#it’s gonna be a really fun character analysis

[markerofthemidnight]

A Note About Greyscale (Also Lute from Hazbin Hotel Is Really, Really Cool So I’m Writing Something About Her)

So remember in the tags of the Tinky post I said I finished writing tiny little drafts of all of Greyscale’s 23 chapters (and by “draft” I mean “just name all of them and pray to God that when I wake up in the morning I remember what it means”)?

Yeah, me too.

And remember when I said I would show it to you all if we could hit 3000 hits on AO3 by the 25th?

Yeah, me neither.

There’s a few things I need to talk about regarding that: first of all, I’ve since added another chapter to the lineup, so the total is now 24 chapters.

Secondly, as soon as I could sit down to write chapter 5, my DND brainrot came back with a vengeance, and then as soon as I thought it was gone, BOOM, Hazbin Hotel brainrot!

Anyways, the point is, the idea that I can get Chapter 5 out by this Saturday has become pretty unlikely, and the idea that we can get to 3000 hits by the deadline even more so.

So here’s my announcement: on February 24th, my birthday, I will be releasing the current working titles of ALL 24 of Greyscale’s chapters regardless of how many hits it has for all you budding young theorists to obsess over!

Then, after I’m finished Pokey and Blinky’s arts, I’m redesigning Lute since I’ve decided she looks to much like a normal exorcist (over the past year and a half I’ve realised I’m a sucker for the “badass protector who only gives a shit about the person they protect” trope), expect the next half of the Seven-Sided Die Challenge to come pretty soon (but don’t take my word on that), and… let’s just say the title of my next fic is A Downed Angel is a Dead Angel. If any Lute fans are reading this, you’ll be happy.

[messiahzzz]

while it’s perfectly fine to have your own headcanons that are non-canon compliant — by all means, go wild. recognizing pieces of yourselves in fictional characters can be a very healing and validating experience. this is nonetheless a casual, well-intentioned reminder that gale, in fact, does not have bpd.

bpd is a pervasive pattern of instability affecting interpersonal relationships, self-image, and mood. the disorder is marked by impulsivity beginning in early adulthood and is present in a variety of contexts. a diagnosis requires at least 5 of the following 9 criteria to be met:

Fear of abandonment

Unstable or changing relationships

Unstable self-image; struggles with identity or sense of self

Impulsive or self-damaging behaviors (e.g., excessive spending, unsafe sex, substance abuse, reckless driving, binge eating).

Suicidal behavior or self-injury

Varied or random mood swings

Constant feelings of worthlessness or sadness

Problems with anger, including frequent loss of temper or physical fights

Stress-related paranoia or loss of contact with reality

source: [x]

i highlighted the criteria that do apply to gale in one way or another in a pretty purple.

i personally believe that it’s rather harmful to equate his relationship with mystra with her being “his fp”. she is a deity, his goddess, and the source of his powers, who is in in full control of the magic he wields.

gale: mystra commands all magic. salvation, if such a thing exists, is hers to bestow or withhold.

gale has been effectively groomed and conditioned to serve and revere her at every turn since early childhood. imo this comparison really undermines a lot of crucial points in gale’s story that deal with his overall trauma and abuse. after all, you wouldn’t call shar sh*dowhe*rt’s fp either.

gale doesn’t revile mystra, nor does he commit benevolent deeds solely motivated by the secret hope that she will somehow notice and take him back. when you meet gale in the game he has already fully come to terms with the fact that he has been abandoned by mystra with no hope of reconciliation whatsoever. he also had some very fitting lines in ea regarding this topic that i'm sad haven't been repurposed in the full release in some way.

gale: [the tadpoles] don't know that some things are impossible. they don't know that... they don't know. player: what is impossible about what you're being shown? gale: forgiveness. gale: it is mystra i see. and yet it cannot be her. there was a time when i would have believed - but no longer. gale: suffice it to say she would not bestow upon me the favors promised in these dreams. that is how i know they are delusions.

he has already reached the stage of acceptance. moreover, gale only starts to realize that mystra might have been in the wrong for requesting his death once the tadpole squad & tav speak some sense into him. and even then he doesn’t ever show that his emotions regarding mystra are anywhere along those lines. he is instead rightfully angered that she only saw value in his death, after he had been worshipping her loyally for years.

gale: i worshipped mystra loyally for years, and in that time she granted me the barest sliver of the power i was ready to wield. gale: even with the fate of the world at stake, she had little more to offer me than the means of blowing myself up at a more convenient time. she's done nothing to help us.

gale: you abandoned me in my hour of greatest need. i had no obligation to help you in yours. gale: because you had no right to ask that of me. you cast me out, remember?

gale doesn’t display rapid changes in mood either. he is a character who is generally very composed and has been known to remain nonchalant even in the face of utter horror. tim downie himself even commented on this once. source: [x]

the only instance i can think of is his sudden switch from resigned-to-death to utter-eye-sparkling-enthusiasm once he spots the crown of karsus. apart from crucial story reasons that i won’t touch upon in this post, i’d also like to add that it’s a rather common phenomenon for people who have just barely survived a suicide attempt to suddenly be filled with zeal and unbridled energy. he doesn't display impulsivity without thorough consideration when it comes to its acquisition either. he considers this a golden opportunity and is positively enthusiastic and elated that this might prove an alternative to him ending up in a cloud of netherese smoke. nonetheless, he knows what he is doing. evident in him actually succeeding in ascending in one of his endings.

gale: this is no passing whim, trust me. if i can obtain that crown, it will affect us all. it is not a decision i'll take lightly. gale: it's our future that i'm thinking of - we can't rely on anyone else to do it for us. gale: for now - we've learned all we can.

neither are his relationships that we do know of (namely elminster, tara, and morena) frequently changing. they are marked by years of mutual respect, care, and consistency. there is nothing unstable about them. while it's important to note that his relationship with tav is still in its honeymoon stages during the main game, there is no inclination of any push-and-pull dynamic between them whatsoever.

gale isn’t preoccupied with keeping up some sort of benevolent act in order to win (back) affection — he genuinely IS a good person and he proves this at every turn. moreover, to have a tressym become your familiar you must be of Good alignment.

(taken from tumblr user galedekarios's post.)

there is never a moment where his ideals or alignment suddenly change. in fact, i’d argue that he and wyll are most consistent in this regard when compared to the rest of the companions. gale makes his moral standpoint very clear from the beginning on and also explicitly states that he believes that in order to survive this entire ordeal it would be selfish of him if he wouldn’t be willing to compromise on his morals. this isn’t a sudden bout of ✨muahahaha wizard hubris✨ that he barely contained to hold in before, this is yet another act of selflessness — it is what he’s willing to do for the group and subsequently, the welfare of faerun.

player: i love unsavoury things. don't feel guilty on my account. gale: that's good to know. although i should say i do what i do out of a sense of utility and pragmatism, not a love of the unsavoury. gale: we're up against the greatest threat faerun has ever faced. i don't mind getting my hands dirty if it gives us a better chance of surviving. gale: whatever advantage i can gain for us. i will. and i refuse to feel guilty for it, no matter how much mystra's chidings might echo in my skull.

this is him, once again trying to be useful in whatever way he can. to give them an advantage, a slither of hope against seemingly impossible odds, so they might make it out of this in one piece. gale wouldn’t approve of those actions under normal circumstances, but their predicament is as far from any definition of “normal” as it can get.

gale is no fool, he realizes this is essentially about survival. he knows that he has no option left other than to tolerate, which is why he can be convinced to not immediately depart tav’s company even if they choose to commit atrocities. this is no character flaw of his or him displaying a previously dormant openness for cruelty, this is about recognizing the necessity.

player: you don't stand a chance alone. you're free to go. i dare you. gale: gods damn you - you're right. few things are more powerful than the will to live.

gale: i thought the orb to be the greatest of my sins, but i see now that there are darker depths to which i might yet sink. you may be content to sink into that abyss, but i assure you - i am not.

gale doesn’t lead a split existence. he has a very strong sense of identity. he knows what he wants, what he doesn’t want and he isn’t shy in expressing his boundaries either. which he has especially shown when it comes to his relationship with tav. i originally had intended to touch upon this in another post entirely but: i firmly believe his entire Gale of Waterdeep™ persona is more of a performance than him struggling to find a sense of identity and trying them on for size. it is an intentional decision to separate gale dekarios from the great wizard of waterdeep, to create distance and make sure his family name remains untarnished in case things should ever go sideways.

gale: i agree. and on the plus side, if i get myself into any truly cataclysmic straits during the remainder of our journey, my family name will go untarnished.

there is also a deep-rooted feeling of unworthiness and his firm belief that love and praise are conditional resources that he will only be granted through his talents alone, naturally. presenting himself as gale dekarios, the man, would mean highlighting his shortcomings and very human flaws, while distracting from the aspects of himself that are deemed praiseworthy, the ones that actually matter: his magical prowess.

i personally believe that part of the beauty of gale’s story is him realizing just how “little” it takes for him to be truly content. he gets his happy ending, with someone at his side who truly sees him, understands him and unabashedly commits to him. they worship and adore him in return — and it is well deserved. he isn’t reduced to be constantly and restlessly searching for some unattainable ideal to fill the gaping void within himself. he doesn’t secretly thirst for more power still or believes that in being with tav he is settling for something. instead, he is finally happy to just be. be and be accepted. teaching a class of unruly wizards and coming home to his spouse each day already fulfills him.

gale: that's how i feel with you - content. it's a rather unfamiliar feeling, i must say. not something gale of waterdeep ever craved.

even if he doesn’t pursue a romance with tav, he reaches a realization of “oh, it appears i am not irredeemably flawed and only able to reach true redemption through my own death. what i needed was actually with me all along.” throughout their journey and through his friend's support. i think that’s a very powerful and comforting message. he is very well capable of finding peace within himself.

devnotes: his default state is that he returned to waterdeep and became a professor of illusory magic at his former school, blackstaff academy. general vibe here is that this is a gale who's found peace with himself - he's a great teacher, one his students are mostly in awe of.

to repeat myself: sharing your headcanons is all in good fun, nor should you ever be discouraged from doing so. this is your personal tumblr experience, after all. but i personally think we should be mindful of unintentionally perpetuating negative stereotypes, such as narcissism being a general indicator or being deemed a classic depiction of bpd. i think we can all agree that the continuous longing for acceptance, connection, praise, and approval is something we all have in common deep down, regardless of whatever disorder we may have. [insert victoria justice meme here]

gale may be many things to many people, but he is no entitled narcissist.

[sysig]

Some highlights from a tense but still very Winterkov-y scene (Patreon)

[pandoratheprocrasticreator]

yakou furio's character is so tragic to me. i wanna meme about how they used the fridged wife trope but other than that it's like. he lost his family and later all of his coworkers and just. existed alone for years.

looking at the state the submarine and especially his bedroom was in, with everything being a mess and all the cigarette butts in his bed, yakou was clearly depressed. he wouldn't even take on any interesting cases to fulfill his passion as a detective because he was so afraid of the peacekeepers. instead he just kept his head down. surviving but not actually living.

and then he finally gets some new detectives to work at his agency and the first thing he can do is fail to save most of them from dying horribly. but the five that yakou did manage to save latch onto him and he starts getting into a leader role! even if his new coworkers are all rowdy and get into trouble they still respect him as a leader and look up to him.

the detectives keep picking fights with the peacekeepers that yakou has been trying so hard to dodge. and usually the resolution is kind of messed up because the victims die but the detectives prove themselves capable of handling the peacekeepers! they're helping people! for the first time in a while, yakou comes toe to toe with peacekeepers willingly, to help his new friends. he realizes that he is able to stand up against amaterasu corp, with the help of the others.

but by the time he realizes this, the stage has already been set. the letter from yomi turned his grief into anger and a thirst for vengeance. although yomi gave him the information and opportunity, yakou was ultimately the one who chose to murder the man who murdered his wife.

yakou has already rebuilt his life after his wife's death. the detectives at his agency look up to him and he would do anything for them. it would never be the same as the life he had with his wife but yakou had the chance to turn over a new leaf with a new found family who cares about him.

but instead, yakou plans a murder. he needs to die, over and over, in order to access the man he wants to kill and he accepts it. he needs to trick two kids, who look up to him and who he cares for, into becoming his accomplices to the murder and he accepts it. in the wake of forcing his detectives to witness his murder, he needs leave them in a lab filled with peacekeepers who want to kill them and he accepts it.

and it's not that he doesn't care about his detectives. yuma and halara disobeyed his orders and assaulted several peacekeepers, and he was willing to be arrested himself before throwing his employees under the bus. yuma and fubuki were implicated in terrorism and yakou and the others solve the case for them, then prepare to fight an army of peacekeepers to protect yuma.

for his murder plan, yakou only needs desuhiko and fubuki's powers. but he brings halara and vivia along as well because they would be able to protect the two younger detectives and fight their way out of the lab after yakou dies. he enacts his plan on a day that yuma wasn't around because he won't be able to help fight peacekeepers, so it's better to just keep him out of this mess. he covers up his murder-suicide to protect his detective's feelings, but also because they would be implicated as his accomplices if his plan was revealed.

and yakou probably expected that the other detectives would be fine. if they'd left him behind to die, the other detectives probably would have been able to either fight their way out or hide out in the lab a bit longer and figured out a good plan to escape. if yakou had his way, he would have gotten his revenge and his detectives would have gone home grief-stricken, but unharmed and forever unaware of their roles in his death.

but yakou doesn't account for the fact that the other detectives would try to save his life. yuma doesn't run after the hitman and escape the peacekeepers, he stays behind to beg yomi to help yakou. fubuki uses up all her energy to rewind time to try to prevent yakou's death instead of helping the others escape the lab. halara, vivia, and desuhiko not only have to fight off peacekeepers, but they also have to carry yakou to a hiding spot to give first aid. and instead of calmly planning their next move, everyone is desperate to solve the case so there would be any chance of getting yakou to a hospital as quickly as possible.

one major theme of rain code is that despite tragedies that may have happened in the past, people can work together with those they care about to live a better life in the future. and yakou could have had that. his wife's death should have stayed in the past, and he should have continued to mentor the other detectives, solving mysteries together and enjoying each other's companies.

but yakou couldn't let the past stay in the past. he had every chance to not go through with his murder. he has new people he loves, but he manipulates them and puts them in danger in order to get back at the person who killed the last person he loved. his victory was a pyrrhic one. he got his revenge but in return, he destroyed himself and his detectives' trust in him. he enjoyed his revenge momentarily before dying and leaving his new family, who he used their love and trust for him to his advantage, to pick up the pieces.

yakou furio had lost everything in the past. but in trying to pursue it he destroyed everything he had in the present. that's the tragedy of his character to me.

[triglycercule]

im on vacation how can i make this about the murder time trio. mtt fresh out of a flight and the minute that they leave the airport dust stops horror and killer for the smoke break. because being around a smoker is like that. and while horror is dying and coughing from the cigarette smoke and killer is pretend coughing to make dust feel terrible theyre both simultaneously roasting the shit out of dust for being such an addict smoker. cancer speedrun GO says horror. refreshing his signature smell says killer. dust just glares at them and blows smoke in their face (horror literally takes damage he's at 0.7 HP)

[arty-cakes]

Mad and angry at how these two joke side characters try so hard to be heteronormative but they really aren't and that's where most of their misery comes from. not all of it but most of it, like it very much keeps them in the cycle, because they seem desperate to find a happy storybook ending and this is how they think they'll find it, by trying to be like the same characters that found that happiness. its never addressed but also painfully obvious with how much they don't fit in with the other npcs dear god these characters are queer coded to hell i could write an essay (i accidentally did)

its not even like bretta and zote are straight cis characters these two are bi and aro canonically but its more to do with the gender roles they're trying to replicate, and failing. they suck at it. he is not this emotionally stoic resilient lone knight he is in fact continuously fighting his emotional pain and if you give him the right attention he will stay forever. he'll get angry that you saved him or that he needed your help because YOU dont fit in his story. she's not a forgiving accepting loving damsel in distress she can take care of herself great and will also drop you like a hat if she sees even one flaw in you. because then YOU dont fit her story either. they care so much about their stories because they reinforce the identity they think they're supposed to have but they're also so disconnected with themselves BECAUSE of these gender roles that they dont realize it makes them miserable

the biggest cause for this is that they are lonely isolated individuals and dont understand or know enough about real people so they have to go off their storybooks and it only keeps them alone. its like you have to be stubborn about saving them and staying by their side so they can get that chance to change and thats exactly what the knight does. its stubborn as hell it will save them again and again and it will fight their dumbass crushes as many times as it takes to make them realize what they're doing is painful. and bretta gets that chance, she leaves the town that isolated her and goes to find something better, most importantly she gets experience. zote gets to stay alive, which is the best thing you can do for him. because now he might get to face his pain, whereas in death he never gets to overcome it, just escape it

its also very funny that when the game pushes them together in this fake relationship its purposely depicted as completely ridiculous and an obvious parody and you also have the chance to beat it to the ground multiple times. whereas the two more meaningful love stories that you get to help happen are mlm and wlw and completely unapologetic about it this game is GAY

[vyrion]

hi my final for my psychology class was to write an analysis on a fictional character and identify a disorder and treatment options for them. i wrote about jay ferin from hit d&d podcast just roll with it. the paper got graded (i got an A, yippee) so here's the post!

a warning for spoilers up to episode 98 (primarily from 53), canon-typical topics, and. normal capitalization and punctuation .???

it's also available to read on google docs if that's any easier ^_^

Just Roll With It is a Dungeons & Dragons podcast, taking place in the world of Mana: a place largely made up of the sea and sporadic islands, where both pirates and Navy soldiers roam free. An unlikely trio of two humans and a triton—a race of undersea fish-like people who are able to live both under- and overseas—unite primarily out of convenience, working with each other to pursue their own individual goals. Chip, Jay Ferin, and Gillion Tidestrider form a pirate crew they call the Riptide Pirates, sailing the seas as they make allies and enemies alike. Their crew seeks to aid others, fighting for the freedom to sail the seas against a Navy organization known as R.A.F.T. amongst other shenanigans. They’re entangled in plot after plot, fighting for freedom, justice, or sometimes just plain old treasure. Across their adventures the trio find themselves learning more about the other two and their histories, along with how to trust each other.

The trio stumble across dozens of events—inciting a revolution on an island overtaken by R.A.F.T., making deals with a wish doctor to free a town of a curse, venturing into a Navy prison to free an old friend—all the while seeking their own answers. For Chip, he seeks to find Arlin, a man he considers his father, who he lost after the previous ship he’d been aboard sunk. For Gillion, he seeks to fulfill his destiny—as a prophesied hero to choose between land and sea, he’s searching for the right answer when it comes time for his choice. For Jay, she seeks answers about her sister, who died a year prior. The circumstances around her death are unclear—it’s thought that she died in combat, and Jay had previously been told that her sister had died in combat, but the more evidence she finds, the less clear it becomes. 

Jay Ferin is a 21-year-old human female. She hails from a prestigious Navy family, with many of her family members holding its top positions. She co-captains a crew of pirates alongside Chip and Gillion and is often regarded as the most reasonable of the three due to her tendency to not pull punches and aim for direct solutions, however she still has a tendency to be just as if not more chaotic. She’s strong, innovative, and incredibly observant, taking the role of the ship’s navigator and unofficial lookout. She refuses to back down from a challenge until it threatens her or her crew’s lives, but still knows when to try to de-escalate a situation. Conversely from that, she has a tendency to play along with the others’ antics, often playing a role in escalating their energy. Her proficiency lies with ranged weapons, first a bow and later a revolver she has modified to better suit her own needs as a result of her interest in tinkering and mechanics.  

She abandoned the path set by her family to become a Navy officer in order to seek more information about her sister’s death, and eventually betrayed her family to fully dedicate herself to her co-captains and crew. Despite this betrayal, she struggles heavily with defying what she views as authoritarian figures and breaking away from the path her family has laid out for her. When forced to confront her father and choose between her family and her crew, the only way she finds herself able to resist is when he’s knocked out of the room, giving her the necessary room to flee. It’s due to these reactions and circumstances that I believe Jay struggles with a form of Post-Traumatic Stress Disorder, or PTSD.

The American Psychiatric Association (2000) describes PTSD as most notably caused by exposure to a traumatizing event, such as “actual or threatened death, serious injury, or sexual violence.” Jay most likely developed PTSD after her sister’s death a year prior to the beginning of the campaign, in addition to the abuse she endured as a child. She repeatedly mentions that her sister’s death is the reason she began adventuring in the first place, seeking answers. Jay considers her sister one of her primary role models to this day, wondering whether she would believe what she’s doing now is right or if she’d be proud.

In addition to her sister’s death, Jay was raised in an extremely strict environment, with severe consequences for stepping out of line or misbehaving. She mentions how her father had once shot one of her dolls due to a belief that she was not focused enough on her training. She isn’t allowed passions or interests that don’t assist her progression in the ranks until she takes a break from her education after her sister dies, instead working with her mother at their family’s tavern. Even then, she’s constantly asked for strategic advice and manpower, being one of few people in the town who have any experience with weaponry to deal with bandits and a nearby thieves gang and isn’t really able to disconnect from her family or anything outside of what she’s always known. Adventuring with Chip and Gillion provides her the reprieve to reassess what has happened, along with giving her the chance to develop on her own for the first time. 

Jay is extremely passionate about invention, often working late into the night to create gadgets of both mechanical and magical use. It’s a passion she was not allowed to pursue as a child in favor of strategy and combat training, and one that she only begins to delve into once she is much more comfortable with her surroundings away from her family. She takes extreme care for her work, spending days or weeks perfecting a single mechanic that she’ll use throughout their journey. Her skills and passions are recognizable enough that she was invited to join a crew working to get to space when the time was right, which she accepted with excitement. Given that her time with the crew is the first time she was truly able to step away from the same things that surrounded her for most of her life, it’s easy to assume that she was unable to pursue this interest until she was in recovery. Her growing interest in it the longer she’s able to take time to heal proves that during the initial stages of PTSD she didn’t take any chance to engage in these activities, something that she’s always dreamed of pursuing further.

While it’s evident that she still struggles with PTSD, this is evidence of an important step in her own recovery. She’s given the freedom to explore a passion that she both wasn’t allowed to and didn’t have the motivation to pursue during the initial onset and is now able to take active interest in it.

Jay is also a naturally observant person, taking notice of things far before anyone else in the crew is able to. She’s on high alert at all times to the point that she’s the first person to scout ahead and find any traps they may stumble across. This hypervigilance, a reactive symptom of PTSD, gives her a quick reaction time and allows her to defuse a threat quicker than it can act, but also means that she may find threats where there aren’t any or approach a situation with unnecessary caution. Her observance has saved them on more than one occasion, but it’s also caused its fair share of problems. She struggles more when she feels she’s being watched from a source she can’t quite pinpoint, and will often force the crew to work around threats—real or not—that she perceives.

Early into the crew’s journey, Jay is shown to frequently grapple with nightmares. These often relate in some form to her family, loss of control, and the Navy. One instance in particular she dreams of being found by a Navy fleet and tries to run away in a panic. When she believes she’s woken up, she takes out a keepsake of her sister’s and reassures herself that they hadn’t found her. This keepsake falls apart in her hands, turning into blood, and feels specters of her family watching and mocking her. When she actually wakes up, she reassures herself that her family doesn’t control her and that they haven’t found her. She stays up the rest of the night, unable to sleep any longer. These types of distressing dreams and difficulties with sleeping are intrusive and reactive symptoms of PTSD.

In a modern setting, the primary focus of treatment would likely be therapy, which allows Jay to reassess what she’d been through and come to terms with it. In some ways, she has already begun a form of self-treatment by removing herself from a hostile situation and giving herself a far better support system, along with slowly embracing parts of her that have less association with her family. Her mental status has improved significantly since the beginning of the campaign as she’s less frequently getting nightmares and is willing to talk about her sister, whereas she completely shut down conversations related to her before. Jay has been willing to deviate from her primary goal of finding out what happened to her sister but still keeps it in mind. She won’t be content until she finds these answers—treatment options as a result may include reconsidering what this goal means and what, if any, resolution it may bring her. If she has further plans for this information, then discussion can go from there, but if not it may be best to try to guide her towards coming to terms with what has happened and living for herself instead of in search of her sister. 

Jay’s portrayal of PTSD is something integrated as part of her character—its symptoms show naturally through her response to triggering events and times when she’s forced to face her family. Her condition may have been severe towards the beginning of the campaign, but over time, by reconciling with the reality of her family’s treatment of her and her theories as to what happened to her sister, along with finding a group of people who thoroughly support her, Jay has been able to begin to heal.

[gayofthefae]

Remindee that Mike's arc has to do with both Will AND El.

It is not going to be "revealed who it's been about this whole time". No. It is about both of them. Both together and individually.

Romantic love and the inherent payoff that comes with it does not function as a reveal for the overall meaning of the show for him. His love for El is still VERY pertinent.

To separate them in case you don't understand:

A) It's about his struggle with his queerness and feelings for his best friend while in a relationship and a homophobic town, torn and repressing until he learns that that IS something he can have.

B) His first love who grants him deep understanding and teaches him how to love and communicate and that love can survive anything, including a change in nature, and that a true lover always was also a friend and can also be your friend after they are your lover and continue to grant you that understanding because romance does not dictate closeness and you can keep that understanding and love. Things can change and YOU can change and still be worthy and emotionally safe and supported.

He is safe in his identity and he is safe in his personality. And these arcs with these people are not only coexistent but complementary and MUST both exist.

ALSO, it is a wonderful testament to lack of codependency in a relationship and showing via these arcs fulfilled in different places that YOU can be fulfilled in different places and be validated in different ways by different people rather than pressuring one person to be everything for you. His relationship with Will does not erase everyone else in his life from pertinence and so it certainly does not erase El.

Put this in the tags but loved it too much so:

Will validating that Mike is incredibly loved and doesn't HAVE to change and El validating that Mike is incredibly loved and thus is ALLOWED to change >>>>>>

Both are equal and good and not easily done by the same person at the same time! So this is PERFECT. I'm obsessed.

[isabelguerra]

i’m making a new post 4 this bc i ended up thinking way harder than i thought i would which resulted in writing a small essay on fucking johnny jhonny. so i’m going to put this the tag and make everyone look at it. bc hes a cool character. heres the og post ok enjoy ily

@spoopyspoony i mean yea if we were dealing with ch1 johnny maybe. but we’re not, so i’m operating on 1 very important key factor here: we’ve ALREADY SEEN johnny not telling things to his friends!

this starts during hitball, the games’ ending is our as catalyst. we see that the words and actions of both hijack and max- hijacks bully/‘good violence’ monologue, max getting his arm broken to save a guy whos only been a jerk to him- begin sowing self doubt in johnny’s view of himself and his archetype role as School Bully. we even see this in action during the rope scene, ollie asks if somethings bothering him and johnny brushes it off in favor of deflecting. when ollie is mistakenly believed to say they wont use violence to get information out of ed, johnny jumps at it. we SEE ollie and rj give each other side eyes at his weird behavior. they dont pry, which is nice of them. but it also means he’s not talking to them, or anyone, about whats bothering him until we get to the ed scenes. there’s a lot going on in the ed scenes that i’m not gonna go into because it gives me a headache but my point is that johnny told a TOTAL STRANGER abt his teenage dodgeball-induced ego death crisis before he told rj, who is Right There.

‘yeah but johnnys fine by the end’ johnnys fine by the end bc he goes back to being cool w/ hurting ppl if it means his friends would still like him and everything stayed the same. u really think tht if it ended w him actually giving more entertainment to the idea ‘should i stop being a bully?’ instead of bouncing back immediately, if he was still made to question his friends’ love for him if he changed, he’d have the same happy outcome? miss me w that 

so ultimately it’s not that johnny doesn’t trust his friends enough to tell them this secret/problem, but that their good graces and friendship mean SO much to him that we see him start to not tell them things if he believes it would jeopardize that friendship.

‘ok but thats why johnny wouldn’t tell his friends about THAT. its still doesnt answer why he wouldn’t tell them about THIS’ good point! here’s what we know: johnny LOVES his friends. johnny would do anything for his friends. including putting himself in harms way and keeping things from them if he’s worried it’ll negatively impact the existence of their friendship. so i’ll counter: ‘johnny has no reason to tell his friends about this shit’? no dude johnny has EVERY reason not to tell his friends this shit! his friends ARE the reason! johnny’s so ride or die that he’ll die if it means his friends can still ride.

forge’s little soliloquy on ch5pg97 hints at a perspective of spectral existence that’s much more grim than the ‘cool superpowered kids fight ghosts’ premise we’re led into the comic with. soooooo if this new change in his life were to. say. put himself or his loved ones in danger. actual, non-teenage, ‘my-last-medium-met-her-end-as-a-result-of-this-world,-and-there-is-nothing-that-can-ensure-you-will-not-meet-the-same-fate’ danger. or! not even put them in danger! just simply lead him to believe that them just KNOWING that danger exists for him, and there’s next to nothing they can do about it? to have the friends he cares so much about constantly worried about him? if they knew, a whole lot would change. to johnny, i think that guilt would be pretty tough to deal with

well. they cant worry if they don’t know, yeah?

[crystalkitty1220]

Welcome back to tumblr! Hope you enjoyed your break

It was very stressful. Ended up failing the marking period for English, but not by as much as I was failing before. Could still pull up the overall grade by the end of the semester.

[orcelito]

:/

[bakuhatsufallinlove]

424

All right, listen. It’s pretty damn funny that two weeks ago I posted all like, “oh I don’t really comment chapter-by-chapter, I’m waiting to see what happens next,” but this one broke me.

This chapter was everything I wanted for bkdk, and it’s so much more tender than I ever dreamed it could be.

This post is not going to be like most of my posts, because I am a flood of emotion. If you’re wanting some detailed, well-researched analysis of this scene, that ain’t coming for a while.

I don’t have some kind of comparative linguistics to show you. I just have my visceral reactions as someone who speaks Japanese and has absorbed Japanese media for many years. I have shared my heart with others in Japanese, I’ve sputtered out words between sobs and felt the many kinds of comfort different people try to offer. I have comforted others who let themselves be vulnerable with me.

In all these moments, just as in English, I wondered if my words and feelings reached them. Each time, I felt the warmth of connection when they looked at me, and I decided that they knew I did my best. They accepted me, even if it wasn’t perfect.

I’m gonna tell you the truth, and I wouldn’t normally say this so directly, but it matters to me: the fan translation for this specific scene is not good. The tone is wildly off in some ways and it outright omits a number of very important words.

The official translation gets so much of it right.

But that’s not really what I want to talk about right now. I want to talk about how people are reading this scene.

I have seen a ton of, frankly, oblivious interpretations of Izuku’s side of things.

Listen to me. Izuku is not making fun of Katsuki for crying, he is not telling Katsuki that crying isn’t like him, that isn’t in the text at all. He is not rejecting Katsuki’s feelings, or belittling them, or ignoring them, or any of that.

Izuku has seen Katsuki cry in-canon a number of times, but every time it was over his own personal failures, and the frustration, anger, guilt, and grief associated with them. We see it in the aftermath of Deku vs. Kacchan 1. We see it during Deku vs. Kacchan 2.

Izuku is shocked to see Kacchan cry because this is the first time he has cried for Izuku.

When Katsuki apologized in 322, he looked Izuku in the eye and told him his feelings with conviction and poise. He was gentle and vulnerable, but strong, because he was asking Izuku to trust them and rely on them. To come back with them and believe in them, like they believe in Izuku. He bowed his head to show his remorse. He caught Izuku when he fell, and he accepted Izuku’s own apology.

He embodied dignity, sincerity, and strength of character. He was a true hero.

This?

This is the raw, honest sorrow of a young boy. It is a tender, earnest, unguarded display of how much Izuku means to him.

These are the tears you shed for someone you cherish. These are tears for when you think you are losing something you can’t live without. Because Katsuki isn’t just crying for the loss of Izuku’s dream—it’s their dream, the future they dreamt up together as kids.

Izuku is almost pathologically incapable of understanding how other people see him and feel about him, but this is unmistakable. He is stunned because there is no other explanation.

There is unmitigated heartache and longing at the core of Katsuki saying, “I just thought somehow we would be together like this, competing and chasing after each other, forever.”

And Izuku is reeling, but so, so touched, and filled with fondness. Look at how his shock shifts to this overwhelmed, affectionate smile.

He’s right—this isn’t the usual Katsuki, and that is precisely why it means so much. We as the audience have been privy to Katsuki’s feelings, but until now Izuku himself has never really grasped the depth of them. This is all the tenderness Katsuki has kept locked up inside, and he is letting Izuku see it for the first time.

To see Kacchan—strong, fierce, and absolutely unstoppable—shed these innocent, helpless tears for him and tell him through sobs that he wanted things to stay this way forever, I can’t blame him for being blown away.

I think Izuku expected Katsuki to be shocked and a little sad that he gave up OFA, both for Izuku’s sake and because it is the legacy of their hero. Before Katsuki even starts crying, Izuku has this small smile on his face, like he was ready to reassure him that he had made peace with his own choice.

But he clearly didn’t expect for Katsuki to weep openly in front of him about it or to confess to wanting him by his side. Izuku had so enjoyed just being allowed near Katsuki, allowed in his life at all—to think that Katsuki could want the same and want it this much, to the point that he worries that things would change, that Izuku would abandon him or deny him? How could that ever be?

In what world could Izuku ever stop chasing Kacchan?

Izuku is a bit of an idiot. He has always thought that Katsuki understood how much he cared for and admired him—that’s why he is so shocked during DvK2 to hear that Katsuki thought he looked down on him for years. Izuku thought Katsuki understood his feelings and simply rejected them.

The way he loves Kacchan is natural and unquestionable. Even now, he can’t understand how Katsuki doesn’t know. It’s baffling to him.

But he still accepts Katsuki’s vulnerability and responds to the intimacy.

This is such an affectionate, loving thing to say. Izuku is being so sweet. I cannot convey to you strongly enough how Izuku telling Katsuki, “C’mon, stop it, this isn’t like you!” reaffirms their closeness.

If Izuku had not said this line and instead skipped straight to this nervous, awkward little attempt at comfort here:

It would have read as so much more distant.

With his tears and his confession, Katsuki pleads with Izuku to not leave him. To be with him always.

And in response, Izuku unabashedly stakes his claim on their bond by being bold enough to affectionately scold him and even assert authority on what kind of person Katsuki is. Remember these?

Chapters 202 and 319

This is such a staple in Japanese media for showing close bonds. Your loved ones know you. They tease you. They scold you. They have that right. You gave it to them.

The people you love cheer you up by reminding you that you’re strong and brave and that even if things feel hopeless and like you can’t go on, that they know you can. Everything will be okay, and they know so because they’ll be right there with you. Of course they’ll be there.

Symbolically, throughout the series, Izuku’s response to Katsuki trying to be closer to him has always been: “Of course.”

He has always accepted Katsuki as much as he is able to, as much as he had awareness for. He is wildly lacking in self-awareness, so it’s certainly not perfect, but by god does he try.

What Izuku is really saying is a mixture of “Really? You want that, too?” and “Don’t be silly!”

One part is him being shocked and touched; the other is him being absolutely certain of his own heart, and showing it as best he can.

He does get flustered and self-conscious, though—because it’s overwhelming to see Kacchan this way, and this is kind of new territory for them. So he switches tactics to reassure Kacchan about how things are now, and make sure he doesn’t feel embarrassed about this outburst. He still has the embers, so it’s okay for now. And their bodies are weak, so of course their heads will be in a bad place too, it’s easy to get low spirits. Of course Katsuki would be feeling vulnerable. It’s normal.

He gives Katsuki so many things here. He gives him as much as he can.

Izuku doesn’t know how long he’ll have the embers for and, frankly, he doesn’t have any guarantee that he will be able to satisfy this longing of Katsuki’s after he loses them. This, too, is a staple of promises in Japanese media: “I don’t know if I can satisfy you, but I want to try. I hope you can accept me.”

Things will be different—the future is always uncertain, now more than ever for their world. But what will never change is what they feel in their hearts.

After this scene, I honestly don’t care if we get something other people see as “bkdk canon.”

What Katsuki says is as good as a confession to me. What Izuku says in return is genuine and pure. This is a messy pair of teenage boys figuring out how to reach each other with words, when they have always been so damn bad at it. This is the two of them both reaching a new point of intimacy and reaffirming everything that came before.

[sm-baby]

Most exciting part of the trailer for the next TADC episode for you?

More so an Analysis rather than things I'm excited about X3

I watched the sneak peek on loop I can process everything! Waahh!! I'm so excited for episode 2 💞 only a few weeks away! 💕

I wanna get this out of the way, I love Lizzie Freeman and Alex Rochon's Improv work on this promo 😭 they were really put in a booth together, were told to say things to promote episode two, and came up with that 😭 Genius.

The environment work is GORGEOUS! I love the look of everything, the world-building, the colors! It looks like a full-fledged movie guys! Absolutely beautiful and WONDEROUS work from the Glitch team-- it's so beautiful for half a year of work??? God damn!!

Haha! As an in-universe creation, Despite his little gags, Caine is genuinely such a good AI to make something so cool!

You'll also notice that Ragatha is taking charge of talking with the princess! That would make sense for such fellow beautiful well-mannered women!

More on them later at the end! :3

Dream sequence theory

Also, we all agree that these ones are all part of a dream right? Pomni is panicked, the strange sort of "slow woozy wobbly" animation exactly like a dream... even the dolly zoom!

Then she is sent to the cellar with a an abstracted arm, but that shouldn't be the case since Caine could easily fix an abstracted arm with a snap of a finger.

And then she wakes up, freaked out!!

Wahaha! Shout out to the Showtime server for pointing this out while we were discussing!

This is either and "end of episode prize" from Caine, or he jumps in mid-episode to hand them a helpful item, ooorr he's telling them that that's their objective for the adventure :3

also!! people have pointed out that Zooble isn't with the carriage with the others! Either this means that Zooble was given a surprise roll in the adventure, or she's off to have a fun solo adventure with Caine! Ohh! How exciting!

Zooble is a favorite character of Goose's, so to learn more about him and why Goose loves them so much would be so exciting!!

Whats up with Jax?

hunched down, writing in the sand, hugging his knees, this topped with Goose's two-word description of the next episode to be "I"m nothing"... Oh Jax is gonna have a MOMENT...

We all know that no one likes the dude and he's going to get worse. I'm unsure if this will make me like the guy, but I'm optimistic!

I'm open to understanding and seeing another side of him that would make me like him! I already quite like how this scene is framed, how lonely he looks, the acting in these few seconds already tells me what kind of guy he is.

...despite one of the gummis being tied up in the corner

If i had to hypothesize, this probably stemmed with Jax acting out, you know, the usual "being a nuisance" to make everyone miserable,

Then It escalates

This gets on Ragatha's nerves, first starting out as a silly "haha cute interaction" between them and it escalates while the episode goes on where Ragatha genuinely gets mad at him and tells him to stay put while they do the work.

Speaking of Ragatha, She seems to be quite fond of the Princess! There is a part of me that wonders if she wants to sort of-- "prove" herself in a way, as a leader or otherwise. Ragatha does give me the "smart yet nice kid in class that everyone copies off of" energy... TwT This poor woman.

I don't know, just the way The Princess bends down and holds her hand, it's sort of sweetly mentorly or motherly in a way. I'm not saying this to infantilize Ragatha, I respect her so much as a mature 30-year-old adult, I say it as a testament to The Princesses' character. Princesses, Queens, and any sort of royalty have been characterized as the sort of "mother/father of all" sort of character type, which is sweet! And would be quite interesting!

I know that people are quick to do the shipping with these two, but I kind of like the idea of Ragatha wanting approval and validation.

BUT THATS JUST A THEORY!! A FILM THEORY!!! ANDDD CUT!!

[dceasesd]

why juni ba’s the boy wonder has my favorite jason characterization of any contemporary comic run: a needlessly in-depth analysis (pt.1)

oh boy oh boy am i excited for this one buckle up boys it’s gonna be a long one. analysis under the cut (WITH PICTURES!!)

i, like many others, have many thoughts and opinions about juni ba's the boy wonder that i'd like to express. i was having trouble formatting my rant, though, so i decided that it was easiest to just address some of the common complaints i've seen about the comic and jason's characterization and insert my ramblings throughout it. so far i've seen three main complaints:

the typical boiling down of jason's character to "the angry one"

his lack of strategy going into the fight with the demon is out-of-character

the neighbor's kid interaction

to start with the first one-- when introducing jason's character, in both the second and first issue, ba uses the descriptors "coarse", "bitter", "hardened", "brash" and, of course, "rageful".

so, yes-- i understand where people are having issues with this characterization. however, even if it's overplayed, it's still important to remember that jason is angry, and is driven, in part, by his anger at bruce and the joker. and, as ba highlights, he deserved to be! completely erasing jason's anger is just as bad as defining him with it.

i also don't think it's wholly accurate to say that ba is boiling jason down to just his anger. it might seem like that when only considering the dialogue and narration, but jason's behavior in the comic doesn't perfectly align with how the narrator describes him. while the narration describes him as "rageful" and could be an instance of generalization, jason's actions throughout the comic are more aligned with two other emotions/motivators: fear and despair. we never see jason get actually, properly angry; the closest we get is when he's seemingly annoyed by damian (which i believe could be performative) and when he becomes violent, accidentally hurting damian.

even in this instance, though, he is not driven to this violence by rage, but rather fear. so, while ba states in the narration that jason is driven by his anger, he contradicts himself by highlighting how jason's sadness and terror motivates his character. this could be interpreted as lousy writing on ba's part, but i'm not going to attribute the paradox to that inference. to me, it actually represents a critque of the "jason is the angry robin" generalization, because it calls to attention the discrepancies between how one is described versus reality, an issue that jason both faces in the comics (bruce using him as a cautionary tale when dying WASN'T HIS FAULT) and outside of the comics, as mentioned previously.

furthermore, this highlights the difference between what jason believes about bruce's perspective and bruce's actual perspective (according to damian). jason believes himself to be a "failure", but damian refutes this by describing his conversation with bruce concerning jason, a conversation that does not align with jason's belief. if you couldn't tell by now, perception versus reality is a BIG theme in this comic (and for jason's character in general!)

i was really fascinated by ba's take on jason, because it veered pretty far from a lot of contemporary comics, most of which do, unfortunately, play with the angry robin jason generalization. they've been doing a bit with his fear, too, which has either been pretty fun or the most awful thing ever (i'm looking at you zdarsky. gotham war was fucked up), but what makes ba's jason stand out to me is how he grapples with his grief.

this boy is so sad. ba's jason might actually be the saddest rendition of him i've seen in canon content. we've seen jason grapple a little bit with the despair rooted in his death and resurrection, mainly in lost days, where he cries 3 (?) times, fresh out of the pit and very traumatized.

even in this comic, though, he reacts to his grief with anger more prominently than sadness. that obviously doesn't mean the despair isn't there, though-- anger is just an easier outlet for it (which i could really get into the masculinity aspects of that, but then this would be wayyyyyy too long).

ba's jason, though? that motherfucker is so. sad.

christ he's depressing. AND THAT'S SUCH A FRESH PERSPECTIVE!!!!!!! THANK YOU JUNI BA!!!!!!

now i'm pretty sure some people would argue that this rendition in out of character because he's so sad. to me, though, he's still the same jason; he covers up his sadness with anger and pettiness, redirecting his own insecurities onto those around him to mask his true feelings.

ba quite literally illustrates this in the comic. whenever he is being his snide, normal self, he has his red hood mask on; but when he actually opens up to damian and expresses himself truthfully, the mask is off. ba is highlighting how the classic jason anger and bitterness is, in part, a performance and coping mechanism.

this post is already too long, so i'll go over the two other critques in a different post, which i will link below (eventually). if you guys have any thoughts you'd like to share or discuss, my dms and asks are completely open! if you made it this far, i hope you enjoyed my ranting. look out for another post soon! :))

part 2 / part 3

[novantinuum]

Pink Onyx AU- An Analysis and Theory Post, Part 1

[Part 1- You are here!] | [Part 2] | [Part 3] | [Part 4] | [Part 5]

~

Howdy! Those of you who have followed me for a while have probably been seeing my reblogs of the @pink-onyx-au comic made by @ceephorsshitshow. Well, today I wanna share with you something a little different than my usual SU meta… because today I’m gonna analyze this really cool fan work with the same level of seriousness as I do canon. (Like. Seriously. This first post alone is really, really long. I put most of it under a cut.)

This particular comic is a very special one for me to watch unfold, because it’s evident that a lot of deep care and attention to detail has been poured into its creation. There’s fascinating bits of expanded character development to chew into here, as well as plenty of mysteries and lingering questions for us readers to muse and theorize over. If you follow me for Steven Universe and haven’t read this AU yet I highly recommend you check it out. The most basic pitch is that it explores what a fusion between Steven and Jasper might look like, and does a LOT of deep-diving into the similarities and differences of both of those characters’ psyches.

Here’s the episode masterpost on tumblr.

And you can find it on Tapas, too! 

(Note: For the purposes of these posts, I was given permission by the comic artist to post screenshots of various pages where relevant in this discussion. For each frame used I will list the episode and page number for easy reference. Additionally, this post and all future ones on the topic will contain full spoilers for the comic thus far.)

Now with all that introductory stuff out of the way, here we go!

__

So, on the final page of the most recent update, we get one hell of a visual plot bomb for Steven as ol’ Onyx unfuses:

(Episode 9: Page 22)

He’s now visually expressing remnants of his corruption, where before he was not.

And it’s this mysterious plot point in particular that got me wanting to analyze this comic more deeply in the first place. This is completely new for him in this story. Thus far, he’s never expressed any of these remnants when he’s just himself- not in the way Jasper does. So it made me wonder… how might this shift in his appearance play into the ultimate trajectory of the plot? How does Steven suddenly showcasing corruption scars integrate into the larger story that is being spun here about him and Jasper and how they relate to each other?

Well, there’s a lot of comic details and story lore we need to unpack first before I can take my best theorizer’s stab at this. Let’s dig right in.

__

Prelude: The analyst’s treasure is in the speech bubbles

Anyone who’s been a fan of this comic for a while has probably noticed these fun visual details already, but I’m going to take a moment to break down what I believe each speech bubble style signifies for folks who may not have context. It’ll make some of my analysis later a bit easier, too, ahah.

So. Speech bubbles. What kinds do we have here? 

(Episode 1: Page 6)

Style number one: Solid with black text

This style is standard for non-fused characters, and is also utilized when a fused character is speaking whilst in a state of internal harmony.

Steven is pink and Jasper is orange, of course. Onyx’s speech bubbles are a distinct darker pink, and the main three Crystal Gems get their own colors as well. More minor characters get white bubbles.

(Episode 1: Page 10)

Style number two: Scribbly pink lettering overlaying black text

Whenever you see this type of speech bubble, it’s a sign that there is some level of internal discord going on within Steven or Onyx that is related to their diamond side. It usually shows up when one of the two is in pink mode, but from what I can tell this is not a solid rule.

(Episode 2: Page 12)

Style number three: Pink/orange mixed bubbles

This is how we see Onyx talking for a good portion of the early comic. Their speech bubbles are a clean mix of Steven’s pink and Jasper’s orange. And most vitally, the color on the top and the tail signifies which of them is “fronting” at that moment.

(Episode 3: Page 11)

Style number four: White bubble with solid pink text

So far, this style has only been used to represent dialogue that is being spoken by Steven’s gem half exclusively. Which makes things very interesting, as in Steven’s own remembrances of shattering Jasper on the very first page of the comic, the line “I have been holding back!” is shown in this specific style, instead of the scribbly pink lettering that signifies internal discord.

There is one additional sub-style here- and this is the one moment where we get Onyx’s mixed bubble but WITH the solid pink text. 

(Episode 3: Page 11)

I believe these two styles pretty much mean the same thing… only, the white/pink text is either viewed within memory or a metaphoric fusion mindscape where we the viewer are actually “seeing” Steven’s instability, and thus can “see” his gem half as a separate entity there. While, in reality, this is an argument Onyx is having with the disparate pieces of themself.

(Episode 4: Page 9)

Style number five: Pink/orange tye-dye mixed bubbles

When you see that darker shade of pink start dappling into the standard mixed bubbles, this indicates that there are small whispers of Onyx’s true personality beginning to surface, instead of them constantly being wrested back and forth between Steven and Jasper’s conscious control.

(Episode 4: Page 16)

Style number six: Pink/orange mixed bubbles, but with a darker pink tail

From this page onwards, Onyx’s speech bubbles always have their darker pink shading the tail no matter who is fronting. Sometimes there are little lines of another color etched out of it, and sometimes the tail is solid dark pink. I like to believe that when it’s solid, it means that Onyx is just a little closer to reaching a fully harmonious state than when it’s not.

(Episode 9: Page 6)

Style number seven: Onyx speech/thought bubbles with a hint of pink/orange underlying

This style seems to signify moments where it’s still Onyx fully in control of themself and their actions/words/thoughts, but they’re taking subtle influence from their components or accessing their memory a bit.

These are all of the distinct styles I have caught so far, but quite honestly, it would not surprise me if I am missing something. All of this to say… pay close attention to the speech bubbles. They can tell you a lot about Onyx’s state of mind throughout the story.

Now with all this established, I’d like to finish off this first post with my first big discussion point.

__

Question One: What does Jasper actually know about Steven’s “meltdown,” if anything?

The AU author recently solidified this comic’s placement in the SUF timeline in an ask response, saying that the first episode takes place just a week after Steven’s corruption event.

I’m glad this point was clarified, because it was super vital information which deeply influenced the way I analyzed Steven’s actions and responses in my recent re-read… it means this experience is still super raw for him. This is VERY important and we’ll get back to this in more depth later in future posts. But first, let’s explore what Jasper knows of this event.

The full extent of her knowledge is unclear-

(Episode 1: Page 6)

In Episode 1, Steven briefly alludes to his corruption as seen above… referring to it as “[his] meltdown.” Notably, Jasper does not seem to ask any questions about this stray comment. This COULD suggest that she knows what happened to him a week prior via hearsay, but given the context of the rest of the scene and the fact that she’s as isolated as she is out here I genuinely wonder if she thinks Steven’s so-described “meltdown” is his shattering of her.

This idea would make a good deal of sense, as she doesn’t start to make any commentary on the topic of corruption at all until they’re actually fused- with Steven bringing it up first.

(Episode 2: Page 14)

On this page, Steven takes note of Onyx’s very visible spikes (which are Overtly in the same placement as his own when he was corrupted), and initiates the musing upon his own corruption himself.

With the way Jasper phrases her response, the vibe I get is that she somehow gleans a bit of ambient shared knowledge about what happened to him through their fusion.

(Episode 2: Page 15) 

“That human form you wear must have been hiding your markings.” This quote is SUPER vital. We’ll come back to this later on in this post series, too.

(Episode 2: Page 15)

It’s clear that Jasper doesn’t REALLY understand what he went through or what caused it, since she then outright mistakes the casual woes and body pains of organic life as corruption. (As seen above.) 

(Episode 8: Page 4)

But later on, she outright relates to him over their shared experience of past corruption, so she must at least know enough from mere ambient thought-sharing by this point to recognize it happened.  

It’s obvious that she’s barely scratched the surface on fully understanding her fusion partner, though. Neither of them have. It’s gonna take a lot of fusion, comedic mishaps, and genuine conversation to get there. All in good time, I’m sure.

__

Please do join me tomorrow at 7am PST for the next post in this series! This has been a blast to write up and muse upon.

[velvet-games]

in the middle of working on a lucifer redesign :)

thoughts/explanations + minor character analysis under the cut (this was supposed to be short but it ended up being very thorough lmao):

honestly love his canon design so I'm kind of working from that more than I'm trying to rethink stuff from scratch

I'm gonna admit right now that a lot of the design choices were very self indulgent lol; I just want him to be pretty :<

circus stuff~

I've seen a lot of people raise their eyebrows at the circus motif, so I was going to try something different, but I actually think it makes a lot of sense!

I think freakshows/circus acts have been tied to this idea that certain identities/abilities are strange and shameful, only valuable as dehumanizing entertainment -- they're mistakes, freaks of nature

but at the same time many circus performances require a lot of skill and work and love that can go unappreciated, each and every performer at the very least a person worth respecting

I think lucifer sees hell as a freakshow/circus he's been forced to lead and try to control

a bunch of wayward toys meant to be bright and beautiful that have been twisted into something terrifying

and he needs to discover a more empathetic, appreciative, and loving way to think about sinners

and also to realize that it's not about him or his mistakes; it's about a group of people with their own emotions and autonomy that he needs to respect

anyway

all that to say: we're keeping the circus ringleader thing!

I think a whip would make more sense for a ringleader, esp since alastor has a staff already (but they're enemies/foils so maybe their designs should reflect each other?)

there's room to turn the whip into a snake maybe

in the pic I made it look like his tail bc I considered making his actual tail a goat tail (cute! but the longer one suits him better I think)

maybe an apple on the top/handle still

the tux honestly looks a little too formal/cool for him most of the time lmao

so I think he should take off the jacket/have the toymaker apron on instead unless he's fighting

vaudeville doll~

lucifer has a lot going on tbh: circus ringleader, angel, devil/demon, snake, goat, vaudeville porcelain doll, toymaker, etc.

I think I'm gonna take out snake just to simplify a little, but I'll talk about that more later

I was also going to take out porcelain doll but

1) the rosy cheeks are super cute

2) fits with the circus theme

3) fits with the idea that he's both a toy and toymaker (an angel that tried to play god)

uhhh there's a couple self indulgent doodles of him in a vaudeville doll dress lol. not relevant to the design at all; I just like drawing stripes and ruffles

I ended up making him sort of androgynous in a lot of ways? (not that he wasn't already lol) which works for him I think

part of it was the vaudeville doll thing; I wanted to give him (keep?) the eyeshadow and add those little vertical marks you see on them sometimes

also because I really liked the puff sleeves in one of the references I used; it kind of emphasizes an extended hourglass shape with the puffy pants

plus I love drawing the more classic tuxedo shape <3 very yummy lines and details

hair/shape~

I fucking LOVE when people draw him with messy hair, so I made that permanent

I also think (esp since he's blond) having the hair stick out in tufts kind of makes it look like a star (morningstar, lightbringer, etc. etc.)

even more so with the pointy horns (those are also fun to draw cause they're right in the corners of his widow's peak)

I drew a random triangle on one of these as a reminder to keep the pointy/triangular shape language throughout lol

squares would def be wrong with the implications of sturdiness and stability

I think circles would be wrong too? he's vulnerable and ultimately very soft inside so I kept a lot of round lines, but I don't think he's the traditionally bubbly/friendly/peaceful archetype circles are usually used for

triangles are apparently dynamic, dangerous, and unpredictable, which is a little closer to what I'm going for

(shape language is a very flexible rule btw; I'm not saying they determine everything about a character or that one shape has to mean exactly one thing)

he's also a depressed, tortured soul, so I feel like he should look just a little unhinged and exhausted <3 (hence the eyebags on top of the messy hair)

angel stuff~

(sidenote: cherub and seraph are singular, cherubim and seraphim are plural. even the show gets this wrong tho, so feel free to say whatever ig)

I'm pretty sure most people agree lucifer was probably a cherub? cherubim only have 4 wings so I might go with that

I do think it makes more sense if he's higher ranking like a seraph tho ... it's hard to decide whether to go with the show's ideas about angels or actual religious texts cause both are interesting in their own ways

snake~

ARHHGHJF idk how I feel about his nose

again I thought about taking out the snake motif, but he honestly looks good w/o a nose (I mean it's there obviously but you can't see it if it's just snake slits lol), and I definitely like the idea of him having a forked tongue or his eyes turning into slits when he's angry

also also

mini rant on animal motifs in hazbin:

I get the impression that a lot of people think it's a bad thing that you can't tell what animal a character should be? and/or that a motif has to be clearly present in the entire design to be good

and I kind of just accepted that until I started thinking about ozzie's design from helluva boss

like the original demon he's based on is really just that fucked up and mixed with animals you can't always identify

and chinese dragons are like a billion different animals even though they sort of just look like lizards at the end of the day

like obviously if you want the audience to associate a character with a specific animal (like if you want people to think a character's spooky because they're a spider or something), then you do want the animal motifs to be clear/consistent

but sometimes you just want certain elements there and it doesn't matter if the audience picks up on it (at least consciously)

and I think with someone like lucifer, having a lot of animals/concepts mixed together in an ungodly combination makes sense lol

so idk

maybe we'll just give him the nose/tongue

I did try just giving him a button nose in some of these for the doll thing tho

goat/charlie~

urgh I hate realizing I should've designed certain characters together lol

I took out the rosy cheeks in my original charlie design since I wasn't thinking about lucifer, so I put them back in this time lol (and generally thought about how they should be visually related)

I like that it enforces the idea that charlie's lucifer's creation (toymaker makes a doll in his own image yk)

also they both have puff sleeves now :) (charlie's design is basically princess dress silhouette but make it a suit)

I also gave her goat ears, so I figured lucifer should have them too? idk because I like the way his hair looks a lot better without them, and I kind of like the idea of giving them diff combinations of goat features (maybe she should have a goat tail?)

also drawing this made me realize I have no idea why charlie has a puppy nose??? I thought it was the goat thing for some reason but that doesn't make any sense

maybe I'll just give her no nose

anyway! fucking incredible if you read all of that; idk what possessed me to write so much about a half-finished design lol. feel free to leave suggestions/answers to the questions I had!