#i want to develop her main verse so much more because all of this makes sense in my head.. ..

[braskide]

thinking about an unsent yuna verse to cope with the horrors today.

( clinging to life because she feels like her work is never done; becoming the very essence of what she has sworn to defy. being unable to let go of the high summoner duties entrusted to her and the ones she put on herself, because she does not want anyone else to take on the heavy mantle of sacrifice. )

[bestanimatedmovie]

Choose your favorite!

Vote in the other polls!

What fans say:

The Lorax:

Spider-Man: Into the Spider-Verse:

It had a very big impact on meme culture. And a really catchy soundtrack. Plus it has the silly sexy green man. What more could you want from a film.*

The Once-ler and the let it die song. This movie is glorious.

It is legit the mother of all great animated movies nowadays. From Mitchells vs the machines to the new mutant mayhem movie! The plot is so good and you can really see character development from almost all of the characters, plus the designs are BANGER.

THE MUSIC?? TOP FUCKING TIER. THE CASUAL DIVERSITY? IT ALSO HAS LITERALLY THE BEST SHOT IN CINEMATIC HISTORY (Miles rising after taking his leap of faith)

BRO THE ANIMATION IS SO SICK. The amount of sheer effort put into this movie is insane. The character growth was so amazing to watch and such a great movie to analyze. Best scenes are obviously the leap of faith. Actually gorgeous. And also the scene where aunt May sees Peter b after her Peter died. Her “you look tired, Peter” is just so heartfelt

Where the hell do I even start. The visuals are incredible and the plot is engaging. Every scene is perfect.

This film has EVERYTHING. Humor, action, inspirational scenes, kickass music, absolutely killer animation, an art style that is an homage to comic books, loveable characters, a talking pig, DR OLIVIA OCTAVIUS, I could go on

This is the best superhero movie ever made, the leap of faith is one of the best movie scenes of ever

The animation style is better than all the others, and makes the movie funnier too! The representation is also good, and the romantic storyline isn't too prevalent in the movie. Probably the best animation Marvel has made. My favorite scene is when the villains show up to Aunt May's house -- its my favorite fight scene!

I’m sure this movie’s been submitted already because it’s arguably the greatest animated film of all time. I have a personal connection to it because I saw it in theaters on opening night with my late father, and we both loved it and I still do. The animation is revolutionary and it’s one of the only 3 movies that make me cry.

gsksvbsvsbsvs I love everything about it, I love the animations, the story, the soundtrack also the style of animation AAAAAA its so beautiful its art it belongs in a museum i get goosebumps everytime I rewatch it

It’s just so good. All the characters are amazing and I love Miles dad. It’s hilarious and sparked my love for spider-man. It’s such a sweet movie about finding yourslef and has such a powerful message. I totally recommend it so I’m not adding spoilers, but like. Ohhhh, it’s so good.

Interesting villains, well-developed character arcs, a fresh take on Spider-Man, unique use of animation, funny, good use of multiverse that adds to the nature of the story being told, complicated character dynamics

It's the best animated movie because A: it takes one of the most well known comic characters of all time, kills him off in the first few minutes, and then shows you every cooler version of him. B: Has a large amount of representation in its main cast, considering that they're all versions of Spiderman, and that requires a white guy by default. C: everything in it is so well done I can't pick a favorite scene, but the most iconic is the jump off the skyscraper window.

The animation is incredible, the movie has so much story and heart, and there’s a perfect balance between humor and seriousness. And the soundtrack slaps

This is probably the best animated film I've ever seen. The animation is definitely the highlight, the way they blend comic book art styles and 3D animation is an absolute joy to look at and is so overwhelmingly creative, every frame of this movie is gorgeous. The impact this had on the industry is undeniable, as we start to see more and more movies getting more creative with their animation styles. It's not just the animation though. All of the characters are entertaining, all of the jokes land and the story is really well done. It leaves me blown away every time I watch it.

This movie kind of changed the western animation industry from the ground up. Apart from being expertly written, funny, and heartfelt, it is also stellarly animated, with a unique visual style that takes direct inspiration from the comic books it adapts and mixes 2d- and 3d-animation in a way and to a degree that hadn't really been seen before in western mainstream. Its critical and monetary success paved the way for mainstream 3d animation to open up to new and excitingly stylised movies that were like a breath of fresh air between the generic Pixar-style animation that had been the largely unchanged norm in the industry since Toy Story circa twenty years earlier**. ITSV divides the screen like panels on a comic page, it uses dots and lines for shading and gradients, doesn't shy away from lowering framerates for stylisation, and makes liberal use of onomatopoeia, both to comedic and dramatic impact. Impact frames and SFX are often hand-drawn and stunningly colourful, and even the simple dialogue scenes astonish with an expressiveness and realism in their depiction of emotions that makes me rewatch a two-second scene of Miles laughing fifteen times in a row. My favourite scene has to be the What's Up Danger scene, the emotional climax of the movie. Set to an absolute banger of a song, it is the moment the entire film has been building up to. I won't spoil anything plot-wise in case you somehow haven't seen this movie, but both from an emotional and a visual standpoint it is Fucking Dope. Conclusion: Spider-Man: Into the Spiderverse is my favourite movie of all time and I could talk about it for hours. If you haven't seen it, go watch it. Thank you.

Have you SEEN the Whats Up Danger/rising and falling scene? it's a work of art that makes me fall in love with storytelling all over again whenever I see it. Also the impact that it's had on animated film is absolutely being felt at current, if incrementally. Incredible film.

It has an amazing art style based on comics and mixed up due to genre differences. It's really fun and the characters are great, even the side ones. The story line is great and I love Miles and his family.

*Mod note: errr, quite a lot more than memes and music actually

**Mod note: amen

[queenimmadolla]

Idk if you’ve answered this or not but what are Penny, Wayne and Maples interest/special interest? Like was Penny into the 90’s/2000’s boy bands? Was Wayne into trains or dinosaurs or something real niche like garbage trucks and was I’m assuming Maple was born in the late 90’s was she into Hannah Montana or even metal music that you and Eddie cater to until they just decided one day it wasn’t cool anymore and moved on 😅

I want to thank you. Because you just reminded (I had to consult my timeline for this verse to answer it) that Penny was born in the late 80s, so she got to endure the late 90s and y2k as a teen. She would have been the same age as Lindsay Lohan and Hilary Duff when they feuded omg!!!! And with a famous dad?? She can interact with y2k royalty!

ANYWAYS, to answer your question, YES! She was a big fan girl of the Backstreet Boys as a preteen! Was begging her parents to go to concerts all the time, learned the choreography, she was obsessed and, as delusional as 10-13 year olds get over boy bands, she was proud of it. And DREAM. She’d love that girl band so much. As a teen, she loves most of the bands of the 2000s like Fall Out Boy, Green Day (they reached the height of their fame that really elevated them in the 2000s—thats not up for debate), Sum41, Evanescene, Linkin Park, Good Charlotte, Pussycat Dolls and she’s a fan of singers like Beyoncé, Britney Spears, Mariah Carey, etc. She doesn’t really like the pick-mes of the 2000s. Sorry, Avril.

Wayne didn’t have any real niche interests dinosaurs or trucks. By the time he could develop niche interests, Goosebumps was a thing, so i imagine him going the mystery/horror route. And because of watching and reading Goosebumps, he develops an interest in weirdly specific things just as the main characters of the show do. To make it short—whatever he watches he makes his whole personality for a good couple of months.

And you’re right about Maple being born in the late 90s! She was 100% a delusional fan girl too, LOVED The Jonas Brothers, Hannah Montana (but she loved Miley Cyrus more), fucking radio Disney, Jesse McCartney—oh my god, she was born around the same time as me so she’s going to go through so many horrible fashion and fan phases. The shrug, the skinny scarf, the weird layering of dresses over jeans. One Direction. God, Eddie has to endure a lot with her but if his babies are into something, then he encourages their enthusiasm, helps them indulge in it by buying them CDs and merch, goes to concerts with them—he’s a good fucking dad. Even if the two of you get whiplash with how often they switch up their interests. And lucky for you and Eddie, she’s a Beyoncé stan, so she exposes him to fantastic music just as he introduces her to the music he grew up liking in the 80s.

[0oolookitsme]

Falling in Love

Type- One-Shoty Blurb

Verse- Singer!Harry x Ceo!Y/n

Word Count- 1.3k

Warnings- Just sweet, sweet fluff and a very light description of the anxiety that comes with falling in love.

A/N- This one, y'all, is a special one.

This fic celebrates more than one occasion. I published my first ever fic on this site on July 20, 2021. And this is also a goodbye to The Love On Tour which ends today, July 22. I chose (Singer!Harry x Ceo!Y/n) for this, because it is the first universe I ever created, and Harry is a singer in this au, so that kind of fit as well. Also, you people never failed to show your favouritism when it came to any fic I posted in this 'verse -- I love you, and thank you so much for that. I'll be honest, this isn't the original the fic I wanted to post today, but I had to because somehow, I wasn't able to finish it in time. Maybe by the next weekend I'll have it finished, don't mark my words on that though.

So, I really hope you enjoy this fic, which depicts a scene from (Singer!Harry x Ceo!Y/n)'s early stages of relationship, when they'd just started falling in love.

I love you and thank you, a LOT ;) -A.

A little out of breadth Y/n climbed in her car, immediately turning on the AC on full. It was a melting hot day in New York, and she couldn't be more frustrated.

Sitting in the car, she switched on her mobile data for her playlist to start singing. But just as she hit play, a text from Harry popped up on her screen, a smile stretching out on her mouth just in time. She scrolled down her notification bar to see what it was, and it made her sad, the fact that she couldn't smile any wider.

Obviously, he was trying to make her insides churn -- why else would he ask her: 'would you like some croissant, mon chouchou?' Her nose scrunched up as she let her head hit the headrest of the seat, trying to swallow down her screech of giddiness.

With fists clenched tight because there was no other way she could express her ecstasy right now, she allowed herself to open her hand and loosen-up her jaw. 'I'd very much love some! Where are you right now?' She texted back, hoping she could pick him up.

Driving out and straight onto the main lane, she stopped about mid-way through, the street packed with cars and bikes.

Y/n looked up once again, to make sure the traffic light really was red, and right as she was about to look back down, they turned green -- and this is the first time she's been mad about that. Tossing her phone on the passenger seat as she turned her car on the left, she hoped that Harry would reply before she reached the U-Cut.

And while her full attention was on the road, she couldn't help but look at her phone screen from the corner of her eyes. Should she just call him? She slowed down her speed, waiting and waiting and immediately stopping on the side of the lane when he finally texted back: 'Cornelia Street, why?'

Her whole face scrunched up in confusion, as she quickly typed: 'what the hell?' She hit send too quickly, but still kept on typing. 'it's like an hour away! how are you gonna make it? the metro-station will shut down soon!' She texted him again, starting her car again to start driving.

The quicker she reached him, the better. She just hoped that she wouldn't have to stop at a red light again.

'I dunno... maybe get an Uber?' Her screen lit up with his text. 'Anyways, which one do you want?' He texted again, this time attaching 2 photos.

Y/n lightly shook her head, not able to believe that she's going to be driving for an hour to pick up this weird man she seems to have developed a huge crush on, when all she wanted to do leaving the office was to pass out on the lovely forest green sofa in her living room. And she only gets more confused when she sees her phone light up from the corner of her eyes again.

'Pick up whichever one you're eating, H' she sent him a voice message, not careless enough to text him that while driving at this speed. But just as she turns on the next road, a groan rumbles from the back of her throat when she sees another traffic-jam. It sure isn't as hideous as the previous one, but it's making her late, nevertheless.

Rien Que Toi et Moi started playing on low volume in the car as she picked her phone again, going straight to the text Harry had sent her.

'okay, you're clearly too busy to type 'gruyere croissant'. So, I will buy it for you even though I'm taking a chocolate one' was the first text, and the next one made her grin quite wide in slight embarassment. It said, 'Cause someone needs to be sweet to keep your salty ass sane'

'Don't get all grumpy with me now, we both know you can't live for even a day without salt' she texted back, chuckling already. 'And don't book any taxi, I'm on my way to pick you up!' She wrote again, now suddenly embarrassed.

This time, she threw her phone on the seat for once and for all, determined to stop only when she's on Cornelia Steet.

And as she drove, her mind was still on Harry. It hadn't escaped her, the fact that he remembered her favourite croissant, and knew she wanted that one only, even when she didn't say so. She knows that he too knows he'll be eating half of hers and then offer her a half of his'. Staying with her, he'd grown to like a lot of her favourites.

But what he's surely got to notice, is that a lot of his favourites, are now Y/n's as well. It's more than often that she's caught doing things that he loves to do, learning about things that he always talks to her about. And she remembered something flashing in his eyes when she told him that she's only doing it so that she can chat a little more about it with him.

Driving with her window rolled down, Y/n slowly and slowly felt herself calming down and little by little, falling for Harry -- with his little quirks and habits that make him who he is. But still there was a slight tightness in the midst of her chest that frightened her, a little alarm that always went off blaring every time her eyes landed on Harry, screaming at her to turn around, that she still had time, and her heartrate would go impossibly high.

But she knew, she had nothing to lose. The most that could happen was that he'd break her heart and people will stop murmuring about how she's got some colour in her face and a small smile on her mouth every time she walked by. And the gossips about her being cold-hearted would return. She didn't have anything more to lose and for some weird reason whenever she saw Harry, something inside her, maybe her heart, pointed at him and whispered without a pause in her ears, 'that's the one, that's the one.'

It's when she passes the board-sign with 'Cornelia Street' written across it that she parks on the side of the lane again. Picking up her phone, she texts Harry 'I'm in front of the 'Books and Lattes' cafe. Where are you?'

And it was like Harry was already on his phone because he responded right away. 'Should be visible on the first zebra-crossing you stop at!' his text said, and all of a sudden, a hint of giddiness bubbled inside her at the realization that finally she'll be seeing him.

And Y/n did see him, just as she slowed down as she neared the crossing. She looked to her left fist, out the passenger side window and in a split second her eyes found the pair of forest-green eyes that she longed to take a walk in all the damn time.

His Cheshire-cat grin so charming, it felt as though he had aimed it straight at heart, as he walked towards her. And just to poke fun at him, she didn't unlock the door -- rolling down the window instead. He waved at her with a dimpled smile, just a few steps away and as he went to open the door, "hey there, beau" she teased.

Harry rested his elbows on the sill, looking at her with a mockingly intense gaze. "Lose your croissant or unlock the door," he said quickly and laughed at her groan as he went to sit beside her. "I'm hurt that you'd choose a croissant over me!"

"I'm surprised that you're surprised," Y/n said, while backing up just a bit to turn into the other lane.

She heard him sigh and then saw him dramatically rub his forehead. "Disappointed, but not surprised," he said.

"Oh, c'mon darling-"

"I'm not your darling when 'm pissed at you!"

Letting out an amused laugh, she intertwined their hands in the heat of the moment, and that same old alarm went off blaring. "Now look who's being salty," she stated as a matter of fact, shaking her head when Harry muttered, 'you're never going to let that go, are you?'

And somewhere on the inside, a little voice in her head mumbled, "uh oh, I'm falling in love."

Tagging: @reveriehs <3 MASTERLIST :)

[treehuggerthegreat]

something i really need to get off my chest even if i just post this privately is That i really dislike ‘caretakers’ in whump writing. or ‘whumper’ i feel like it makes a character (even if they’re just a hypothetical one) feel very 1 dimensional and it makes me so OKAY JUST HEAR ME OUT!!! whumpee i don’t mind much, it makes the prompt or what your talking about a little clearer. But it feels like it’s putting it into a box and making sort of roles which makes it feel less like a prompt and more like we’re in an omega verse fandom and i mean this really lovingly and affectionately and no hate to any of yall. I have a vast amount of characters and i write stories and books and I can say with out a shadow of a doubt, not ONE of them fall under ‘whumper’ or ‘caretaker’ because i develop them as their own individual character. Not even my antagonist are ‘whumpers’

So one of my main antagonists literally burns cigarettes on the MC and abuses the MC. Tries to kill her on her 18th birthday. Shes her mom, and the main character PHYSICALLY cannot leave that situation with out getting the authorities involved until she turns 18. Mom sounds like an ass, she beats ‘whumpee’ up! why would i NEVER call her a whumper? because she’s a whumpee by that logic. Her mom was extremely emotionally abusive, and half the time not fully there. Her shitty ass dad got murdered in front of her when she was just a kid. but Her mom isn’t a whumper either, because she too would be considered a whumpee. She was a world renowned flapper girl, everyone loved her. she LIVED for the fame and her face in newspapers. But behind the scenes she was actively ignoring her distant parents as they continued to try and marry her off. She was then forced into the marriage when she got pregnant with the guy (much so against her will which is why she killed him.) and ever since she’s been delusional and not fully there. It’s generational abuse.

more ramble under the cut + extra clarification on what I’m trying to say

okay but that’s just generational abuse right? There are other whumpers in the real world! Yeah i guess there’s sadists and serial killers, but like, there’s SOOOO much more guys.

I have a mini antagonist, he’s in highschool and he’s meant to be the toxic narcissistic ex of one of my characters. But he’s falling apart trying to get attention, he’s not fully aware of the damage he IS doing. Ass he may be but again behind the scenes he’s constantly fighting with his dad who refuses to do anything around the house and who is also transphobic (she’s bigender but i’ve been using he to make it less confusing right now) and now she has to take care of her little sister and act like a whole ass mom. As a sophomore. In high school. Not only that but her mom died, so she has to struggle with that. She’s just an annoying ass teenager, she doesn’t understand how to treat people or how she’s supposed to be handling what she’s dealing with. But getting attention and being liked at school? now that’s the shit. That’s like drugs for her. But to what lengths does she go to get that extra validation? He uses his boyfriend almost like an accessory. He’s not considerate of his feelings, and most likely doesn’t understand what a relationship is SUPPOSED to be.

Unless you’re making a sociopath character, which i LOVE a good sociopath character, you have to treat them like they also have humanity. Most of the time villains don’t just. Do shit to do it, they have some sort of background that lead up to this!!! And also even then with sociopaths they’re their own individual characters separate from the people they hurt!!! and also NONE of these are end all be alls and all characters must be developed this way!!!!

just my advice and stuff <3 i love all of you out there and i can understand why using certain roles and terms are the go to, and i’m not stopping you!!! i just really wanted to give my two cents so i can possibly help other writers!!!

[androgynealienfemme]

"The main justification for invalidating butch-femme is that its an imitation of heterosexual roles and, therefore, not a genuine lesbian model. One is tempted to react by saying "So what?" but the charge encompasses more than betrayal of an assumed fixed and "true" lesbian culture. Implicit in the accusation is the denial of cultural agency to lesbians, of the ability to shape and reshape symbols into new meanings of identification. Plagiarism, as the adage goes, is basic to all culture.

In the real of cultural identity, that some of the markers of a minority culture's boundaries originate in an oppressing culture is neither unusual nor particularly significant. For instance, in the United States certain kind of bead- and ribbon work are immediately recogniziable as specific to Native American cultures, wherein they serve artistic and ceremonial functions. Yet beads, trinkets, ribbons, and even certain "indian" blanket patterns were brought by Europeans, who traded them as cheap goods for land. No one argues that Indians out to give up beadwork or blanket weaving, thus ridding themselves of the oppressors symbols, because those things took on a radically different cultural meaning in the hands of Native Americans. Or consider Yiddish, one of the jewish languages. Although Yiddish is written in Hebrew characters and has its own idioms and nuances, its vocabulary is predominantly German. Those who speak German can understand Yiddish. Genocidal Germanic anti-Semitism dates back to at least the eleventh century. Yet East European Jews spoke "the oppressors language," developing in it a distinctive literary and theatrical tradition. Why is it so inconceivable that lesbians could take elements of heterosexual sex roles and remake them?

*

It is June 1987, and I am sitting in a workshop on "Lesbians and Gender Roles" at the annual National Women's Studies Conference. It is one of surprisingly few workshops on lesbian issues, particularly since, at a plenary session two mornings later, two thirds of the conference attendees will stand up as lesbians. Meanwhile, in this workshop the first speaker is spending half an hour on what she calls "Feminism 101," a description of heterosexual sex roles. Her point in doing this, she says, is to remind us of the origin of roles, "which are called butch and femme when lesbians engage in them." She tells us the purpose of her talk will be to prove, from her own experience, that "these roles are not fulfilling" for lesbians. She tells us that the second speaker will use lesbian novels from the 1950s to demonstrate the same thesis. And, indeed, the second speaker has a small stack of 1950s "pulp paperbacks" with her, many of them the titles that, when I discovered them in the mind-1970s, resonated for me in a way that the feminist books published by Daughters and Diana Press did not.

I consider for several minutes. I'm well versed in lesbian literature, particularly in the fifties novels, and don't doubt my ability to adequately argue an opposing view with the second presenter. I am curious to see if she will use the publisher-imposed "unhappy ending" to prove that roles make for misery. I also decide I'm willing to offer my own experience to challenge the first presenters conclusions- though I'd much rather sit with her over coffee and talk. She is in her midforties and, although she claims to have renounced it, still looks butch. Even if she speaks of roles negatively, she has been there and I want to hear her story. Then I look around me. Everyone is under thirty. There are a few vaguely butch-looking women present who'd very likely consider themselves to be as androgynous as everyone else, and not a single, even remotely femme-looking women besides myself. I recall Alice Walker's advice to "never be the only one in the room." Quietly, I get up and walk out. I go to no other lesbian presentations at the conference."

“Recollecting History, Renaming Lives: Femme Stigma and the feminist seventies and eighties" by Lyndall MacCowan, The Persistent Desire, (edited by Joan Nestle) (1992)

[rontra]

How does failteacher Yuri interact with the greater plot of persona 5? I remember Toriumi mentioning 'some weird shit in 2010', but do the two of them have to deal with stuff like Kamoshida's change of heart and the principal's death?

the current policy is that unless something directly and immediately relevant comes up the answer is "it doesn't"

for 2 reasons. number one is that i don't feel like binding myself to the month-by-month timeline of p5-the-game in too much detail, because i'm lazy, and making my AU up as i go (lol). and the second reason is that observing the plot from a completely uninitiated unrelated POV is just not very interesting to me....... orz

one important thing about my failteacher AU is that it's a casual n sloppy style(!!) project that i do this way because it's fun (and as soon as i stop having fun i will stop making it). the vibe of creating it is just as important as the vibe of reading it. my worry is that committing too hard to ~The P5 Plot Is Happening Among Us~ would have me too distracted by logistics and timeline puzzles that aren't even relevant to the story i'm trying to tell, and suck the fun out of the project for me...

due to the year difference btween the 2 games, the plot of P3 did happen in 2009-2010 (the "weird shit" comment was in a doodle but yes it did happen and parts of it will be Main Comic Material later when relevant) (and i think its obvious enough from comics like #3 and general characterization that the Hermit 1-10 arc took place) (BUT MODIFIED IN VERY IMPORTANT PLACES. LOL) but obviously toriumi was an uninitiated & unrelated POV to that game so she doesn't really know that much about it outside of the parts that directly impacted her (which to be fair. are pretty serious)

p5 is much scarier because its looming on the horizon in FRONT of us and i hate being confined by a tangentially-related-at-best timeline. directly dealing with stuff like the fallout of palace 1 is a MAYBE? but ONLY because there are tangible Relevant consequences for -us- (more scrutiny placed on shujin teachers -> ms chouno gets on kawakami's ass, etc)

im gonna be real withyou i didnt even remember the principal dies. MDHNBFGB sorry to this man

all in all its just like. 99% of the plot of p5 is stuff these people are not privy to (kawakami's % is removed due to her no longer being joker's confidant thanks to hermit meddling) + committing to that timeline too hard would be abrasive to the comic + im much more versed in p3 minutiae anyway (especially later on in the p5 year). so its kind of like. well. just try not to Expect anything too major xD

if smthg catches my interest and i can work with it to make an interesting development, sure. but in the end its like why would i risk binding myself to specific points of a timeline and incurring Untold Rammys when i could simply not do that to myself. you know 😭

HOWEVER. FOR UNRELATED REASONS THAT ARE IMPORTANT BUT MAY OR MAY NOT PAY DIVIDENDS LATER (<- what did he mean by this?) it is seeming INCREASINGLY LIKELY that we might in fact currently be in the autumn -before- p5, meaning joker enrolls come spring in a few months and the game starts then.

^this paragraph directly contradicts everything above it but its fine. i have my reasons. just don't hold me to it TOO closely. i don't want to commit to a timeline just to be boxed in by unforeseen consequences later. but if you were curious there is a quiet notion in the background that says the plot of p5 proper hasn't started yet.

it's a "soft fuzzy timeline" but that's Secretly where we're at in it . kawakami bitching about her awful new student come April <3

So Perhaps Time Will Tell. if they're still doing this shit come May maybe i get to blow kamoshida up or whatever

[cldhrbour]

important portrayal notes

below are just some canon divergencies or nuances that i want to make explicitly clear are important to my development of serana. these are all pieces i've built over the years that, if we're writing together, and especially if it's in any high fantasy verse where serana's backstory is a bit more in play, that i'd appreciate you know and accept. hell, these matter more to me over you knowing her general plot to begin with since that's easy for me to summarize to you. there's just stuff in the game i've gotten sick of as far as how it was handled and i want to make sure we're on the same wavelength when it comes to writing and plotting together.

most importantly: your character (mainly if you're an ldb or tav or inquisitor - esque character) does not get to kill harkon. i'm glad we're all finally at a point where we want characters to have agency in their story rather than playing 'side-piece' to main player characters and this is something i've harped on for literal years. this is serana's story, this is her trauma that she has to come to terms with and make the final decision that her father can't live any longer. you don't get to take that away from her. it's a perfect character arc for her to go through and thus, all other characters will play a side-role in the final battle at castle volkihar. you don't have the history with him. you don't have the memories she has and the emotions she's had to go through to get to this point. do you understand how much it takes to get to a place where you know you have to kill your parent and not only just that but actually do it to begin with? it's stupid to think that serana has all this rich backstory with her clan and parents just to have someone she met maybe a couple months ago come in and sweep it all away. give her agency, my fucking god. you got your hero moment defeating alduin, the absolute, corypheus, etc. let serana have hers.

in my canon harkon does kill serana in kind. their final moments together are supposed to represent not only serana finally needing to accept her father's megalomania will never be cured and that he isn't the same man who raised her, but also she needs to see that in his final moment of taking the plunge and killing her. it's one thing to battle with him and try to continue to reason with him, it's another to stand there seeing he actually staked you through the heart at a final grasp of power. this happens within seconds of each other, there's nothing anyone can do about it. granted, it's a cop-out for me that her mother is a notorious necromancer and can bring her daughter back over a couple of days, so her story can and will continue, but for all intents and purposes, these two kill each other.

this blog is castle volkihar favorable. i'm staunchly against the dawnguard, but more importantly against the extermination of serana's entire family leaving her with no one once the dust has settled. it's fine if your character is a part of the dawnguard, but understand that if there's no compromise between the dawnguard and serana to keep the rest of the coven alive if the vampires agree to follow her instead, then you abandon any further 'friendly interaction' with her once the battle at the castle is over. you don't get to have your cake and eat it too because 'vampires = evil' in this godforsaken, lack of nuance game. as long as the coven continues to live, serana will then take over her parent's role and lead the volkihars.

serana will canonically have two sets of scars. and only two, considering her ability to heal. one is a pair of burn marks at her hips from when she became a daughter of coldharbour and was assaulted by molag bal. this is something, in my own canon, every vampire with the title of daughter of coldharbour has. it's a mark the prince of domination wants to have on his property. the second will appear after being resurrected by feran and valerica, a pitted scar at her sternum where harkon attempted to kill her. both of them bleak reminders of her deaths.

as she continues to develop, and metas i have become more solidified, i will be adding to this list and i'll make sure to make a post/update everyone when it's been adjusted to reflect my current canon.

[inkiest-silly]

ALL THE STUDIO INVESTIGRAVE VERSE SOUL SNATCHERS AU NOTES SO FAR!!! :3

Okay so like, i’d like to believe this ties into a more fantasy esk thing, kinda like the concept of serpent Vince,

But this includes multiple people from STUDIO INVESTIGRAVE (and probably if anyone else wants to add someone- very well)

Sigils(and markings),imprinted on their bodies to prove their ranks as a Soul snatcher,it changes as they grow and develop their powers,

Higher Soul snatchers need to fight more and gather more souls for their companions. Or the little silly colored things beside them that only a natural born soul snatcher will obtain- but they will only get them when they are around 7, being they are more capable of just accepting it and being normal with their companions

There is a slow decline in the race of soul snatchers, they have to disguise themselves being as they grow they also get more non-human features,

If other soul snatchers cannot recognize you at first glance you have a good physical outlook

Also their complementary color or favorite color will be their features color usually :3- like

Vince: red

Rody: orange

Winnie: blue + yellow

Augustine: a dark blue + orange

HEAVEN SAYS is one of the songs that could go along with the au,

More over the audio that does “I don't know i ended up here,i just-” then cuts into the main chorus.

Vincent and his companion are both killers to the fullest,his companion doesn’t like other people other than vince- if someone wants to touch it and reaches for it- it’ll dive into vince’s shirt or under his arm, just finding somewhere to hide on vince’s person.

Winnies companion is heavily social,loves being around other soul snatchers and their companions-

Rodys is slightly the same, but it just doesn't know what to do in a social situation. It and vince’s companion tend to be somewhat near each other

If I didn't make it clear before,Soul Snatchers are naturally born. They have human alliances, yes. But not many. Because humans tend to kill them because they are unnatural, killing out of fear.

Vince HATES being around humans- he has a pure distaste for them.

Manon was a human,a little worker at a nice cafe.

Rody visited it a lot,often conversing with her- finding the woman beautiful.

The more that they talked the more that they grew in love with each other…

Vince and Rody went to the same school, they knew of each other but never truly conversated, cause- well. Neither of them knew that the feeling they had was the simple recognition of other soul snatchers..they felt drawn but they were a little too nervous to say anything. So they never did.

Rody and Manon dated for a while,Rody doing the usual of most rodys- all attention,money, and topics. All around her. Manon started to get worried, but slightly too overwhelmed with all of his spending and “all for you!” she wasn't going to let him do that. And with everything,she got her things one night- placed a short, simple explanation and goodbye note on his desk and quietly left his place. That was a total mess…Manon never knew about rody being of the Soul Snatcher species- he was too afraid to show it to her - he was afraid that she would leave him over it. Obviously if he did or not- It would have made no difference.

Rody was heartbroken for MONTHS on end, he never really got over Manon- he didn't understand- he didn't get if he did something wrong or upset her. He Tends to vent to FIFI, having no one else to talk to. He was broke as fuck..so he needed to get a job soon. He had a friend he didn't talk too much- but when they met up they were pretty good friends- (I CAN'T FIND THAT GUYS NAME THAT LIKE- CANONLY KNOWS RODY- LIKE FROM COLLEGE-), He mentioned something about the Nice restaurant Down two or three blocks in the busy part of their location.. Lyon,France (franch/j).

Lyon is best known for its cuisine- so why not see if there are jobs available!

Winnie owns a tailor shop/fashion boutique down near Vince’s Bistro. He and Vince tend to talk when they're both on breaks, since they see each other a lot, Winnie is a regular at the Bistro,sometimes Augustine comes with. Bro just is a sad ass cashier- in winnie's place of course

They kiss in the staff room/j…/hj? Maybe you will never know

It all ends up in a little circle of acquaintances- they soon figure out that they are all the same in a way. Rody is still struggling through the break up that he and Manon had.. Manon was semi-regular at the bistro,before Rody started working. She had already run to vince. When Vince started talking about his new employee, she stopped staying at the bistro- soon the connection happened- but he didn't kill her.

Sometimes she soon returns to the bistro. It was Rodys' week to work through the small collection of waiters. Rody, obviously shocked to see her and tries to make small talk, but she looks a little nervous responding in tiny little sentences. Trying to tell him to save this for after his shift, his nerves spike but he agrees- and frequents her table and asks if she's alright. Vince kept his watch. Jealousy started to rise- he wasn't too sure why. He kept low and cool,he couldn't do anything. But oh how he wanted to.

After rodys shift, Manon at least tried to talk to rody about his problem- just didn't get it- he was stressing. Focused on her. She ended up telling him more sternly than she had before,he was too afraid to answer her. He couldn't help but agree and stayed quiet like a small puppy getting told off and thrown into the mud outside.

This caused rody to tend to get more nervous with stern talks when its people he really cares about.

Rody doesn't like to kill, but if it comes to desperate measures- he's going to hesitate- if its for Fifi- being it and any companion feed off dead souls. He’ll try and get Vince to do it- but your kills will either go to your companion or it’ll find its way to the gates.

Soul snatchers are huge cuddlers and group sleepers- they usually will have something to give them the sensation of sleeping with someone if they live alone- but since there's couples here-

Winnie will always get up close to auggie- in some shape or form. Even if it's in his sleep.

Vince is still paranoid about being open about his relationships- but the group does know and teases him about it- rody tends to giggle at them- Vince never knows how to react to any of the teasing-

Vince is the only other soul snatcher in his family- getting it from his Father- ofc he didn't know about it or whatever a soul snatcher was. Each soul snatcher will either figure it out on their own or get told by a friend who might also be one. They are in some legend books- but no one knows much about them so there's only a page or two.

How would I tie a child into this if I ever did ? They find one,that's been left somewhere- prolly winnie’s sympathetic ass bringing it back to the Group’s place and pleading to keep it- rody totally joins in- really liking it-

The other two soon give in- AUGGIE KNOWS JACK SHIT ABOUT KIDS- and has no idea at all how to help,brp just stands in the back, confused

Angelica fears herself,she's religious still,but not as much(like she really is…she's not what you think of when you think of a nun anyway..) she is a HALF BREED of a soul snatcher, so she's not fully one,

She doesn't have a companion of her own, though some get abandoned. But she will not kill for it she doesn't even know thats what feeds it and she wouldn't either way,even if she did know,she’d still feel bad for not being able to feed it properly (religious reason)-

. When she meets everyone else,they’ll help her (vince and augustine primarily-)

forcas is still well…forcas. But ofc au things. He's on earth,following angelica- but in human ways- he tends to forget that he's not able to use his floaty power like this..and falls on his face a lot.

Rody angelica and winnie hang out more than most do (vince is usually there if it's not just a them outing)

This is pretty much just a half religious lesbian,a bi failure of a man and a twinky cry baby friendship…😭-and live for it

NGL LISTEN MANON AND ANGELICA IN THIS. LISTEN HERE ME OUT HERE ME OUT Y'ALL-

Only two(3?) refs rn

[starsscarmyceiling]

have you finished battle scars? 😐

Oh damn nonnie. I mean sit the fuck down and get comfortable because I have a lot of feelings on this. Please keep in mind that these are my opinions and takes. I am not looking to fight or argue. If your experience differs from mine and you have different opinions, you are still totally valid.

Alright my babies, let's get into it...

It’s difficult. I feel like I—well, have a lot of feelings, like I said. And upon further contemplation the more time passes (which I know it’s only been out for like a week and a half, but still), the more aspects of it tend to confuse and baffle me.

Because yes, am I happy there was a Merrical implied ending? I mean, of course. What kind of Merrical shipper would I be if I wasn’t? I guess my main frustrations therein lie with the overall story that was told. Because first of all, I thought the story was kind of weak. But Merrin having her moment and being able to process her trauma? Yes. The Mantis, attempting and sorting out the internal issues amongst them? Yes. Cal, attempting to challenge his beliefs of everything he has been taught within the context of this new galaxy? Yes. Merrin and Cal ultimately choosing to stay with each other because they want to? YES.

I understand why Merrin did what she did throughout the book. She was still in a cycle of heavy depression, and there was a vicious cycle of her not having any source to fill herself back up because one, she never had the opportunity to process her trauma (apparently), and two, nor was there an environment that was actively being fostered for her to do so. The Jedi are known of course, to be in line with that toxic positivity, but what frustrated me was all of the juicy potential that we could have had.

What actually bothered me about her so called “development” is that it happened off screen. It was all like, well just take our word, she is like finding all of these things out over here we promise. Because the whole time she was doing this, it was completely dependent on another character that was not Cal, just some random bitch we don’t care about, instead of coming to these things on her own or with someone she has an actual bond with. The way in which these things came about pissed me off so much because she could have had these moments with Cal, whom apparently she had this amazing developed relationship with, of which we never got to actually see. They went back and forth saying the Mantis crew wasn’t touchy feely, but then talked about how her and Cal had all these long, meaningful conversations…so like…what the fuck were these conversations actually about? They never talked about themselves or their traumas at all???? Merrin literally thinks at one point, up until she met Fret, Cal was the only person she felt like she could share things about herself with…but the way in which this was written really doesn’t make me believe that at all. It was just cheaply done like, lol, well just again trust us that these two people have developed relationship here in the interim. It was like, so unsatisfying to read. At no point did they actually show how and why her and Cal grew to care about one another other than us being told they were. That is what I am truly pressed about.

Also, I truly am not a fan of how Cal’s characterization was handled. I feel like he was just written like he was like seven years old or something. Cal can be awkward and aloof, sure…but I feel like this was just taken too far. Not only did he get cucked (in his own fucking BED; idc I will never get over that), but he also got reduced to a seven year old boy that didn’t have nearly as much depth as he could have had. I liked him questioning his ideology, but I felt like these topics were brought up and not really resolved. When I write Cal, I feel like all of the potential lies in using what has already been given to us. I see Cal as someone who is well versed at understanding people’s emotions, an empath, compassionate, protective, and obviously having such a big heart, especially for those he cares about and loves. And is this because of his psychometry? Or just how he is naturally, who knows it could be a combination of both. Think about it, this is a person that has been experiencing what could be complex adult emotions his whole life. And you’re telling me that he’s still that oblivious? Hmm, I don’t think. And wtf he doesn’t feel that many echoes? Mf was going around that whole game feelings those all the fucking time.

If I could quote a frond, @wayfaringjedi, this was a pretty hot take:

“How much stronger would it have been for Cal to confront that he has to allow her to feel anger to heal, and that anger is a useful emotion

How much stronger would it have been for Merrin to realise that safety exists, that she will not be rejected for being herself or being difficult or being angry, that she has her place

How could it have been for Cal to realise that he had made Merrin feel that he was not a safe person to disclose this to? How would that have challenged his ideology?

Or for Merrin to realise her refusal to try to access peace like Cal does is what alienates her from others?”

And honestly, couldn’t have said it better myself. Like, do you know how many amazing fics I've read out there, where it's Merrin and Cal, getting to have these moments in the engine room? Where it's them having pillow talk and growing closer? God this whole thing really felt like a slap in the face I was not prepared for.

These characters weren’t really handled with care. I didn’t hate the whole book, but I just feel like it just could have been better. I am veryyyyy much interested in what’s going to happen in Survivor, I mean we all are, obviously. I was taking comfort in Merrin saying they were probably never going to see Fret again. I really don’t understand why Fret was there. There is a way to create situations and tension and conflict and making important realizations between them without inserting some random purple bitch. Because istfg, if at some point in Survivor, we have to go like pick up Merrin and she is with Fret, I am going to throw my PS5 out the window and scream and rage in the streets. (Respawnnnnn, I know where you live do not TEST me). I am obviously hoping for canon Merrical, which I do think is a distinct possibility. Because if we don’t, then what the fuck was all of that for?

I feel like BS (heh, aptly named) has suffered the TROS problem of not being able to satisfy anyone lol. Okay because who the FUCK is this book for dude?

Because it’s obviously pissed off all the Merricals. We would have never wanted this.

And it doesn’t really satisfy those who don’t ship either because there is so much Merrical subtext.

But, I mean, I do have to say this book did make me grow to love Greez even more. He was 👑💩 the whole fucking time. Throwing shade at Fret throughout, I was living for it. When he went off on Fret after he woke up from getting his arm cut off, I was fucking eating my popcorn like pop offfff. And I cannot emphasize enough how much I loved Cal in his petty jealous area. Obsessed. He deserves it completely like also go off 👑. Him and Greez were my only bright spots throughout this experience. So glad he got to have his moment too when he "I KNOW HOW IT FEELS!" God I love it. We should all just listen to Greez at all times, like yes please let us drop that Fret bitch off on Batuu with a fruit cake bing bang boom.

I also did enjoy the moments between Cere and Cal together really trying to navigate what it means to be a Jedi in this galaxy in this so entirely dangerous climate for them. Glad Cere is embracing her as a Jedi and using the force again. Totally got the foreshadowing of her being in some kind of archives that we saw in the trailer, preserving the ways of the Jedi. Very fitting for her.

And yesss, there were a few cute moments. Those first two chapters were LIT I gotta say. Like TOGETHER THEY WERE THE LIGHT AND THE DARK CAL WAS THE STAR THAT ILLUMINATED HER SHADOW, that did murder me. And the fucking wound cleaning scene, omfg. I know that murdered ALL of us. Jfc.

I also feel like it would have been a lot more interesting for Fret to just be there to betray them. It would have taught Merrin a lesson of not just diving into something with someone that is entirely based on lust. The fact that she got a redemption was idk…just boring to me I guess. And I know I am biased because I don’t like her, but I mean come on I am a feral fucking Merrical over here is anyone surprised???

Okay lol, have I complained enough? Haha I am guessing you knew what you were getting into anon when you came to my ask box. Lol everyone knows I can never stfu. Anyway, hope that satisfied you.

And hm should you guys be looking out on the horizon for something? Well let’s just say I am definitely using all of these feelings that I have and am putting them somewhere 💅🏻

Anyway, I hope all the Merricals out there are having a great day. Meet me at Applebees and we can cry together 💕💕💕

[xnotyourdarlingx]

╭──────────.★..─╮

about me :

hello there ! it's aries again. here's a little information about me before proceeding to the rest of the advertisement. i'm currently twenty-one and use she / her pronouns. super into gaming, too, and my current favourites include baldur's gate three. overwatch + the last of us series. i can be really talkative with a roleplay partner once i've become less shy so hopefully that's okay. searching for another job + no school = a lot of free time. :')

what i'm searching for :

i'm currently searching for somebody who's twenty and older ( or at least nineteen ) to write for the last of us with ! what i'm hoping for is to pair my original character against ellie williams ! more than happy to double up, too. if you want to write joel for me, that's okay, too. especially since i've got a character i pair him with, but i really just want ellie content. she is badass in the second game and like.. scary asf. i'll write joel miller, abby anderson, dina, etc,. as long as they're an adult! i refuse to write as / against a minor.

full disclaimer: all characters must be nineteen and older!

writing + expectations :

listen, i'm not searching for somebody who's never made a writing mistake before. i spell words wrong and all that..but i'm a semi-literate to literate writer who's willing to go over four paragraphs of writing and don't do well with one liners. i love to do side roleplays that are shorter for when we're busy / low muse but i'd prefer the main roleplay is at least three to four paragraphs long. i do also mirror! please write in third person, too. very much down for angst / fluff ! < 3 please know i'll only write over discord.

rules :

one. do not be homophobic, sexist and generally just a disrespectful person. i'm a member of the lgbtq+ community and really don't want to hear them getting hated on.

two. please communicate with me if you've lost interest. i can be ghost friendly but i'm also willing to discuss what we can do to make it more fun.

three. do not control my character, please. if you ever feel like i am, please tell me, and i'll make sure it doesn't happen again.

four. respect my triggers. of course i'll respect yours because comfort will always be priority over writing. they will be discussed beforehand so we know what to avoid / keep light.

au's i would love to try :

band au!

ellie williams is a famous guitarist who's currently touring with her band! she's known for getting around and flirting with women, but because of the reputation she's earned, it's starting to damage their name so their manager decides that having ellie fake date somebody might remedy that. she's forced to act like my character's girlfriend to the public. could it end in them developing feelings for each other or despising each other?

university au!

this one is simpler since it's just two people trying to navigate being adults together. maybe it can be like, rivals to lovers, or something. because imagine ellie williams who's the academic rival of my character and like... they banter all the time because they're too stubborn to admit liking each other... oh my god.

extra :

if you're interested in this, please hit me up! make sure to tell me how you wish to be addressed, your age, if you want to double up ( and if so, who you want me to write for you! ) + any ideas you may have! your side can be canon divergent or modern, either way is fine! i just would love a modern version of ellie... but i'll gladly do a side roleplay set in the canon verse, too.

╰─..★.──────────╯

[eerna]

Honestly, I loooved both Spider Verse movies equally but I totally get where you're coming from! But my brother and I were discussing the movie and we are both 100% sure that the third movie will be focused on Miguel and how his perspective changes. First was focused on Miles' journey, second was Gwen and now it'll be about Miguel's theory of the "canon events" not being what it seems. Miles will prove him wrong despite all the challenges he may face trying to save his dad. That's just my two cents! In any case, glad to hear that you enjoyed the movie nonetheless! Have a good weekend!

Ayyy that's great, thanks! Oh I know they have a plan, but every time the studios decide to make a two-parter by simply splitting a story that was meant to be one whole into 2 movies, my heart cries. This movie didn't have any proper conclusion, it just stopped at the beginning of act 3. I'm about to say some big things for someone who saw the movie once, but IMO this could have been fixed by SPOILERS SPOILERS SPOILERS

leaning a bit harder into the fact that Miles lets his surroundings dictate how he feels about himself (I disagree that the second movie was about Gwen more than Miles, he got most of the runtime?). Maybe they could have made him join Miguel's team during the first act of the movie and actually do a good job mission! Maybe the mission would have been to redirect an anomaly from killing someone's loved one. He could have seen the canon as something good and worth saving at first, and everyone is telling him what a good job he's doing, and he's super hyped about belonging to a community for the first time in a year! Maybe there's a hint where someone lets it slip that Miguel doesn't want him there, but Miles is READY to prove him just how wrong he is. And THEN he messes up and saves someone who shouldn't be saved and suddenly the community that seemed so welcoming and encouraging is turning against him. So what will he do? Will he try to regain their approval, or will he reject their ideals and once again be alone? Maybe here we can sow that seed of "what could make Miles into an inconsiderate, selfish person?" that we will reap at the end of the movie and during the next one hopefully. And then the leap of faith moment could be him deciding that being himself is worth fighting for, and he runs away from the rest of the spider people and, filled with this newfound confidence, goes home to tell his parents what happened, and then the ending of the movie can play out the same (because it's once again thematically tied to Miles's surroundings dictating him). I feel like that IS what the movie was going for, but because it wasn't written very well, it came across as Miles being fickle and I didn't feel much emotion behind it (except when Gwen caught him Like That and he cut away the web, I YELLED at the IMPLICATIONS).

Honestly, I wasn't a big fan of the writing behind Gwen's issues, either. First off, her backstory being explained in a montage that has not-very-good level of repetition writing made me go "NOOOOOOO". Second off, Gwen's story was basically her being herself and waiting until her dad accepts her as such, which is a waste of a really cool character. She is the polar opposite to Miles in that she doesn't let anyone tell her how to feel about herself, but that doesn't mean she must be static in it - she could have an intrinsic journey! However, the writing still insists on outside issues being the main initiator, and I am pretty annoyed that it all boiled down to "Her dad saw her standing over Peter's body and assumed she killed him, regardless of the fact that Spider-Woman is a well established beloved hero who saves people, and he doesn't care about his daughter enough to stop and think why she might have done that". (The story as it is is fine too, but it's more about her dad learning to understand he loves his daughter, instead of any kind of thematically appropriate character development for Gwen herself. It's thematic in a sense that her advice to Miles is wrong and that parents DO accept their kids, which is okay but sort of a weak point when her dad LITERALLY POINTED A GUN AT HER AFTER SHE TOOK HER MASK OFF ALREADY.) Maybe it would have been better if we didn't see how Peter died because she too isn't really sure if she was in the right or not, so the emotional beat behind her story could have been a parallel to Miles' and Miguel's: Did she do what had to be done, or was there another way? Can she really tell her dad that she wouldn't have done it if she'd known it was Peter trying to kill all those children? And then in the end during her confrontation with her father she finally recalls the entire scene, and she concludes that the choice couldn't have been up to her because she really didn't know what she was doing when she killed him. Maybe following Miguel was not only out of fear of having nowhere to go, but also a coping mechanism, because someone else was calling the shots and she didn't have any responsibility over deciding what happens. But this time, she DOES have all the information, and she is capable of making her own decisions, and that's why she helps Miles. JUST IMAGINE the three of them being three sides of the same moral issue: one who believes in sacrificing what you love for the greater good, one who believes both are the same thing and have to be protected the same way, and one who is afraid of making any choice at all.

Anyway this is really really long and I apologize I just have a LOT to say about how this story could have been dealt with in a way that would have felt natural. How often do animated movies get TWO WHOLE HOURS of runtime???? I wish the writers spent a bit more time refining the story because it absolutely could have been as well done as the first one vjsanvjkadnk

[sanctifisol]

important portrayal notes

below are just some canon divergencies or nuances that i want to make explicitly clear are important to my development of serana. these are all pieces i've built over the years that, if we're writing together, and especially if it's in any high fantasy verse where serana's backstory is a bit more in play, that i'd appreciate you know and accept. hell, these matter more to me over you knowing her general plot to begin with since that's easy for me to summarize to you.there's just stuff in the game i've gotten sick of as far as how it was handled and i want to make sure we're on the same wavelength when it comes to writing and plotting together.

most importantly: your character (mainly if you're an ldb or tav or inquisitor - esque character) does not get to kill harkon. i'm glad we're all finally at a point where we want characters to have agency in their story rather than playing 'side-piece' to main player characters and this is something i've harped on for literal years. this is serana's story, this is her trauma that she has to come to terms with and make the final decision that her father can't live any longer. you don't get to take that away from her. it's a perfect character arc for her to go through and thus, all other characters will play a side-role in the final battle at castle volkihar. you don't have the history with him. you don't have the memories she has and the emotions she's had to go through to get to this point. do you understand how much it takes to get to a place where you know you have to kill your parent and not only just that but actually do it to begin with? it's stupid to think that serana has all this rich backstory with her clan and parents just to have someone she met maybe a couple months ago come in and sweep it all away. give her agency, my fucking god. you got your hero moment defeating alduin, the absolute, corypheus, etc. let serana have hers.

in my canon harkon does kill serana in kind. their final moments together are supposed to represent not only serana finally needing to accept her father's megalomania will never be cured and that he isn't the same man who raised her, but also she needs to see that in his final moments he will take the plunge and kill her. it's one thing to battle with him and try to continue to reason with him, it's another to stand there seeing he actually staked you through the heart at a final grasp of power. this happens within seconds of each other, there's nothing anyone can do about it. granted, it's a cop-out for me that her mother is a notorious necromancer and can bring her daughter back over a couple of days, so her story can and will continue, but for all intents and purposes, these two kill each other.

this blog is castle volkihar favorable. i'm staunchly against the dawnguard, but more importantly against the extermination of serana's entire family leaving her with no one once the dust has settled. it's fine if your character is a part of the dawnguard, but understand that if there's no compromise between the dawnguard and serana to keep the rest of the coven alive if the vampires agree to follow her instead, then you abandon any further 'friendly interaction' with her once the battle at the castle is over. you don't get to have your cake and eat it too because 'vampires = evil' in this godforsaken, lack of nuance game. as long as the coven continues to live, serana will then take over her parent's role and lead the volkihars.

while devs did confirm their intention was that serana was sealed away during the interregnum, we never get solid proof of how old exactly serana is. community discussion and some small crumbs of lore ( the existence of 'vingalmo's treatise on the altmer antecedent', no information about harkon's reign as a 'king', talking about 'previous owners' of the castle they reside in, her confusion on why the state of the dwemer, durnehviir in general ) have me settling on the family existing in the late merethic era, turning into vampires, then following ysgrammor down into skyrim where they took up residence in the sea of ghosts. this places her at around 4000+ years old. in other verses, just figure she's old as hell. ancient.

serana will canonically have two sets of scars. and only two, considering her ability to heal. one is a pair of burn marks at her hips from when she became a daughter of coldharbour and was assaulted by molag bal. this is something, in my own canon, every vampire with the title of daughter of coldharbour has. it's a mark the prince of domination wants to have on his property. the second will appear after being resurrected by feran and valerica, a pitted scar at her sternum where harkon attempted to kill her. both of them bleak reminders of her deaths.

as she continues to develop, and metas i have become more solidified, i will be adding to this list and i'll make sure to make a post/update everyone when it's been adjusted to reflect my current canon.

[revengetour]

prev anon here! thanks sm for your response, you explained it all perfectly! follow up question (if you don't mind 😭) because i'm so curious how the actual shows work? do they have writers employed writing storylines? i was wondering about how the whole "villain" role and revenge tour came about for liv mainly and what led to the fandom dividedness over liv vs rhea for example? i don't know a lot but have seen mutuals take sides quite strongly on that so i'd love to know the origins of it. thanks for reading + explaining if you are able to! i appreciate you helping us understand her character <3 !

i'm so sorry i've been sitting on this for days anon ! life has been lifeing. i'm going to be honest, i'm not super well versed on how behind the scene things go. but i'm pretty sure they do have script writers! and oh gosh, there's a huge divide on the whole liv / rhea thing. my partner who writes rhea / they also used to write my billy ! ( @brut4lities ) and i have our own personal interpretations of what happened! so i'm going to share that since it's specific to my blog if that's okay? this is a super rough explanation, so i'm really sorry! if anyone wants to chime in with anything, please feel free to. rhea and liv started working together as a tag team early--ish on into their career. what started as just friends / tag teams kind of developed into something more that resembled a romantic connection. though it was pretty clear that it was more strongly felt by liv than rhea. there was a video cut by damian priest at one point that was clearly directed at rhea , i don't remember the exact wording but it was something about being held back. between that and liv telling rhea she loved her , it was kind of a tipping point for rhea. and being blunt about it, she valued her career more than liv / was afraid of the relationship between liv and herself. so it led to the betrayal that we see where rhea takes out liv's shoulder and costs her all the time out of the ring. my portrayal of liv no matter what, will harbor feelings for rhea. even if she doesn't want to ever admit it, she still cares. it fuels her main point for turning because rhea did just cast her aside and betray her. she thought what they had was something more, that she meant more to rhea than just a career? but in her mind, rhea perceives her as nothing more than dead weight now. so, a lot of what she's done is to prove to rhea that she is just as strong , if not stronger. it also took time away from her career and even if rhea meant more to her than her career, her career was still something so incredibly important to her. it derailed her from the track she could have been on to the top, she lost so much time that she could have been in the wring with. it's something that was taken from her, and something she'll never ever be able to get back. rhea took so much from her and it's why she's determined to take everything from rhea and make her feel the pain that liv felt when she was down and all alone. the only main difference between my liv portrayal and what's currently going on is that my liv doesn't join the judgement day. it was a writer's choice that didn't sit well with me? it made her seem like a pawn in finn's game. though it's arguable that her taking the judgement day and joining it is the final piece of taking rhea's family from her. but i didn't like the direction of the feud between rhea and liv becoming so wrapped up in / about men and thought they had a really good feud without all of that extra stuff added in? i can see why it was done and understand it, but for my portrayal of liv, i just don't see her letting herself become a pawn in finn's plan. which is what it felt like to me when they had her join the judgement day. she became just another moving piece of the puzzle for him. not saying anything against any other portrayal because everyone is valid and has a beautiful grasp on their characters in different ways. that doesn't mean their goals don't align and she doesn't help them when needed, like when dom's match. but i just don't see her taking the backseat to anything?? not after she's come so far. liv is so much more calculating than people give her credit for.

[braskide]

been having this thought for a while, and the essence of it is that at this point i do consider my yuna to be like an oc to me — not because i distance myself from the canon timelines ( at least not extremely so as x is constantly object of my meta posts, different thing for x-2 and post ), but because after 10+ years of developping her i have my own vision of her and it all comes after all the introspection i've done regarding her and what i envision her life and character to be post games. i care deeply for her and i can visualize easily how i want her narrative to go in terms of a character that i want to write and develop new verses and dynamics for. my fault is not having enough time or capability in being able to write down every single processed thought i've had regarding her post games timeline, even though i did post the main events for it to what i consider to be her main verse at this moment.

what i love about yuna is that she was presented as a somewhat static character in x, but there's a switch somewhere and it's refreshing to follow that line in terms of writing. i think the most fun a writer can have in terms of roleplaying a character is when they can make them flourish and create so many intricate scenarios because they have a solid base to start from. so even though i'm obviously canon devergent ( i do not consider x-2.5 and -will- to be canon in truth, but i do see .. some .. points? in them? but i still do not agree with any of that and have processed my own timelines instead ) because of the ten years i've spent with her i pretty much have based her on my headcanons and whatnot.

so, that's pretty much my wish: to be able to be more constant in writing out headcanons for her and show how i've shaped her through the years.

[bravevolunteer]

VERSE — MOVIE ( CONTAINS SPOILERS & CANON DIVERGENT, tw for canon-typical themes & suicide mention )

just to get straight to the point : it's mainly canon divergent in the sense that i will be altering details in order to make mike an afton. do i think this is going to happen in the movie timeline? no. do i think it's more likely that they're going to explain the oddly personal kidnapping through mirroring the emilys? probably. but it's MY michael afton blog and i can put on my tinfoil hat as much as i want about it. of course i am willing to adapt based on other's info / preferences but given that this isn't my main canon anyway it is meant for those that are interested.

Mike thought he knew everything there was to know about what happened to his family: what he was never told is who his real father was. He was too young to remember anything about William Afton before his mom separated herself from him entirely ( one night stand, breakup, what have you, i'm not picky- ), so he always thought of the father he grew up with as his dad, the reality never changed anything about that.

Until he was twelve years old and Garrett went missing, and everything fell apart. William followed the Schmidts there, taking Garrett in a targeted attack ( whether or not he was trying to grab Mike, took him out of spite, anything else is also flexible ). Everything grew solemn and tense, each of the Schmidts lost in their own individual grief. Slowly, they stopped having dinners together, stopped going out as a family, stopped being able to feel like things were normal. The grief and guilt only added to Mike's developing anger issues and depression. Although it wasn't on purpose nor with any malicious intent, his dad was the more distant of his parents at the time, serving as the first hint towards his biological parentage and simply because as much as he cared for mike, he was grappling with losing his biological kid ( think tse henry- well meaning but drowning in grief enough for the child to pick up on it ).

This is where Abby comes in, where the Schmidts have another kid in an attempt to feel like a normal family again. It almost seems to work, although there is still that underlying sense of collective grief. Mike was older by then, too ( while he graduates high school, he either doesn't go to college at all or doesn't finish it ).

Their mom dies and the brief sense of possible stability disappears again. It's when Mike is staying at home again for the funeral/to help with Abby that their father commits suicide, unable to take the grief. Mike has had custody of Abby since then.

The events proceed as they did in the movie, William's recognition of Mike in the office not only stemming from the kidnapping but the fact that it's his kid, although Mike doesn't find anything out beyond the fact that it's the man who took Garrett. There is potential for more hints towards this in past interactions with his aunt or birth records or even his dynamic with Vanessa, but for the most part this specific realization is left open.

Following the movie's events, he... does come home to his aunt in the living room. After reporting her death, Mike actually goes back to Freddy's one more time to get security footage in order to prove his innocence. Afterwards, he does his best to hold down another job to keep taking care of Abby in peace, but something about Freddy's gives him the sense that he'll come back to make sure nothing like this happens again.