comes.

Pre-adolescence

At age thirteen, Violet is a happy child who has a multitude of hobbies and skills and who knows she’s loved and adored in her family. Despite her young age, she’s well aware of her future responsibilities as the ruler of such a large and immense country and has made an effort to learn all about the different cultures native to each kingdom. She’s visited them many times with Daisy and Crisanto, and thanks to Luigi, she’s able to recite the history and customs of each of them without a moment's hesitation. Of course, the values and knowledge that Peach has instilled in her make her a very educated and intelligent little princess.

Violet loves to read. Usually, shortly after returning from school and after spending some time with her parents, she usually locks herself in her room to read and is absorbed by the stories she consumes in exactly the same way as her dad. Even so, the restless and energetic nature she inherited from Daisy requires that, after a couple of hours, she switches from reading to a more lively activity, such as dancing or going out into nature to run with Polterpup and climb trees. Daisy often joins her, and the two feel as connected as they did when Violet was a girl.

Despite this, there are times when their characters clash. Violet is still as sweet as the first day, but when she gets angry she’s more prone to have an argument with her mom, who tends to get angry very easily. That's when Luigi intervenes: alone or with Peach's help, he prepares a delicious cake and leaves it, on purpose, in the middle of the living room, so that both mother and daughter are attracted by such a delicacy and end up attacking it together, with their bare fingers, just like Violet did when she was little. It is during this little moment that they begin to talk and end up making peace, after which Luigi comes out of his hiding place and hugs his beloved flowers tight, satisfied that he achieved his purpose. Fortunately, these discussions don't happen very often, or else not only Violet would get sick, but Daisy as well.

Thanks to Uncle Mario, Violet is quite an expert on all the types of power-ups that exist, and Luigi and Daisy have made sure to extend this knowledge to her as far as Sarasaland is concerned, since, as Mario well made sure to teach her, not all power-ups can be found with the same ease everywhere. Her favorite is, without a doubt, the Tanooki Leaf, as there’s nothing that matches the feeling of flying and freedom that this power-up gives her. However, she also loves how powerful throwing fireballs or ice balls makes her feel and has no qualms about admitting that she loves seeing her dad and uncle transformed into cats. She often giggles hysterically before she starts chasing after them to cuddle with them, something she’s done since she was a little girl.

At last, after much insistence, Violet has obtained parental permission to attend Luigi and Mario's concerts. In the reserved area set aside for their families, Violet stands against the fence, with her arms resting on it, screaming and jumping up and down during the concerts. She considers herself her father and uncle's number one fan, and knows absolutely all their songs by heart, whether they are in English, Spanish or Italian. Violet speaks all three languages fluently and has no preference when it comes to singing or communicating.

Shortly before her twelfth birthday, she began attending royal receptions in the company of her parents. At these times, Luigi encourages her to remember everything that Aunt Peach has taught her, and Violet proves that she’s very good at handling herself in court. Maybe even better than her parents, as she seems to have inherited it naturally from her grandpa In addition, she usually dresses very stylishly, especially thanks to her aunt, who always takes her wishes and opinions into account when it comes to giving her new dresses or sewing them herself. However, as a rule, Violet usually wears leggings under her wide skirts, mostly influenced by her mom, who insists that she should always be prepared for a fight and therefore as comfortable as possible. Peach supports this decision and even starts sewing her own leggings for Violet as well.

Violet is an expert in the specific care that each flower and plant needs to grow. Even though she has many interests, being surrounded by nature is what she’s most passionate about in the world, so she’s decided that while she must become the empress of Sarasaland someday, she wants to have her own corner full of beautiful flowers just for herself. Her grandfather has immediately made sure to set up a beautiful greenhouse on the grounds of Sarasaland Castle and has ordered seeds to be brought in from all over the empire so that his granddaughter will feel right at home every time she comes to visit.

Crisanto never hides how proud he is of his granddaughter and how much he adores her just the way she is. Violet loves spending time with him and listening to him talk about the plants native to the different kingdoms of Sarasaland, and often Luigi and Daisy join them and add a few details. Luigi also brings some seeds from Earth for his daughter, and with Peach's help, they grow them together in the Sarasaland greenhouse.

Mario and Daisy continue to train her daily and give her new challenges and tests, both with and without power-ups, to further reinforce her strength and defense skills. At the same time, Peach and Luigi educate her in manners, culture, history and other important subjects for her education and future.

Thanks to Luigi and Peach, Violet knows how to be the perfect princess.

Thanks to Daisy and Mario, Violet knows how to be the perfect warrior.

EDIT: Adding here the links to the beautiful drawings made by some of my incredibly talented friends!

-@bberetd's sketch of Violet Fiorella (+ Daisy + NES Peach). -@itsavee4117's fanart of Violet, her family and his fankiddos. -@megamagimugi's drawing of Toddler Violet and Polterpup.

Thank you all so so much! I'm truly so blessed 💖

[jackie-mae]

with your outfit drawings for the mystreet character. im so curious about with vylad having outfits for s2-s6, if you want can you expand upon on that?

I WOULD LOVE TOO >:3c

Long and Short of it is I've always hated how Vylad was there in Mystreet S1, PDH S1 and then he just... dropped off the face of the earth after that. It always irked me a bit when it would show Garroth and Zane having brotherly bonding moments (and trauma) and always having the thought of (Man wasn't there a third brother in all this?) there in the back of my mind.

I'm now going to do some little bullet points of my Vylads role in S2-6 but this is a great time to mention I've never seen past S4 so I'm running on Wiki Lore and the gospel of AO3 and @catzgam3rz; who collaborates (Read: Infodump and Ramble) on a hypothetical rewrite with me so it gets vague and murky for the later seasons.

S1:

Basically the same as canon (as in S1 is kinda just slice of life) but instead of Vylad just travelling around the world he is an off the grid hunter that wanders the wilderness all the time (The freak)

This is based on my very fuzzy memories of MCD Vylad always kinda just being in trees as he watched Lady Aphmau in the early seasons so I just put Mystreet Vylad in trees for fun this time

Has a vaguely similar relationship to his brothers as in MCD. in the sense it's better with Garroth and more strained with Zane

S2:

Goes to LLP with the rest of the main cast (which consists of the 11 big designs I made) because season 2 is not when you should be writing out characters Jessica

He wears little rainboots and unlike Laurance (Who FYI wears cowboy boots a majority of the time) the rest of the cast did not get him into flip flops before he went trudging into the ocean (again a freak)

I like to imagine that if any drama is going on in the story you could always see him floating around on an inner tube off in the distance

S3:

Again back to slice of life so he does a lot of shenanigans with the cast here

This is the season where the shadow knights feature but for the life of me, I cannot remember if Vylad was officially a part of them or not (And his Wikia is not even a paragraph~) But if it turns out he was there'll probably be more shenanigans around that.

He ends up leaving mid-season (Fall ish?) to go on a hunting expedition

S4:

Oh hey look Vylad is back because we don't believe in writing characters off with little rhyme or reason Jessica

Vylads hunting expedition ends up being in the same area as the lodge. and we all know nothing bad happens there!

there's now a little ski village downhill from the lodge which is where Vylad is staying at seasons start. He's good friends with a lot of the people there.

He's a werewolf now... Don't worry about it!

Oh, what's this? Is that relationship building between him and Zane on the horizon? Well, that won't hurt at all, will it?

AY:

A not-alone buddy comforts his not-alone buddy (I do not know much about Aphmau's Year but know it's short so that's all I got)

S5:

As he is a part of the Lodge crew he gets to go to Starlight!

Possibly is involved in a certain shenanigan with his brothers I'll be posting a comic about that in a few days

Get's lost constantly. Figures Starlight being an island means he can't really get lost since he'll hit ocean eventually and refuses to acknowledge how big said island is.

Doesn't float around like in S2 but you can still find him wading on the shore in his boots

being a hyperattentive freak, he get's some bad vibes from the island sooner than most

S6

Gonna be honest, me and Catz have not watched all of When angels fall but are planning to soon so I'll just leave you with the fun fact that all of my season 6 designs are supposed echo my MCD's designs for the characters (Since S6 is when it was decided hey maybe Diaries is really important here now)

TLDR: Vylad was shafted in Mystreet so I'm fix it

[piratefern]

that's was Long and great explanation you can actually wrote a wattpad book of it! And I actually like the storyline it's really great and really felt bad for scp 049 :( honestly it was too much for poor birdie TvT

And yea why bother! I will like to read scp 035 one too ☆(≧∀≦*)ﾉ Thanks for taking my questions ( ˘ ³˘)♥

YIIPPEEEEE, thankyou so much :’D

alright with dyo, we’ll need some context too, in the sense that you will need to be aware of the original lore for Alagadda so id recommend reading the wiki if you haven’t already)

(Another note is that my version of Alagadda’s time doesn’t work linearly, so in this sense, it is entirely possible to enter alagadda during any time it exists, and exit to earth in a different era than when you left. It explains how the culture is affected by different eras in time, and this will be also important narratively!)

(He is originally from Alagadda as per the usual lore, except in my au he wasn’t banished to earth, and instead took refuge there, fleeing execution from the ambassador and other lords.)

In my au, dyo has a toxic sibling relationship with the other lords, ontop of this he’s also the shortest and the runtiest of the few and so was picked on, which lines him up to becoming the hanged king’s favourite as he was the easiest to manipulate.

Originally working as the jester for his king he is killed by a peasant uprising (as per the original lore) and is brought back to life three days later, offering his king a cup filled with the blood of his enemies gifted by the brothers death.

The lore follows the original story line from here in which he invites a bird like doctor to the palace to cure him of his influence of the hanged king (remember how time in alagadda isn’t linear? Yep, thats hasel! He finds a broken passage to alagadda after the point in which he has left dyo and just before the foundation finds him. He researches it and fixes it, hoping to find the “cure” for the vine on the other side)

Hasel doesn’t recognise dyo’s old form as the black lord and dyo at this point is yet to even meet hasel, and so neither of the two realise that they were intwined from the beginning.

after being cured by hasel and attempting to fight the influence of the hanged king, his execution is plotted against him by the other lords and the ambassador, and so, he escapes to earth.

yet, in my au the lords and the ambassador are still after dyo, but are unaware of his ware-abouts, Dyo destroys the portal which in turn wipes his entire memory, hoping that it will never be rebuilt again.

But didn’t hasel rebuild the portal? Uh oh! He did! Meaning he had unintentionally both freed and doomed his lover. Not only that, but the foundation had been tracking the signal that the portal had been omitting, causing the capture of both the portal and hasel! And, of course, the foundation would absolutely never destroy it!

On another note, sometimes memories of Alagadda will seep through the cracks, instances from the past that dyo forged reflect memories from his childhood and experiences in Alagadda.

Dyo landed in ancient Greece, and genuinely believes he is from there. He believes that he was a balatro (roman jester) for the king, and was fused to his mask by the ancient Greek gods as a punishment for stealing the golden wreath from the king of Rome.

However, it is evident that this story isn’t true, at the time Rome had a consul system not a king, and despite the fact Rome had capitulated Greece they didn’t share the same gods despite their similarities.

He makes his way through life, but aware of his immortality he drowns himself in alcohol and lavish parties. He doesn’t get close to anyone as he knows that they will one day die and that he will not, causing him to build bad behaviours, appear overtly cocky and confident, a tendency to avoid rejection as a side effect and a need to convince himself that everything is alright.

So! Imagine dyo, an immortal being, avoiding close relationships with anyone he meets and putting up a persona to avoid anyone liking him, finding another immortal being!I

He grows incredibly attached to hasel, for the first time in almost two millennia he doesn’t have to be alone anymore, he can finally learn how to open himself up and build on his issues and break down his persona.

But this causes abandonment and attachment issues, so you can imagine how he must have reacted when hasel leaves!

He can’t handle this, and embarks on a journey to find him again, this journey spanning over a century from WW1 to present day, in which he is also captured by the foundation and placed in the same facility as hasel… and the portal!

They are given their numbered codes 035 and 049, but with dyo being so close to the fixed portal he gradually begins to remember his past…

So yeah thats all im up to so far :3

i haven’t written anything past the foundation and the portal plot, but technically in the original draft i made with my partner a couple years back they escape with the help of Laurence (106). They learn to mend their broken relationship and also learn how to get along with laurence despite his creepiness, but that part is all old stuff so i might rewrite it. But the fact hasel leaves at WW1 was important, as this is around the time Laurence becomes anomalous, so it ties their stories in too :3

[skybristle]

rbs > likes

the cost of new beginnings [part one, not needed but has some big context]

[egophiliac]

WHO IS THIS PINK HAIR GENTLEMAN YOU JUST POSTED? HES SO PRETTY???

he's Hayate from Ride Kamens! 🦩 he is my bird son a very silly guy who's part of a superhero (well...hero-ish) group trying to take down a cult, although his real passion is lattes. also, he is very pink!

(the fancy outfit was just for a game event, alas, although I spent way too much time grinding to get the pink variant so now it is mine forever, mwahaha. >:)

[skitskatdacat63]

Fernando 2012 Chair Lore (source: me)

So I've been thinking a lot about Fernando sitting in this particular chair in the Ferrari garage in 2012 for [redacted] reasons:

Originally I just wanted to find more pictures of it for reference, and then went down a rabbit hole of 2012 pictures, trying to figure out when exactly the chair came to be. There's so many pictures of him in it, and it's so funny to me to imagine them hauling this super villain chair all around the world for him. And so now I'm obsessed with the evolution of it:

Pre-Chair - Australia to Bahrain:

He just had this little stool, well I should say big because it somehow still manages makes him look small. Clearly not comfortable; to paraphrase @sweatyflytrap, it's not conducive to his inner Shakespeare villain monologues

The Chair Appears - Spain

He suddenly now has this, aforementioned, super villain chair. Several things, why is it like this. It looks like a sim chair almost ngl. And then the weird plexiglass support is confusing me, like where did they get that. It furthers my narrative they just had this chair that they couldn't put in a car so they put that clear bottom on it. Anyways yes good, now he has somewhere to brood

The Chair Evolves - Silverstone

Look!! They gave him a booster seat!!!

The Chair is Now Here to Stay :)

I downloaded a truly horrible amount of pics him in this chair, so now you all must also look at them >:)

*he still had the chair in 2013, but I think they took it away from him in 2014 :( Is nothing sacred in this world??? I hope he got to take it home hahaha

[royalelo]

He got two phones one for da plug (Fugger) and one fo da hoes (Fugger and Torch)

[oddlyzephyrous]

I find the way BBH does his memory lapses so so interesting, because it's not just "i forgot everything" or "I remember everything," it's never consistent, it fluctuates and lapses and fixes itself in real time based on stimuli and it's SO cool to watch. for people who don't watch bad i don't even know how to describe it to you, it's like... sad and ominous and a little funny, but mostly sad... you just have to watch it. It's so interesting.

[ahalliance]

i think a crucial aspect of the codebreakers dynamic that is sometimes overlooked is how likewise enamoured phil is with étoiles . like étoiles is the god of praising and hyping people up so people tend to focus on how much étoiles thinks phil is the coolest guy ever but do not forget that phil also thinks étoiles is the coolest fucking guy to ever guy he will never pass up an opportunity to talk about how cool and strong and funny étoiles is . their relationship is built on their mutual ‘WOW this guy is awesome’ feelings for one another and it is amazing

[deoidesign]

hi, I remembered about the ask about the vampire abilities (time travel, walking in the sun, compulsion) and I need to ask, what are the werewolf abilities?

and Steve own abilities since he can become a giant werebat and being the most convincing conman

Hi there!

So, werewolves can shapeshift into canines of course. But they also heal faster than humans, are stronger than humans, and they have a generally better sense of smell and hearing!

I also like to think they can see in the dark pretty well, too.

Steve specifically has... Well, his stuff is kind of messy. Werewolves and their relation to the moon and its cycle combined with vampires relationship to time led him to being unable to control his time travel, and instead it's forced around the cycle of the moon. This sort of goes with everything. He doesn't need blood to do things, but the werebat is insatiably hungry. It's extremely powerful, but uncontrollable. He doesn't need permission to enter a residence, but he also is incapable of compelling people.

The sort of thematic representation of this is all about his general place in the story as someone who has absolutely no choice, and that frustration of your agency being taken from you.

Him being a 'convincing conman' is a survival tactic, to be honest. It can make the difference between eating and not. With his only real benefit from all this supernatural upheaval being heightened senses, he's just become really observational and is able to read a room and adapt to it immediately. It's about the only thing that's kept him alive, besides the werebat... so really, it's the only thing that's kept the werebat out.

Some of this is admittedly getting into spoiler territory, though, but I do intend to canonize some things! I'm happy to delve more into the specifics once it's happened :)