#ib -> @atonementing

[0nych1nu5]

200 x 200 astra yao (zenless zone zero) icons!!

likes and reblogs r very much appreciated!! do NOT repost on other platforms!! credits not needed but vv much preferred <3

[stitchwraith-stingers]

wc au leaders who fucking cares at this point

[brucestalia]

the heart of eternity ｡𖦹°‧⭑.ᐟ

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set in the 1930s, the world is on the cusp of modernity – global tensions, the fallout of colonialism, and the rise of professional archaeology – but still deeply fascinated with ancient mysteries.

central to the story is a mysterious, primordial artefact created with the power to shape destiny. it is a relic of the reign of a pharaoh long gone, believed to hold the secrets of eternal life, untold power, and immense destruction. protected by curses, traps, and guardians, it is coveted by those seeking power—and feared by those who understand its true cost.

the climactic setting is the fabled city of the dead; hamunaptra, where the artefact was hidden after the fall of the pharaoh’s kingdom. thought to be a myth by most scholars, the city is a labyrinth of treasure, danger, and supernatural forces. its guardians, the medjai, have preserved its sanctity across generations.

the artefact – ib djet, or qalb al-abadiyah, is a crystalline object roughly the size of a human heart, made of a luminescent green material resembling an emerald, but far more radiant, inscribed with hieroglyphs and sigils representing life, death, and rebirth.

its surface seems to pulse faintly, as though alive, and it glows brighter in the presence of certain individuals.

the heart is the centrepiece of the buried city of the dead, hidden in a sanctum protected by the medjai. hamunaptra’s legends speak of the heart as both salvation and doom.

ancient texts foretell that only those with "a balance of love and duty" can wield the heart’s power without succumbing to its corruption.

bruce wayne the estranged heir to the wayne fortune, bruce abandoned his privilleged life to pursue adventure and a sense of purpose. after serving the french foreign legion in north africa, he became a freelance explorer, gaining notoriety for his sharp intellect, resourcefulness, and survival skills.

haunted by guilt and loss, bruce channels his grief into a relentless quest for redemption. though disinterested in wealth, his adventure is driven by the belief that uncovering untold secrets and preserving them for humanity might atone for his past.

bruce’s journey begins when he saves talia from a dangerous desert encounter. reluctantly agreeing to join her expedition, he becomes entangled in a larger destiny tied to the artefact and the al ghul family's legacy.

cynical yet charming, practical and resourceful, bruce often clashes with talia’s fiery intellect. despite his roguish demeanour, he has a strong moral compass. beneath his gruff exterior lies a deep loyalty and a yearning for connection.

talia al ghul raised amidst her father’s intellectual pursuits, talia became an accomplished egyptologist and historian, earning acclaim for her groundbreaking research. despite her professional success, she struggles to step out of ra’s’ shadow, determined to forge her own legacy.

in her past life, talia was the daughter of melisande, a powerful sorceress and ra’s’ consort. melisande’s mysterious death left a lasting mark on talia, though she remains unaware of its connection to the artefact and her family’s tragic history. talia’s initial motivation is purely academic—she seeks to uncover the artefact’s origins, oblivious to its role in her family’s history. however, as the expedition progresses, she is drawn into a larger narrative that challenges her understanding of destiny, loyalty, and her place in the world.

talia is fiercely intelligent, driven, and unafraid to challenge authority. her fervent resolve often puts her at odds with bruce, but their shared values and complementary skills make them an unstoppable team.

ra’s al ghul he who was once hailed the demon’s head, the pharaoh ra’s al ghul ruled with wisdom and an insatiable thirst for knowledge. he discovered the ib djet—a mystical object of immense power—but his ambition led to betrayal and tragedy, fracturing his family and his reign.

reborn as a celebrated archaeologist and scholar in modern times, ra’s dedicated his second life to studying the artefact and preserving the secrets of the ancient world. his academic achievements are legendary, though he abandoned public life to focus on personal projects. ra’s aids talia’s expedition, torn between protecting the artefact’s secrets and supporting his daughter’s quest for understanding. his past as a pharaoh and his ties to the artefact make him an unintentional yet invaluable source of knowledge, though his cryptic warnings often frustrate bruce and talia. his relationship with talia is layered—equal parts mentor and father, with a shared grief over melisande’s loss. his softer side emerges in his interactions with his daughter and protégé.

dusan al ghul in his past life, dusan was ra’s’ eldest son, the commander of the pharaoh’s personal guard, exiled after a bitter conflict over the artefact. finding purpose in his exile, after the fall of his father’s kingdom, he became the leader of an ancient order – the medjai, sworn to protect the city of the dead and its secrets.

reborn with fragments of his past life intact, dusan continues his role as protector while grappling with the emotional scars of his estranged relationship with ra’s and talia. initially seeing the expedition as an intrusion, dusan’s perspective shifts as he realises their intentions align with his. his knowledge of the city’s secrets and his combat skills make him a crucial ally. his presence forces ra’s to confront unresolved guilt over their shared past.

beneath his reserved demeanour lies a protective love for his half-sister, talia and a yearning for reconciliation with his father.

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here’s a little sneak peek of my brutalia mummy retelling! :D i’ll be posting the chapters once i get my ao3 set up, so for now, enjoy a few excerpts to tease you all.

melisande and sora (who i’m hinting at as dusan’s birth mother) will have more of a presence as the story goes on! i also want to bring in nyssa (and maybe the robins?) as we move forward. this is my first-ever published project, so please bear with me! (>_<) more to come soon! ✦•┈๑⋅⋯ ⋯⋅๑┈•✦✦•┈๑⋅⋯ ⋯⋅๑┈•✦✦•┈๑⋅⋯ ⋯⋅๑┈•✦✦•┈๑⋅⋅๑┈•✦

[curatedbychicogreen]

by Aton Ibe Crawley

[fallingpetcls]

@atonings

It really wasn’t Ib’s fault that she’d fallen asleep in the park. She’d told herself that she’d just relax for a few minutes, sitting comfortably in the flower bed. Her legs were hurting from walking all over the city, and likely from the Gallery as well. She hadn’t had much time to rest between the two places, only sleeping twice and one of those times was when she passed out in the Gallery.

So here she was, curled up on her side in a bed of flowers. Her own rose was clutched tightly in her fingers and her fluttered open every few seconds before closing again as she fought off sleep. It really wasn’t a good idea to fall asleep in a park at the end of November, when it was far too cold for any child. She really couldn’t help it though. She pulled her legs up to her chest, losing her battle against sleep.

[confessionsfromthesecondrow]

Notes on “Diversity”.

Following the brutal murder of George Floyd in 2020 – a spark that ignited riots in protest of police brutality and, in turn, the inequality that Black people face on a daily basis – fashion was forced to reckon with its own shortcomings, as an industry that has long neglected people of colour across the board. 

Amid a sea of black squares – allegedly posted in solidarity with Black people, though you’d struggle to find one to corroborate this – brands and publications scrambled to atone, not knowing whether to apologise for the existence of systemic racism or fashion’s part in upholding it (see: here, here, and here). All the while, promises were made for a better, more inclusive future.

Yet, almost three years later, all is quiet on the fashion front with diversity and inclusion seemingly no longer a priority – the industry’s short attention span quickly moving on now it’s no longer en vogue. 

Last June, The British Fashion Council released its ‘Diversity and Inclusion in the Fashion Industry’ report, revealing that only half (51 per cent) of the 100 companies interviewed had implemented D&I initiatives, with even fewer dedicating budget towards those efforts. It’s disappointing, even more so to learn that those hired to implement D&I strategies often leave their roles swiftly as has been the case at Gucci and Nike. 

The report is reflective of fashion’s attitude towards diversity – with mostly white voices echoing familiar platitudes around ‘learning’ and ‘growing’, reluctant in committing to tangible targets. While quantifying representation isn’t necessarily helpful in moving towards genuine diversity and inclusion, fashion’s longstanding ability to champion exclusivity and use ‘taste’ and networking culture as gatekeeping tools warrants numerical evidence to highlight its abysmal efforts. 

Though, even this in itself is a troublesome task as the New York Times found in its own 2021 report on Black representation in fashion, with several European companies citing legislation such as GDPR as an obstruction for gathering and sharing data on their failings. As the BFC found, even after 2020’s demand for diversity, people of colour currently make up only 5 per cent of employees at a direct report level – hindering any growth in representation in leadership roles. 

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Until now, Black creatives have had to go it alone, relying on their excellence to be noticed – shining so bright, it’s impossible to dim. The door, now slightly ajar, has made way for a number of rising stars, more often than not ‘firsts’ in their roles or achieving feats that previously weren’t attainable for people of colour. 

From Gabriella Karefa-Johnson (the first and only Black woman to style a Vogue cover) to Tyler Mitchell (the first Black photographer to shoot a Vogue cover), others include Elle UK’s Kenya Hunt, The Cut’s Lindsay Peoples, Harper’s Bazaar’s Samira Nasr, and Rafael Pavarotti. 

Ib Kamara best exemplifies this calibre of creative – a talent so in-demand, it’s a wonder when he sleeps, juggling roles as Dazed’s editor-in-chief, Off-White’s art and image director, as well as working as a freelance stylist for Chanel, Vogue, and H&M. 

While working twice as hard to get half as far is a familiar mantra for people of colour, the current makeup of the industry sets the bar for them at an almost inhuman level, demanding the very, very best out of them simply to be seen – forgoing the mediocrity sometimes afforded to our white peers. In failing to nurture and recognise talents beyond the brightest and best – i.e. people who were always destined for success on their own volition – brands and publications alike posture as pioneers after simultaneously (read: lazily) box-ticking relevance and representation with such hires. 

Yet in some instances, ‘excellence’ isn’t even enough. Pharrell Williams’ recent appointment as Louis Vuitton’s Men’s creative director – succeeding Virgil Abloh (another first) – came as something of a surprise, quelling speculation that the role might instead go to designers such as Martine Rose, Grace Wales Bonner, or Bianca Saunders. 

The decision makes sense given the evolving role of a creative director today, with Williams likely chosen for his celebrity status and proximity to the community that Abloh fostered during his tenure, but it’s easy to see why it’s a contentious one. Particularly so, in the case of Wales Bonner, the winner of the LVMH Prize in 2016 – receiving not only a grant of €300,000 to support her business, but more importantly, mentoring from LVMH executives. If not to induct a new generation of designers into the fold, what longevity does the LVMH Prize hope to offer its winners? 

Let’s say you’re one of the driven Black creatives who has broken through the proverbial glass ceiling. Surely now, all obstacles limiting your success have been eliminated? 

Apparently not. 

In the past month, Law Roach shocked the industry with a (now-deleted) announcement of his retirement on Instagram. Arguably the leading celebrity stylist at the height of his career – counting Hunter Schafer, Megan Thee Stallion, and Anne Hathaway among his regular clients, as well as solidifying Zendaya as a fashion icon – netizens speculated that the decision was a cry for attention, prompted by a seating mishap at Louis Vuitton’s Autumn/Winter 2023 show. 

Clarifying in an interview with The Cut, the stylist reflected on the industry’s gatekeepers and the hoops he’s still made to jump through 14 years into his career. Even in his candour, it felt as if something was being left unsaid, alluding to the complexity people of colour have in trying to justify the racism they experience to people who will never understand its complexities. 

Similarly, Hood By Air co-founder Shayne Oliver recently opened up for the first time about his experience as Helmut Lang’s guest designer in an interview with 032c’s Brenda Weischer. Reflecting on his celebrated single season following the brand’s revival in 2017, Oliver shared his encounters with the brand’s executives. “It was the biggest show they’ve had in 10 years, and the very next day I get notified that I’m not welcome in the showroom in Paris,” he explained.  

In examining these somewhat inconspicuous decision-makers more closely, it becomes clearer how people of colour in seemingly senior positions can still find their voices unheard. “The collective intelligence that comes from diverse points of view and the richness of different experiences are crucial to the future of our organisation,” asserted Kering chairman and CEO François-Henri Pinault in June 2020 after Emma Watson, Jean Liu, and Tidjane Thiam were announced as new Board members for the conglomerate. Liu has since resigned and Thiam’s contract completes at the end of 2023, bringing the number of people of colour on the Board back down to zero. 

The same is true at LVMH [Louis Vuitton, Christian Dior, Fendi, Givenchy, Stella McCartney, Loewe, Marc Jacobs, Kenzo, Celine, Off-White], OTB [Diesel, DSquared2, Maison Margiela, MM6, Marni], and Puig [Paco Rabanne, Jean Paul Gaultier, Dries Van Noten, Nina Ricci] while Richemont [Azzedine Alaïa, Chloé, Dunhill] and the Prada group [Prada, Miu Miu] have a single person of colour on their boards, both hired after June 2020. As it stands, none of the above brands have people of colour in the role of CEO. 

In 2020, WWD reported on the three Black CEOs in fashion: Virgil Abloh, Jide Zeitlin at Tapestry [Coach, Kate Spade, Stuart Weitzman], and Sean John’s Jeff Tweedy. In the three years since, this number has dropped to zero, following the passing of Abloh, while Zeitlin resigned for a misconduct allegation and Tweedy has left fashion entirely. Interestingly, Chanel is currently the only major house with a person of colour as CEO, after hiring Leena Nair in January 2022. 

As the only voice in the room, people of colour often struggle to bring about the radical change needed for true diversity and representation. As Stella Jean found with Camera Nazionale della Moda Italiana, despite her continued efforts to bring diversity to Milan Fashion Week’s overwhelmingly white schedule, the arduous battle ended with alleged sabotage and a hunger strike. In response, the CNMI argued their efforts were only possible because of “extraordinary fundings, due to the COVID pandemic”, once again highlighting the reticence to dedicate resources towards D&I and the lack of effort without it.  

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2020’s focus on diversity also saw an immediate uptick in Black content – from i-D’s Up + Rising campaign to Hearst’s Black Culture Summit – inviting new writers, photographers, stylists, and more to contribute to titles previously out of reach, though little has changed within most of the teams themselves. 

Currently, there are (at least) 16 fashion publications across the UK and US with all-white editorial mastheads – excluding ‘at large’ roles, which people of colour seem more likely to hold since 2020. Extend this to publications with only a single person of colour, often, but not always in the most junior position, and the figure almost doubles. 

Unsurprisingly on the flip side, publications with people of colour in the editor-in-chief role – in the UK, British Vogue, Dazed, Elle, Perfect, and Wonderland –  translates into more broadly diverse teams inclusive of intersectional identities. 

Meanwhile, POC-led publications like Justsmile and Boy.Brother.Friend are stunted in their growth, with both titles appearing to only receive brand support from Burberry during Riccardo Tisci’s tenure as chief creative officer. Though not exclusively a fashion magazine, gal-dem’s recent announcement that it would be shuttering after eight years further highlights the difficulties in creating and maintaining spaces specifically for people of colour. 

With limited opportunities in-house and all-white mastheads only commissioning Black freelancers for stories that have a proximity to Blackness – though in some cases, not even then – they’re simultaneously pigeonholed while fighting for the same jobs. A friend, who was recently commissioned and ghosted for a Highsnobiety cover opportunity later found out that (at least) two other women of colour were hired for the same story, the two unsuccessful parties only finding out upon publishing. While this can often be part and parcel of the job, it’s hard to ignore the impact it has on people of colour in instances like this when they’re specifically being hired because of their race due to the nature of the story. 

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With the power to bring about change in spaces we rarely occupy out of our hands, it’s up to those in positions of power to go above and beyond in order to rectify previous wrongs. 

Amid 2020’s reckoning, Vogue editor-in-chief Anna Wintour apologised via an internal memo in which she admitted her own shortcomings. “I want to say plainly that I know Vogue has not found enough ways to elevate and give space to Black editors, writers, photographers, designers and other creators,” it read in part. While some speculated that this longstanding oversight would signal the end of her 32-year tenure at the helm of the magazine, six months later she was promoted to become Condé Nast’s global chief content editor. 

If we’re to see Vogue as the industry standard, Wintour’s efforts since should be heavily scrutinised, a sentiment she agrees with. “I will take full responsibility if the next time you and I speak, there isn't a sense that change has come or is being accomplished, or at least it is moving forward,” she explained to the Washington Post’s Robin Givhan. So, what has been accomplished in the three years since then? 

In September 2020, Yashica Olden was hired as Condé Nast’s first global chief diversity and inclusion officer – overseeing a roadmap towards an inclusive future at the group’s various publications [Vogue, Allure, Glamour, GQ, Vanity Fair, etc]. However, a closer look at the three annual Diversity and Inclusion reports for 2020, 2021, and 2022 reveals that the initial marginal growth – +4 per cent total people of colour from 2020-2021 – has since stagnated.

For Black editorial staff specifically, there was an increase of 2 per cent from 2020-2021 with no increase after that, while representation among senior staff has remained the same. In fact, the only constant growth (+5 per cent 2020-2021, +4 per cent 2021-2022) has been for people of colour in the editor-in-chief role, though former Teen Vogue editor (note: not editor-in-chief) Elaine Welteroth shared in her memoir More Than Enough her thorny experiences – alleging her role had different parameters to her white predecessor and that the promotion came with an insulting, non-negotiable pay rise delivered by Wintour herself. 

In Condé Nast’s initial D&I report, a commitment was also made to “support diversity among freelancers and contributors, including photographers”, and while there has been a concerted effort since 2020 to bring in new Black photographers who haven’t previously contributed to the publication – names such as Campbell Addy, Joshua Woods, Myles Loftin, and John Edmonds – Asian photographers are still severely overlooked and for almost all, this has been a one-time opportunity. 

The same is true for the publication’s hallowed cover. Besides Tyler Mitchell – who was the first Black photographer to achieve the honour in Vogue’s 126-year history – the others who have since joined the hall of fame can be counted on a single hand. That goes for stylists too, other than Gabriella Karefa-Johnson who has since become the title’s global contributing fashion editor-at-large. Comparably, Annie Leibovitz has nine additional covers under her belt, five of which feature Black talent – despite ongoing criticisms of her inability to capture their beauty. At the time of publishing, Vogue has released four issues in 2023, none of which have covers photographed by a person of colour. 

In addition to diversifying content, publications have doubled down on their coverage of racism – though it’s difficult to ignore the hypocrisy around the selectiveness of this. While Vogue is not alone, its response to Kanye West’s YZYS9 show best illustrates this. 

Initially commissioning Raven Smith to (rightfully) call out the ‘White Lives Matter’ t-shirts, there were also rumours of a face-to-face interaction with West and Karefa-Johnson – following his tirade against the stylist on Instagram – filmed by Baz Luhrman. Later, Wintour and Vogue officially cut ties with him, following his anti-Semitic comments, though it remains to be seen if he will be given the same grace as John Galliano in years to come. 

Meanwhile, Dolce & Gabbana continues to dodge cancel culture and is still reviewed each season and given prominent real estate space at the publication – its most recent cover in December 2021, worn by Sarah Jessica Parker. A friendly reminder that the brand’s racism isn’t just limited to a questionable campaign which led to the cancellation of its Shanghai show in 2018. There are also racist DMs, ‘Slave’ sandals (2016), posing with partygoers dressed as minstrels at a ‘Disco Africa’ party (2013), and a Spring/Summer 2013 collection filled with Mammy iconography and zero Black models (2012). 

With publications and celebrities continuing to support the brand despite this, the consequences are twofold. For people of colour, it highlights that money will always speak louder than their condemnations. More worryingly, for those who should be fearful of the impact of being ‘cancelled’ – seemingly the only way to police these kinds of transgressions – they can simply avoid accountability by writing a cheque. 

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Now, three years on from 2020’s reckoning, there is an uncomfortable feeling among Black creatives working in fashion that after coming to a shuddering halt, the movement is now regressing – not that you’d be able to tell from your Instagram feed. 

While there is little research specifically investigating this – though Quartz says it’s also regressing – scrolling back through various brands’ and publications’ feeds to find the aforementioned 2020 apologies, there appears to be a blanket of Black faces giving the impression of diversity. It’s a technique often implemented on the runway too. TheFashionSpot stopped publishing its seasonal report, but the Autumn/Winter 2022 shows revealed the smallest increase from the previous season since June 2020 – at only 0.6 per cent. 

As diversity among models appears to regress, the work available for them becomes even more limited too. Levi’s was recently criticised for its use of AI models to create “a more personal and inclusive shopping experience” instead of simply hiring existing people of colour. Meanwhile, ‘digital supermodels’ like Shudu Gram – created by white photographer Cameron-James Wilson – are tapped for advertorials with brands including Ferragamo and Christian Louboutin. 

There’s also something to be said about the way in which Blackness is represented in the imagery we consume. Now, fashion editorials that feature Black models have become homogenised, a combination of brightly coloured backdrops with the saturation dialled up to 100 to highlight their glossy complexion – seemingly taking cue from Rafael Pavarotti. Yet, when there are no discernible differences between images that we perceive as being associated with Black creatives and images that emulate the same aesthetic without including any, we must carefully scrutinise the blind spots that give a false sense of progress. 

For Black people, this disparity becomes harder and harder to ignore post-2020. At the recent Autumn/Winter 2023 shows, Gucci’s interim collection was, for the most part, praised by my peers in attendance who lauded the Ford-Michele mash-up of covetable clothes. Admittedly, they were, but days later all I could think about is the fact that when the design team appeared to take their bow (11:38), everybody was white. In contrast, at Sunnei – presented on the same day, hours later – the collection was modelled by its own team, revealing (at least) 3 Black people working at the brand. 

When I interviewed Serhat Işık and Benjamin A. Huseby about their Trussardi debut for AnOther, they told me that this lack of representation is sadly commonplace. “We had a visit to the headquarters to meet everyone who worked there,” Huseby recalled, “and we didn’t see a Brown person until the end of the day when the cleaners were coming into the building, which is very typical for a lot of fashion houses – especially in Europe.” Their short stint, reportedly because of budget constraints, is a blow both to POC designers hoping to make their mark at a fashion house – “Five years ago, we probably wouldn't have been appointed to this position,” Işık admitted – but also for any people of colour they opened the door for during their tenure. 

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The magnifying lens fashion found itself under in the midst of its reckoning gave me the rare opportunity to directly discuss the lack of diversity at the company I was working for at the time, as well as within the British Fashion Council – a timeline of the latter’s ‘achievements’ since can be viewed here. However, much like the efforts towards the inclusive future that we were promised at the time, the openness towards these conversations seems to have also regressed. 

The discussions I had with other people of colour in the lead up to writing and publishing this essay made two things very clear. First, that very little, if anything, has been achieved in moving the dial forward. Perhaps more worryingly, is that people of colour are hesitant, if not afraid, of speaking up about the continuing impacts of systemic racism within fashion for fear of retribution. If you’re a writer, photographer, stylist, graphic designer, publicist, make-up artist, influencer – it doesn’t matter – the ramifications are as pervasive as ever. 

Despite this, even now I don’t believe the responsibility of forging the path forward should be squarely on the shoulders of people of colour. If any progress is to be made, we need more white advocates who are willing to listen, support, and use their own voices to amplify this issue – especially when there aren’t any people of colour in the room. 

Since 2020, I’ve been repeating the same phrase: ‘Everyone wants to change the world, instead of changing things in their own lane.’ To me this means a few things: What unconscious biases do I have that need investigating? How can I address diversity (or a lack thereof) in my workplace? How can I help amplify the concerns of people of colour? What power do I have to give people of colour (more) opportunities? What opportunities have been offered to me that can be passed on? It’s this line of thinking that has allowed me to investigate and work towards rectifying my own blind spots. 

Throughout, I have specifically focused on the way in which Black people, and more widely people of colour, are impacted, but this could just as easily apply to other marginalised groups – people who are trans or gender non-conforming, working class, or disabled etc. Perhaps even more so, given that the absence of these identities within the industry is rarely highlighted in the same way. 

Though my optimism in 2020 was sadly short-lived, the sooner we improve representation from the top-down, the sooner we can begin dismantling the systemic issues I’ve outlined, which in turn, will help from the bottom-up by removing obstacles that stop people of colour from pursuing careers in fashion in the first place – an issue I investigated for Dazed back in 2017. 

Simply put, if the past three years have taught us anything, it’s that we don’t need more apologies or half-baked promises, we need action. 

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While there is still a long, long way to go, I want to end on a positive note, reflecting on the unique perspective that Black creatives can bring to fashion when they’re given both the means and opportunity to thrive. 

At a time where we’re constantly bombarded with images, Imruh Asha – stylist and Dazed’s fashion director – manages to cut through the noise with work that is joyous, vibrant, and never fails to bring a smile to my face. 

Elsewhere, Lindsay Peoples’ editorial direction for The Cut has transformed an astute platform into one that embodies everything I love about fashion – a balance of playful frivolity and intelligent scrutiny. 

Finally, the lasting impact of Virgil Abloh is as pertinent as ever. Though I only had a single opportunity to interview him before his untimely passing, in the time since, I have come across more and more Black talents who have shared their stories of his kindness, compassion, and ardent support of them and others who look like them. While he is no longer here to guide us, his legacy remains, as well as his proposed roadmap to the diverse, inclusive future that we all deserve. 

In his words: “I am so proud to have a platform that allows me to target, hire, and work with diverse teams of some of the most talented artists and thinkers to fuel every step of the creative process. We cannot reach an equitable future without first looking critically at how our own ecosystems help or hinder that growth.”

[frozen-hearts-cannot-be-broken]

THE FREEZISH

NOTE: The artwork seen in this post was made using @GO966′s picrew. 

REAL NAME: Thiya Prometh

AGE: Mid-Late 20s

SEXUALITY: Bisexual

ORIENTATION: Biromantic/Polyamorous

FAMILY: Deus Prometh (father--deceased); Pyra Prometh (mother--deceased)

HEIGHT: A few inches shorter than Lio Fotia

WEIGHT: 115 Ibs.

CLASSIFICATION: Cyborg; Freezish

AFFILIATION: Foresight Foundation--Freeze Force (later Independent) 

POWERS/ABILITIES: Ice manipulation; armor creation; enhanced strength/speed/stamina/durability/reflexes; recording devices in eyes; can have information downloaded directly into her brain

PERSONALITY: 

Strong sense of curiosity; asks questions about everything; isn’t afraid to speak her mind & question authority figures until she’s satisfied or forcibly silenced

Likes to look at something from every conceivable angle before making a judgment call; prefers to try & talk things out with her opponents before resorting to violence; should it come to violence, she prefers to restrain/incapacitate rather than kill (unless it’s self-defense or to protect someone else); won’t attack those she doesn’t perceive as a threat

Patient but with a very low tolerance for bullshit; can be easily frustrated when facing difficulties with what she considers a simple task

Has a hard time following orders from people she doesn’t respect

Keeps mostly to herself & doesn’t like to interfere in other people’s business; hates letting emotions get the better of her as she sees it as weakness; has a very logical moral code & believes in the phrases, “The needs of the Many outweigh the needs of the Few or the One”, along with “An eye for an eye”; can be considered blunt/cold 

Does have a sense of right and wrong, but doesn’t really care much if bad things happen in the world as long as it doesn’t affect her & her loved ones; however, when she does do something wrong and/or has been tricked into doing something wrong, she will do everything she can to make things right/atone, even if it puts her in serious danger/at the cost of her own life; big believer in cleaning up her own messes

Does not consider herself a good person; has a serious sadistic streak & takes pleasure in seeing those she judges as evil/beneath her suffer; has a sharp tongue and isn’t afraid to use it

Very dark, dry sense of humor; makes self-deprecating jokes as a coping mechanism

Prides herself on retaining certain manners when addressing others, especially her enemies

Fiercely protective of loved ones; very affectionate but doesn’t show it out of fear of making people uncomfortable

HER STORY (under the cut because LONG):

PRE-MOVIE:

About a year prior to the events of Promare, rumors began to circulate among the Burnish of a new type of boogeyman known as The Freezish: a super soldier infused with the latest anti-Burnish technology. They’re deployed with Freeze Force during raids of Mad Burnish hideouts, quickly & ruthlessly freezing any they deem dangerous. Very few Burnish have faced them & lived to talk about it. Among those few though are Mad Burnish leaders Guiera & Meis, the only ones able to best the Freezish in combat, having come close to killing them on numerous occasions. 

The Freezish was kept secret from the general public, until one day...

FIGHT AT FORSIGHT PHARMACEUTICAL:

The Freezish arrives with Vulcan after Galo & Lio’s fight. When Vulcan attempts to arrest Galo for interfering with a Freeze Force operation, the Freezish backs up Ignis’ statement of Burning Rescue having authority during a Mad Burnish attack. After Vulcan backs off, they check in on Galo to make sure he’s alright & Galo thanks them for their concern, offering the Freezish a fist bump & asking if they have a name. Before they can respond though, the Freezish is called away.

(NOTE: Galo & Lio have each had their own separate encounters with the Freezish by this point.)

CAVE SCENE:

Later, the Freezish is sent to track the Burnish that escaped from the containment facility & finds their hiding place just as Galo does. After watching him get captured, they sneak into the cave with the intent of rescuing him only to discover the wounded Burnish. Horrified at the state they’re in, Thiya sheds her armor and watches as Lio & Galo converse. After the Burnish leave Galo behind, she emerges from the shadows and unties him.  

She asks him to hold off on talking to Kray so she can confront him first. Galo, not recognizing her without her armor, is skeptical. Thiya reveals that she’s the Freezish by making a mini matoi out of ice & also tells him her name. Galo agrees to let her confront Kray first but says that if he doesn’t hear from her with 24 hours, he’ll go see Kray himself. Thiya agrees & gives him the frozen matoi in exchange for not telling anyone her real name. 

LIO ATTACKS THE CITY:    

After this, things happen as they do in the movie: Galo confronts & is locked up by Kray, Freeze Force attacks the Burnish settlement (the Freezish being mysteriously absent), everyone is captured except for Lio, & he goes on a rampage to get them back. 

The Freezish tries to stop Lio from attacking Kray Foresight but is swatted away by his dragon.

FINDING DEUS’ LAB / EXPOSITION DUMP / THE TRUTH REVEALED:

Once Lio is calmed down, the Freezish appears & tries to arrest him but is stopped by Galo, who calls her by her real name. When Thiya demands how he knows this information, he shows her the frozen matoi she gave him. It’s revealed that Thiya has no memory of what happened in the cave, with her saying the last thing she remembers is giving Kray her report on the pharmaceutical fight. She’s shocked to learn it’s been over a week since then. 

The group is then interrupted by a hologram & everyone heads inside on its request. As they descend deeper into the lab, Thiya explains that the hologram is of the late Deus Prometh, a world-renowned scientist & one of the first experts on Burnish biology, along with being one of the few people defending Burnish rights. She tells them that a few months after the Great World Blaze began, Deus’ house was attacked by Mad Burnish extremists, but since he wasn’t home at the time, only his wife & daughter were killed; the wife dying instantly & the daughter succumbing a few days later to horrific burn wounds. This was a catalyst in mass Burnish distrust & anti-Burnish laws were passed soon after. 

Aina remembers her sister, who was a student of Deus’ shortly before his death, mentioning that his daughter’s name was Thiya. Without much prompting, & reasoning that no one would believe them anyway, Thiya confirms that she is Deus Prometh’s daughter & that her father secretly had her cryogenically frozen & spent the next twenty years working on synthetic skin & organs for her alongside his research on the Burnish. Thiya explains that her father died in an accident before he could finish & she was found by Kray Foresight, who she says saved her & gave her purpose. Once everyone arrives in the main laboratory, Thiya angrily asks her father how he could experiment on his daughter with neither her knowledge nor consent. 

Deus tells her that she did give him her consent via an artificial intelligence he created by downloading a copy of the then comatose Thiya’s consciousness (a sort of backup plan in case he couldn’t fix her physical wounds) that was supposed to be downloaded into her brain after he was finished with her repairs. The A.I. of Thiya promptly makes herself known & introduces herself to the group.

This warmer, more laid-back version of Thiya reveals that she agreed to becoming a cyborg, but that her father only created artificial limbs & skin & had nothing to do with her Freezish enhancements. By replaying her memories on the screens, A.I. Thiya shows the group that the incident resulting in Thiya’s burns was accidentally caused by her mother’s Burnish awakening, with her mother turning to ashes almost immediately afterwards due to a “broken heart” (heart attack) & the Mad Burnish were used as a scapegoat so the government would have an excuse to pass anti-Burnish laws. She then shows them the footage of Kray killing Deus.

Distraught, Thiya has a severe mental breakdown in which she tries to commit suicide (but is stopped by the others) before passing out. Thiya’s A.I. instructs the group to put her into a charging pod so that they can look into her buried memories. It turns out that after leaving Galo in the cave, Thiya confronted Kray about the Burnish & he immediately had her memory wiped, with the last thing she heard before the wipe being Kray complaining about how much she’s like her father & that since it’s not the first time he’s had to have her memory wiped, she was to be put in stasis until the Parnassus launched, upon which she was to be lobotomized. Thiya was only brought out of stasis early by one of Kray’s lackeys in a blind panic when Lio attacked Promepolis.   

Thiya’s A.I. decides to merge her programming with the current Thiya’s in the hopes of creating a more hopeful version of herself that isn’t psychologically shattered. While she’s doing that, Deus tells the others about the Promare & by the time he’s finished, the merger is complete & a still unconscious Thiya is put into Aina’s ship. 

FINAL FIGHT AGAINST KRAY:

Thiya wakes up sometime during Kray & Lio de Galon’s fight. She appears out of nowhere to stop Lio from attacking a goading Kray & throws him back into the Promotech pod with Galo, having seemingly gone back to Kray’s side. When Kray goes to thank her, she freezes him from the neck down without a word. She prepares to kill Kray herself only for him to burst from her ice & grab her, revealing he too is Burnish. Thiya is left so terrified by this that she barely moves until Kray reveals that he was the one who set Galo’s house on fire as a child. 

Enraged at Kray’s cruelty, she breaks free from his grip & puts up a barrier to protect Galo & Lio, telling them to go on ahead while she fights Kray. Thiya does everything she can to slow Kray down, including taking hits that were meant for Galo or Lio, but is eventually knocked out. When she wakes up, she’s in...

THE ENGINE ROOM  

Thiya wakes up to see Kray tying Lio up to the Promotech pod & tries to stop him, but Kray impales her before she can do anything. Kray gleefully shows her the “fruits of her labor” & how he couldn’t have rounded up all the Burnish if it wasn’t for her help. Heartbroken, Thiya notices that Galo’s nowhere to be seen & Kray tells her he killed him before turning on the engine. Thiya passes out & doesn’t see Galo save Lio.

I’ll make another post later where I’ll go into detail on what might happen to Thiya if she survives the events of Promare.  

[decepti-thots]

Please insult Drift

drift doesn't just basically put on a metaphorical clown suit to try and make himself seem nonthreatening and such, he proceeds to be so unconvincing at it that everyone is now both expecting him to stab them at any given second, and also under the impression he's an idiot who thinks that eating random crystals will cure your IBS or whatever.

he is the kind of person who would probably consider that a part of his atonement as opposed to, you know, kind of embarrassing to watch for everyone involved.

[pekorosu]

just a lil “if ash lived” headcanon that i need to unload somewhere bc i've been holding it in for a long time

- set within the manga ‘verse

- takes place when ash and eiji are in their early 30s... so around the mid 1990s?

- i don’t get the weird animanga trope where older = longer hair, so they’re gonna look the same... maybe with slightly shorter hair bc they get regular haircuts now 

- (note: i've always interpreted long-haired eiji as symbolic of the fact that he couldn't move on from ash’s death)

- ash and eiji will continue living in the states, idk if still in NYC or somewhere else. they’ll move around a lot though.

- ash will mostly remain underground as he had to fake his death after lao’s stab, but he does it in a "hiding in plain sight" kind of way. only a handful of people know he’s still alive.  

- ash spends most of his time on the computer, mostly coding, hacking, being a nerd, among other fun stuff.

- he also takes on “jobs” anonymously, and occasionally from max (who’s still into investigative journalism) when he needs info that can only be obtained through Dubious Means.

- i also like to think that ash's a bit of a hacker robin hood lol. but he isn’t doing it purely out of the goodness of his heart, as part of it is a subconscious need to atone for his “sins” and cleanse the gnawing and persistent feeling of shame that gets amplified when he’s around eiji.

- also whatever he’s up to these days would ofc still be Highly Dangerous and Illegal, but it keeps him busy and would sate the part of him that’s still hungry for adrenaline without him having to engage in stuff like active bloodshed or substance abuse. basically that’s how i imagine he’d try to cope with life the only way he knows.

- eiji continues to do photography and other part time gigs bc he does not like the idea of mooching off ash forever, and he slowly makes a name for himself.

- ash and eiji live together but they are NOT together in a romantic sense... not yet >:)

- therefore eiji will probably date other people in the meantime, which gets a little troublesome bc it's not like he can bring them home to where his secret Very Important Friend is secretly hiding.

- ash will maybe have one-night stands every now and then. or not. idk. this isn’t a very important detail.

- anyway there will be lots of clueless but mutual pining :)

- ash especially, is of the opinion that they should start living separately bc someone will eventually track him down, maybe someone who has a past or present grudge on him. combined with his current activities, it’s only a matter of time before eiji would unwittingly get dragged into his problems again.

- eiji is v adamantly against that plan bc he's sorta developed a debilitating sense of paranoia that ash might just get killed somewhere while he’s not looking. not that ash isn’t paranoid either, but his insecurities often tip the scale over to “eiji is safer away from me” than “with me”.

- basically they’re doing their whole “stay. no, leave. no, stay” dance all over again, but like, dragged out over MANY YEARS.

- you thought eiji’s letter would’ve cleared up any crossed wires? 

- HELL NO

- like yea, there was probably a beautiful honeymoon period of about a year or two after they reunited, before their respective trauma and issues started creeping in and fucking things up again.

- esp on ash’s end, i think he’d engage in a lot of self-sabotage. and eiji is only human, he has his own limits and baggage too.

- there will be a government conspiracy plotline but on a smaller scale compared to canon that i am unfortunately not knowledgeable enough to worldbuild on, but it will probably have something to do with cybercrime/cyberterrorism/stuff like that bc it needs to tie in with ash's hacking shenanigans.

- i've heard that sing ends up becoming some sorta political big shot in yasha? idk, i haven't read it myself, but since china’s rising status was mentioned in GoL i imagine the plot should relate to that somehow.

- therefore sing would also get to be in this story! 

- i guess this means yut-lung would come into the picture at some point as well, and it would be a good opportunity for a redemption arc but i haven’t given it much of a thought bc i’m indifferent to his character orz SORRY.

- look i can’t do plot, but i am basically envisioning a political thriller with a side of slow burn romance (wait, you mean like a rehash of canon?)

- i’m thinking max is the one who kicks off the story by bringing something fishy to ash, and they just end up uncovering more and more and MORE stuff as they keep going.

- so for like 80% of the story, ash and eiji will be separated bc ash will be busy spying or infiltrating something... and being at the center of Plot Things, while max and eiji will be more on the outside dealing with the journalist side of things. i’m fond of max-ash interactions but i’m also REALLY CURIOUS about max-eiji’s dynamic :D

- meanwhile sing will be like, half in and half out i imagine. he's versatile like that lol

- ...i did NOT mean that in a dirty way

- anyway, this will provide ash and eiji ample space to work out their issues separately, as i think living in close quarters for so many years has actually been aggravating them. ofc those issues don’t get 100% resolved by the end, but some time apart from each other to cool off and spend with other people should provide a bit of perspective.

- i want ash to make some NEW FRIENDS (!!!) that are on the same wavelength as him bc there’s only so much that he can tell eiji and i’m sure he gets rather lonely, so there will be OCs that he will meet in the middle of Plot Things.

- ash will get trapped at some point. preferably with sing so they can have a much needed heart-to-heart talk. they’ll have a lot to hash out, ranging from the events in BF, shorter’s and lao’s death, all the way to ash’s love life. 

- btw i like the idea of eiji and sing being close drinking buddies who confide in one another but ash is kinda, justalittle, not very happy about that LOL 

- i mean, it's not like eiji can confide in ash when ash is the topic at hand, ya get me? as for sing, he’s similar to ash in the sense that they live dangerous lives, so i imagine he just finds it nice to be able to hang out with someone mundane like eiji every now and then.

- not to say that ash and sing aren’t talking to each other at all, but i think they’d have a bit of a rift between them. sing probably does feel some resentment, both at ash for killing lao AND at himself bc he knows deep down that given a choice, he would’ve saved ash over his own brother. ash can sense that tortured vibe, so eiji’s like their middle man. AND THAT’S WHY THEY NEED A HEART-TO-HEART TALK

- (SIDE NOTE: i want akira to have a role in this too. i actually have a separate headcanon that happens prior to this story... kinda like an alternate GoL? 

akira goes to the states to visit eiji, but ash is also there, yeah? akira and ash start out sorta prickly with each other bc ash is all weird and standoffish and always cooped up in his room. she probably mistook him as a jobless model mooching off eiji at first since 1) eiji and ibe have never spoken about him back in japan (cuz he’s supposed to be dead), 2) why would eiji be living with some random hot guy? unless they met during one of his photography gigs? right??? 

and then she ends up witnessing them in the middle of a tiff, which makes her not like ash even more bc HOW DARE HE YELL AT POOR OKUMURA-SAN??? UNGRATEFUL JERK!!!

but over the course of her visit, she snoops around learns a bit about their history and gathers hints as to why their r’ship is kinda strained. also ash and akira somehow end up bonding (reluctantly) over their emotional insecurities and part on a friendly rivalry to win over eiji’s affections (which eiji is completely oblivious to. also akira may have been 100% serious but ash was just jokingly playing along with her (OR WAS HE???)). anyway long story short, ash teaches akira some cool tech/IT stuff along the way so that leads to her gaining an interest in the field. 

she won’t be able to do much in this story, but a minor role would be cool :)

 ^ a lighthearted gyoza-making scene amid all the angst)

- (SIDE NOTE #2: i ALSO want cain to feature in this, but bc canon provided very little bg info on him it’s hard for me to figure out where he’d fit. but i suppose that’s precisely why it would be great to include him, since i can just make up my own backstory! lol. for now, i think he should be connected to one of the new OCs to make him more central to the plot. or heck, he can be involved himself! ...yeah, i’m just salty about how cain was treated more like a convenient plot device compared to the other major side characters. we barely know anything about him even though he was one of ash’s most trusted allies. #caindeservedbetter2k20)

- anyway, back to the main story. ash (and his new "friends") barely escape where they’re held hostage. ash would be rusty with combat now as he’s spent the past few years doing only stealth work and being rather sedentary. 

- so there’ll be lotsa old man!ash jokes like them poking fun at him whenever he complains about his back hehe

- when they finally emerge outside they find themselves in the middle of nowhere! they then hijack a passing pickup truck and do a roadtrip back to civilisation. ROAD TRIP FTW

- at this point, quite some time has already passed and ash even has a fuzzy beard and mane and all. he’s standing at the back of the truck with a small smile on his face and the wind blowing in his hair, thinking GONNA GO BACK AND SEE EIJI, MISS HIM LOADS, HELL YEA 

- (bonus: this song and this scene is the catalyst for this entire headcanon btw)

(drew this about a year ago. i was trying to imitate the manga’s art style... and the ash i had in my mind was a little different. i’m too lazy to redraw, but he’s fuzzier now okay! MORE FUZZ! like an actual freakin LION!)

- meanwhile, eiji and max will get into some deep shit around this point? 

- eiji in the pic above was me imagining that the Bad Guys had tossed some damning evidence (eg. severed body part?) on the ground like “ash’s dead/ash’s in a lot of danger now so hand over all the info u have”

- and eiji and max are like. SHOOKETH

- this would be the 3rd time ash has “died” after all, and as they say... 3rd time's the charm...

- eiji almost gives in, but then max spits in their face like fuck no and then... yeah. they get beat up and taken away or something lol

- EDIT: hmm... what if the Bad Guy is someone IN the government, and he uses his power to get eiji and max arrested for aiding and abetting a wanted fugitive (ash). and then ash has to rescue them... JAILBREAK STYLE

- also it might be cool to introduce ash's mom somewhere in this story... maybe SHE'S the villain! mwahaha *drama intensifies*

- anyways they will get saved by ash and gang bc that’s just the way things go, BUT! only on the condition they already made it out at least 80% of the way bc GODDAMN IT👏LET👏EIJI👏BE👏BADASS👏FOR👏ONCE👏 

- (that is, after he overcomes the initial shock of ash possibly being dead again... again...... again............)

- there will ofc be moments of “oh my god, you’re okay” "i thought i lost you...!"

- something like this, because one can never have enough cheesy reunion scenes

- this will eventually lead to REVELATIONS (of the romantic kind, yes) 

- buuuut they will never say "i love you" directly to each other bc ash is too emotionally constipated and eiji is too japanese. it's okay, they will communicate it through heated stares 👀

- i would love for there to be a scene where they have to be separated again for Plot Reasons and ash sorta hesitantly goes all "...will you wait for me?" as a direct parallel to canon!eiji's "i'll be waiting" and it’s like,

- FINALLY! 

- FINALLY!!!!!!!!!! ash has finally allowed himself to ask for this, to let himself want it! 

- and eiji would be like OF COURSE I WILL YOU BIG DUMMY, ALWAYS AND FOREVER

- but i think it'd be hilarious if eiji pops up while ash's in the middle of the final showdown and ash's like WTF I TOLD YOU TO WAIT FOR ME and eiji's like I WAS WORRIED OKAY YOU WERE TAKING SO LONG

- idk how this is supposed to end...

- oh wait! since the plot is government-related, maybe Someone will be able to pull strings to wipe out ash’s criminal record (past and present) and give him a brand new 100% legal identity, as thanks for his efforts? or maybe ash (or sing) just does it himself somewhere along the way LOL. anyway, he’ll be able to start over with a fresh clean slate and finally work on recovery FOR REAL NOW. yes this is a happy ending AND it didn’t require him to go to japan /flips off canon

- ...i realise it’s never going to be that simple but W H A T E V E R

- (also they probably will visit japan in the future with that shiny new passport... gotta meet the in-laws and all y’know)

- who do i gotta pay to write this cheesy self-indulgent fic for me

[fymagnificentwomcn]

What are your thoughts about Silhatar Mustafa?

Mhm pretty much indifferent to him, but as many, deserved so much better?

I mean later on he was horrible, but he wasn’t himself anymore following Gevherhan’s death and his disastrous marriage to Atike.

When we meet him we know he’s Murad’s best friend and has a reputation as ladies man, seems like a guy seriously devoted to his work, but having a messy private life lol.

The person he seems most attached to was Murad, we see he is very much concerned about his well-being and happiness, for example he is very glad seeing Murad being happy after a ride with Farya (later changes his attitude towards her after the pig incident). He also has a soft spot for Ayşe (in platonic sense), which mirrors Ibrahim’s fondness for Mahi due to being treated as part of their family (and this relationship stays strong until the end, even in her last episode, he pleads on her behalf with Murad).

It’s clear he and Kösem aren’t great friends, but they both have learned how to co-operate with each other for Murad’s sake, he also seems to have similar relations with the rest of family – there doesn’t seem to be exceptional closeness between him and the rest of the family other than Murad, but everybody manages to get along.

The show starts when Mu/rat loses his previous main male favourite (and I don’t intend here any romantic undertons either ahaha) aka Musa, and Silahtar is given his position. In later flashback scene we see what Mu/rat expects of him – absolute loyalty. Obviously Musa has left big shoes to fill in and Silahtar is undoubtedly aware of this.

Suddenly Silahtar’s professional life and his messy private life intersect because he gets caught between two sultanas – one which he begins to have feelings for and the other who begins chasing after him for a change.

He was well aware Gevherhan might be too far above him and perhaps got scared about having for the first time real feelings for a woman, so he entered into what he thought a casual relationship with Ester. However, he could have sensed that Ester wanted something more, she was pretty vocal about bearing her loneliness aka widowhood badly and wanting to have someone by her side long-term. Then he actually did decide to pursue Gev and like he said start a new chapter with his life, close the previous messy private life and start anew with the woman he truly loved. He also intended to immediately come clean to Mu/rat and ask for Gev’s hand, even at the risk of being executed.

Ironically, what proved to be an obstacle was not where he actually was at fault (Ester), but where he was innocent (Atike).

As I said, Ester serves here as foil to Atike – she has much better reasons to be bitter and want revenge, but ultimately she draws a line and leaves the matter. And LBR nobody would have cared so much about her as about a sultana… but this sultana is lying, even if she herself believes in her delusions.

The whole situation truly gives me Atonement vibes, and as in Atonement it has a bad ending, but here it gets a bit more complicated because of Silahtar’s love and loyalty being connected also with another person – Murad.

I said it multiple times – in the end the real love triangle is Silahtar-Gevherhan-Murad.

As I mentioned in the beginning, from beginning Silahtar is very protective of his friend and sultan and also wants to do as best as he can in his job. He is also a bit naïve about Murad – during the Kasim matter, he scolds Kemankeş for having helped Kösem hide the truth, but he himself has no bad intentions and does not want Kasim hurt – he believes Murad will not pursue the matter as far as he ultimately does.

Similarly, he makes digs at Kemankes to not switch sides for Kösem’s.

When he asks Murad for Gev’s hand, he is sure his friend will treat him at least justly. But boy he was disappointed. Murad doesn’t even ask him about the whole matter and trusts Atike blindly. Then puts him in that praying cell to make Silahtar understand that the most important thing in his life is his padişah and absolute loyalty to him.

To make matters worse, once Silahtar is released from prison, his “friend” decides to complete the “lesson” with “absolute loyalty test” – marry Atike.

Murad is well aware Silahtar does not love Atike and does not want to marry her. He actually uses his beloved (?) little sis and traps her in marriage that has no chances of being ever happy to test Silahtar’s loyalty.

And Silahtar, traumatised and brainwashed by everything – chooses loyalty to Murad. Of course if he had said no, he would have been executed (though Gev would have more strength to live seeing he didn’t abandon her), but he still chooses a sad life trapped in his private life with a woman he now despises… what is left is truly only Murad and his service to him.

In a way, it’s strange that following Gev’s demise Silahtar becomes obsessed with the person who caused him this misery – but at the same he lost everything, all he has left is Murad, he made his choice, chose Murad, so now all he can do is stick to his choice and save what he still has.

When Murad comes to Silahtar when the latter is mourning Gevherhan we see he has learned his lessons by now – Murad is distraught because his mother told him he was guilty of his sister’s suicide, so Murad (as always) makes his friend’s pain be about him and asks whether it’s true. Silahtar now knows what answer Murad expects and states that “all our lives and our paths, life and death, belong to you” and remarks that if Gev had accepted Murad’s will as we all should, she would have been alive. It’s deeply sad to state, but Silahtar knows Murad truly wants no other answer than this. However, before Murad’s appearance, Silahtar recalled telling Gev that only she made him feel alive and now he tells Murad he is practically dead and trapped in his life, and that he needs to live with his pain and regret forever. He actually says similar thing to Atike - yes, he chose loyalty to Murad over the woman he loved and now has to bear the consequences for the rest of his life. Atike, of course, does not get it and still belives they might have a happy ending.

It’s a very dark reality for him now, no wonder he pretty much loses his mind out of this grief, and it only gets worse because he realises Atike will never divorce him and will not even rest until he tries to be a husband to her.

When he comes to her and they “kiss” he taunts her to divorce him and sees that even when he mocks her she’s so obsessed with him, she won’t go let go no matter what. Kösem actually would be happy to see Atike divorcing Silahtar because we know she never liked him, the only obstacle is Atike’s obsession. So later he tries to play the husband part even though it’s clear he continues to despise her.

Ironically, he develops sort of his own obsession, but with Murad. Pretty much tries to remove everyone around Murad and most sadly tries to turn Murad against his mother and brothers. He suggests both changing the law and putting Murad’s brothers to kafes, which is an action very uncharacteristic of his old self. Still, it’s clearly not a vendetta against Murad because we see he still clearly cares about him, e.g. when he hides from him the fact that Farya (whom he strongly dislikes) had connection with Murad’s children death. He does confide it in Kösem though because he knows that while she will scold Farya, she will also keep quiet not to cause Murad any more pain. It again proves that while these two never liked each other much, they were able to set their differences aside for Murad’s sake.

This is not just restricted to his family, but also to Murad’s other men – Abaza, Kemankeş – because he shows Murad the letter from Kösem to Kemankes not only to strike at her, but to make Murad doubt Kemankeş too and he taunts Kemankeş with being Kösem’s spy (which is true because now Kemankeş is reporting Kösem Murad’s tyrannical behaviour, the opposite of what he was sent to Kösem, I love this irony sm ngl)

Kemankeş however is not interested in becoming Murad’s male favourite, but a new serious rival pops up – Yusuf. And a new triangle emerges 😊 Silahtar cannot hide his jealousy at all, even Atike notices it, though as always she mistakes it as him being jealous of her, same with Kemankeş who taunts Silahtar that Yusuf’s relationship with Murad curiously resembles his relationship with “someone else”.

I really despair we didn’t get more of Silahtar/Yusuf/Murad thing NGL, but I’m sure it would have gone this way if Caner had not left the show, I doubt Silahtar would have ever abandoned Murad at that stage, especially since historically he was his most loyal man until the end (“the person who was always loyal and genuinely attached to him since his youth” as Du Loir suggests) and was even in terrible despair upon Murad’s death, sooo.

In short again, he’s not among my fave characters, but he truly deserved so much better because he was living in actual hell and dark place later on, and ironically Murad was well aware of this as he remarked over his body that “for some people living is so painful, they feel trapped and in chains, death is actually relief for them, and only those who remain suffer” (aka exact repetition of what Sil told Murad about Gev following her death).

- Joanna

[rosetower]

i still have a huge list of games from 6 years ago that i have to figure out if i played or not so i’m posting it here for reference again 

next on my list of games tho (bolded is yn fangames)

Our Crazy Dream

Broken Bottles

Lost Game

Device

Page 13

Imagination

Dreams, Delusions After All

Safety

Safety: Life is a Maze

N'Oubliez Jamais

Dream Genie

May

Iter Iterinis

Other Indie Games:

Charles Barkley Gaiden 1 & 2

Soundless Mountain

Sluggish Morss

CRYPT WORLDS; YOUR DARKEST DESIRES, COME TRUE

Killer Bear

Densha

Tower of Heaven

Cave Story

Chalk

Ghost Party

ImmorTall

Every Day the Same Dream

Pretentious Game

Fear Less

Depict1

Breakfast on a Wagon with Your Partner

Conversations with My Mother

Coma

Legend of Princess

Little Wheel

Loved

Irisu Syndrome (why haven’t I played it yet *~*)

SOUP

Mondo Medicals

A Mother’s Inferno

All of Our Friends are Dead

Au Sable

Which

Gravity Bone

Dry Point

Pink! Pink! Bunny Machine!

FOLD

And Everything Started to End

The White Chamber

Igneous

You Have to Win The Game

Super Crate Box

Meat Boy

Kyoto

Not Tetris

Flightless

Under the Garden

Rubi

Amihailu in Dreamland

Star Stealing Prince

30 Flights of Loathing

viriax

l'Abbye des Morts

madnessMADNESSmadness

Halloweens2011

This is a Work of Fiction

Air Pressure

Enemy of the Solid State

All the Better to See You

Tanaka’s Friendly Adventure

Duct

The Life Of A Pacifist is Often Fraught With Conflict

Escape From the Underworld

NIJI

Climb!

A Mother in Festerwood

Grey Story

I Wish I Were The Moon

Take a Walk

Eversion

“Don’t take it personally, babe, it just ain’t your story”

Be the Wind

HeartEater

Ninjammin Beat Jutsu

Kruunu

MONO

Gods Will Be Watching

INSANE BALANCING ON ONE LEG IN EXTREMELY HIGH PLACES

Remaddening

The Iconoclasts

Solar Plexus

Noitu Love

Momodora

Momodora 2

Digital: A Love Story

Hydorah

Saut

Jables Adventure

Super Puzzle Platformer

Cat Astro Phi

Spelunky

Give Up Robot 1 & 2

Fat Wizard

FLaiL

One and One Story

(that’s basically a lot of them from the 100 indie games list from rumikosan)

Anybody know what games I should play as well? Since I’m getting back into these things. Genre-wise I like these kind of weird, abstract games in RPGMaker or just ones that are bizarre in general. Think things like LSD Dream Emulator or something.

So far I’ve played

Yume Nikki (waaaaaaaaay back in 2007 as a matter of fact and was a regular on Uboachan when it was a babby)

.flow (translated .192 actually)

Ib (actually made a spinoff of it but I won’t say any more regarding that)

The Witch’s House

The Mirror Lied (Plot: Fuck if I know.)

I’ve seen a walkthrough of Ao Oni but have zero interest in playing it ok just figured I’d mention that

LSD Dream Emulator (ITS MY FAVORITE)

another game I guess is worth mentioning is Revenge of the Sunfish for the sake of saying that it’s pretty much the most bizarre game I’ve ever played

Dickme Dicki (the worst and the OP is an “anti sjw” still iirc)

Yume 2kki (am no longer updated!) 

OFF

LCD Dem

Me

Covetus

The Looking Glass (game itself is unfinished)

Lisa (I wrote a walkthrough for it too)

Space Funeral

Re:Kinder

Very RetroVaille

Ignite

Mad Father

Paranoiac

no-one has to die.

Palette

Misao

The Crooked Man

Schuld

Answered Prayers

i’m scared of girls

Melon Journey

very pink game+

INSTEAD; GHOST SUBURB

Halloween Flop

Knytt

PapersPlease beta (I SIGNED ONE OF MY NAMES UP HE HE HE)

Don’t Look Back

EnviroBear 2000 (I used to play this during US class)

Clock of Atonement

Middens (Go fucking die John meyer)

Gingiva (Go to hell rot and die John Meyer)

Yume Nisshi

Pen Palz

Time Fcuk

Orpheus

Wither

alice is dead series (really. really . really.)

Desert Nightmare (awful)

Alice Mare

Hello…? Hell…o…?

Mermaid Swamp

The Sandman

Farewell

Miserere (hhhhate) (made by the same guy as Dickme Dicki)

ultra violet

Gnosis (the game is good but jcm has drawn r*pe and pedophilia) 

Yume Graffiti

Mogeko Castle

The Grey Garden

Grey Garden The

Wadanohara and the Great Blue Sea (every mogeko game is garbage by the way and fuck mogeko) 

De I Cide ver. Trey

Cater

Hallucigenia

Debris

Book Ends

mikan muzou

SickMind .10 (awful)

[elmartillosinmetre]

“Hemos llegado al final de la historia de la música”

[El malagueño Eneko Vadillo]

IBS Classical publica un monográfico que el conjunto sevillano Zahir Ensemble ha ido grabando con obras del compositor Eneko Vadillo (Málaga, 1973) en los últimos diez años

Para el malagueño Eneko Vadillo el año de la pandemia está siendo muy productivo. En julio presentaba un libro (El sinfonismo en los siglos XX y XXI) y hace unos días IBS Classical sacó al mercado un trabajo monográfico con siete de sus obras que el conjunto sevillano Zahir Ensemble ha ido registrando en la última década.

–¿Cómo surge la idea de este proyecto de tan larga secuencia temporal? –Coincidí en París en 2008 con Juan García Rodríguez. Hablamos de la necesidad de dejar documentos sonoros de las obras interesantes. En otras especialidades artísticas, quedan papers, artículos, y se sacan como churros. En música, no, las obras se tocan y se olvidan. Claro que es más caro hacerlo, más complejo; hay que reunir a músicos y pagarles… y eso no se puede hacer siempre. Así que decidimos ir haciéndolo poco a poco. Y así surgió. Sin prisas. Pensamos que no hacían falta las prisas.

–Su música se vincula al espectralismo. ¿Usted cómo la definiría? –La respuesta es compleja. Me gusta la que me dio Magnus Lindberg la primera vez que coincidimos en Londres, mientras yo hacía sobre él mi tesis de máster. Todo el mundo daba por hecho que es un espectralista. Y él me dijo: 'Mi estilo es una ensalada, y esa ensalada es mezcla de millones de cosas'. Así lo siento yo también. Yo no estoy en una corriente, porque yo nací en un mundo ya libre. Es más complejo y más fácil al mismo tiempo. Desde la primera nota que escribí, todo ha sido un proceso de búsqueda. Es una propuesta de básicos. Qué elementos son los parámetros que funcionan y que operan en mi música de manera primordial. Cuál es el elemento rector. El elemento rector es la armonía y la figuración, esto es, el gesto primordial. Beethoveniano, si quiere. Un modelo.

–¿No es entonces el timbre como tantos pueden pensar? –No. El timbre es un elemento que actúa dentro de unos parámetros armónicos. Detrás hay mucho trabajo de ensayo y error. Podemos coger Antibes, que es una pieza para flauta sola, y detrás hay modelos de Sciarrino, Lachenmann, Verdú, Carretero, Camarero, amigos y compañeros míos, que hacen música maravillosa, pero también están Debussy, Varèse, Luis de Pablo. Me gustan todos, pero yo quiero hacer lo mío y quiero hacerlo desde lo beethoveniano: una figura mínima desarrollada de manera rizomática. Un rizoma es una evolución no ordenada, es una arborescencia, una evolución fractal, por copia, cubista. Hablo de crecimiento orgánico, a partir de lo mínimo generar lo máximo. Y eso ha sido lo principal en mi música, las transformaciones progresivas de material dentro de las armonías que me gustan y exploro desde que tenía 18 años. Por ensayo y error. Después de Stella, que es una obra para orquesta, muy importante para mí, que escribí en el año 2005, hice cinco obras sinfónicas más hasta 2010; todas están borradas, porque fueron cinco estrepitosos fallos. Las obras grabadas en este disco son la mitad de las que compuse. El resto están borradas, quemadas. Fueron errores. Y es que no somos genios. Fíjese: Brahms, Mozart, Beethoven, Wagner, Debussy: hubo uno por generación, y nosotros no somos como ellos, no somos genios. Yo por lo menos no me considero así. ¿Cuál es entonces mi escuela? Yo la música la escucho siempre desde un punto de vista armónico en el que se integran forma, timbre y textura. A partir de ahí, haber trabajado con Lindberg y Harvey, mis contactos con Luis de Pablo, el estar en EEUU… hacen una mezcla donde se van integrando todas las herramientas en lo que yo considero que es la música más mía. Pero por ejemplo, todas las obras anteriores a 2012 son mucho más abstractas y complejas, aunque sean los mismos gestos. Selene que es de 2010 es como Renascencias, de 2015, pero Renascencias es más figurativa, en ella es todo más físico, más claro, más concreto.

–Renascencias parte de poemas de Juan Ramón Jiménez. ¿Cómo se integran las referencias extramusicales en su música? –Eso es lo que yo llamo la influencia de los modelos exógenos en la estructura musical. Si haces una sonata, un preludio, una suite, eso lo eludes. Pues vamos a coger un modelo exógeno, a ver qué podemos hacer con él. Y esta obra partía del modelo de la maravillosa poesía última de Juan Ramón Jiménez, inmaterial, casi mística. Este poema me encantaba, porque hablaba de la relación del ser humano con la naturaleza y de la necesidad del equilibrio que hemos perdido. En ese terreno soy muy combativo. Todos somos polvo de estrellas. Sobre esta filosofía, Juan Ramón nos plantea la evolución del material: somos piedra, agua, nos podemos convertir en fuego, volver a nosotros. Y trabajo con esa transformación del material como modelo. Sobre la mínima figura musical desarrollo el OpenMusic [un software de programación orientado a la composición musical]. Qué te da la informática, estructuras arborescentes, armonías calculadas a partir de ciertos acordes, que son muy míos y otros procedimientos demasiado complejos para que el cerebro solo te los saque. Los cinco movimientos empiezan con la misma figura, pero modificada según el material de que se trate. O es acuático o ventoso o es granulado o es superrígido, en bloque. El material del primer compás ya dirige al resto. De esa pieza hice cinco versiones; fui probando hasta que el oído me confirmó lo que el cálculo matemático me iba dando. El ser humano, mi oído, está siempre al final.

–Casi todas sus obras se presentan revisadas. ¿Considera terminadas las siete de este disco? –Sí. Están terminadas. Son así. Puedes trabajar sobre algún aspecto de ellas, pero ya no para modificarlas: haces otra.

–¿Algún día pensará que estas obras también son errores y las eliminará de su catálogo igual que todas esas anteriores? –No. Desde pequeño tuve una educación excelente en algunos momentos y horrorosa en otros, horrorosa por parte de profesores horrorosos. En aquella Andalucía de los años 80 se cometieron auténticos atentados intelectuales a causa de muchos profesores lamentables que llegaron de fuera. Pero nunca les podré dar suficientemente las gracias, me faltaría vida. Porque: uno, me enseñaron lo que no hay que hacer; y dos, me dieron libertad para pensar por mí mismo. No recibí clases guiadas ni doctrinas ni dogmas. El crítico de turno me decía que Boulez era el mejor; pero luego aparecía otro que decía que no, que el mejor era Antón García Abril; otro que no, que Halffter; otro, para nada, el mejor es John Williams; no, no, el mejor es ese otro... Todos no pueden ser el mejor, pensé en principio, pero luego me di cuenta de que sí, porque cada uno está expresándose de una manera determinada; otra cosa es que pueda estar más o menos cerca de un lenguaje que es producto de una evolución. Eso que llamaban lenguaje a mí me parecía una visión dogmática, nadie puede decir que aquello era la modernidad. Así que básicamente me fui a la esencia, qué manejan y cómo. Y empezaron a surgir nombres que sí me gustaba escuchar: Lutoslawski, Xenakis, Ligeti, el último Anton Webern, el Strauss atonal de Salomé, las bandas sonoras texturales, o el mismo John Williams, quién no se ha emocionado de adolescente con ET. Y a partir de todo eso yo me hice como músico. Todas las obras de este disco en el fondo se parecen mucho, porque son producto de una reflexión de lo que yo considero que debe ser la música. Algunas veces, como en un jardín, la música va a surgir más melódica, en otras, no. No voy a plantearme mi música como los cuadros de Rothko, planos todos. Eso es para conseguir un determinado tipo de emoción, pero para conseguir otra tendrás que meter otro tipo de elementos. He borrado y seguiré borrando obras que no me gusten. De todas formas no pasará ya mucho, porque compongo poco. Como yo no vivo directamente de la composición, cada dos o tres años, me puedo permitir el lujo de parar un año, para reflexionar, que creo que hace mucha falta. Desde 2005 todas mis obras tienen una misma esencia aunque algunos procedimientos lógicamente hayan ido cambiando. Antibes es la única pieza que yo estaba dudando de si vendría bien en este disco, pues está un poco en un mundo de nadie, pero Zahir la quería grabar, y bien está.

[Eneko Vadillo]

–¿Cómo es ahora, en medio de la pandemia, la vida de un compositor en España? –Está muy mal la cosa. Ha habido una saturación de gente que quería hacer determinado tipo de música, porque hay menos recursos, menos medios para hacerla y menos posibilidades de que el esfuerzo real esté compensado con mínimos medios de situación en escena, esto es, posibilidades de grabación y encargos pagados. Pero la creación es libre. Cada cual puede hacer lo que quiera. Otra cosa es que encuentre medios para difundirla. En España hubo un momento que funcionó muy bien con Jorge Fernández Guerra y el Centro para la Difusión de la Música Contemporánea, pero poco a poco se ha ido retrayendo, porque el público tampoco quería eso. De todos modos, va a seguir habiendo gente que escriba lo que le da la gana mientras funcionen conjuntos como Taller Sonoro, Zahir Ensemble o alguna orquesta que todavía promueve alguna obra contemporánea. La Filarmónica de Málaga por ejemplo después de muchos años al fin va tocar tres obritas actuales. Aunque eso sí, tienen que ser obritas de cinco minutos… Dile tú eso al solista de turno que viene a tocar con la orquesta, que va a tocar cinco minutos... Pero es que hay tanta música ya buena, que estamos viviendo una época de reiteración. Por eso, es importante que te prepares tu propia ensalada. Ya no va a poder inventarse un nuevo estilo. Veo en esto un fin de los tiempos.

–Quizás las últimas escuelas de gran influencia son la de minimalistas, espectralistas y la de Lachenmann… Hacia dónde va la música. ¿Ve posible que se consolide la vuelta a la tonalidad que preconizan algunos? –La tonalidad es consecuencia de dar jerarquía a determinas notas y eso ha existido desde el medievo. Schoenberg destruyó esa jerarquía porque fue un radical, aunque pretendiera que lo suyo se ajustaba a un proceso histórico que no dependía de su voluntad. Y es cierto que liberó a la música de determinadas cargas, cargas que la música tiene por su propia estructura física, y eso fue muy aprovechable para determinadas cosas. No habrían existido tantas cosas maravillosas, Wozzeck, por ejemplo, pero incluso ni Sciarrino, Lachenmann o Verdú. En Berg, en cualquier caso, algunos de los presupuestos de Schoenberg empezaron a traicionarse. Había acordes más importantes. Había ejes. Pero es que sin esos ejes no hay manera de sujetar una música más de dos minutos. Luego surgieron el espectralismo, la electroacústica, montones de escuelas... Como Lindberg, cada uno hacía su propia ensalada, dependiendo de lo que quisiera poner como prioridad en su música. Si hay textura y timbre, poca armonía va a haber, Ligeti. Si hay mucha armonía y melodía quizá el timbre va a estar integrado, un Lindberg. Cada gran maestro ha tomado una serie de cosas. Cendo es un punto final en el proceso histórico de liberación del timbre como límite de la escucha. De la escuela saturacionista, Lachenmann es un punto final. Quién ha hecho una síntesis de textura con ciertos elementos armónicos… Furrer. Beat Furrer es una síntesis en ese sentido entre técnicas tímbricas extremas y motivos temáticos. A partir de ahí, habrá mezclas, pero no se puede ir más allá. No puede haber música sin sonido.

–¿Hemos llegado entonces al final de la historia de la música? –Sí, puede decirse así. Hemos llegado al final de un tipo de historia de la música. Salvo que se empiecen a explorar otros elementos inexplorados, y alguien haga algo con la micromicrotonalidad o vayamos al continuo pianissimo extremo. Bueno, vale. Se puede ir al extremo que te dé la gana, pero en realidad todo está ya muy hecho. La cuestión ahora es cómo recombinamos los elementos.

[Zahir Ensemble en una interpretación de Transparences de Vadillo]

–Aparte de tener registro de esta música, ¿qué espera del disco? –Que la gente escuche Anima y diga, este tío tiene que escribir una ópera.

–¿Le interesa entonces el mundo de la ópera? –Es evidente. Pero necesito un texto emocionante, que me inspire. Esta obra la escribí durante mi residencia en Roma en 2006. Venía de hacer Stella, para orquesta. Con esa obra me liberé de las tradiciones de escribir para orquesta y de pensar de manera lineal. Fue un experimento que salió bien. De ahí surge Sabah. Y Anima viene inmediatamente después. Quería hacer una escena dramática como si fuera una ópera en sí misma y en la que hubiera muchas cosas, del madrigalismo de Monteverdi y Gesualdo al espiritualismo del último Strauss, el misticismo de un Lutoslawski, el tenebrismo de un Victoria, Webern o Berg. Pedro Ordóñez [firmante de las notas a este CD] me dijo que es espectralismo expresionista, porque hay una expresión radical del texto llevando al límite muchas cosas. Junto con Memorae, para octeto de violonchelos y electrónica, que la compuse en 2008 en el homenaje a Tomás y Valiente y estrenó el Octeto Ibérico de violonchelos, son las dos únicas obras vocales que he escrito, y me refiero con voces solistas (soprano y mezzo). Luego también está Terra, de 2018 que es obra coral con orquesta a partir de la encíclica Laudato si del papa Francisco, que me dio el permiso personalmente. Es la primera vez (y única, que yo sepa) que se ha utilizado una encíclica para una obra de concierto. El próximo paso significativo sería hacer una ópera de cámara, y de hecho el argumento lo estoy haciendo, lo tengo en la cabeza.

–¿La música también está en la cabeza? –Seguro. Voy a tirar de mis propios gestos. Tú tienes una personalidad y no puedes cambiarla, salvo que quieras acabar convertido en un payaso.

–¿Cómo es el trabajo con Zahir Ensemble? –Es un grupo excepcional. Con dificultades y gran esfuerzo personal tocan siempre a un nivel extraordinario. A César Camarero le he oído decir que muchas de las interpretaciones de Zahir son mejores que las de cualquier conjunto europeo. En Sevilla tener a la vez a Taller Sonoro y a Zahir Ensemble es un lujo. Al final todo se lo tienen que hacer ellos. Quizás merecerían un poquito más de lo que les damos en Andalucía. Sin ellos, sin estos dos grupos mi carrera sería la mitad. No habría podido explorar, no habría podido borrar, no habría podido aprender. Juan García es un modelo de lo que tiene que ser un director del siglo XXI: conoce la tradición pero tiene un pie en la creación actual. Como fue siempre hasta mil novecientos y pico, cuando de repente para la mayoría de los directores la música de su época pareció desaparecer.

[Diario de Sevilla. 14-12-2020]

[purdueessays887]

buy an essays

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[fallingpetcls]

@atonings

Ib hadn’t expected to see the man - Loghain - at the ball. While he was as kind as her dad, he looked as serious as her mother and this didn’t quite feel like the place she’d be seeing him again. Still, she was glad that he was there. 

She slid up next to him, tugging lightly on his arm. “...Need a partner for, a snowball fight.”

[sama-kun]

RPG maker horror Games

Here’s a list of horror games I’ve seen full playthroughs of so far; not including Demos

Angels of Death

The Huntress of The Hallow

Pocket Mirror

Imaginary Friends

The Maid of Fairwell Heights

Red Book

Libretta

Corpse Party Blood Drive

Stray Cat Crossing

Nightmare of The Snow

Blight Dream

Blank Dream

Headless Prisoner

Close Your Eyes

Bevel’s Painting

Follow The Darkness

Fantasy Maiden’s Odd Hideout

It Moves

Forest of Drizzling Rain

Clair

Mogeko Castle

Toilet in Wonderland

Paranormal Syndrome 1

Paranormal Syndrome 2

Red World

Alice Mare

Seven Mysteries

Ao Oni

Nira Oni

The Desolate Hospital

Killer Bear

Skinwalker

Palette

Clock of Atonement

Hello? Hell…o?

Densha

Rust and Blood

The God of Crawling Eyes

Dreaming Mary

Stray Cat Crossing

Townlore

Hand in Hand

Dear Mariko

Dear Red

Red Trees

Lavender

Desolate Village

Matryona’s Last Night

OFF

Home

Unknown

365

The Hanged Man

The Boogie Man

The Sandman

Mermaid Swamp

Paranoiac 

Mad Father

The Witches House

Ib

Just Ignore Them

Misao

The Mirror Lied

Lisa

Yume Nikki

Thin Walls

Sukutte

Happy Birthday

Utopia

Stars of Cassidy

The Dark Side of Red Riding Hood

You, me and Empty Words

Mikotto nikki

The Crooked Man

Although there’s a lot here, I feel like I’m missing some. I’ll also be updating this list as I watch more playthroughs

[rvdvmption]

[Name]: Franchesca Ruiz Frisk Dreemurr [Nickname(s)]: Kid, kiddo, punk, human, The Angel, and Dove. [Species]: Human

PERSONAL

[Religious beliefs]: Agnostic theism [Sins]: Lust / Greed / Gluttony / Sloth / Pride / Envy / Wrath [Virtues]: Chastity / Charity / Diligence / Humility / Kindness / Patience / Justice [Primary goals in life]: Atone for their mistakes To give monsters rights and to live comfortably on the surface with humans. [Languages known]: English, Tagalog, Sign language.  [Secrets]: They still think about resetting sometimes. [Quirks]: Likes to hum when thinking or acknowledging someone, playing with their sleeves or licking/chewing their lips when nervous, always moving their hands whether they’re signing or not, always acts like things are okay when they’re not. [Savvies]: Dancing, jokes/puns, astronomy, and flirting.

PHYSICAL

[Height]: 5′6″ [Weight]: 115 Ibs [Scars/ birthmarks]: X shaped brand on their left hip [Abilities/ Powers]: Able to use SAVE and LOAD due to their determination. Also has the ability to RESET timelines.  [Restrictions]: Theoretically someone with more determination can override their control.

FAVOURITES

[Drink]: Golden flower tea and cream soda [Pizza topping]: Pineapple, cheese, and bacon [Color]: Blue and purple.  [Music genre]: Instrumental and electro-swing [Book genre]: Mystery [Movie genre]: Fantasy or Sci-fi [Season]: Spring [Butt type]: N/A  [Swear word]: N/A. They don’t swear too often. [Scent]: Vanilla, Toriel’s kitchen, burning wood, and petrichor [Quote]: N/A [Bottom or top]: Switch.

OTHER

[Sings in the shower]: Nope, but they hum. [Likes bad puns]: They LOVE them.  [Morality]: Lawful / Neutral / Chaotic / Good / Gray / Evil [Build]: Slender / Scrawny / Bony / Fit / Athletic / Herculean / Babyfat / Pudgy / Obese / Other [Favorite food]:  Mac and Cheese [Boss theme music]: [♥ * Spare.] [Their opinion on the mun]:  “They’re very sweet, but they’ve got to take care of themselves more.”

[Was tagged by]: @jxdgmxnt [Tag 15 People]: Anyone. Feel free to steal it!