#i wish i could have included more

[theoldkyokodied]

Aaaaand more very quick stream doodles. This one shot was so fun to watch, it’s so sad that it had to end already. But oh well, let’s not dwell on that and let’s enjoy the good time we had, like disguised tiefling gale being both Karlachs and astarions type, wyll and gale having a spa day, bing bong in general (rip king, you will be missed), and of course the 8 strength fight for magic items <3 thanks to the cast for the chaos, I enjoyed it thoroughly

[uncanny-tranny]

I think it would really benefit people to internalize that mental illnesses are often chronic and not acute. Some of us will never be able to jump the hurdle of managing illness, much less sustaining a sense of normalcy. Many of us will never "recover," will never manage symptoms, will never even come close to appearing normal - and this is for any condition, even the ones labeled as "simple" disorders or "easy-to-manage" disorders.

It isn't a failure if you cannot manage your symptoms. It isn't a moral failure, and you aren't an awful person. You are human. There's only so much you can do before recognizing that you cannot lift the world. Give yourself the space to be ill because, functionally, you are.

[pierogish]

Mapplethorpe’s photographs of Lisa Lyon redraw with Gideon

@lonlonranching this one's for you, thanks for giving a cool reference idea! refs under cut

[front-facing-pokemon]

[iamfuckingsorry]

"Do you know where we are going next?" I asked ART.

Y'know what, I think maybe I don't need any more Murderbot books. I think maybe ending things here is fucking perfect and as much as I love Wells's writing I'm genuinely not sure it can get better for me.

Like, so much of the books are about MB learning how to be a person, about becoming okay with being a complete individual with everything it entails. The first thing it does once it's actually allowed to decide on its own is it runs away from it all (admittedly to go on a mission to confirm some things about its past, because it genuinely just wants to be *good*). It shoves all its emotions away as much as it's able to. Then shit happens, and it makes its first friends, makes decisions based on these friendships, goes through a lot of emotionally intense situations...

And we get to this point here. MB having zero doubts about going with ART says a lot about its relationship with ART, but it also says a lot about its relationship with its humans - it knows that wherever it goes, when it comes back, the humans will still be there. Its humans actively acknowledge its struggles with being a now-free SecUnit and MB is willing to entertain the discussions to an extent and share information about its deeply personal experiences. Hell, System Collapse ends with MB admitting it might be somewhat broken, but that's okay as long as it can keep doing its job, and agreeing to basically do counselling - this is the guy what would rewatch its favourite TV show again and again in order to avoid acknowledging it even had Emotions a couple books back.

Reading this, I know that MB will be okay. It has hopes and goals and genuinely believes in itself and it has an amazing support system that its willing to lean on for the first time in its life. I'm convinced it'll go on to do great things with ART. And that's really the only thing I need to know.

[winteriron-trash]

rdj the (whitewashed) electric boogaloo

This is a reminder to everyone who's excited about RDJ's casting as Doctor Doom that this casting is whitewashing. Victor Von Doom is a Romani character and has been a Romani character since his introduction in the 1960s. (Fantastic Four Annual #2 [1964]) Not only that, but his Roma identity and the persecution he and his family faced due to it is integral to his character, it is what forms his identity. (Books of Doom by Ed Brubaker) Even if on the off chance this casting is meant to not be Victor but instead be some variant of Tony or whomever else becoming Doctor Doom, it is damaging to the character to rob him of that important cultural background. Doctor Doom does not exist without that history. Fans have been pushing hard to cast Doom as a Romani actor for years, especially since the MCU has whitewashed other Romani characters. (Wanda, Pietro, etc) This casting is not a celebration moment, it's fucking heartbreaking that the MCU repeatedly ignores the important and nuanced cultural backstories of characters.

I know I can't change anybody's mind on whether or not you want to be excited about RDJ's return to the MCU. But I do think at the very least you should be mad that the MCU is baiting us all and destroying nuanced and interesting characters for the sake of self-referential easter eggs and nostalgia bait. Because that's what it is. Feel how you'd like to feel about RDJ's return, but personally, this is soul-sucking. I had such a deep love for the MCU as a teenager, it was obviously something incredibly formative to me, especially Tony Stark. This isn't recreating what I fell in love with the MCU for. This is turning a well-planned and artistic storyline of adaptations into cheap cash grabs and fan service. Because, I think we're past the point of being able to call the MCU an adaptation of anything. They can use existing characters' names and powers, but to say they're being properly adapted is laughable.

This is not an adaptation of Doctor Doom. This is RDJ the Electric Boogaloo because Marvel's fear of losing the interest of dedicated MCU fans overrides their willingness to tell stories that are genuine to the characters. I don't know what there is to be excited about that. The MCU has lost its authenticity and aside from a few projects, feels heartless. Every movie is a copy of a copy. This announcement isn't something celebratory, it feels like a death knell of a cinematic universe that's so desperate to cling to relevancy it's resorting to nostalgia for a character/actor who hasn't even been dead for a decade. We're not getting anything new, we're just rinsing and repeating the same song and dance.

I get it. I love Tony Stark, his death destroyed me and I to this day, rue the ending he got in Endgame. It misunderstood his arc and it robbed him of a satisfying conclusion. But the solution to that isn't dragging the corpse out of the grave five years later to whitewash an existing character with rich and interesting nuance, just to forcibly tie his existence in the MCU to Tony. Whether he is a variant or not. Why would you want someone else's fave's legacy to be destroyed simply so your fave's legacy can go on? Hell, if we were really all so hellbent on the return of RDJ and/or Tony to the MCU, we have the multiverse for a reason. There were other ways to do it that didn't whitewash and ruin someone else. This just. Isn't something to be happy about.

[alectoperdita]

What you can't bury

Part 18 of Lure

Rated: E Fandom: Yu-Gi-Oh! Duel Monsters Pairing: Jounouchi Katsuya/Kaiba Seto Warnings: Graphic Depictions Of Violence Tags: Alternate Universe - Yakuza, Organized Crime, Internal Conflict, Power Imbalance, Power Dynamics, Blood and Torture, Gun Violence, Hurt/Comfort, Sex as Coping Mechanism, Unhealthy Relationships, Trauma Bonding, Codependency, Porn with Feelings, Porn With Plot, Explicit Sexual Content, Degradation, Masochism, Impact Play, Asshole Spanking, Anal Sex, Barebacking, Breeding Kink, Sex Toys, Rough Sex, Painful Sex, Mild Painplay, Punishment, Cock & Ball Torture, Mild Breathplay, Come Feeding, Praise Kink, Under-negotiated Kink, Somnophilia, Sexting, Dick Pics, Semi-Public Sex, Workplace Sex, Light Bondage, Nipple Play, Nipple Clamps, Mildly Dubious Consent, Sounding, Misogyny, Public Blow Jobs, Choking, Ass to Mouth, Urethral Play

As discontent swells amongst the Aoryu-kai's ranks, those wishing to seize power for themselves emerge. They threaten everything—Kaiba's leadership position, the tiny sliver of peace Jounouchi's managed to carve out for himself, and whatever tenuous bond exists between the two of them. Will saving Kaiba's hide save Jounouchi too? Or is this finally his chance to escape from under the kumicho's thumb?

Read Chapter 7 on AO3 Series Masterlist

---

You must take what you want, Gozaburo lectured repeatedly. It had been one of his earliest lessons. No one will give anything to you.

It all belonged rightfully to Seto, the presumptive heir. The Aoryu-kai, the power, the house, the cars, the kowtowing sycophants—it was his by blood price.

The tanto sank into flesh like it was butter. Gozaburo jerked beneath him. His eyes flew open as his mouth rounded, but only a wet gurgle escaped. Slowly, Seto drew the blade out, letting the man feel every centimeter of the steel leaving his body along with his lifeblood.

Seto, Gozaburo mouthed silently, his eyes glistening like the moon sunken in the pit of a sake cup. His feeble hands, fat from complacency, scrambled across Seto’s shoulders. They lacked even the strength to ruffle his yukata.

Lurching forward, he struck again, plunging the tip straight into the gut and slicing sideways.

A fountain spilled from the twitching body, soaking into his yukata. It burned hot and slick between his inner thighs, bathed, no, baptized for his ascension.

Seto hacked.

Stabbed.

Sliced.

He ignored his screaming muscles and the white-hot sensation in his chest and took.

[the-deadlock-south]

they removed so much more robotic bits from juno's concept design than i thought and some have theorized this was to balance out her hitbox but i counter with lifeweaver's existence

[uncanny-tranny]

Realizing you can never please anybody can be a devastating loss... until you internalize exactly what that means.

When you sacrifice so much of yourself for others, you forget that you leave yourself behind. Not being able to please everybody means you can start learning how to fully embody who you are instead of juggling everybody else's baggage, trying to make something work out.

You might feel devastated about this, thinking you're terrible for not pleasing everybody. The truth is, it was impossible from the start, and learning who you are is infinitely rewarding

[trans-tom-gurney]

GUYS I’m alive and I’m in another bully hyperfix hopefully I can . draw something ❤️ . just wanna say though I’m scouring the cutting room floor for bully cuz one of my favourite things abt this game is how much deleted content we have access to and I just wanna say The Townies Were Robbed So Hard it’s unbelievable . look at this unused dialogue for Busting In

ft labels of who I think is talking at different points btw

im dying im weeping why does Omar talk like this WHY DOES HE CALL THE CLIQUE ‘our order’ like a cult…ohhh my gosh . also 4/9 of the townies canonically double up as asylum patients now. they are my everything i wish we talked about them more . Edgar and Omar could’ve been completely wack . insane. crazy . I highly recommend u watch videos about cut content from chapter 5 missions or something it’s stupidly interesting at least to little old me . they get put with the most rushed part of the game and it’s not fair grr …

also it’s so insane how much Edgar misses out on cause stuff with him got cut . visual representation of me finding the 500th instance of Edgar content that went unused . you were gonna meet him earlier😭😭😭 in the game😭😭 there is a whole cutscene with him that got deleted !!cause they changed the story! HEEEELP

[arolesbianism]

Welcome to the “they’re just like me fr (derogatory)” club featuring no color because I would rather die than draw Sif with color

[elizabethrobertajones]

I could be your angle... or yuor devil..,

[james-stark-the-writer]

feel like pure shit, just want her back

[zayadriancas]

Happy International Woman’s Day!💞💗

[longagoitwastuesday]

Kusakabe, dear, you're too beautiful to be saying that kind of stuff

[jq37]

Please let us know if you solve this mystery!

OK! It’s the end of the year so let me compile everything I was able to come up with (with the help of everyone I dragged into this–you know who you are and thank you and I’m sorry). 

To anyone who’s just seeing this and doesn’t have context, in November, right before the movie Wish came out, I made a longish post questioning who Allison Moore was (which, incidentally, is the first post that comes up when you Google “Allison Moore Disney”).

The reason I was curious about who this random writer is is because she’s credited as one of the co-writers of Wish, Disney’s 100th Anniversary Feature Film BUT she has no obvious experience writing for animation, children, or fantasy when everyone else on the main team has credits on stuff like Frozen and Encanto. I thought it was bizarre that there would be someone so green on a project so big so I went digging. 

Here’s what I learned:

(1) Moore wasn’t originally announced as being attached to the project. Chris Buck, Jennifer Lee, and Fawn Veersunthorn were all mentioned when the project was officially announced in Sept 2022 (for example). Moore was not. And you’d think they’d mention the *co-writer*, right? You don’t start to see her name until a year later in Sept 2023 when the trailer dropped (for example). So it seems like she was brought onto the project later. Of course, this could just be a normal quirk of the industry or something I’m misinterpreting, but I think it’s worth mentioning. 

(2) Moore seems to have a lot more credits in stage writing than she does in screenwriting. I wasn’t able to 100% confirm it until recently (I’ll get to that in a second) but she’s written a bunch of plays and it seems like this is where she has most of her bona fides. 

“Allison is the recipient of two Jerome Fellowships, two McKnight Advancement Grants and the Bush Artist Fellowship.”

That sounds fancy. But it still doesn’t say “Top Choice for Disney Anniversary Movie” to me. That’s not a statement on writing quality. I haven’t read/seen any of her plays. It’s about the subject matter. Look at some of these synopses:

None of that really screams Disney. Which isn’t to say people can’t have range. George Miller wrote all the Mad Maxes but also Babe and both Happy Feet. But if I was hiring someone for a really big project, I wouldn’t want that project to be their first attempt at expanding into that genre. 

(3) This isn’t actually inherently important but she was on an episode of Nailed it. That’s where this picture comes from:

She won the first round and the game ended in a three way tie for the first time in the show’s history. 

The only reason this is noteworthy in the larger scale of things is that, until very recently, this was one of only two places online you could see Allison Moore talking. The other is this very short interview on the red carpet during the premiere. 

There’s nothing in that interview that explains anything. It’s mainly her talking about how it was fun working on the movie and how good the movie is. 

Honestly, good for her for not being Extremely Online, but it really felt like I could get a bit of a handle on everyone else who’d worked on this project in a high profile way but not her. Which is part of why I started down this rabbit hole to begin with. There was nothing to show where she might have had a connection or an interest or anything that would connect the dots. 

For reference, Fawn (who was one of the Directors and story writers) has the kind of resume that I was expecting Moore to have when I initially Googled her:

Smaller jobs on other kids/animated movies (Hop, The Lorax, Despicable Me 2), some storyboard or art work on other Disney stuff (Frozen, Moana, Zootopia, Ralph), and then a big break (Raya and Wish). Based on my understanding of the industry (and I know a fair bit because it’s one I’m interested in professionally) that’s a very typical track to get to the writing side of animation.  

A couple of people speculated that Moore got onto the project in a mentorship capacity. Now, I’m a Black woman who writes fiction professionally when I’m not on this hellsite (affectionate) with the rest of y’all. That means I have firsthand experience with what mentorship looks like in writing–both official Diversity and Inclusion type mentorship and more organic “Let me take you under my wing” type mentorship. I have *never* seen anyone get a job this high profile at the jump just due to mentorship alone. Going from zero to Disney’s 100th anniversary is kinda insane. This wasn’t some B project or something. It was a Big Deal Project. And this is Disney so they could have hired basically anyone they wanted. So you have to assume this was an active decision someone made and not just a thing that happened for lack of options. But in all my searching, Moore wasn’t mentioned except to just say she wrote the screenplay with Jennifer Lee. It was just the baking show and the Youtube clip.

Until today.

(4) I’m going to preface this by saying this doesn’t actually answer the question in a big AHA! way, but it is the only interview I’ve seen about Wish from Moore besides the red carpet clip.

On December 15th, Moore gave this interview with the San Antonio Current.

I stumbled across it while searching for a different piece of information and eagerly clicked to see what she had to say after three weeks of silence after the movie dropped on November 22.

Here are some highlights:

-In high school she was a theater kid and thought she wanted to pursue acting. 

-I college she did playwriting and eventually she got her MFA from Iowa (which has a weirdly great MFA program btw, and also, this interview is how I confirmed she was the playwright Allison).

-When she started on the theater track at her college, she told them she was a playwright so she could study that too even though she’d never written a play before. So it sounds like Wish isn’t the first time she’s just jumped into a new thing without experience. You have to respect the hustle.

But this is the most important line in the interview because it’s like, an answer and a non-answer all in one. She’s asked, “How did you go from writing plays to writing for TV and film?”

And her answer is, “I had a whole career writing for theater, and then when my son was born, I realized I needed to make more money, so I started pitching for TV. I worked in television for about a decade. In the midst of working in TV, I continued playwriting. That's how I got on the radar at Disney.”

Which kind of sidesteps the most intriguing part of the question? Like, first of all, it’s not 100% clear if she means her playwriting or her TV writing caught Disney’s attention. I’m guessing playwriting, but I could be wrong. Secondly, who is “Disney” in this situation? A Disney recruiter? A Disney director? Did Jennifer Lee see a production of Slasher: A Horrifying comedy while passing through Texas and think, “Her. I want her to be my co-writer on this children’s film.” And what did she do to impress them so much that they right away put her on the the *Anniversary Project*? Like, I know I keep harping on this but I can’t stress enough how big of a deal this is. It’s hard enough to write for just your average sitcom or little movie. To just jump on something this big is baffling. I obviously don’t expect Disney to be justifying their every hiring decision publicly but, usually, when someone is doing something like this, it’s very obvious why they were chosen and, even with this sliver of explanation, it’s still frustratingly opaque. And with the strange post hoc timing of the interview (seriously, doesn’t promotion usually happen PRE movie release?) It almost reads like an interview that exists because someone realized the lack of any online presence was weird. 

(5) When she was a kid, Allison Moore had a crush on Fox Robin Hood. That’s not at all important to the mystery, that’s just information she volunteered during the interview and that I’m now sharing with you. So when you search her name now, the top results are me wondering who she is, her IMDB, and her talking about how she liked Fox Robin Hood's little hat. Which isn't a LOT of information, but it’s more than we had before and that’s something.