#i might just say whatever and go in a completely different direction with the character

[itsss4t4n]

How long is Forever? - Harry Hook x daughter of alice in wonderland

Headcanons but the longer version of this post:

a/n: this is based more on tim burtons aiw adaptation as it is the only one that i know, and i might have misremembered some of the story/ characters so i apologize if its inaccurate to wonderland or its characters in any way. I got way to invested in creating the character and story and almost forgot that that wasnt the point. At some point i think the character just completely changes and i low key hate it. Im really bad at writing headcannons instead of full fledged fics.

Trigger warnings: fighting, she /her pronouns used, slight angst toward the end but happy ending, not proofread

-being alices daughter you are considered kind of weird by the aks, (think luna lovegood), you are kind of dreamy and constantly in your own thoughts but you still have a very strong own opinion on everything. You say what you think even if others might not like that. 

-You also have a very different sense of style than most girls in auradon. You played alot with different colours and textures always looking slightly crazy (you took inspiration from your godfather, the mad hatter). Your blonde hair was cut to a short messy bob with short bangs, and always changing coloured streaks throughout.

-you dont have the same view of good and bad as most others , and you dont think the vks should be judged by what their parents did and immediately try to befriend them and continuesly defend them

-when mal runs away to the isle you insist on joining the other vks and ben, as you do well in new and different invironments and later because you are an incredible sword fighter, your mother having thought you all she knows, just in case you ever needed to fight a jabberwookie type beast yourself.

-Due to your personal style not being very auradon, you didnt really have to disguise as much as ben when going to the isle. 

-On the isle you felt surprisingly comfortable, as you liked the weird and almost liminal athmosphere that it had 

-the first time you met harry was right after bens kidnapping, when harry came to tell you all about it.

-Harry has this theatrical almost a little eccentric way of talking and moving, which intruiged you pretty quickly. Of course , You didnt like or trust him, he did just kidnap one of your best friends, but you were intruiged non the less.

"And who is this little lassy?"

You told him your name with a glint of interest and mischif in your eyes. "Daughter of Alice in Wonderland."

"How interesting."

"I was just thinking the same thing. Whats your Name?"

"Harry Hook." He introduced himself with adramatic bow, before making fun of jay and barking at carlos.

- The other three had watched the interaction in confusion and wonder. They knew you were a little odd but seeming this confortable with harry after knowing what he did to ben?

"What was that?!" 

"What?" 

"Dont be nice to hook! He just kidnapped your best friend!"

"yea.. But he is quite interesting." And as an afterthougt: "and kind of pretty dont you think?"

"NO! Concentrate please. He is the enemie alright?!"

"Yea whatever, lets go tell mal about this shit."

-You go with Mal and evie to see dizzy, and instantly get along.

-Later while Mal and Uma are talking (singing), you cant help your eyes from glancing over at harry every few seconds. He did look good, with his red coat, the old silver jook on his left hand, and the messy black eyeshadow around his striking blue eyes.

"He is really beutiful dont you think?" That question was mostly directed towards evie who just shot you a dissapproving look. "I'm just saying. purely aesthetically."

-You simply shrugged and watched the situation continue to unfold, swordhand on the hilt of your sword at your side. When the fight breaks out you stand against harry. For better of for forse.

"Hello Pretty boy." You raise you swordand get into a defensive position.

"Wonderland girl."

-You kept making little comments about his looks and his sword fighting which he of course returned in his own flirty way. You quite enjoyed going back and forth like that. Witty comments, smirks and flirty smiles, and fighting more for show at this point instead of actually trying to beat each other. Trying to make this surprisingly pleasant moment last as long as possible.

-until you heard an urgend shout of your name from Mal.

"Sorry in advance." In a quick movement you snatched harrys hook and threw it down into the water. Before a shoked Harry can jump after it you catch his arm and talk to him in a slightly hushed voice.

"I really hope this wasnt our last meeting pretty boy." Before running off with the others.

-You dont see each other again until Audrey turns evil, but you do still think about harry. Is it stupid considering you met like twice and he was you enemy? Yea. Did you care? not really. He was georgeous, funny, good with a sword. Your dream guy. Except for the fact that he was supposedly your enemy. but then again when had you ever cared about that kinda stuff.

-His black lined blue piercing eyes were burned into your brain.

-In the six months until you saw him again you had become mal and bens unofficial bodyguard, spening most of your time with them or with evie, your sword has taken permanent residence at your side, only taking it of to sleep or shower and even then it was always in grabbing distance. Mals paranoia about uma had actually started to get to you.

-You are at evies house when audrey shows up and spells mal. You join them in going back to the isle to retrieve hades ember.

-When your bikes get stolen you cant help but smile at the sight. Yea its shitty but he is still beautiful.

"Pretty boy!"

He drawls you name in his scottish accent and you mentally swoon.

"Thats my bike!"

"Oh yea? Come and get it back then." Before driving of.

-You run after them (except mal and celia ofc),and at one point you split upbecause the boys on the bikes did so. You follow harry and when the others are out of sight he slows to a stop. You catch up to him with a grin.

"Nice to see you again Hook. I was hoping we would meet again."

"I was too Lassie."

-The next 10-ish minutes are filled with flirty banter and tales of what happened in the last six months. It felt like you've known each other for years (as clichee as that sounds). 

-You almost forgot why you were there until you heard jay shouting your name.

"Where are you, Mal got the thing come on."

You quickly turn to Harry again.

"Go! Before they see you and make it a whole thing."

"What bout your bike?"

"Keep it pretty boy, i doubt the others got theirs back so it would be weird if i did."

With a last sly grin harry leans towards you "I will see you again very soon." 

Before you could question what 'very soon' meant, he had already driven of. 

Just in time because Jay and the others turned the corner behind you.

"There you are! What are you doing? come on!"

"Sorry. Was chasing after the bike." You Give them a small smile before walking past them. "You coming?"

-To say you were surprised when harry and gil jumped through the barries after them would be an understatement.

"Pretty boy?!"

"'ello Darling. we're just coming for a wee visit" 

-You tried , just like evie, to get the two groups to work together. Harry mostly walked next to you or Uma. At some point you hung back so he culd walk in between you and doesnt have to kep switching. He caught up with uma but still kept the constant flirts towards you up.

-Everyone was really confused on why you two seemed so good and almost comfortable around each other, not to mention the flirting. Evie was the only one who knew of your little crush so she send you a few knowing smirks.

-During the knight fight you and harry fought as a team. Incedibly well might i say. 

-You were somewhat enthusiastic about evies icebreaker idea, enjoying the idea that the two groups could finally work together.

"Harry great accent."

"Shes right. It is a good accent."

-The flirting just wouldnt stop, comments thrown at each other, bumping shoulders while walking, even brushing your hands against each others on occasion. You had joined the boys in looking for ben.

"To make sure jay and harry dont kill each other."

-Gil doing the icebreaker and bonding with jay. 

meanwhile you and harry in the background:

"We should do that icebreaker pretty boy."

"oh yea?"

"Yea. You've got really pretty eyes."

"And you are really good with a sword lass." His hook just slightly gracing your cheek before something in gil and jays conversation sparks his interest.

-When finding ben you had immediately pushed harry behind you and unsheathed your sword out of instinct. Jay has to pull both of you out of bens way because both of you got distrcated by how close you were standing to each other. After making sure ben was alright you made sure harry was too.

(instead of flirting with jane he flirts with you)

"Well well well, thank you for trying to protect me there darling." The hook was under you chin this time.

"No problem pretty boy." You smirk back.

Ben had his little freak out. Jay and carlos had one too for slightly different reasons.

"when did this happen? you and hook?"

You just shrugged and started walking off.

The boys just looked at eachother thouroghly confused.

-After everyone reuniting and you secretely updating evie on the harry situation you all made your way to fairy cottage. When you found chad you had to half hide in harrys shoulder to hide your laughter because god was it good to see chad taken down a few pecks like that.

-Then Mal dropped the bomb. Closing the barrier forever. You couldnt believe it. You were always a firm believer in the vk programm. And you had honestly hoped that even if harry etc were send back, they would get out someday, or you might go visit them. You considered them freinds at that point. But now that wasnt possible.  You tried to comfort harry and uma in some way but it was to no avail.

"Im so sorry you guys... I didnt know." You had tears in your eyes yourself.

"Dont worry about it Darling. Its nae your fault." Placing his hand, his actual hand, on your cheek for a second, to wipe away the tear that had fallen. Before he walked of with uma.

"Harry....."

Mal was shocked to see your tears at the fact that harry was leaving. she had absolutely no idea this was a thing. It wasnt really. you didnt have enough time for it to actually become a thing. You watched harry and uma leave before evie walked up to you to hug you. 

She talked to mal but you didnt want to listen.

suddenly there was a bright light before it went dark for a bit. When you came to again, Mal was gone. It didnt take you guys long to piece together what must have happened. so you went to find mal.

-You and harry were both incredibly relieved to see that the other was okay. *cue big hug and an almost kiss that turned into a kind of awkward cheek kiss before another hug * 

-Harry announcing that he is actually going back to the isle felt like another punch in the gut. Again that sounds dumb considereing how little you actually knew each other but you didnt care. 

-Harry and you talked before he left. He gave you one of his rings "so you wont forget me darling". So you give him one of yours "then dont you forget me either". *cue more crying and hugs, between all of you *

-Mal announcing that the barrier will be taken down during the engagement party was the best thing that couldve happened to you at that point.

"Looks like you get a chance with your pretty boy after all." Evie.

Uma to harry on the isle: "Now you can get your pretty girl, pretty boy." While bumbing his shoulder.

As soon as you could spot eachother on the bridge you ran into each others arms.

-Kith

-like a lot of em

-Your friends from both sides were incredibly happy for both of you.

[dairymistress05]

Colin as a character has been my favourite since Season 1 for so many reasons, but it was recently brought to my attention that he takes the emotions and opinions of women seriously, which is such a contrast to the other men on the show.

I can’t remember who the creator on TikTok was that I first heard this mentioned but it has been a bit of a lightbulb since. This is a long one so bear with me but I have some thoughts…

Example: Season 1 The Duel…

Anthony has decided, and honestly it’s rather infuriating how he treats Daphne and refuses to listen to her. Sends her to bed like a child. Then Benedict is with him and he just seems to implicitly follow and support him.

When Colin is informed he is shown to be bringing a rather inebriated Violet home, which is sweet in and of itself but also, his adorable humour is also a brief highlight “Good God, did someone die?” Which I loved.

But then, He LISTENS to Daphne. This is what I hadn’t ruminated on until recently, because quite frankly it’s so true to his character and something that I guess I had just come to expect of Colin.

Yes, he tries to dissuade her and He begins with the expected lines about dishonour and leaving the men to their matters, but when she speaks He Listens. He pays attention, he does not disregard her and it’s precisely because he listens that she is able to go and speak with the Duke.

Why is this significant? Well because his interaction with the Daphne in the scene in Anthony’s study feels genuine. Colin does not treat her “lesser” or ignore her. This is important and is in direct contrast to a scene Daphne has with Anthony.

Earlier in the season there is an exchange where Anthony says he would have acted differently if Daphne had told him about Berbrooke. She calls him out on his dismissal of her feelings “because” she is a woman and doesn’t believe that he would have believed her, and honestly I agree. However, I would suspect that No One would say the same of Colin. In every interaction with the women in his life, he seems to truly listen and to care about their thoughts and opinions.

Now before anyone comes at me in defence of Anthony, (Yes I know, it was the time period) and I also say, this is not about Anthony but about how even in the smallest of details the show and writers have seemed set Colin apart.

He listens to his sisters/mother and not in a patronising or dismissive way, not in an obligatory way either. He even has what could be seen as an inappropriate friendship with Pen, which for whatever reason, has gone unnoticed or ignored throughout the years.

So when it comes to spending time with her in Season 3, enjoying her company and truly connecting with her I would venture to say that the relationships he has with his mother/sisters might be a big factor in why he didn’t know how to/couldn’t contextualise his feelings.

He has had emotional relationships with women and values them highly so this is not seen as something separate in his mind

Until. The. Kiss.

Because that is the ONE thing that can differentiate his relationship with Pen from ALL other female relationships. No wonder he fell so hard,those feelings were always there, it just wasn’t until that physical intimacy that it all made sense.

Lastly I think it is all of this, Colin’s emotional intelligence, that makes his “persona” at the beginning of Season 3 seem so out of place. When Penelope (his arguably most cherished female relationship) didn’t reply to his letters he seemed to completely lose himself.

[cleolinda]

The Scariest Movie I Ever Saw in a Theater: The Ring

I'll tell you up front that the story I'm going to tell you is about "The Ring (2002)," in the sense that it is about The Ring in the year 2002.

See, I don't know what The Scariest Movie Ever is. A quick google says that the consensus is The Exorcist (I haven't seen it, because I never felt like scheduling a day to freak myself the entire fuck out). But horror is specific, and not just to a person, but to a time and place, even. When I saw The Shining as a teenager in a well-lit living room with other people, I didn't even really flinch, but I bet it would play very differently to me now. I don’t think The Ring is at the top of anyone’s list, but twenty years ago, I had a personal interest in it—at the time, I was running a dinky little Geocities site devoted to movie news. Links curated and compiled from all the other, bigger sites I followed—basically, it was the linkspam format I have used on multiple platforms, including here on Sundays. And so, as someone who followed theatrical releases pretty closely for two or three years, I saw the trailer for The Ring, and I immediately knew it was going to be huge.

To locate you in time, this was just after three self-satirizing Scream movies and the Overcomplicated Serial Killer films of the '90s. The Ring was something completely different: chill aqua-blue color grading a good 5-6 years before Twilight; a mournful Hans Zimmer score; no jokes, no quips; and a slow, inexorable sense of doom. Grief, even, given that the movie begins with the death of the main character's niece. What immediately struck me about the first trailer was 1) the melancholy of it, and 2) how much it doesn't explain. Onscreen, you get the title cards,

THERE IS A VIDEOTAPE IF YOU WATCH IT SEVEN DAYS LATER YOU DIE

Concise! Understandable! A woman (Naomi Watts) is freaking out upon discovering that her young son has just watched it! Admirable job setting up the premise and the stakes of this entire movie in thirty seconds flat, without even any dialogue. That's all you need to know, and thus, the remaining minute of the trailer can do whatever it wants, and what it wants to do is be fucking weird. Echoing voices, TV static, a closeup of a horse's eye, ladders, a girl with dark hair, people reacting to things we don't see, drippy doorknobs, rain. Characters don't give us the whole plot in convenient soundbites of dialogue (like they do in a later trailer); we just hear lines, overlapping, murmured out of context—

did you see it in your head? she talks to you... leading you somewhere... showing you the horses... you saw it. did you see it in your head? she shows me things. Everyone suffers.

That you saw it has lived in my head ever since, and not once have I charged it rent. But the "best" part is Naomi Watts screaming at the end, because you don't hear her voice; you only hear this heartless telephonic beeeeeeep. It's 2002 and I'm watching this trailer, thinking, I have no idea what the fuck I just saw. This is going to be huge.

And it was, to the tune of $249 million on a $48M budget.

At risk of recapping what you might already know, Ringu, aka Ring, is a media franchise that spiraled out from a trio of Koji Suzuki novels into Hideo Nakata's film Ringu (1998), a landmark of Japanese horror, plus several other movies, some TV series, many comics, and even a couple of video games. The overarching story is about a murdered girl/vengeful ghost named Sadako Yamamura whose rage and pain have created a cursed video tape, you watch it and you die unless you pass the tape around like a virus, seven daaaaays, etc.

The "ring" in question is the rim of a well. Keep that well in mind.

The movie I saw is the U.S. remake, which itself had two sequels. (The iconic Sadako is now named Samara Morgan. Keep her in mind, too.) Director Gore Verbinski moved from The Ring to Pirates of the the Caribbean (!), and so Hideo Nakata himself would direct The Ring Two. I... honestly have only seen the first one. And I was right, it was huge, and it kicked off the American J-Horror Remake genre, for better or worse. But what gets forgotten about The Ring is its marketing campaign, which I followed pretty closely for my doofy little news site.

It was inspired.

The story of The Ring is partly the story of the sea change in the media landscape—how we watch movies. And the story of its marketing is a picture of the very last years before social media changed the wilderness of the internet into something that feels so big, like a billion people could see anything we say, and yet so small—only a tame handful of places to say it, owned by three or four companies, and corraled by algorithms.

Back around 1997-1998 or so, I worked at a video store (Movie Gallery, where the hits were there then, guaranteed) for about a year and a half. By the time I left, we had started adding DVDs to the VHS tapes on the shelves, but we hadn't replaced the entire stock. Video stores might have transitioned fully to DVD by 2002, I'm not sure, but people still commonly had both VCRs and DVD players in their homes. And I remember that The Ring was sold in both formats when it eventually hit home video. Which is to say—you know the analog horror genre today? Marble Hornets, Local 58, The Mandela Catalogue?

Analog horror is commonly characterized by low-fidelity graphics, cryptic messages, and visual styles reminiscent of late 20th-century television and analog recordings. This is done to match the setting, as analog horror works are typically set between the 1960s and 1990s. The name "analog horror" comes from the genre's aesthetic incorporation of elements related to analog electronics, such as analog television and VHS, the latter being an analog method of recording video.

Okay, but this is just what home media was like, and 2002 was at the very tail end of that—boxy black VHS tapes that degraded with time and reuse were just how we lived. At the same time, I'd been using CDs for music since about 1991, and all our software installs came on CD-ROM discs; a "mixtape" by that time had shifted to mean a rewriteable CD rather than a cassette tape. In college, I—well, I'll plead the Fifth as to whether I downloaded mp3s via Napster, but I was also taping Mystery Science Theater 3000 on VHS over the weekends. It was Every Format Everywhere, All At Once, and we kept half a dozen kinds of players around for them. Here in 2023, we stream and download everything invisibly, unless we choose to engage in format nostalgia. (I've already run into the problem of Apple Music deleting songs I really liked, due to this or that licensing issue, because I was really only renting them.) The year The Ring hit theaters was the edge of a last shimmering gasp of physical media where iTunes had only come into being the year before, and iridescent discs were still mostly what we used, but cassettes, both video and audio, were still viable. And so, people did not think it was terribly weird when they started finding unlabeled VHS tapes on their windshields.

Movieweb, quoting TikTok user astro_nina:

"Their marketing strategy was essentially 'let's get this tape viewed by as many people as possible without these people being aware of what this is, sort of raising intrigue," she says. One way they achieved this was by airing the tape, which allegedly marks its viewers for death within seven days, as a commercial with no context. The video would air between late-night programming "with no words, no mention of a movie, for like a month...so people would run into it and it would just go on to the next thing, and people would be like, 'what the f--k is this?'"

I remember seeing the Cursed Video as an unexplained ad at least twice, by the way. That TikTok also indicates that DreamWorks straight-up sent copies of the tape to Hot Topic stores, as well as planting them under actual movie theater seats. While running my movie site, I heard at least one story of someone finding a tape on the sink counter of a restroom at a club. Did the marketing department actually plant tapes in bathrooms—or did a freaked-out recipient leave it there, hoping to dodge the "curse"?

(I haven't embedded the Cursed Video here, by the way—but I could have. If you'd like to see the American take on it, you can watch both the full version and the shorter variant that appeared in the movie itself. A text description of what the fuck you're even looking at is here [content note for both: blood, insects, animal death, body horror, and suicide by falling]. The original version from the Japanese film is shorter, and it's eerie rather than gruesome.)

BUT WAIT, THERE WAS MORE: DreamWorks had something of an alternate-reality campaign going with a handful of in-character websites. This was only a year after Warner Bros. ran the groundbreaking "The Beast" ARG for A.I.: Artificial Intelligence: "Ultimately, fifty websites with a total of about one thousand pages were created for the [A.I.] game." (I lurked in the Cloudmakers Yahoo group.) Marketing for The Ring did not go anywhere that in depth, nor did it need to; it was both a smaller film and a smaller story. I saw at least two “personal” websites (seemingly amateur and a little tacky, like my own), but the one I particularly remember was about someone who owned/trained horses? I'm not sure if it was meant to be the actual Anna Morgan character—Samara's mother—or maybe someone who had noticed that the Morgans' horses were disturbed? I'm not even sure anyone even remembers this but me. Reddit users dug up a few other archived websites, but they're about Sadako, the curse and/or videotape; they aren't as subtle or character-oriented as the site I remember. (Honestly, I wonder if weird shit like "What Scares Me" or "SEVEN DAYS TO LIVE" were made by fans rather than a marketing department, but who knows.)

[The “About” page from Seven Days to Live on the Internet Archive.]

[The entirety of An Open Letter on the Internet Archive. “UPDATE” is a now-blank pop-up. I would bet $5 that it was originally a pop-up of the cursed video.]

I need to point out here that Facebook did not exist in 2002. It would not exist for another two years, and Twitter wouldn't exist until 2006. Even MySpace was not a thing until the next year. I didn't start my Livejournal until October of 2003. What we had, for the most part, were independent forums and blogs. We also had Creepy Internet Fiction like "The Dionaea House" and "Ted the Caver"; their use of the blog format, of people out there seemingly living their lives until something fucked up went down, gave the stories the shape of reality. And it helped that these blogs had comment sections, sure—sometimes more story unfolded there—but for the most part, an author could "abandon" a blog, and you'd just find the story there via word of mouth. Like the Ring blogs I remember, it wouldn't seem strange if no one replied to you, whereas today, you'd have to hire a writer to sit on Twitter, or Reddit, or even Tumblr, and interact with people in character. Could you do something like The Ring's mysterious, weird-ass blogs today? Would anyone even notice?

So: It's 2002, my head is full of Alternate Reality and eerie images and you saw it, and I'm hype as hell to go out and see The Ring. I'm perfectly happy to go see movies by myself, so I went in the early afternoon (best time to get a good seat). The movie ended up being a sleeper hit, and the first weekend, the public was still sleeping on it, so there were only 7-8 other people in that theater, grouped in maybe two clusters. I was off in my own little pool of darkness in the upper right quadrant. Functionally, once the lights went down, I was alone.

Despite some middling reviews at the time, The Ring is something of a horror classic nowadays. If you want a scary movie this Spooky Season, check out The Ring. Or don't, because it nearly killed me.

We're at the last, I don't know, third of the movie? And Our Heroine has tracked down the origin of the Cursed Videotape to some creepy mountain motel or whatever. SPOILER, it turns out that it was built over the Cursed Well (everything in this movie is cursed) that Our Villain was thrown into—that's why Sadako/Samara is a vengeful wet murder ghost crawling out of TVs now. While investigating this decrepit hotel room, intrepid journalist Rachel and her, who is it, her ex-husband? her kid's dad, idk, discover the well under the creaky old floorboards. And then, wouldn't you know it,

NAOMI WATTS FALLS INTO THE WELL

NAOMI WATTS FALLS INTO THE FUCKING WELL

THAT'S WHERE SAMARA'S BODY IS

[The rather slapstick moment when Rachel falls into the well. Does not include what actually happens next.]

I go absolutely rigid in my seat. Naomi Watts is splashing around this dark-ass death swamp of a well and I know, with as much certainty as I have ever known anything in my life, that Samara is about to pop up in all her pasty, waterlogged glory. All the sad creepy dread, all the desperation to figure out what the fuck all that shit on the tape was and stop Samara from killing Rachel's son, all the horrible contorted victim faces, all the alternate reality I’ve been soaking in, it has all come to this. I have to leave the theater. I cannot be having with this. I have to be gone from this place. My legs do not work. I cannot feel them. I am frozen. I want nothing more in this life or any other to get up and leave this cavernous pitch-black room, and I cannot. I start praying for death. I want you to understand that I am not trying to be flippant or humorous. This is genuinely what went through my head. I was too scared to even think, "You know, you could just pray to pass out or for motion to return to your limbs or something." No, I sat there in The Ring thinking, Please for the love of all mercy just let me cease being.

You know that scene in Mulholland Drive (also starring Naomi Watts)? Winkie's diner and the EXCRUCIATING tension? It was a little like that, except I wasn't watching it, I was experiencing it, and Samara was my dirt monster out behind the diner.

Except that the jump scare didn't actually happen. I mean, yes, Rachel finds Samara's body down there, but—I don't remember exactly, please don't make me go watch it again to tell you what actually happens. It's played more sympathetically on Rachel's part, as I recall, and she and her ex get Samara's body out so that she (Samara) can have a proper burial.

And then it turns out that this is not the end of the movie. It turns out that Rachel has Fucked Up.

I think I was relatively okay through the rest of it, although the climax is Samara emerging from a TV in her full glitching swampy glory to scare [SPOILER] to death. I don't recall praying for death twice. There's a point when you're so exhausted from fear chemicals that you're like, yeah, this might as well happen. Bring it, Soggy. I did have a hard time prying myself out of that seat afterwards, though, and my mom says that when I got home, I had the classic thousand-yard stare. How was the movie?

"It was great," I said, and I meant it.

I've seen things that were objectively scarier (I watched much of The Haunting of Hill House from behind a pillow, to be honest), and it's not like I've never experienced fear in real life. But I respect when a movie that can make me feel so intensely, and there's something weirdly precious about the way horror is a safe roller coaster, as it's often been said. So I love telling the story about The Time The Ring Nearly Killed Me—a movie that actually made my body stop working—and I love thinking of how embedded in a specific time and place that movie was for me. The last gasp of VHS when the Cursed Videotape still seemed plausible; the way the internet was still wild and weird and free; where I was in my life, keeping up so avidly with all the movie news, and finding myself in such a little pool of darkness early one afternoon. It's the scariest movie I saw in a theater; that's the alchemy of circumstance.

[virgo-79]

I'm disappointed and sad and pissed, for sure. But there are some things that are keeping me from being totally devastated. There are things that give me hope for what might be to come.

David Jenkins confirmed that the industry took notice of our campaign. We saw the articles and interactions that confirmed people were taking notice of our campaign. And we got new eyes on the show. Whatever else it's up against, future queer media can only be helped by that.

Maybe at some point we actually will get an on-screen continuation of OFMD. Again, from David's mouth, the lack of pickup is down to an industry in chaos -- not a lack of interest in the show. Obviously that industry chaos is a problem, and for a bigger reason than just this one show. But this transitional period also means there's an opportunity for change, and that's why I think we need to keep being vocal about OFMD, about WB and MAX, and streaming in general. Keep the action and conversation going, both for the sake of influencing the direction the industry goes in, and for showing that interest in OFMD isn't waning. Because there's always that chance that once the dust settles, there will be at least one platform in a position to bring OFMD back. Giant companies aren't suddenly going to grow souls, but they'll look out for their own interests. All we need is someone to decide that those intersect with ours. We've come to the end of the road, yeah, but there's always another trip to pack for.

And finally, I think it's HIGHLY possible we'll get another show by David Jenkins that features Taika, Rhys, and a lot of other OFMD actors and crew. Every single person who has talked about the experience of making this show has absolutely spilled over with love for it. Everyone had a good time, everyone loved what they were creating. Taika and Rhys adored working together again. Taika said being Ed made him fall in love with acting again. All of the actors got to have a hand in their characters' creations. There's so much positivity, respect, and encouragement passed back and forth between the people making the show and the people watching. Which is all my long way of saying that whether it's more OFMD at some point in the future, or a completely different show, I believe strongly that this team is going to work together again and have more stories for us. And I have every confidence that that story will radiate as much love and joy as OFMD. I am and always will be head over heels for the characters and storylines of OFMD. But my delight in them goes beyond the characters to the people who made them, and I'll be there for any project these people collaborate on. I trust them to give it the same heart our silly queer pirate show has.

[riding-the-sunset-bird]

I'm still riding a high from Baxter Week last month so I just wanted to gush about how much I adore Baxter and his DLC! No specific rhyme or reason, but it is a nice break from my usual dives into the code!

Also, I won't be saying anything negative about Cove nor Derek; I don't need nor want to do that. I'll be comparing them to Baxter, but only for contrast/showing the skillfully written differences between them (example: Cove does [x] and Baxter does [y] to account for multiple player preferences).

(might go without saying, but there will be spoilers for basically his entire DLC)

The Background

I actually had no interest in Baxter when my MC first met him in the game. He was fine, I was neutral, but what it came down to was that I was one of Those People who just wanted time with Cove and excluded others (if it's not obvious, I always got a cold Cove unless I used the Cove Creator).

That all changed, funnily enough, during the Cove Wedding DLC. On a whim, I agreed to let Baxter give my MC dance lessons and prodded him on his disappearance after Step 3. Getting a hint of Baxter's underlying problems piqued my interest and I'd had the Baxter DLC downloaded before I even hit the reception!

After the Cove Wedding DLC was over, I rolled back to a save right before Soiree and got to romancing.

Zero regrets.

The Setup

As a character, Baxter is so beautifully designed as both a contrast to Cove and someone to fill out the gaps that Cove and Derek leave. He also completes the "comfort level" of love interests that I had in my head, where the MC can be whatever they want but each guy seems to have a particular comfort level themselves (Cove being Nervous, Derek being more Relaxed, and Baxter being Direct).

When if comes to their actual engagement through the family, Baxter has only brief mentions of his parents, Cove's story is partly connected to his parents whilst still giving focus to one-on-one time, and Derek's family is front-and-center to his conflict. It's all about how much time a player wants to invest in the character versus the time they want to spend with others.

Likewise, Baxter's route features a relationship that ends and gets back together again, Cove's route is a relationship where he and the MC always live close to each other, and Derek's route is a long-distance relationship past Step 2 and before Step 4.

Baxter's undeniably a controversial character, I imagine due to possibly being based on the "playboy" type, which tends to be someone who flirts with anyone they find attractive whether the recipient likes it or not, won't take "no" for an answer, and lies to their dates that they're serious about them when they actually don't care for them at all.

The game cleverly subverts this right out of the gate when Baxter first meets Cove and the MC. Baxter does find the two attractive and initially flirts with the both of them (a great start to confirming that he's pan), but backs off and apologizes the moment he notices that Cove is uncomfortable. He adds as well that he wouldn't mind having a summer fling, but that it's not his core reason for wanting to get to know and spend time with them.

So already, the player is made aware that he's forward but considerate, takes Cove's discomfort more seriously than even the usual residents of Sunset Bird (who enjoy teasing him into embarrassment), and has non-serious flings with a priority on simply having fun connections over the course of his time with them.

He, like Cove, will only propose a relationship with the MC in Step 3 if the MC expresses interest first (the only difference being that the MC expresses the interest in Cove to "the game" while talking to Lee, whereas the MC expresses interest in Baxter by talking to Baxter directly).

This gives the MC a powerful opportunity, as Baxter is a character that the player has the most options in interacting with. He begins as a total stranger, similar to Cove, and the player can decide whether he stays that way or becomes more than that. Even down to the optional moments he appears in, the MC only has to interact with him in Hang and Late Shift, both of which lets them avoid further interaction by going home early and rejecting his invitation to his house/telling him not to come to their workplace respectively. The only mandatory instances of seeing him are the Step 3 intro, a brief goodbye in the ending, Hang, and the very beginning of Late Shift.

Whether it be strangers, friends, friends that fell in love after they met again, a friendship or fling that started well and ended horribly, a fling that turned into genuine feelings in the end, or two people that love each other all the way through, Baxter's route can do it all. In Step 4 as well, the MC can choose to be calm, professional, upset, or angry about seeing Baxter again, which all lead to different conversations/narration with him, and the end of Step 3 makes him the only love interest where there can be a technical "break up."

This is also a rare occasion where the MC, due to Cove not being a fan of Baxter, can form a relationship outside of their normal range. Baxter doesn't live in Sunset Bird and isn't connected to anyone the MC knows - neither Cove's nor the MC's friends and family - at the time of meeting him, fitting the narrative of the MC starting to look at things beyond their little neighborhood and even the people they're close with. It can be further emphasized in Soiree where the MC starts to gain a bit of independence and can end up dancing with a younger Baxter, foreshadowing that little peek into the wider world from a mysterious stranger who's there and then gone.

Something else that's fascinating is that Baxter, due to him leaving at the end of Step 3 and meeting the MC again during Step 4, is the only love interest where players see virtually all of the MC's interactions with him. It does leave out the gaps that Cove and Derek have that can be neatly filled with headcanons, but that ultimately depends on what the player prefers. Point being is that the MC's experiences are the player's experiences when it comes to Baxter: whatever time they spend with him, the player also spends with him.

So already, the setup for Baxter and his route are really strong for me, but the content of his DLC isn't limited to just him.

The Content

Baxter's DLC introduces a total of two new characters and extra content for Terry and Miranda, both of which were absolutely welcomed by me. I was hyper-focused on Cove in the base game, but the Baxter DLC made me appreciate the other characters more.

Even the moms, who already got plenty of screen time, are shown to be rather nosy and gossip-y in Sightseeing (something not showcased overly until then), which ends up being the perfect encouragement towards the MC learning more about Baxter. Then, if the MC meets the requirements and agrees to Baxter's fling, Noelani in particular is stunned into silence. If the MC was upset with Baxter over what happened, then both moms will show a rare coldness to him as well.

These are all things one would miss out on with other interests, due to how the whirlwind relationship and drama in Baxter's route are designed.

Then there's Terry, who becomes Baxter's friend more directly in the DLC whether Baxter is convinced of that or not, and is given more to do in every best way. Baxter's version of Hang allows for more focus on Terry's relationship with Miranda, partly with more hints towards his crush on her but also seeing Terry interact with someone who's "like him." Cove and Miranda are described as "shy" and the MC can be equally as much, allowing for new facets of Terry's character to come through by Baxter's being there.

Even after Baxter goes no contact and Step 4 makes the shift to focus on his relationship with the MC, Terry's friendship with him isn't forgotten: Baxter laments that Terry isn't calling him by his affectionate nickname for him anymore.

Terry getting attention from being Baxter's friend doesn't exclude Miranda from getting any either; far from it. If anything, she gets more than Terry, both with an expansion on her family in the form of her brother (and eventual brother-in-law) plus a moment dedicated to giving her a birthday party. As if that weren't enough, she gets a mini-plot in Step 4 concerning her relationship with Terry and her role in his life.

Seeing more of Terry and Miranda was in every way a case of "thing I didn't know I needed until I had it." Maybe it was the Cove tunnel vision that persisted for so long, but when I first got to re-experience Terry and Miranda in Baxter's version of Hang, it was great and I was so happy any time they were on-screen.

They aren't given extra time just for the sake of it either; they're expertly woven into the overarching story of Step 3 and the themes of Step 4.

Step 3 centers on adulthood with the MC and their friends growing up and having to face the fear of growing apart. The step already does a good job at keeping that a focus, but Planning expands on it in a way that feels almost criminal not to have in the base game. The already high stakes feel even higher when put up against the last birthday party they'll be able to plan before everyone goes off on their own.

Then, Step 4 balances Terry putting forth so much effort for Miranda with her worrying that she's not doing enough for him. She doesn't need to worry, obviously (Terry loves her for every reason), but with Step 4 focusing so much on relationships, self-reflection, and trying to make up for past mistakes (both real and perceived), it's just a cherry on top of an already fantastic story.

Meanwhile, Jude and Scott, despite only appearing for Step 4, are easily some of my favorite characters in the game. They're adorable, they can be sweet with not just Miranda but the MC too (the player has the option for the MC to see them like honorary family/big brothers), and the way the groom's cake ultimately ties into helping bring Baxter and the MC closer again while serving as a callback to Planning is perfection. One may think little of Miranda's initial mention of them (probably assuming that it's just a little bit of character introduction to show that she has family who has things going on), but it all comes together in the end.

The DLC additionally has a potential bonus (depending on player preference) in that it is benefited by most other DLCs. The other DLCs are not required to enjoy it, but they add that little bit of extra flavor.

The Step 2 DLC adds Birthday and Soiree. Birthday is Miranda's birthday party when she's fourteen and before she officially becomes the MC's friend, meaning you get the development of seeing the difference in the MC's and Cove's investment in her party then versus now, as well as how her taste in parties has grown. Soiree allows the MC to possibly meet Baxter earlier than Step 3 and add to the "fate"/"destiny" angle if the player so desires.

The Step 3 DLC obviously allows for more Baxter in general with Boating and Late Shift, the former showing a much needed reaction from Lee if the MC is dating him at the time. It's also a good "starter DLC" for people who aren't sure about Baxter, allowing them to choose to interact with him if they want to get to know him more (as I mentioned before).

Derek's DLC lets the player meet Baxter in a different way during Soiree, something that can be brought back up with Derek in Step 3 and then again in Step 4 (to which he'll joke about the MC's meetings with Baxter in five year increments).

Even Cove's Wedding DLC can have advantage, bringing a soft conclusion to Baxter's story for those who don't want to play Baxter's Step 4 but still care for him, and/or something more dramatic following how he ends off Step 3 with the MC.

So one doesn't just get Baxter content; there's quality content from others and it can be further added to with other DLCs.

Not that the Baxter content isn't worth it all by itself either because I adore this man.

The Man

I'm a simple woman. Give me an intelligent man with simultaneously zero braincells and I am in.

I don't even like "playboy" type characters normally, but Baxter is actually charming and tries to make things clear to the MC from the beginning. He falters during the Step 3 ending but not because he was trying to keep it a secret; he genuinely didn't expect the MC to try to press him and deemed himself unworthy of their company.

I'd seen more than enough of rich boy plots where the rich boy is a perfect do-no-wrong type and it's everyone else's problem that they don't like him. Baxter, however, is a flawed character who not everyone is going to like (which is absolutely 100% fine and valid) and him being rich is not just something that influenced his self-esteem but also what he ultimately gives up despite having relied on that financial safety net for his whole life, showing a deeper sense of awareness as he got older.

I don't normally like fate/destiny stories either, as they often feel as though they're taking agency from one or both characters involved (in terms of forcing them to love/be in a relationship with each other), but Baxter's route isn't like that. It's the player's choice to have that dance in Soiree (which they can just as easily turn down), their choice to form a closer relationship with Baxter outside of the disinterested Cove, and their choice to choose Baxter's Step 4 when they have already one guaranteed "safe" option in Cove's Step 4 and a potential other "safe" choice in Derek's Step 4 if they have Derek's DLC.

The player is the fate, which coincidentally went into my first playthrough, as my MC was initially designed for Cove yet ended up being perfect for Baxter.

Baxter is so absolutely delightful and absolutely stupid at the same time. From his openness to be questioned by the MC followed by this assumption that he's like a stranger to them (meanwhile the MC and Cove being best friends/crushes right out of the gate if the player so chooses), to him talking about the play he and the MC go to while not seeing the obvious parallel to his own issues, to openly admitting that he doesn't want to leave the MC while making the decision himself to go no contact.

He unconvincingly uses the cupcakes as an excuse to not get more intimate with MC, he wants so badly to spend time with the MC that he's willing to risk letting them see him in his useless morning state (and is surprised when it goes wrong, at least in his mind), and tries to convince himself to not stay attached to the MC during Step 4 despite being unable to help constantly reminiscing on their time together.

At his core, he's a funny, charismatic sweetheart who wants to be loved, to be touched, to have someone in his life (even just a friend) that he can make happy, but his upbringing and deep-seeded insecurities make him cynical to the idea of being in a genuine relationship with someone. This causes him to constantly sabotage himself before he can make any progress. It's why he can prefer flings: he can use his money to make a passionate, pleasant time with his temporary partner, but not so long that he feels they'll find something disappointing in him.

Low-risk, high-reward.

This, of course, ultimately backfires by the end of Step 3, and it's perfectly structured to set him up for Step 4. The brilliant foreshadowing of him being skilled with planning events in a pinch, to Jude and Scott's long-distance relationship and Baxter claiming that they won't stay together, to Baxter insisting that it's unlikely for he and the MC to meet again (made funnier if they'd already met again before, if the MC saw him in Soiree), then Step 4 hitting where he's not only a wedding planner planning Jude and Scott's wedding, but accidentally/unconsciously putting himself into situations where he's "stuck" with the MC.

That starting instant where Baxter reacts to the MC in the restaurant, initially shocked and then having to bring himself back into a professional persona, apologizing for his immature self but sticking to only focusing on the wedding?

Not just a wonderfully-written hint to the player as to what they're in for, but very much a "I'm not stuck in here with you, you're stuck in here with me," situation. It's all about making Baxter as uncomfortable as possible so he can reflect, flying in the face of his thought that he could control everything and project what he thought about himself onto others. He can give advice to other people, but refuses to give the same to himself because he held himself to an impossible standard.

Once he finally figures that out, he's feels extremely guilty and apologetic towards the MC and everyone else. Him unloading all of his emotional baggage and work to do better is so satisfying after seeing it affect him in key moments like Drinks, Planning, the Step 3 ending, and finally Step 4. Underneath the facade he (weakly) attempts to put up for himself is a teasing gentleman who hates mornings, wants to see everyone around him be happy, and feels blessed just to simply have a relationship with the MC (real or temporary).

This isn't even talking about Baxter's perspective from a meta standpoint, adding layers on top of what's already there in the canon and adding even further when considering Baxter's appearance in the sidequel Our Life: Now & Forever.

The MC can learn in Sightseeing that Baxter had a crush on a kid who was doing ballet lessons while he did ballroom. Those who know anything about Now & Forever know that this is kid is Qiu, who's one of the two potential love interests there. Naturally, Baxter wouldn't have had a chance with them, as the only person Qiu can possibly fall for is the Now & Forever MC.

Baxter confesses in Step 4 that he's naturally drawn to the people who are "wanted by everyone else," which translates to Qiu (who is widely popular during Now & Forever's Step 1) and the MC (who is liked by most characters in the game and automatically crushed on by at least Derek). In the Cove Wedding DLC specifically, he adds that he is simply someone whereas Cove is the one.

Because here's the thing: in the eyes of the base game, he's not wrong. Cove is the game's focus, taking an active role in every step and being the first that the MC meets out of the potential love interests. He's the only love interest in the base game and his Step 4 is not just free, but the default.

Meanwhile, Baxter is just someone. He's a person who shows up in Sunset Bird for a single step - only showing up thrice - and then is entirely gone without his own Step 4. His DLC costs more than any of Cove's Step DLCs and the player already knows Cove, already has spent two steps with him, thus has far less incentive to get Baxter's DLC over Cove's own Step DLCs.

Then, despite Baxter appearing once in Cove's Step 2 DLC and twice in Cove's Step 3 DLC, most players won't experience the former (either due to focusing on Cove or not wanting to dance) and Baxter can be largely excluded in the latter if he happened to leave a bad first impression on the player.

And let's take it a step further. While Derek, like Baxter, doesn't have a Wedding DLC like Cove does, Derek can get into a marriage pact with the MC as early as Step 2, he can be dating the MC throughout nearly all of his Step 4, and the MC can agree to them moving in together before the ending.

Baxter has none of that. His DLC's story is steeped in drama and the earliest the MC can properly get together with him is after the wedding. There's no chance at a proposal (such as what can happen with Cove's Step 4, where they MC can date and then propose within an equally short timespan), no opportunity to move in with him, nothing.

He takes time, work, and actual money to get into a relationship with, whether platonic or romantic. It's a level of investment that not everyone would be willing to put in for someone, especially when only one Step 4 can be chosen out of the whole bunch.

Baxter's insecurities come from a very real place. His parents treated him like a child, all while expecting him to behave like someone their age, and they deliberately picked a town for him to go to that was near the ocean he feared (where it was unlikely for there to be people his age around) to keep him in check. In his mind, he's "broken" and incapable of being with anyone long-term.

Furthering that, there's a joke he makes about "being too late" if the MC and Cove are in a relationship by the time he appears, back when he wouldn't have considered himself a worthy partner anyway (also a bit of out-of-universe humor over how the MC couldn't get together with him whether they wanted to or not, due to being unable to break up with Cove). Despite that, he's pleased as punch to see the MC dating/married to Cove and hopes the best for them regardless of his potential attraction.

Baxter puts forth so much effort to try and make the MC's last summer in Sunset Bird memorable with the thought that he won't be seeing them ever again. The potential relationship he can have with them is the most stable he's ever had and it scares him when they make him feel wanted and important. All the while, he's convinced that the MC's friends and family are "better" than him and he'll only bore the MC if he remains in contact with them.

With his DLC, the MC - the player - get to prove him wrong: an MC who is liked by everyone and loved by up to three different interests, but end up choosing him in the end. Cove and Derek are "easy" and the MC has undoubtedly spent more time with them in comparison to Baxter - who would feel that either guy could make the MC happier than he could - but they have the chance to show that he is the one that makes them happy.

Baxter is so absolutely amazed to be in a relationship with the MC that he willingly takes in all the shocked reactions and potential backlash from everyone else due to his five years of going no contact. He's regretful when he finds himself back in old habits and eager not just to message the MC multiple times per day after they return home, but also to take time off to go visit them after his Step 4 is over.

I think that makes for an incredibly special experience: to have someone who comes last out of the three possibilities, doubts his true potential, and eventually realizes how misguided he is. It's not about who got the most time with the MC, or who got "dibs" on meeting them first, or what can be accomplished the quickest in their time with them.

It's about the MC forming a bond with someone, picking him despite the difficulties/limitations because they love him that much, the work he's willing to put into it in return, and finally the happiness that comes out of it.

For those reasons and even more, the Baxter DLC is by far my favorite.

[definitelynotafurinasimp]

I shall humbly ask for Shenhe, Eula, and Ayaka's S/O getting very shy asking if they can kiss for the first time.

The cryo women of this game have scrambled my brain

Them reacting to their S/O getting shy when asking if they can kiss

characters: Shenhe / Eula / Ayaka x gn!reader (separate)

warnings: none, just fluff

a/n: "The cryo women of this game have scrambled my brain" Same Chris. Same. Just saying… Shenhe’s skin

That being said, I havent written *that much* these last couple of weeks, so I'm sorry if my writing is a bit rusty, I did give it my best tho.

Anyway, hope you enjoy!

Shenhe

Sometimes, Shenhe couldn’t help but find you… weird. You had no problems talking to complete strangers, happily chatting away as if you knew each other from way back in your childhood, were comfortable with praising, complimenting or saying other things many humans seemed to find embarrassing to her, and yet, when your hand as much as brushed against hers while walking side-by-side you’d apologize as if there was no tomorrow while your face turned all manner of red.

Perhaps you getting embarrassed from touching her wasn’t the weird part and your willingness to voice your feelings was, or perhaps these were two entirely different things that Shenhe had yet to understand.

So when the day came you turned shy simply by talking, it immediately caught her attention. And yet, your words didn’t seem to match your behavior at all. Wasn’t it normal or even expected for couples to kiss? Why were you getting so worked up about it?

“Sure”, she responded so bluntly that, for a brief moment, even you were starting to wonder why you had been so nervous in the first place.

She’d have to make sure to ask you about it later, although that could wait a bit, considering how happy and relieved you looked at this moment.

Eula

Being direct had never been Eula’s strength, so much was clear from the moment you first spoke to her. The Lawrence instead choosing to encrypt her true feelings and opinions in a matter that easily came over as aloof and stand-offish. And while you quickly took up her manner of speech when around her, your adaptiveness made the moments you broke character so much more jarring.

So when you asked her whether or not it was alright for you to kiss her suddenly and out of nowhere (also known as dusk at the end of a long date), with a face as red as a crimson fabric and enough tripping over your words to make a drunkard shake their head in disbelief, Eula couldn’t help but be caught off-guard.

Before she knew it, her face was on its way to mirror yours. The proud aristocrat suddenly finding herself at a loss for words as she desperately attempted to string together enough words to save face. Each second making the whole situation so much more embarrassing.

And yet, Eula somehow managed to regain her composure in time, swallowing whatever remnants of surprise and embarrassment she felt before speaking up with her usual grin.

“You may try, although you should think twice about it. I am a Lawrence after all, so you should know better than to trust us. But since it’s you, I might even allow you to leave in one piece.”

Ayaka

As the eldest daughter of the Kamisato Clan, the leaders of the Yashiro Commission in charge of cultural and ceremonial affairs, Ayaka was well-versed in all sorts of ancient traditions. And while she found no use for traditional courting rituals, she couldn’t help but pick up on them while trying to memorize the rest.

All of which was to say that once the two of you started to go out, her expectations and knowledge about relationships were somewhat outdated or out of place. So when the day came that you shyly asked her whether or not you could kiss her, Ayaka’s brain short circuited, not expecting you to ask in such an outright and sudden manner.

“Ah. You- What?” As the princess began stumbling over her words, she suddenly missed the days she could hide behind her paperwall while talking to you, getting all the positives from talking to you while not having to worry about her body-language. And yet, here you were, both of you slowly but surely getting more nervous and panicked as the awkward silence stretched on.

“That came out of nowhere, j-just forget I said anything”, you eventually broke the silence, too embarrassed to even look in her direction as you suddenly pretended to find a nearby tree irresistibly interesting.

When you eventually did turn back towards her however, only to be greeted with a kiss that was supposed to land on your cheek and instead ended up on the corner of your mouth and an Ayaka whose face turned even redder than before, your face heated up once again as you looked instinctively looked away, all the while wearing a large smile.

[golvio]

Quietly obsessing over the fact that, based on how you can get to The Fury in the base game, Voice of the Stubborn will be the common denominator of the two possible starting routes, but also that his role in Fury might change depending on whether he’s the second or third Voice you meet.

I don’t remember exactly which interview I heard the devs say this, but I remember them saying that the second Voice you met was usually less helpful in the Chapter II they appear in, but the third Voice who appears in Chapter III is more helpful in that their advice guides you towards a conclusive ending to the relationship/story you’ve built with the Princess in that particular loop. But I don’t remember there ever being a route where you can get the exact same Voice from two different circumstances (unless Voice of the Paranoid can show up in The Wraith from Spectre’s direction, in which case I’m being a dum-dum).

In Adversary > Fury, Stubborn’s a perfect mirror of Adversary in that he’s accepted his role in the story as Her Eternal Enemy and enjoys it so much that he doesn’t question it. Contrarian being introduced serves as a potential destabilizing, deconstructive influence who might encourage him and Fury to start questioning their respective places in the narrative. Meanwhile, Tower > Fury has him introduced as the third voice in a manner that seems similar to his appearance in Den, where he sees himself as protecting us from a bully by encouraging us to stand up for ourself and fight back instead of meekly accepting our role as prey. But he also has no prior relationship with Fury and therefore no time to get comfortable in his role as Enemy, nor has Tower-Fury ever encountered an aspect of us with quite as willful and unrelenting as Stubborn.

Still, I don’t think it’s going to be just like Den where Stubborn is only helpful in the ending where you try to slay the Princess in revenge. I think there’s a reason why he’s in both versions of the route, even if it feels like Fury’s going to be a radically different character based on which route you approach her from, much like the Greys. I think, like the Greys, there’s a common theme to her route that makes both versions converging on the same role make sense despite the two versions of her being completely different characters. Fury’s route has this theme of literal and figurative deconstruction as both versions of her are denied what each sees as their purpose, throwing the cycle of violence/domination between us off its axis though not breaking it entirely, and then this possible theme of exploration/self-exploration as she takes us apart to try to figure out what that means. For whatever reason, Stubborn needs to be there, regardless of whether he’s initially helpful or not. And the updated Fury route will have the most new dialogue, sprites, and music out of all the upcoming new content for The Pristine Cut, if not all the base game routes in general. I find that extremely suspicious. There is something more the devs want to say with Fury, and, again, Stubborn has to be there for it.

Not to mention that, even though he was born to fight and perfectly happy with the idea of fighting Adversary forever, the only other time we’ve ever seen him truly at peace was The Wild, where he lays down his arms and willingly wants to be one with her. And then this route is another one that involves the Princess going inside of us in a very bizarrely intimate way. On top of that, the Tower being a very surprising route for me because she only ever seemed truly interested in the Long Quiet beyond allowing him to be “a priest or a pet” was when he was resisting her and trying to fight back, whether in Tower (before he actually makes her bleed and everything goes wrong) or in Apotheosis, where she seemed genuinely curious about what he was going to do if he tried to stop her.

Like…the update announcement said there was going to be a “new ending.” Is it going to be a character-specific ending like Stranger, where her route left such a massive loose end that she needed to have her own ending to give her and Contrarian’s story closure? Are we going to get that but with Fury and Stubborn? I mean, we can’t have a story about the breaking of cycles that possibly involves poor Stubborn having his own existential crisis and then leave both him and Fury hanging, can we?

[dubiousculturalartifact]

Obviously I’ve been queerbaited before, like, a genuinely incalculable number of times, and maybe thinking Buddie might actually go canon is a ‘fool me sixteen times, shame on me’ scenario, but I think one big thing that’s keeping my hope alive is this thought: If you genuinely believe that Buddie isn’t going to go canon, 100% zero possibility and absolutely no intention of trying... Then you also have to believe the people who create the show we’re all fans of are purposefully cruel dicks. 

Because we have SEEN what it looks like when the showrunner of 911 knows there is no possibility of it happening, has no plans of it, and is generally trying to avoid accusations of queerbaiting.

It looks like S5 & S6. Little bits here and there, the odd important scene to throw breadcrumbs… but a lot of keeping the two characters apart, being circumspect in interviews, PR shut downs on the actors, etc. The show has proven they are capable and willing to exactly that!

So indulge me, and imagine for a second. They had the conversation with the new network, and the execs told them they wanted to continue with the status quo, to write as if Buddie is never going to go canon, BUT were willing to bend so far as to make one of them queer, to keep the fans happy.

What would that look like?

I don't know, call me foolish.... But I think it would look like keeping the same dynamic from The Drought Seasons. Having them be friends and important to each other but still fairly disconnected, not having as much screen-time, etc, It would look like having Buck’s coming out arc be a SEPARATE, individual narrative. If they just wanted to write Tommy and Buck, and that's it, they could have done things differently.

There are just so many conceivable ways they could have written Buck’s coming out arc, to almost completely separate it from Eddie and have it be made clear, in no uncertain terms, that Buck is bi but that doesn’t mean he cares about Eddie like that, that Eddie is a hetero McHetero.

Buck’s coming out arc could have included him being jealous because he’s suddenly faced with Tommy in the flesh and is insecure about how he was technically ‘Tommy’s replacement’ at the 911, with Eddie not relevant to it at all, or have Maddie and Chimney be the ones to interrupt The Date, or literally any other scenario that didn’t make it all about Eddie. 

They could have had one short scene where Eddie and Buck talk about it, and then the rest would be like, Buck talking to Hen about being queer, Buck interacting just with Tommy and getting to know him, Buck doing a research binge about bisexuality and info-dumping at an inappropriate time during a call, etc etc etc.

That’s how you tell that story and only be writing it for the proverbial ‘general audience’.

But they didn't. They purposefully reversed direction. They chose for Buck’s coming out arc to... highlight his nigh-feral jealousy over Eddie forming a homosocial bond with another guy, having said guy repeat with genuine surprise and shock that it was him and not Eddie that Buck was interested in, have Eddie interrupt their date, have Buck be more worried about lying to Eddie than the fact that he’s queer at all, have Maddie say what she did to Buck about telling Eddie in specifically ambiguous terms…

In a season that also included the Fire Extinguisher Incident, and Buck saying he ‘wishes he could help’ with Eddie’s sexual frustration, and a big increase in social media engagement, and having Buck being Eddie’s rock in the last few episodes while he had a bizarrely platonic affair with his dead wife's doppleganger…

If they did that while KNOWING the plan was actually for Buck/Tommy endgame and Eddie riding off in the sunset with a hot female firefighter who has a cool motorcycle or whatever the fuck, or them both dying in a freak car-washing accident, or….

If they GENUINELY planned that? If the entire Buck jealousy plotline was intended to be nothing more than a deliberate queerbait-and-switch? Then they’re fucking assholes, sorry. They would have to know full well exactly what they were doing, how many people’s hopes and emotional investment they were toying with... If they were actually planning to keep dragging it along for seasons more of baiting and dangling things in front of us, while knowing categorically that they had no plans to deliver? That would be genuinely GOD TIER levels of specific, intentional queerbaiting.

Which could be the case! I won't deny that. Shows have done it before, plenty of times. Tim et al could be callous bastards deliberately instructing the actors to wink it up in interviews and share suggestive Tiktoks, and writing Buck’s coming out arc as being entirely focused around Eddie and throwing out hints... All while laughing behind Buddie fans' backs about our gullibility, how we’re keeping the show trending on the force of our delusions, etc. Maybe that's it! Maybe they just genuinely enjoying fucking with people. Or maybe they were just shitty enough writers that they didn't know what they were doing, and it was all a total accident, somehow, the proverbial monkeys pounding at keyboards and accidentally spelling out B U D D I...

But you know what? Call it naive, but I prefer to think they’re not huge assholes, or hugely incompetent.

That there might actually be a point to all this, somewhere down the line.

I guess we'll find out.

[shorthaltsjester]

sometimes people will say “going dark” and then what they’re actually talking about is just people no longer presenting a carefully constructed version of their emotions and experiences.

like. emotional turmoil is not the same as darkness. laudna in this Fictional Universe that has tangibly different stakes wrt to death and killing than our own, is at best like . morally neutral for what she just did like. man has been secretly trying to kill you, and then just tried to do so again, killing him back is a fair choice. and even if i was someone who is excited by delilah’s inability to escape from the narrative, this shit isn’t about delilah. laudna made a choice. if delilah is back or whatever it’s a choice that laudna made because something in that grants her more control than her existing conditions did. this isn’t some Delilah Takes Over, it’s Laudna Expressly Makes The Choice To Call Forth Something within Herself to remedy the lack of control that’s been thrust upon her. if y’all want to Continue to limit Laudna’s agency (as the cr fandom is so, so want to do when a female character makes a choice that isn’t Good according to some weird system of virtue ethics) go ahead.

likewise with orym. little guy is not “going dark” because he has finally made direct action about his emotional turmoil in dealing with a situation which has similarly left him without control and has also placed him in a position where his stalwart conviction towards protecting and honouring those he loves and has lost alike is constantly met with other people he cares for going well.. what if they had a point/we are killing other peoples loved ones/etc. which like . yeah that might be frustrating and in fact might lead him to go, actually, i can’t afford to try and maintain some abject morality where I carry a locket that will literally only provide guilt. orym is completely committed to his beliefs, the locket and what it represents has never been a limit to what he will do, only a reminder of the consequences of what he might cause in those actions. but they Are at war and orym has a billion things on his plate. he can put down the locket. especially when bor’dor is the explicit manifestation of that locket’s symbolism. the subtext rapidly became the text and orym doesn’t need a reminder. it’s there in the fact that team issylra is walking away with two friends, not three.

these are character who have at every turn denied their own emotions in various forms while still being acutely aware of what they deny, whether that awareness was/is fully realized or not. many of laudna’s early convos with ashton show us that there is some awareness to the lighthearted spooky goth girl and how that persona fades when she thinks too much about what has led her and maintained that reality. likewise the entirety of orym’s story thus far is defined by his grief in a very literal sense, it Has extended from that grief to also the commitment he had to the purpose of figuring out the assassination attempt on keyleth but as we have seen, that purpose has fallen apart. paired with the quasi-reopening of his grief that was getting to see will again only to have to turn away, i don’t think there’s a lack of awareness in orym of how much he hurts. but between his actions and 4SD, that hurt tends to get buried under guilt or Responsibility.

and now, finally, both of them have admitted to that Not in the safety of small introspection or one-on-one conversations but with actions that they cannot shy away from or deny. laudna killed bor’dor and orym encouraged her to. and it Is a complex situation but truly I don’t really think it’s a “going dark” one. because they’re not giving into some overhanging Darkness of Morality™, they’re admitting that they are hurt and have long been hurting.

or, y’know, tldr for those who continue to deny laudna and orym agency or fully villainise them for whatever weird reasons . you could listen to laudna and ashton’s conversation that pretty much lays it out explicitly. laudna claims she’s weak for having chosen to kill bor’dor. ashton denies that and affirms instead that, no, she’s hurt.

[acourtofthought]

I read that josh body language post. It’s like they’re living in a completely different universe! I mean, seriously, these are the same people who tried to redefine “skittered” and somehow thought it would be a great idea to dive into fly fishing. Because, you know, nothing screams “literary genius” quite like a detailed breakdown of a fishing term and thinking that's exactly what Sarah had in mind. 🙄

Like, do they think Sarah wrote skittered hoping her most dedicated fly fishing fanatics would understand. 😂 Because I can’t imagine a single person outside that niche who cares about how a word used for darting fish could possibly relate to body language IN a romance book.

This is what their post said:

Skitter (v) - to draw (bait) jerkily across the surface of the water as a technique in fishing

The fact that Azriel's shadows skittered back could imply that they actually wanted Elain; that they were trying to draw her in, for whatever reason.

You know, having opposite intent of recoiling.

Honestly, it’s impressive how they manage to spin these absurd narratives. Incorporating fishing lingo into their analysis of character relationships. “Oh, his shadows totally skittered away, just like a trout escaping a hook!". 😂😂😂😂

These folks are really grasping at straws, and it’s hilariously cringeworthy. Keep it coming, though—this level of delusion is pure entertainment!

If you ever watch any of Sarah's interviews where Josh is present you see he's a bit of a fidgety guy. Also both Sarah and Josh become evasive when they're tip-toeing around questions that they know Bloomsbury might want them to answer in a certain way so as not to give anything away. I would bet money on the fact that he has absolutely zero emotions towards the possibility of Gwyn and Az together, that he is 100% supportive of what Sarah chooses to do with her characters. It's wild that they'll believe reading the body language of Josh is somehow a major clue while completely ignoring Sarah's friend directly saying "I don't think E/riel is happening." That they'll ignore Sarah laughing at the theory they had of Gwyn being a child but Josh somehow has skin in the game over who Az ends up with.

To your point about skittering. My guess is that a seasoned author is going for the obvious definition of skittering in her writing and not the answer that only those with fly-fishing terminology awareness have. Not to mention Sarah made sure we understand the point Az was making when he followed it up with "they'd always been prone to vanish when she was around." How can anyone claim that in one breath he's suggesting they're trying to lure her in when the next sentence literally tells us they often disappear around her. You know, that's the same issue I have when they try to claim Elain's scent of Jasmine and Honey has anything to do with night blooming Jasmine. First off, Jasmine is first mentioned in the Spring Court (book 1). But also, Sarah followed up "jasmine" and "honey" with "like a promise of SPRING." Is that not the author nudging you in the direction of her meaning? Especially when later we have Nesta thinking how the SPRING COURT had been MADE for someone like Elain? I guess they'll keep seeing what the want to see but I don't think they're going to like what the end result looks like.

[asouefanworkevent]

another fall is upon us! another woevember is coming!!

what is it?

woevember is an asoue fanwork event week, that will take place from november 12th through november 18th, 2023. last year there was a different group of characters each day, and this year, each day of the week is dedicated to a different location for a series of unfortunate events or all the wrong questions.

what do i do?

the prompts will be revealed now, so everyone has time to make something. between now and the week of november 12th, you’ll create fanworks about the prompts, and then post it on the corresponding day during november 12th - 18th!

don’t forget to tag this tumblr (asouefanworkevent) in the post so i can find it and reblog it, and tag the post with #woevember !

what do you mean by fanwork?

everything! fanfic and fanart are of course allowed, but woevember has always been meant to be an event that is as big or as little effort as you want! fanwork also means edits, gifs, analysis posts, headcanons!! your cosplay!! your photography!! your photosets!! your web weaving!! your super short fics!! your sketchiest drawings!! your most ramble-y half-fic idea posts!! your wip scenes!! you merely saying 'lemony snicket, though. am i right?????' (and you are. you're so right.) whatever you are moved to make from the prompts! i want people to be encouraged to and be able to create even something small that didn’t exist before for the snicketverse, and share it with other people!

are there any rules?

to keep the event open and comfortable for everyone, no explicit content. also, as always, sibling romance and age gaps will not be tolerated.

do i have to make something for every day?

only if you want to! feel free to just make something for one day if you want :) the point of having a different theme for each day is so some part of canon that you like comes up eventually, and you can at least make something for one of the days. or you get struck by an idea you might not have considered before! i want to get people thinking about all the intriguing people and places in asoue and atwq and the exciting different ways we can interpret and create from the same idea.

what are the prompts?

the description under each prompt is just some ideas to get your brain going -- feel free to take them in another direction too!

november 12th - olaf's mansion

to celebrate the 24th anniversary of the bad beginning! what becomes of the house post-canon? was it olaf's family home? what sort of nefarious, or, perhaps, completely innocent shenanigans have occurred here, pre-canon? does this house also have a secret passage somewhere?

november 13th - the baudelaire mansion

did beatrice and bertrand build the mansion? what sweet pre-canon moments have we missed with the baudelaire children and their parents? what visitors came there? do people still think the mansion remains are haunted post-canon? what sort of new home do the baudelaires make for themselves when they return to the city?

november 14th - the clusterous forest

the wild and lawless place. what was it before the water was removed? what sort of beach or shore was there? where did the water go? does it ever come back? what does lemony, or anyone else, find in there? does another train ever come through after the thistle of the valley? do the stain'd-by-the-sea crew ever go in to investigate it? what sort of rumors might be created about a place like the clusterous forest?

november 15th - the hotel denouement

the last safe place! is it vfd-owned, or denouement-owned? what happens down in the archives? are the archives ever found? what sort of firefighter or firestarter meetings have taken place here? what relationship might they have with the preludio hotel? what were the denouements up to at the hotel? what hotel, or what sort of home in general, might frank and ernest create for themselves post-canon, with dewey's absence?

november 16th - the masked ball

the duchess of winnipeg's masked balls have so much potential! what happened at that last one, where lemony tried to contact beatrice? when was that? what happened at past balls? what is the duchess's relationship with the parties? (whether the duchess is jacquelyn or r or jacquelyn is r's daughter is up to you, dear reader!) what costumes do they all pick! or is there even a different masked ball you might have in mind?

november 17th - the reptile room

to also celebrate the 24th anniversary of the reptile room! what becomes of this house post-canon? how did monty come to own the reptile room, where does his herpetology career fit into vfd? why was the quagmire mansion connected to it? how did jacques get there and find quigley? what other moments with the baudelaire children in the reptile room might we have missed -- or pre-canon moments with the baudelaire parents? do not forget about our beloved, the incredibly deadly viper!

november 18th - free space!

there's tons of other locations, too! prufrock prep, heimlich hospital, 667 dark avenue, paltryville, caligari carnival, the city, the punctilio, veblen hall, the orion observatory, the opera, the sewers, the hemlock tearoom and stationery shop, the museum of items, the museum of bad breakfast, the snicket mansion, the quagmire mansion, the island, the mortmain mountains, lucky smells lumbermill, wade academy, killdeer fields, anwhistle aquatics, the queequeg? or do you care not for locations! use the free space to write about the character or relationship or thought of your choosing!

if you have any questions about anything, feel free to drop me an ask or a message!

happy creating, and i hope to see lots of you november 12th-18th!! ✨

[nordickies]

Welcome back! I missed your art a lot. I was scrolling through your posts and saw one post where you said that you have an unpopular dynamic for SuFin. If your dynamic for SuFin is based on their history together, I might have the same unpopular dynamic as you too.

I'm not a fan of the fanon SuFin that is perfectly wholesome and "the ideal relationship" because it ignores how history would have affected their relationship, and also has the uncomfortable implication that Finland enjoyed being under Swedish rule. I think that in the modern day, Finland would still struggle with feeling insecure and too competitive with Sweden. Sweden would be quite oblivious to Finland's feelings and offend him without realizing it. But that's my Swedish perspective on their relationship. What are your thoughts about their dynamic?

Thank you! Happy to see you as well! And yes, you're pretty close to how I view them! This is going to be a long one, so my answer will be under the cut <3

As a disclaimer; I will not judge or shame anyone for enjoying SuFin as the perfect domestic husbands with a dog and kids. Heal that inner child desperately clinging to happy fictional families, hehe. Besides, unless you ship a totally random crackship in this show, every single relationship is going to be flawed based on historical context. And at the end of the day, SuFin isn't even the worst case of this issue, so you can ship them without worrying about being "problematic" (whatever that word means nowadays). I'm just saying this because some people like to claim that SuFin is so inherently toxic, and I strongly disagree with that! There is no right or wrong way to enjoy these characters, and you can apply as much or as little historical context to the characters as you like. Have fun with them!

To me, ignoring all the historical context behind Finland's and Sweden's relationship would be impossible, though. We're talking about 600-700 years of living together and the additional 200+ years as separate countries. And I love overthinking things. Whether or not you like SuFin as a ship, you can't exactly ignore their shared past. I see the Nordics as a found family above all else. I really don't ship them with each other (but I don't judge those who do). Sweden and Finland are just kind of tricky because of the way the canon portrays their relationship. It's impossible to see it as purely brotherly. But I don't vibe with them being lovey-dovey husbands either. Best friends, sure, but then again, Finland and Sweden would have a different dynamic than Sweden has with Norway and Denmark. Or the dynamic Finland has with Estonia.

The way I see it is that they used to grow up as one, meaning that they both acted as the personification of the same land. Sweden was just in charge of the West, and Finland was in charge of the East. They both had similar responsibilities, jobs they were expected to do, and the people they were expected to obey. They really did everything together. And they were everything to each other because sometimes it felt like it was them against the rest of the world. And honestly, I don't see Finland as a subordinate to Sweden during those times. He was just extremely passive and ignored most of the time. But Finland's interests usually aligned with Sweden's, and he had complete trust in his ability to run things for both of them. But as time went on, his ability to trust was put to the test many times, which ultimately would cause problems in their relationship.

Eventually, they were separated by forces outside their control, and they had to figure out who they were without one another. And it must have been a traumatic situation for both of them. Until then, they didn't have to think about such things; they had always been together. But while Sweden lost his best friend/partner, Finland lost his entire identity. Obviously, as time went on, they both went in very different directions, which made them grow apart quite drastically. It definitely wasn't easy, and the pain caused by that situation made them even butt heads a few times. Ultimately, they made peace with it and could be friends again. Actually, they really needed that separation because otherwise, they would have never evolved as individuals. And their break made their relationship healthier and more equal. It just came with growing pains.

And yes, I agree with what you said. Because Finland has always had the shorter end of the stick, he feels a bit jealous. In his eyes, Sweden always got it so much easier. Also, figuring out his own identity was way harder for him once they got separated. He depended on Sweden a lot more. Fin did truly feel let down by him in the end, which made his relationship with Sweden for the following decades even saltier. For most of his life, he was seen as Sweden's eastern sidekick, so he sometimes tries to desperately create some distance between Swe and himself. He wants to be seen as his own person, and show his capabilities, which manifests in him being extremely stubborn. Ironically, he constantly compares himself to Sweden because that's how he measures his success. If Sweden can do this thing, he should too. And that's why Finland will get very passionate about any chance to be better than Sweden at something. In his eyes, it's the only way to measure his worth.

Sweden, on the other hand, can be oblivious to Finland's need to have his own thing. He doesn't get what's the issue since they used to be inseparable for so long. It's not malicious, but just a bit ignorant. He doesn't have similar experiences, so he doesn't really know how to relate to what Fin is going through. In some cases, Sweden can act annoying in Finland's eyes, being a bit patronizing or not understanding Finland's feelings. One moment, they might be fine, joking around - but then the next, Finland requires some time alone. It's confusing, but Sweden tries to understand it. He has learned that it's just better to give him his space and definitely don't try to solve Fin's problems. Swe has to kind of know his place with that one, even if it can be frustrating. Occasionally, he finds Finland's competitiveness and excitement over small wins a bit ridiculous, but he plays along. At the end of the day, Sweden understands why Finland has such mixed feelings about him. And he knows that in the past, he could have done way better, and he has lots of regrets about it.

It's definitely Finland who has the problems and insecurities in their relationship. Like, even if you think about the canon (which is rich coming from me), Finland is always clarifying that he's not affiliated with Sweden in a romantic sense while simultaneously defending everything Sweden does, telling everyone that they have misunderstood his sensitive persona. And Sweden silently suffers on the side, not wanting to push his boundaries or make Finland uncomfortable. 

But I don't want to make it seem like they don't get along - they absolutely do! Maybe being ridiculously close at times, communicating almost telepathically at this point. Not to mention their vast cooperation in work-related settings. So, whether or not Finland wants to create some distance - he can't. He always finds himself glued to Sweden's side, looking for warmth. And no matter how much Finland's competitiveness tires Sweden, he can't help but admire the persistence. Maybe they're one of the things they both actually deep down like about each other; who knows. There are no hard feelings between these two, though sometimes, the old pain and confusion might pop up in unexpected situations. But in the end, they always work through it.

I think that Finland does legitimately love Sweden, but due to their shared history, he gets uncomfortable with how others might view their relationship. It would be fine if it were literally anyone else than Sweden he had these feelings for. I can see them having some kind of romantic relationship, but it would be very private and a topic they don't like publically discussing. That doesn't mean they're the best at hiding it, though.

Anyway, that's how I view it. I have to say, I do like SuFin as a ship nowadays. It's cute! And a source of endless possibilities. I just don't like reducing Finland and Sweden to "the married couple," especially when my blog is about all of the Nordics. There is so much more to discuss about these two, so many sides people rarely explore. That's why I like to focus on their lives and personalities outside of their romantic relationship. It could also be because I'm not a passionate shipper overall. Or because it's hard to find non-SuFin content out there. But, even with that said, exploring SuFin from time to time is fine. Discussing headcanons for them is fine! They're allowed to exist as a ship in this blog. But I don't want it to be the only thing they're defined by. Let them have a life outside of each other! <3

[time-is-restored]

btw not to make everything about My Fucking Guy but i honestly think one of the things that seperates q!phil out from the other islanders is the approach he takes to dealing with the lack of agency + control all the islanders have over whatever the fuck the federation's doing.

it shows up most prominently whenever tubbo is excitedly telling him about the 'progress' he's made with cucurucho or various investigations (ie: trapping him into a corner with the 'do you have free will' questions), and phil always shoots it down w an immediate 'that doesn't mean anything. curucuho will say anything to mess with you. you can't take anything he says as true.'

and it's not that phil is... a paticularly pessimistic character? he's just EXTREMELY practical. like, he's yet to give up on anyone EVER finding ANY answers (he was the one who initially gave the federation that one week ultimatum w the cage for a cage stream), he just doesn't trust the idea that curucuho is ever going to voluntarily give them. they're uncontrollable + senseless - you might as well argue with the weather.

and like, if that's how he sees the one (1) and only point of contact the islanders HAD with the federation for months, it explains a lot abt his characters lifestyle! ofc he sits on the wall all day, talking to his kids, and keeping his head down. he believes that the federation wants nothing more than to drag the islanders into sick games + tasks just so they can fuck with their head (ie: curucuho revealing he was the one cellbit gathered all that information for). and while he can't totally PREVENT any of that from ever impacting him, he can make sure his kids are well fed, well protected, and as happy + comfortable as he can manage. this is objectively not a perfect situation, there is a guaranteed amount of suffering + fear that he can't mitigate, but he can at least account for it.

like, he REFUSES to engage. whenever curucho shows up, he treats them with total ambivalence. he's not going to get riled up by anything they do, he's not going to get super attached to the guy, he's just gonna laugh it off and irish goodbye it when things drag on. the ONLY time he's strayed from that general guiding principle has been since he's lost his eggs, and can no longer afford to let the federation's fuckery go: those are his fucking kids.

hence the completely unprecedented levels of outward rage and sadness and terror he shows throughout the birdcage streams - almost all directed directly to cucurucho. it's all a completely fair + proportional response to the horror the islanders are being subjected to, but it feels so different bc until now, q!phil has been so dedicated to not reacting, and not giving the federation any sign that they're actually getting to him.

[kyrakyrakitty]

this might come off as cruel or sadistic, but i don't want walpurgisnacht rising to have a perfect ending for madoka and homura. i dont want a doom and gloom ending, either - i think the best outcome of the film would be a bittersweet ending ♡

i dont wanna flood your dashes, so ill elaborate below the cut!! and in case you dont want to read, ill wish you a good day now ♡♡

first tho, pmmm is a story of hope, and it's given that to me and so many others for over a decade now. i think everyone is touched by it in a different way, and that's one of my favorite parts of this community!! but that's also to say, i know i don't speak for everyone here, and i love seeing posts about a happily-ever-after scenario for the holy quintet ♡ i love all of these characters immensely, and i definitely understand the desire to see them finally find peace, so i dont write this with any ill intent towards the characters or all of you in this community who just want to see them happy ♡ i know many of you have just as special a place in your heart for this series as i do, and i think thats incredible for so many reasons ♡

that said!

madoka's wish and homura's wish are inherently incompatible. they're mutually exclusive. madoka cannot sacrifice herself for the greater good without devastating homura, and homura cannot keep madoka safe without preventing her from fulfilling her dream of giving everything she has to others. there cannot be hope without despair, after all.

ive always loved the ending of the og series for being so bittersweet. it says "life can be painful, but there's always reason to hope", and "you are never alone", but it doesn't promise a perfect outcome. life will hurt, and you can do everything in your power to change it, but just as you can always find hope for a better tomorrow, you can never erase all of the pain from the world. i think a happily-ever-after ending would muddle that message, and i don't think its possible for madoka and homura to live happily together - at least not as they are now.

if madoka and homura were to end up together at the end, they'd both have to undergo major character development. madoka would have to realize that as hard as she tries, she can't save everyone, and sometimes the pain you'll cause by sacrificing yourself will outweigh whatever hope you might instill. homura would have to come to terms with the fact that she cannot spare madoka from every source of pain without, herself, hurting madoka.

the happiest ending i could forsee (for madohomu, at least) would involve both of them undergoing a major event to come to their respective conclusions and move forward together with that trauma and an earnest desire to reach an equilibrium. i think the most effective way to accomplish this would be a major character death - probably mami and/or sayaka (and if both, may as well throw in kyoko and nagisa for extra angst! :) ♡) - that occurs specifically because madoka has overused her magic to help others and no longer has any to give to save her friend(s) without completely corrupting her soul gem, and similarly because homura could not prevent madoka from witnessing the death(s) of those she cherished and experiencing that grief and pain.

alternately, the two could cease to exist together. perhaps the "homura is walpurgisnacht" theory is true (i think there's a solid chance) and in order to save the world, madoka has to use all her strength to kill her and the two of them go down together kyosaya style.

another fun ending (albeit not one where the two are together) is a variation of madoka killing homura as walpurgisnacht - what if madoka had to kill homura before she becomes walpurgisnacht, in a direct parallel to homura shooting madoka's soul gem to prevent her from becoming a witch? oh how the turn tables,,,,

ooh! or what if both homura and madoka have to disappear together, but ai (clara doll #15, and our mystery magical girl if that theory holds (which i also think is likely)) lives on as a remnant of the love they shared?? then we could get a manga afterwards thats just a lil story about ai's life as a magical girl too!!

i think i forgot the thesis of this post towards the end there, but thank you for reading!! id love to hear any thoughts you have!! ♡♡ may you always find reason to smile ♡♡

[lunarheiress]

I have a lot of thoughts about dungeon Meshi since I finally got around to watching the new episodes that came out and put a lot of the discussion into a new perspective. (Also full disclosure I have not read the books though I wish to acquire them for that purpose at some point.)(also also I have to work so I’ll probably break this up into a few posts because time is short atm)

So, the recent fight between Toshiro and Laios. It’s got a lot going on, and people seem to really be trying to assign blame when both of them are at fault (one a bit more than the other in my opinion but I’ll get to that):

1. First of all, there’s the clash of culture a lot of people have been discussing where more open communication style is not mixing well with a subtler communication style. This can’t be ignored, as these modes form the basis of (or at least highly influence) how they learned to communicate in the first place.

2. Second, there’s the inherent character lack of communication skill. Laios obviously is and benefits from being direct, and struggles otherwise. Also i can’t quite remember what part gave me this impression but I felt that Toshiro struggles with expressing his thoughts more than just because of a cultural difference. Perhaps it’s a combination of factors but it really just seems like he’s on the opposite end of the ‘ways to be bad at communication’ spectrum from Laios.

3. Third. The situation they’re in is awful and Toshiro has not eaten or slept in days as Laios accurately points out. Toshiro is also (rightfully) shocked due to the black magic revelation. (Rightfully meaning within the in universe context of the stigma around black/ancient magic) The man has received some of the most frightening/worst case scenario ever imagined news and all while he’s running on whatever’s left after fumes. He’s stressed, unwell, not taking proper care of himself, and completely unable to pull himself together, especially compared to how well Laios comes across (all things considered)!!!

(As a very long side note, I also have some thoughts on the ancient magic. I don’t feel like we as the audience really know enough about ancient magic to pass judgment as harshly as characters in the story. The evil evil bad bad blah blah reputation the magic has might have come from biased sources, or the characters could be completely correct regarding the danger. I will say however, that I think the type of magic Marcille used seems to have nothing to do with Falin transforming into a dragon. The only things she didn’t know was that the dragon ‘soul’/physical body would remain in some way and that the mad mage had dominion over whatever it is that’s remained. This also raises some interesting questions about what the dragon was exactly. They say that only human souls remain tethered, so, is the dragon soul originally human? Did the mad mage create certain monsters and power them with human servants? Did he originally transform a person’s body into the dragon, but couldn’t this time fully because Falin’s bones didn’t belong to the dungeon? Or does the body of the dragon belonging to him give him control over Falin until she consumes enough outside food to replenish herself? So many questions)

4. We as an audience know how hard a time Laios has been having. He’s also been behaving like a lunatic and putting himself at risk in ways that definitely indicate he’s not being completely rational at times. However, Laios also seems (on the surface) incredibly unaffected by what’s going on from an outside point of view. Despite his direct nature Laios is shockingly good at compartmentalizing, as well as refocusing his attention and efforts. This is in no way a bad thing? His ability to remain composed and focused is astounding. The problem is that Laios is likely coming across as cavalier, or at the very least not taking things seriously enough. It’s actually the opposite, he’s taking this situation very seriously, so much at times he’s not being completely rational which can easily come across as carelessness if you don’t know Laios well enough.

So, to sum up this first part? The argument is kind of born from two people who are both uniquely bad at communication in a way that clashes severely. They have also built a relationship they both view very differently. (Some recent decisions on both their parts are not helping either tbh). This argument was going to happen eventually, it just happened to break at the worst time possible, turning what might have just been an uncomfortable conversation into a full blown fist fight. But there’s also so much going on around them and in the fight that I still want to talk about so badly aaaaa part 2 later I guess!

[burning-sol]

on a dime thinking about characterstics different pcs tend to share across the players.

charlie: everyone says it and it is so real, religious trauma and imagery cause i mean literally just look at peter and exandroth, gillion's whole deal being the chosen one, william's incredible distress discovering the absence of god. horror but especially body horror cause AGAIN peter and exandroth, gillion's often scary n fishy descriptions, the way charlie describes how ghoulish william looks with william literally decomposing. comically exaggerated personalities with gillion the most hero of heroes he's so hero just look at his titles, peter to be mistaken for a literal doormat, exandroth the fanatical violent all around super evil angelic force, william wisp the freak from deadwood who has ghost powers and was so dedicated to solving mysteries he died that's his thing. might i say they are all quite obsessive, gillion obsesssed with being the chosen, peter obsessed with rocks and lizard, exandroth obsessed with retribution, william obsessed with mysteries, and this can create a strong disconnect with the world around them. of the pcs i would say they are usually the most outcast of outcasts and the most freak of freaks. also autism.

bizly: very straightforward characters with no subversion, what you see is what you get. NORMAL, AVERAGE, UNDERWHELMING, these are terms you can use to describe chip rand AND connor <- also they all have the same brown hair. this makes their badass moments stand out and be triumphant, where would we be without chip's badass sword, rand's badass finale, connor's horrifying but also sort of badass moment with the book, and also thanatos is a compilation of every badass moment bizly could probably ever want. there's always some sort of family issues see chip no family, rand strained relationship with family, connor i think had something going on but i cant remember, thanatos and the holy family. definitely most likely to get into conflict with other pcs might i say, gillion and chip, rolan and rand, rumi and thanatos, that's literally one of every other players' character what can i say.

grizzly: these characters are all struggling to live up to incredibly idealised persona and for the most part end up failing, rumi's persona literally breaking down until they shed it completely to be true to themselves, dakota always trying to be a hero which has worked out so far but we're just waiting for something bad to happen, kian who pretended to make it as a rockstar after most definitely failing, aster is by proxy sort of failing to live up to the perfect persona that is her father. shapeshifters? i mean rumi is a changeling, aster can alter her form, dakota has a feral mode, and kian got bugged so you know (joke). lot of these characters are incredibly gender lets be honest here.

condi: feel an intense pull towards conforming, jay struggling to push against her family, vyncent from another world trying to adjust and appear normal, rolan getting a respected profession, everything with ryan. there is a struggle of identity that is incredibly external, jay as a pirate vs the literal navy, vyncent's repeated experience of sharing a body, rolan being a fucking bug, ryan had a confrontation that was the most direct thing you could bear witness to. the actual perfect balance of two very smart characters and two of the most incredibly stupid characters i have ever seen. honestly very on point about their observations of others and themselves but can find difficulty to express that to other.

and i totally forgot about the prequel pcs but ms g and finn are also autistic, harlem shade definitely has that classic super cool persona also gender, jason king god bless this normal dude dragged into whatever the fuck the other two have going on, arlin is the source of the family issues. i literally am too tired to write anymore so i apologise if i fucked stuff up i cant be bothered anymore send post.