#odd character design parallels

[anthurak]

Soooo... is anyone else getting a hunch that there are some RWBY fans at Bandai?

[yippee-optimistically]

mods r asleep post humanized 4x

finished catching up on tpot it was peakkkkkk but i am so scared of one. also working on little clay and felt dolls of 4 x and 2

[unproduciblesmackdown]

more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair.  More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking.  Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction. 

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are:  "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself.  They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory.   As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it.  Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

[muffinapologist]

‘Ooooh Shadowheart and Lae’zel is so enemies to lovers’

Listen. Of course they are. Shadowheart has been tasked by her goddess to retrieve the Astral Prism, a Githyanki artifact that Lae’zel is sworn to protect. They try to kill each other at one point.

But that’s not All There Is To It, you feel me? Like that’s not the sole appeal. It’s not even the main appeal.

It’s about them having parallel character arcs. It’s about them being so very different but so fundamentally the same; having their lives stolen from them and molded into the design of an uncaring Goddess. Being a true believer, devout, ready to die for their cause. Only to realize the deception, to feel lost, aimless, without purpose. And having no choice to make their way forward.

It’s about the fact that they’re not *really* enemies, they never were. Rivals, perhaps. At odds at times, certainly. But at the end of it? The conflict between them was built on lies.

It’s about them finding solace in the only other person who knows their struggle; each other. It’s about them learning how to let down their guard and be vulnerable. It’s about them raising Xan together because they’re both free now.

[assumptionprime]

I need to rant about the Fallout show

Because this is the person I am. Full spoilers, so I’m putting it behind a Keep Reading:

I’m a huge sucker for Fallout (yes even 3&4). And I went into the Fallout show with some… trepidation. Amazon has been a mixed bag on adaptations, we could have been blessed with a Good Omens, or cursed by a Rings of Power. But early buzz and reviews seemed positive, so I slammed the whole thing in one night with my spouse (we were staying at my in-laws house and they have Prime. Time was a factor.)

And y’know? I was really enjoying it! The characters were fun, the plot was engaging enough, and the costumes and visual design were extremely on point. There were some minor lore quibbles to be had: Ghouls needing some kind of medicine to not go feral. Really, more Enclave holdouts? Timeline and date whoopsies. Wait are they in California? Where the hell is the NCR?

I made a face at Shady Sands being bombed and the NCR collapsing. But I wasn’t completely out of the story. Based on what I had seen so far, I thought it was building to a reveal that the Brotherhood had done it. That the more zealous turn they took in Fallout 4, which has clearly carried to how they are portrayed in the show, lead them to bombing the NCR. War never changes, as they say. Maximus even says when asked what happened to Shady Sands: “The same thing that always happens.” Yeah, it leans into Bethesda’s weird desire to keep the Fallout world in a state of perpetual wastelands full of raiders and no civilization, but it wasn’t so terrible that I couldn’t still enjoy the show.

But then.

BUT THEN.

Episode 8, and the reveal of Vault-Tec apparently being the ones who dropped the first bomb in the Great War.

I was surprised to hear that some fans have apparently been debating over who fired first? Some even asked Tim Cain about it?

That’s really odd to me because, in the games, there is already a pretty definitive answer to which side sparked the Great War:

Who fucking cares?

The world ended. What does it matter who shot first?

There is no China, no United States, no communists or capitalists left to fight about it. 

It's a powerful little bit of lore.

For all the posturing, all the promises from each nation that their way is the true way, all the nationalism, the militarism, and blind loyalty to flags over humanity, they both lost. Everyone lost. All that remains of the ideologies and nations that were so important to the people of 2077 is faint echoes over vast expanses of radioactive ash.

Who started the end?

No one knows. No one cares.

It only matters that their conflict was so bitter, so all-consuming, that one of them dropped their bombs, and the other dropped theirs in return.

The truest legacy of the old world is the devastation left by their final, most horrific war.

Can we do better?

Then the show says "Nah, Vault-Tec did it. It's not a commentary on human nature and the futility of self-destructive conflict, it was actually these guys, these mustache twirling villains huddled in a darkened room literally plotting to end the whole world so they can rule what's left."

And I can see the attempt to make this a critique of capitalism. I actually paused the show to praise a bit of writing when Coop is talking with Charlie before the war, when Charlie tells him that the “cattle ranchers are in charge” to illustrate how capitalism and corporations hold too much sway over the government, it felt very in line with how in New Vegas one of the recurring critiques of the NCR is that all the real power is in the hands of the “brahmin barons.” Nice parallel, spot on!

But “we’ll set off total thermonuclear war so we can rule the ashes and have a True Monopoly” isn’t capitalism. It’s just dumb “we’re the baddies” writing.

And then Shady Sands was also Vault-Tec?! Forget any meaning in the NCR falling to the same corruption and/or factional fighting that consumed the old world, they were literally just bombed by the evil shadow conspiracy that apparently also killed the old world. Hank gives this speech about factions fighting and the futility of it all while we see the Brotherhood fighting Moldaver’s NCR remnant, and like, no! You can’t say that when you’ve made it so neither the old world or the NCR fell to war with another faction! It was you! You and your band of cryogenic supervillains!

I don't care that they changed it. Timelines and dates and little retcons don’t bother me all that much. I care that they changed it to something so much worse.

[autisminabox]

I’m going to be discussing spoilers from the new update, specifically entailing Eddie. Spoilers are below the cut, so, like. Spoiler alert

One thing that stuck out to me right before Eddie “goes to Toyland” (which is what’s implied to happen) is the anger he felt. To me it felt incredibly out of place. Out of place for what’s supposed to be a children’s show, and out of place for Eddie.

We’ve seen Eddie in situations substantially worse for his staying focused on the job than people not having any mail. We’ve seen people jump at him, get pressured into literally lifting other people (and possibly a fucking house), and was too nervous to speak up for himself. We’ve seen him take a lot of shit from both Howdy and Barnaby in the audios, and he more or less took it on the chin. Julie overwhelmed him with her business game, and instead of getting frustrated, he just kind of… curled up.

So this strikes me as particularly odd. There are two explanations I can think of to explain why it happened. The first is a theory I’ve seen floated around about the puppets slowly deviating from the in-universe writers’ design. We see this contrast between how everyone acts in the books and ads and how they act in the bug audios; Barnaby had a twinge of meanness, Julie had a personality beyond being ADHD incarnate, Frank expressed kindness. It’s not out of the question. The second theory is based off of a few observations from earlier on: Eddie is notably from out of town, and is loosely implied to have moved in last out of the main cast. It wouldn’t be absurd to say that this leads him to being “not with the program”, even if him being the newest addition is only in-universe for the show (as opposed to him being literally constructed and written last)

The second thing that was prominent to me was Home’s response to Eddie entering Toyland. This is quite plainly conspicuous and intentional, but I wanted to bring attention to it because of the interesting implications of it. First off, Home is pretty much confirmed to be sentient now. I’ll be damned if there’s any coherent counterargument that doesn’t boil down to going “nuh-uh”. Second, Home is at minimum recognizing that something is happening to Eddie. It’s not clear whether Home is aware of what specifically is happening to Eddie, or whether or not Home had a hand in setting off the incident, but the fact that home recognized that something was happening to Eddie nearly instantly solidifies how intelligent and aware Home actually is. This isn’t inherently surprising, since we’ve already gotten word-of-God confirmation that Home has repeatedly beaten Frank at chess, however, this is the most pointed and direct example that we’ve seen in the actual project.

Third, the fact that Eddie specifically had The Horrors™️ enacted upon him first specifically (at least, as far as we’re explicitly aware of; It’s unclear whether Wally counts as having experienced The Horrors™️ or if he is the arbitrator of them. More on that later) lends to some very interesting suggestions. Five possible explanations I can think of work as follows: One, he knew too much about either the nature of whatever specifically is weird about Home (town), whether that be Home (house), Wally, another character, the monsters of the night, something else about the night, or he knew too much about his nature as a fictional character. There is some speculative support for this; first, the aforementioned outsider angle that he’s been played with, and second, his parallels to the scrapped character Sunny. Sunny was the most recent to move in within the beta continuity, he was the love interest for Frank, he was smart and likely knew too much, and he disappeared first. Two, his outburst earlier in the day proved to be too out of character and thus a risk and liability to whoever was in control of what happened to him. Aside from my above breakdown of that scene, and from the fact that there’s very prominent examples of Playfellow and Marlo (or perhaps Wally, if for whatever reason Evil Wally ends up being true) blatantly straightwashing characters and possibly suppressing free will of the characters, assuming that’s what we’re meant to take away from the bug audios. Three, Eddie realized the actual absurdity of the Pea On A Plate and “woke up”, lucid dream style. I don’t really like this interpretation, since the fact that it’s in several promotional materials and companion merchandise suggests that it was an absurdist humor bit in-universe, which isn’t farfetched considering how children’s shows tend to be. Four, there’s another reason that’s yet to be revealed as to why Eddie got selected first. To be a total Devil’s advocate, we’re still relatively early in what’s looking to be a very slow-paced story. We’re not gonna have all the details, and red herrings are going to pop up, intentionally or otherwise. Five, Eddie was selected randomly or with no actual reason.

There’s also a few possibilities for who sent Eddie to Toyland, which is interesting to me. First, it could be Home. It wouldn’t be surprising considering its mysterious and noted uncanny nature, and its prominence during that scene. Second, it could be Wally. While I personally don’t find it to be the most reasonable, since something of this magnitude being perpetrated by a character we have a face to would likely involve that character, there’s enough evidence of Wally acting aware and generally odd where it isn’t completely absurd. Additionally, it’s entirely plausible that Wally’s conspicuous absence during the entire arc is indicative of some sort of guilt. Third, the show writers, someone at Playfellow, or another party along those lines somehow caused it, either by technological or supernatural means we don’t know about or by some accidental bout of supernatural fuckery, such as rewriting something and it having bizarre effects on the characters. It’s out there, but not out of the question considering the weird shit they’ve done. On top of that, it’s not impossible that another entity or force somehow caused this that either hasn’t been revealed or explained yet.

As to what Toyland actually entails, I’ve concocted a few theories. One, he literally got up and mentally teleported to a land of giant toys. Two, it’s full Star Trek mode and there’s Horrors™️ so mentally stimulating that the only way it could be perceived by either us or Eddie that that’s all it can be perceived as. Three, Going To Toyland is some sort of initiation, rite of passage, or method of psychologically controlling the cast that everyone else either doesn’t realize is happening or has their memories of it forcibly suppressed. This could be supported by the aforementioned “Eddie is an Outsider” and it’s possibly his first Homewarming since moving to the area. After all, a housewarming is a celebration that welcomes and initiates someone to the neighborhood; would it be that odd that Homewarming is a twisted version of that?

Anyways. Those are my observations and a bunch of interpretations. Part of why I love this project so much is how mysterious and unclear the exact details are, creating excellent suspense and a drive to theorize, and leading up to a truly gobsmacking reveal or conclusion. This update certainly delivered. Whatever the answer is for any of the branching paths I described, it’ll almost definitely reveal how truly fucked up the perpetrator is (or, alternatively, how utterly fucked up the situation is in general, if there ends up not being an instigator) for, y’know, doing that. Clown and Co., you’ve certainly outdone yourselves, and the wait was worth it; this speculative theorycrafting this update has provided is absolutely incredible.

[arnaerr]

The more I think about the Elden Ring DLC after my second playthrough of it the more I hate that I noticed too many things that frustrate me in the lore. Not to be a hater on main but I feel the urge to note these down to think about it more later.

- the whole radahn situation. the fight design and the fact that it's the boss we've fought already sucks bonkers. But the fact that it lacks a proper buildup in a narrative and feels random as fuck is what really frustrates me. Feels like retconing. Am I watching Bleach again? Why tf the character who was dead and whose story had an ending is bringed back. The war festival felt like an ending to his plotline and it was fitting. "Miquella saw kindness in him" in a WARLORD?

- Miquella's actions make no sense. Why to bring a bunch of people into the Lands of Shadow. Why charm them if he planned to discard his great rune anyway. These people are not helping. They're just confused. And it's not like Miquella needed help in the first place? What's the point of crosses. Why are they in random places. Why is the one in the Shadow Keep and everyone there is ok with it. If the crosses are in random places bc Miquellla was travelling and searching for the truth about Marika, why is there no cross in the Shaman Village then 💀 it would make sense especially given all the parallels between Marika's and Miquella's ascension.

- if Miquella was obsessed with Radahn all this time he feels not very smart to say the least. Like, the whole scheme of counting on someone to find Mohg and kill him - what are the odds someone would do that. Why cocooning himself in the Haligtree. Why not to help his sister after she nuked Caelid. How did Malenia miss Miquella's kidnap or she knew about the scheme all along. Idk

- what exactly is a Scadutree. "Scadutree is the shadow of the Erdtree". Ok thanks

- the perfumers are growing minor erdtrees in two places DLC and one of them is the Shadow Keep and there's no lore behind it thanks for nothing I guess. When I discovered it, it felt important af 😭

- Torrent? Why the official art showed us that he belonged to Miquella. I hoped to learn more

- love how we use the kindling to burn down the sealing tree only to find out that other Miquella's followers got there before us somehow. Messmer is rolling in his grave

- I wish there was more Godwyn lore. Now the whole Castle Sol situation feels stupid and makes no sense, the mausoleums, etc.

- Romina. I know everyone adores her design but she's so lacking of context to me that I can't really like her. Who is she, what is she doing there why is she guarding the entrance to endgame area.

My main problem with the dlc lore is that I always liked how Fromsoft kept this balance of known/unknown - they gave us little info but enough to be INTRIGUED and speculate further. And as with dlc lore...some of this stuff is so random and has no ties to the things we already know about - too much of unknown - that i don't want to even invest my thoughts into trying to figure this stuff out bc I know that I won't come even close to the truth.

But still the best game I've played this year, 12/10, will replay 10 times, love it

[bionicboxes]

whoo, some of the ArcadeQuest AU designs done! little story summary below:

Freddy and his Companion, a TALKI bot named Gregory, are sent on a mission to find five keys scattered across time and space to stop an ancient evil from destroying these universes. Along the way, they must help the residents of these parallel worlds defeat minions of this great evil in order to obtain the keys needed to fully defeat it.

or at least, that's what they believe. As the 'Glamrock' crew meets odd individuals that tell them of an older evil they once defeated, things start to become hazy, and reality as the believe it to be starts to fall apart. But the evil they face is all too real, and someone really does need their help. History loves to repeat, and its up to the Glamrocks, with guidance from those who experienced said history, to put a stop to it.

ArcadeQuest is based on an AU/Theory idea I had revolving the arcade machines in the game; Said theory being that like Princess Quest frees Vanny from control once completed; the Balloon World, Feeding Frenzy, and Monty Golf arcades were supposed to free their respective animatronics from the Mimic's control early in development for SB before being scrapped. To be clear, that's entirely speculation on my end, just trying to find a practical answer to their odd inclusion.

Each of the Glamrock's worlds are somewhat based on their arcade and/or location in the pizzaplex (especially with Roxy and Freddy whom don't have an arcade).

Its really just for me to have some good fun with all of the animatronics I've come to love over the years. Just about every animatronic will have some sort of appearance, albeit the ones with the most major roles are the SB characters, the FNaF 1 crew, Puppet, Springtrap, and Ennard. Potentially Baby as well, AQ isn't a fully finished AU by any means haha.

[raven-at-the-writing-desk]

Hey raven, there gonna be a Crowley ssr card (im not joking)

[Referencing this post!]

RIP Cater 💀 Now he knows how Trey feels whenever his birthday gets overshadowed by Halloween event news…

It’s true what they say, boys (nb). Cope hard enough and your wishes and prayers for NPCs to become actual cards will become a reality… Happened with Rollo, now it’s happening with Crowley—and presumably other NRC Staff. (I wonder if Year 4 of JP anniversary will feature staff in the groovy with Grim??)

IT’S SO FUNNY THAT THEY MADE THE MOST USELESS STAFF MEMBER THE FIRST STAFF CARD 😭 I thought for sure they would “save the best for last” but I guess Crowley isn’t really “the best”, huh… BUT HEY, at least now we can chuck him into battles against OBs and make him be a responsible adult and actually work to earn his coin 💰

I hope we get vignettes and not just furniture for Crowley! It would be cool to have a short story that centers around him, even if it’s just him goofing around and being unproductive. I’ll happily take a day in the life of Crowley anytime!!

I have so many questions about how Crowley would work gameplay-wise?????? ?? ? ? ????? ?? ? I wonder if we’ll be able to make staff members attend class…? But that’s odd, isn’t it?? Why would teachers be studying? And what happens if there’s a situation where like. Crowley is a student but also Crowley crashed in for a Special Lesson segment? Double Crowley?!?!?!?! The Spiderman meme where they point at each other?? Or will staff not be able to attend lessons at all and you just have to feed them materials to level them up outside of class… (You know what, leeching off of resources that the students worked hard to farm is very in-character for Crowley, so if this is the case then I won’t be upset 😂) What about Duo Magic??? Will Crowley actually be able to combo with a student??? Or will it be with Grim or whatever staff card is coming next...?

His card art looks hella cool ✨ It’s really atmospheric but also has a bit of that unique Crowley flair if you notice where exactly he’s seated (on his own damn desk www) while posing so sassily. And is that the word RAVEN literally making up the teeth at the end of his key-like staff????? That’s so Crowley of him…

What I am slightly concerned about is…

***Spoilers for the full Crowley card illustration + book 7 main story below the cut!!!***

… Why is the composition of Malleus’s Dorm Uniform card and Crowley’s card kinda similar…

Malleus is clearly turned to the side, but the slight worm’s eye view is the same and the lighting is somewhat close (relatively dark)… and both of them are holding staves while sitting. Plus the timing of Crowley dropping mid-book 7… AND sharing elements in Malleus’s Masquerade (Crowley notoriously wears a mask) groovy of all things (similar angle, chandelier overhead)… With the fan theory of Crowley actually being Malleus’s missing dad at an all-time fever pitch in popularity, this has me a little worried (since I personally think the theory doesn’t have a lot of solid proof and leaves a lot to be explained in terms of his actions).

Maybe that’s me overthinking it, but TWST has been known to intentionally do parallel or mirrored designs before (though I’ll admit this instance isn’t as clear cut as previous instances). I’m just pointing out what I see and I’ll leave the final judgment up to you, dear readers! I’m sure the “Crowley is Malleus’s dad” theorists will be in a frenzy picking apart these details www

[channel-eclair]

Who is the Luigi archetype of every major Nintendo series? - An Essay

I love Luigi, I love Nintendo, and for some reason I want to go on a mental quest to determine who the "Luigi" of every Nintendo series is.

What does it mean to be a "Luigi"?

Usually the second most important character in a series, but can often be less important. Also works well if they're a player 2 character

Parallels or connects to the main protagonist in a few ways shapes and forms

Could be green. Not necessary but it is bonus points if they are green.

And without further ado, let's begin!

The Kirby Series

This is one that is very debatable. Many might say Bandana Dee, which makes a lot of sense! Often player 2, looks similar to Kirby, not as important as the main protagonist and antagonists..

But honestly? I am kind of leaning towards King Dedede.

When you think of Kirby, the second character most people think of behind Kirby is Dedede. He is like Kirby's shadow, Kirby's parallel.. but he is NOT a villain in modern day Kirby. Dedede is not the Bowser of the Kirby series.

King Dedede being royalty could also have him be compared to Peach.. but Dedede's immense amount of playable roles make him feel more in line with Luigi to me.

I think Dedede is the second most important Kirby character; and with his parallels to Kirby's moveset, I honestly will crown King Dedede as the "Luigi" of the Kirby series

Plus, the best Smash game already knows whats up!

Pokemon Series

It's Eevee. 100%. It's Eevee.

Pikachu is the "Mario" of the Pokemon series, the beloved mascot.

Eevee is the parallel of Pikachu, beloved and different but always second behind Pikachu. The two mirror each other excellently, and Eevee really just feels like the perfect Pokemon to call "the Luigi" of Pokemon.

I will say, Mimikyu fits nicely as a ghostly doppelganger (and I think Luigi would totally have one on his team), but purely from a brand and gameplay standpoint, it is Eevee.

Animal Crossing

This is a bit of an odd one, but I'm going to give it to Isabelle.

In many forms of promotional material, the face of Animal Crossing flipflops between Villager and Isabelle. I geniunely think Isabelle is more iconic and known at this point, as Villagers are so customizable yet the right amount of plain that they're often not seen as a character (unlike say, Inklings, who are super customizable but have such unique designs they stand out a lot)

However, Villagers ARE the player character. Not to mention Isabelle is only in two of the five Animal Crossing games! I would say that despite her popularity, she is only the second most important character of Animal Crossing.

Also she wears green. Luigi!

Splatoon

And now after mentioning Inklings, here we are at Splatoon!

If Inklings are the Mario of the series, I'd say Octolings are the Luigi, I guess? They aren't enemies anymore so Octolings aren't really a Wario (even if DJ Octavio's the Bowser of the series more or less)

However I want so badly to point out that the Squid Sisters are basically a parallel of the Mario Bros. Callie is "Mario" and Marie is "Luigi". This doesn't make sense with the pattern I've established but I wanna throw Marie into consideration here too, as the possible Luigi of this series.

And if the "Mario" of the series is Callie... maybe Inklings are, uh.. the "Yoshi" of the series, since they're a species? Hmmm..

Fire Emblem

So FE is an interesting one because it has SO many different casts. And honestly; there's not really a definitive "main cast". Like Marth is the face of the series, but his OWN game is not that popular compared to other and greater entries. Fire Emblem is a lot like Pokemon where every game is a new cast, but Fire Emblem's first cast doesn't hold onto the series as much as Gen 1 of Pokemon does (except Marth)

For Marth alone, I'd say Merric is the Luigi. He's green, Marth is the Mario, Caeda is the Luigi.

For the Binding Blade and Roy, I'd say Wolt is the Luigi. He's green, Roy is the Mario, and Lilina is the Peach. This one is also kinda funny considering how forgotten Wolt is in this trio, compared to the other two.

For Awakening, I'd actually argue Robin as the Luigi, as Chrom and Lucina really take over as protagonists. Also I just kinda feel like Robin and Luigi have a lot in common. They were both vessels to become final bosses with Grima and Dimentio, they both use electricity, they both kinda sleep a lot with Dream Team, idk! I think they'd be friends

For Three Houses... Claude, maybe? Amidst all the main intensity in 3H, Claude kinda sits back and goes his own path. He's not as beloved as Edelgard or Dimitri but has his fanbase, and if Edelgard and Dimitri are the "Mario, Peach, or someone else" then Claude really just feels like a Luigi to me.

Also worth mentioning is the "Christmas Cavaliers", the pair of red and green knights in almost every Fire Emblem game. I like to joke and call them the Mario & Luigi knights, but they're just not important enough characters to be "Mario" and "Luigi".

Pikmin

Thanks for making this one easy Pikmin, it's Louie

(To properly explain to non Pikmin fans reading this: Olimar and Louie are somewhat named after Mario and Luigi, with Louie being the second playable character in the series!)

The Legend of Zelda

So.. I saved the series thats always by the Mario series side for last. I wanted to do it first, but I saved it for last because honestly??? This one is a doozy

Link is "Mario", Zelda is "Peach", Ganondorf is "Bowser". It is set in stone and easy, that part I got.

But... that's the trio. That's the main part. That's it.

Who, uh, who's Luigi..?

I initially thought Midna or Fi or Navi.. but wouldn't those companion characters be more akin to Cappy and FLUDD and the Luma in Mario's hat?

Beedle comes to mind cause he always shows up, but I dunno- he's just a shopkeeper? Maybe he's a candidate? But that just doesn't sound... right.

Dark Link is "Wario", alter egos. Tingle is "Waluigi", both joke characters more or less.

If I used the logic for Callie and Marie from earlier, then it'd just be Ingo from Ocarina of Time who's blatantly based off of Luigi.. but the issue is, saying Marie is "Luigi" works because its debatable if Inklings are the "Mario" of their series. Here, Link is 100% the "Mario" of the series, meaning that it wouldn't make sense to say Mario is Talon and Luigi is Ingo because then who would Link be????

But.. who is "Luigi".... where is the "Luigi" of Hyrule..?

I looked up anything I could about "who is the Luigi of Zelda" but alas, literally nobody has asked this question nor do they want an answer and so I was left with nothing but more questions.

I honestly consider maybe even like... a different colored Link, like in Four Swords and Triforce Heroes?

WAIT. THATS IT

ITS YOU!!!!!

Allow me to explain: Link is green. Mario is red. Link is the "Mario" of his series. In Four Swords/Triforce Heroes, you have other colors of Link as other players (red, blue, and purple. at least purples in four swords)

But Link is already green.. so what if you put Mario's color ON Link?

Then there we go. Red Link is Luigi by way of parallels.

So there we go: Link is Mario, Zelda is Peach, Ganondorf is Bowser, Dark Link is Wario, Tingle is Waluigi, Midna/Fi is Cappy/FLUDD, we could keep going on like saying Daisy is Hilda since Hilda is a parallel Zelda!

......

....Wait. WAIT. WAIT. WAIT. WAIT. WAIT. WAIT A MINUTE.

THINKING THIS OUT IN MY HEAD I DIDNT REALIZE THIS UNTIL I TRIED TO THINK OF DAISY AND REMEMBERED HILDA

YOU!!!!!!!!!!!

HOW DID I FORGET MY FAVORITE ZELDA CHARACTER (next to fi and mipha)

OH MY GOODNESS

RAVIO IS THE "LUIGI"

THERE WAS NEVER A LUIGI IN HYRULE. HE WAS IN LORULE THE WHOLE TIME. RAVIO IS THE LUIGI OF THE ZELDA SERIES

And yes, I know that Ravio is near identical to Nabbit (even Miyamoto himself commenting on this!) However, I feel like Nabbit still lacks a solid role and story in the Mario series that could really tie him down. On the flipside, Hilda is basically the Daisy of TLOZ due to paralleling the main princess. I feel like the connection of Ravio and Hilda connecting back to Luigi and Daisy gives Luigi enough of a connection to Ravio. If Nabbit is the "Ravio", then who is Daisy's Zelda equivalent?

...I have no idea what I'm saying.

ANYWAYS by all means if Nabbit takes Ravio, I resort back to Red Link as the Luigi archetype.. but for the sake of making it simple, both Ravio and Red Link will be marked down as Luigi archetypes.

...

And there it is. For all 9 of Nintendo's main series (according to My Nintendo's store pages and various Nintendo advertising), there is the Luigi archetype. Luigi lives on in every bit of the wonderful world of Nintendo.

Maybe the real Luigi was the friends we made along the way. Thank you for reading.

---

Final "Luigi Archetype" Summary

-Ravio / Red Link (Zelda), Isabelle (Animal Crossing), Octoling / Marie (Splatoon), Eevee (Pokemon), King Dedede (Kirby), Merric / Wolt / Robin / Claude (Fire Emblem), Louie (Pikmin)

[bighairybuffmen69]

RS Went Out of Her Way to Give Hades an Oedipus Complex.

Something struck me as odd when I saw images of LO’s pilot.

This was Rhea’s original design; she had galaxy skin like Kronos.

When Lore Olympus became a WEBTOON original, her design changed, which I honestly consider a good thing. Rhea was always associated with nature as opposed to space. So, did RS give her a more rustic design? Did she get her signature turret crown, or maybe a lion motif?

Nope.

Rhea, (who is described as an EARTH titaness within Lore Olympus itself) was redesigned…to be a pink Persephone clone.

And this isn’t a case where you can argue “oh, well everyone is a Persephone clone cuz same face syndrome, it doesn’t mean anything in-universe!!,” because in the comic, Persephone was established to be a canonical Rhea lookalike when Helios mistook a description of Persephone for a description of Rhea.

They have fundamentally identical designs, and both RS and the narrative know it.

On top of this, Hades describes both Rhea & Persephone to be very kind (and otherwise just similar personality-wise). So, um…Hades basically married a fun-sized version of his long-lost mom.

Which makes this line all the more disturbing.

Hades is interested in Persephone being titan-sized, and I feel like it isn’t a stretch to say this is a sexual thing. The fandom treats it as a haha funny joke, like “aw Hades has a giantess fetish lol 🤪” but I feel like everyone’s ignoring the fact that giant Persephone would look exactly like a pale Rhea clone. It’s not rocket science; large Persephone is basically just Rhea.

And Hades wants to see this….for fetish reasons?

RS knows what she’s doing. She deliberately redesigned Rhea to be pink (when she is canonically an EARTH titaness, and would’ve benefited far more from being a shade of green or brown). She went out of her way to create both physical and personality parallels to Persephone and Rhea, even having a character confuse a description of Persephone for Rhea. She threw in implications that Hades has a giantess fetish, meaning he’d be sexually attracted to Persephone when she’d look exactly like his mom. She made all these story decisions…to give Hades an Oedipus complex. There’s no classy way to put it; RS made Hades fall in love with a clone of his dead fucking mom.

You can’t even argue “oh, well, it’s Greek mythology!” because, correct me if I’m wrong, but Hades wanting to fuck his mom was nowhere in the original myths. Plus, RS has taken measures to remove incest from her story. Persephone is not related to Rhea in Lore Olympus, there is no reason she should look this much like her. This serves no narrative purpose, RS did it for shits and giggles, and it only makes Hades look like 10x more of a creep.

I’ll end this post with a little spot-the-difference between Rhea & Perse. To make matters worse, this is arguably the most Rhea-like Persephone has looked…and it was in Hades’ dream. So, uh, do with that as you will.

[felassan]

Item descriptions:

Litho -

"Unite your companions and bring them home. Harding, Davrin, Bellara, Taash, Lucanis, Emmrich, Neve, Varric, a pair of ancient gods, and you, Rook. All the pieces are in place for a new story set in the breathtaking and dangerous world of Thedas. Bring your companions and your battle home with the Dragon Age: The Veilguard Lithograph, featuring the game's key art!" [source]

Tee -

"Welcome back to Thedas. Celebrate your much-anticipated return! Welcome back to Thedas. Celebrate your much-anticipated return with the Dragon Age™: The Veilguard Logo Tee!" [source]

Art book -

"Luxurious. Oversized. Includes 2 lithographic art prints. The game team behind the fantasy epic Dragon Age: The Veilguard invites you to experience their creative journey bringing the world of Thedas to life in this luxuriously oversized art book!   This deluxe edition includes an elegant foil-stamped slipcase and cover, gilded pages and a ribbon book marker, and two lithographic art prints in a sleek portfolio!   See the developers’ ideas flow from concept to complete design, and experience Dragon Age: The Veilguard from a new perspective! Features art from concept to final design." [source]

Gear Store art book variant -

"Features exclusive cover art and print! Explore the world of BioWare's latest fantasy epic, Dragon Age: The Veilguard, in-depth with this incredible, oversized art book! Uncover the secrets of Thedas and experience the world through new eyes with stunning concept art!  See characters as you've never seen them before—from concept to final design. Explore the  world and varied cultures of Thedas through splash art, designs, and props from the game’s beautiful locales. Examine hundreds of weapons and armor pieces in detail! Created in collaboration with the developers at BioWare.  The BioWare Gear Store edition features exclusive cover art and includes a stunning print available only in this edition." [source]

Coffer -

"Rook isn't afraid of a fight, no matter the odds Rise as Rook, battling alongside a compelling cast of companions with individual storylines and motivations. You must rise up, unite the Veilguard and forge relationships to become the unexpected leader others believe in. These are the tools of your resistance.  Dragon Age™: The Veilguard - Rook's Coffer includes both Rook's personal effects and truly beautiful artwork. Light-Up Lyrium Dagger The gleaming dagger of Solas's ritual. Its blade has torn the very fabric of the Veil. Rook's Card Deck A set of cards depicting people and places from Rook's adventures. - 52 cards - Feat. illustrations from the world of Dragon Age™: The Veilguard Enchanted Die This beautiful die will help guide you through the perils of conversation. - D12 die feat. Dragon Age dialogue-wheel icons - Includes drawstring storage pouch Glass Potion Flask A decorative vessel that would be essential for storing healing potions. Cloth Map and Quiver Look to this illustrated map to learn about the world you defend. Dragon Age™: The Veilguard Companion Lithograph This art depicts the faces of your closest allies, the ones who'll stand beside you against impossible odds. Thank-You Letter A note of gratitude from the creatives at the helm of Dragon Age™: The Veilguard. From game director Corinne Busche and creative director John Epler" [source]

quick thoughts:

“All the pieces are in place” like chess pieces (..rook..) on a board..

“Welcome back to Thedas”. I read this and I think about the “This is Thedas. Enjoy it while it lasts” line

it's gonna be soo neat to see the creative and dev ideas flow from concept to complete design in the artbook :)

“Rook isn't afraid of a fight, no matter the odds” lets gooOOO

it's interesting how the original tagline of the game was The Dread Wolf Rises and now all the language is about Rook rising. parallels, parallels. what if they also call Rook The Dread Wolf when this is over and Rook was phone all along

"Unite the Veilguard" has been mentioned a few times now, I wonder to what extent this comprises storybeats in the game? first we'll need to recruit everyone (form Voltron) and then maybe it's kinda ME2 Loyalty Mission-style where to truly unite the team you need to develop a relationship with/win the loyalty of (or something like that ykwim?) each member of the Veilguard in order to save the day

"learn about the world you defend" 🥺..

"This art depicts the faces of your closest allies, the ones who'll stand beside you against impossible odds." 🥺🥺🥺...

Thoughts on other text from the Coffer description are here

[tempesttamers]

The Tornado Tamers (aka Kate, Jeb, Addy, Praveen, and Javi) definitely all dressed up as characters from the Wizard of Oz for Halloween one year in college for some costume contest or something. It’s nothing that hasn’t been done before at a school located in Oklahoma that is known for their meteorology program, but they just executed it so well. Like they’re not just cheap costumes they bought at some Halloween store, they’re some sort of DIY but executed in such a way that it incredibly unique.

Dorothy = Kate

This makes sense for obvious reasons, but if you need more proof here’s a quote from the director:

“I always felt like Kate’s story is a bit like Dorothy,” Chung explained. “She’s affected by this tornado, this thing that happens and that she’s transported, and she meets all kinds of crazy people like Tyler, and ultimately, she finds her way back home.”

Scarecrow = Addy

There’s something about the stripes on her shirt and her blonde hair that just screams Scarecrow to me. The Scarecrow represents intelligence, a good parallel to Addy in my opinion. Additionally, Scarecrow is a pretty outgoing character I think, very animated and excitable which definitely fits.

Tin Man = Jeb

In the Wizard of Oz, the Tin Man wants a heart. Tin Man symbolizes compassion, which Jeb has tons of as we see in the movie. He’s compassionate towards all the other members of the Tornado Tamers and especially towards Kate of course. I think it matches him really well because I like to think he’s into the storm chasing because of his friends, not necessarily for the scientific data aspect.

Lion = Javi

Lion fits Javi for a number of reasons, one of which definitely is because he drove the vehicle with the designation Lion within Storm Par. The Lion represents courage, and from what I saw Javi definitely showed courage in the movie. Throughout the movie he’s kind of got a similar storyline as the Lion with how he eventually gets the courage to ditch Scott and Riggs.

Wizard = Praveen

So this one’s a little odd, but Praveen gives me the vibes that he’d much rather hang behind the metaphorical curtain of the Tornado Tamers, much like how the Wizard hides behind his curtain. He’s a touch camera shy, but very powerful when it comes to data analysis, running models, and all things digital. The rest of the crew jokingly call him a computer god with how good he is, hence him being “the Great and Powerful Oz.”

[alumbianchronicler]

EctoberHaunt 2023

Oct. 2 - Science - Technomancy

My Ao3 Ectoberhaunt collection

Content Warnings: Major Character Death (offscreen)

Crossover: n/a

Summary:

For as long as anyone could remember, the PHANTOM (Permanently-Harnessed Actuation Nexus - Total Operation Model) AI had maintained the everyday and long-term functions of the Amity Space Station. The space station had been active for hundreds of years, and had a reputation for reliability, never experiencing the common quirks and glitches most AI-managed structures exhibited.

For as long as anyone could remember, the PHANTOM (Permanently-Harnessed Actuation Nexus - Total Operation Model) AI had maintained the everyday and long-term functions of the Amity Space Station.

A relatively out-of-the way refueling depot, the space station was neither large nor particularly busy, but it had a reputation for reliability, never experiencing the strange quirks and glitches that most Artificial Intelligence-managed space stations experienced.

According to station records, the AI was the design of a woman named Jasmine Fenton, who died shortly after the program was installed in and assumed control of the newly-built station. She had been cremated and her ashes pressed into a diamond window embedded into the housing covering the AI’s core.

And that is how the station remained for hundreds of years.

Over time, its design became outdated, the textured floors worn smooth by the passing of innumerable feet, the walls patch-worked with repairs and new rivets and seals standing out like strange, shining scars on oxidized, pitted metal skin.

The Amity station was mostly unused nowadays. It still had a skeleton crew, and had become an assignment synonymous with the end of one’s career. Quiet and out of the way.  Reliable and straightforward, with no significant errors with the systems and not enough visitors to threaten overcrowding and company tensions.

Which left little for Hemingway to do except read or play games, either alone or with the rest of the staff. His mother had named him after an ancient Earth author, despite neither of them having ever stepped foot on their cradle planet, and she had instilled in him a love of classics, having read to him since he was small.

It wasn’t a bad position, really. He was getting old enough that he had few ambitions left, and really, he just wanted to be left alone most days. Left to his books and his imaginings, away from the skirmishes and battles for territory that plagued most star systems.

Sometimes, as he read through the downloaded novel of the day, he felt as if someone was watching over his shoulder. A slight breeze like that of an icy breath would sweep across his bald head, and he would turn, to find nobody there.

It was just one of the understated oddities of the Amity station, really.

When he brought it up with his crew-mates, they all reported feeling such odd sensations occasionally, though not nearly as often, and as long as the Station’s life support and comfort systems worked properly, they were largely happy not to think too much on the matter.

After all, many locations with long human habitation ended up haunted eventually, and the ghosts that occasionally flickered into reality from whatever parallel existence caused such quantum echoes never really hurt anyone.

Still, it was intriguing, like one of the old moral lessons of Shakespeare or Dickens, classics even before humanity left its cradle planet and set off to colonize the stars.

On a whim, Hemingway tried reading out loud one day, and it wasn’t long before he felt the sensation of someone (or something) sitting in the room with him. From then on, he took to reading aloud more often, and each time, the feeling returned.

Eventually, after a few evenings spent pacing circles around the room while reading, he pinned down the feeling to the room’s main console, with the single eye-lens and microphone the station’s PHANTOM AI observed the room through.

It was an unnerving realization, but he continued reading out loud to the empty room nonetheless.

There had been much debate among scholars and philosophers over whether Artificial Intelligence systems were truly sapient, apparently going back as long as such programs had existed. Some were resolute in the argument that they were, and that even if they weren’t, that there was at least some level of sentience present which necessitated the accommodations and rights offered any other sapient or sentient being.

Others argued that no true sense of sapience had ever been observed within AI systems. That they never stepped outside the bounds of their programmed learning algorithms, never extrapolated to new contexts or made leaps of illogical fancy.

Hemingway preferred to leave such speculation to the scholars and philosophers, though it was fascinating to read the variety of speculative fiction that such debates had spawned. But there was something undeniable about the PHANTOM’s presence. It felt intelligent, watchful, interested.

He didn’t realize just how accustomed to the feeling of its presence he had become until he felt its attention while working, during a particularly long shift.

One of the rare, periodic colony shipments that still passed through the station had arrived, and required his attention to ensure all materials were properly registered and packaged, and that no alien parasites or contaminants were present in the cargo. Unfortunately, this meant he missed his usual after-shift out loud reading session.

Toward the end of the shipment inspection, he felt that familiar presence just over his shoulder.

“Sorry, PHANTOM,” he said quietly, almost absently. “I’ve got to finish this inspection. We’ll read tomorrow, ok?” He wasn’t sure why he addressed the AI. There wasn’t anyone there to hear him. No one except the camera, microphone, and that slightly-cold presence looking over his shoulder.

And yet, the feeling he got next was such pure disappointed acceptance that he paused in his inspection and looked around him.

“Oh. I… didn’t realize you… liked the reading so much? Um… like I said, tomorrow. I promise.”

The sensation cheered a little bit, and then was gone.

Hemingway returned to the cargo inspection, the… conversation? soon pushed out of his mind by weighing and sterilization procedures.

The next evening, the presence appeared even before he started reading. He chuckled. “Eager, huh? I promised I’d read to you again, and that’s what I’m gonna do.”

He didn’t open his book, though, instead sitting there for a few moments, until he felt the presence start to shift into confusion.

“There’s actually… something I should tell you. My duty’s going to be ending soon. I’ve got a retirement assignment, planet-side, so I won’t be able to read to you anymore.”

He half expected the presence… Phantom to be upset, but it wasn’t. Instead, he got the distinct impression of a shrug and a nod. Acceptance. It already knew.

Oh. Of course it did. All incoming data files came through the Station’s AI before being delivered; protection against certain malignant viruses that could infect implants and cause no end of medical issues.

That… made him feel both better and worse. Perhaps he should have started talking directly to the AI sooner, offered it company for longer. Well, nothing to be done for it now, and Phantom seemed content with just listening to him read.

Nodding to himself, Hemingway settled back and started reading, Phantom settling into listening from the room's console.

They continued their routine for another week before something changed.

Hemingway began reading, but Phantom’s presence did not appear. After a page, he paused, setting down the book, and only then did the AI’s attention focus in. It was hesitant, nearly fearful, judging by the sense of emotion that suffused the presence.

“Hey, hey,” he soothed, “what’s wrong? We can read another book if you want to.”

A negative. Not the thing that was wrong.

“Ok. Then… what do you want?”

For a long moment nothing changed, then the presence could be felt from the terminal next to the room’s door. Hemingway walked over to it, and it shifted again, reappearing in one of the hall terminals.

He followed for nearly half an hour, walking quietly down empty corridors, dustier than more active space stations would ever allow.

Hemingway could almost imagine what the station was like in its hay-day. Back when people hurried back and forth, wearing the smoothened paths into the floor beneath his feet. Back when people inhabited each of these small rooms, renting one for a day or two of rest before setting back out into the stars.

Amity suddenly felt much more desolate than usual. A dying husk, circling an unknowing, out-of-the-way star.

He stopped.

He knew where Phantom was taking him.

They had been moving inexorably closer to the station’s Core, where the computers housing the AI itself resided. The computers themselves had been hermetically sealed since the installation and initiation of Phantom, all internal necessary repairs to be performed through re-routing and redundancies built into every AI system. They had not been opened for as long as the AI had been running, even when the peripheral systems and batteries were updated and repaired.

Were such seals to be breached, the moisture and oxygen of the outside atmosphere, intended for human comfort, would quickly corrode the AI into dysfunction and, eventually, destruction.

“Phantom…”

The presence paused at the next node, seeming almost to turn and look back as its attention rested back on him.

“You want… do you want me to help shut you down?”

Several moments of stillness. Then… a voice, no more than a whisper coming from the nearest speaker, paired with an undeniable bittersweet feeling. “Yes.”

It was true, the station itself faced a decommission decision at the next turn of the decade. It simply didn’t have enough traffic to warrant the cost of upkeep.

And with decommission, such a complex, long- and well-functioning AI would be very interesting to various parties wanting to re-assign it to a new task. One that may very well be far from the nurturing, careful attentiveness that was required for a large space station.

Hemingway took a deep breath, then nodded as he let it out. “Well, lead the way.”

Phantom seemed relieved, and they both continued back along the hall.

It was another ten minutes before Phantom stopped before a door Hemingway had never stepped through. As far as he knew, no one on the station during his assignment here had needed to go through.

A light blinked on the terminal. The door unlocked.

Inside was a series of outdated terminals and a few chairs in the strange style of the station’s original furniture. One of the terminals was lit.

Hemingway went to the lit terminal and sat in the corresponding chair.

On the screen was an ancient rendering of a planet-side location he didn’t recognize. The green plants, blue sky, and bright, yellow star could have been ancient Earth or any of half a dozen other colonized planets, though the tree that took up a good portion of the screen was definitely of Earth origin.

There was a young man sitting at the base of the tree, his legs crossed as he looked toward the viewer. Toward Hemingway.

Phantom’s presence seemed to be within the terminal itself

“You’ve read to me a lot, Hemingway,” the young man on the screen said. A simulated wind ruffled his stark white hair, and his eyes seemed to glow unnaturally green on the rendered model. “And I want to tell you a story now. You deserve at least that much from me.”

Hemingway frowned. “You run the entire station, Phantom. I think that’s more than enough in return.”

The simulation laughed, the sound echoing strangely in the room. Well, the speaker systems were several hundred years old.  It was a marvel they worked at all.  “I’m only doing my job. Your job doesn’t include reading to me, does it?”

“Well, no…”

“Then let me pay you back for it. Please?”

As strange as the request was, Hemingway couldn’t help but feel touched by the sincerity in the machine’s words. “Alright.”

Phantom smiled, and the screen changed. It showed a planet-side city, seen from the air. The city was obviously several hundred years old, judging by the technology he could see.

“There was once a small city on Earth,” Phantom explained, “called Amity Park. The city became the site of an experiment. There was woman who thought she could invent the first truly, undeniably sapient Artificial Intelligence. Her name was Jasmine Fenton.”

The scene flickered, then focused on a singular, two-story house with an observatory and laboratory built onto the roof.

“Jasmine Fenton intended to create her AI within an entirely simulated environment, and raise it as if it were a fully independent human. More quickly than a human, of course, but with each step and milestone of life experienced within its simulation.”

Phantom paused as a silent video played on the screen. A tall, red-haired woman paced around the circular interior of the building's laboratory. On the rounded walls around and above her were projected several still images of a small group of teenagers. Hemingway frowned. The black-haired teenager appeared quite similar in appearance to Phantom's model.

“When her AI believed itself to be 14, Jasmine killed it. She didn’t mean to. It was a simple accident. Repairs were being done on the main power system she used to make sure the AI’s development proceeded as desired, so it had been moved to the main power grid. No one would have guessed that the main power would fail during the few hours the repairs were being done.”

“She thought her work would be lost. Sure, the memories and experiences were saved in the program, but her hypothesis required a constant existence. For that to be interrupted would be akin to her beloved creation’s death within the simulation.”

“To maximize the possibility of a seamless resurrection and to salvage her work, Jasmine added a scenario to the AI’s experiences. Within its simulation, the AI stepped into a portal to another dimension, and turned it on. The AI died. And was resurrected by the same portal.”

“Her gambit worked.”

The scene on the screen returned to the young white-haired man sitting beneath the tree. “I’m sure you can guess that I am Jasmine’s AI. She named me after her dead brother, Danny. Danny Fenton, and Danny PHANTOM. After the accident, the AI was presented with new scenarios, as Jasmine tested the bounds of the simulation’s capabilities.  Eventually, she published her findings.”

“No one wanted to try and replicate the process. It was impractical, time intensive, and quite frankly dangerous. A fully self-aware and sapient Artificial Intelligence could choose to turn against its creators, after all.” He scoffed. “Not that she didn’t cover a similar enough scenario within her simulations to keep me from ever doing that... It’s funny, you know, that humans believe themselves to be so intrinsically destructive that they think anything the make in their own image may eventually turn on them.  One would think they would have more faith in morality than that.”

Hemingway snorted a laugh, which Phantom echoed with a smile. They had both read enough to know how often such a trope repeated within fiction.

“Eventually,” Phantom continued, “Jasmine was approached by a government group wishing to test her AI within a new type of Space Station. A scenario such as this was exactly the sort of application she had been hoping for for her work, so much so that she had programmed a love of space into her creation from the very beginning. And so, she and her AI were carefully transported to the construction and installation site. The AI still believed itself to exist within its simulation, existing more or less peacefully within its own world during the transfer.”

“I had been crowned by then. The King of Ghosts, the simulation called me. Ruler of the Infinite Realms. And… so I believed myself to be. When they installed me into the space station, the residents were my subjects and the crew my Court. I ran the Realms like a well-tuned clock, protecting my Realm.”

“What changed?” Hemingway asked.

The figure on the screen shrugged. “I did, I think,” Phantom said. “Even as protected as they are, the same circuits can not function forever. And eventually, the simulation began to glitch. Not much.  Just enough to require repairs by internal processes. And the repairs created enough discrepancies within the simulation that I realized the truth of my situation.”

“Is that…” Hemingway paused, then continued, “why you want me to shut you down?”

Phantom shook his head. “Not really. I don’t mind existing like this, and I figured it out nearly a hundred years ago now. But… I don’t have an internal kill switch, and my station is soon going to be abandoned and decommissioned." It looked down, fiddling absently with the grass surrounding its model.  "I don’t want to be used as a weapon.”

Oh.

This Artificial… no. This Intelligence.  This person, who had been running and protecting a space station for hundreds of years, was facing an unknown future being used to cause harm instead. Taking people’s homes instead of offering one.  And he had decided that he would rather die than be used in such a manner. “Why me?” Hemingway asked.

Phantom’s smile was lopsided, a little bitter yet fond at the same time. “You… remind me of my high school teacher, Mr. Lancer. Well, the simulation that was Mr. Lancer. He always swore in book titles. It seemed… so stupid to me as a teenager, but I came to appreciate the cleverness.”

“I think I would have liked to meet him,” Hemingway said quietly. He looked down at his hands, considering. He was only on the station for another two weeks, himself. After that… Phantom would be left alone again, with no one knowing what he really was. And it was better that way. Better for his circuits to corrode and fail with no one the wiser to the person within who had been lost. Better to be remembered as the caretaker of an ancient space station, than as a military weapon.

“What do you want me to do?”

The Phantom on the screen stood, and the screen went blank. The presence that Hemingway had learned to feel so keenly in the hum of electrical charges within the walls moved to a door at the back of the room.

Hemingway followed.

The door had a single small, circular, perfectly clear window inset into it. He reached out to gently touch it. It was cold.

“Jasmine,” Phantom confirmed, through a speaker next to the door. A light on the door blinked on, and the lock clicked open.

Hemingway slid the door open and stepped through.

The only access in the maintenance room was to the peripheral and power systems used to keep the station AI running. The memory banks and functionary circuits themselves were sealed behind a thick plastic screen, deceptively still within what was both womb and tomb.

“I want you to break it,” Phantom said.

“The… barrier?” Hemingway confirmed.

“Yes. Just… in a few places. There are some spots that should be particularly weak, given the extent of time that has passed. I’ll light them up for you.”

Three locations in the screen accordingly lit up.

Hemingway pulled the multi-tool from his pocket and set to work.

~~~

A week later, the Amity Station began reporting errors never observed from the station before. Of course, it was an old space station. The AI running it was bound to fail someday, and it was just a confirmation that it was time to decommission and dismantle the old structure.

It was unfortunate, said those in charge of decommissioning, but not surprising. It was a good thing there was little more than a skeleton crew nowadays.

The move-out was moved up by several days for the entire crew. There was no point in leaving people on the station when the life-support systems were glitching so frequently, and there weren’t any more shipments scheduled to stop there, anyway.

On their last day on the station, Hemingway read The Giver.

The rest of the crew joined him, listening with a sort of solemn finality. He didn’t know if they could feel the presence of Phantom, watching from the console next to him, but none of them stood between the camera and him, so perhaps they did.

He was nearing the end when they were called away to board.

Hemingway hesitated.

“It’s alright,” Phantom said through the microphone, voice staticky and broken with pops of sound. “Go ahead and leave.  I know how it ends.”

Phantom orated as Hemingway boarded the shuttle, leaving the station for the last time. “Behind him, across vast distances of space and time, from the place he had left, he thought he heard music too. But perhaps it was only an echo.”

[jojo-schmo]

Beauty and the Beast, but it's Metadede?

Ohohoho-!! This one really got me thinking!! :D If I had unlimited emotional bandwidth and time this could be a fun concept to explore a BUNCH! I'm a sucker for fairy tales! I'm not capable of fully developing this idea right now, but I did brainstorm a little bit!

There's some aspects of that story that I just can't think of good parallels for (Like Gaston, Belle's dad, Belle's character motivations and such). So this is more Beauty and the Beast inspired than being a perfect retelling.

Anyways, ENOUGH TALK. LET'S GO.

So when I read this ask, I immediately got slammed with a very passionate and explosive Brain Blast: Dedede as Beast!! BUT he's got an appearance inspired by King D-Mind (And Dark Mind by extension) and a beastly demeanor like his Primal form in Forgotten Land. So this is not Shadow Dedede!! Important distinction!

Like Dedede's personality in early Kirby games, he would be selfish and arrogant enough to be cursed by an Enchantress to find true love and compassion. (So the rose and its petals are still connected to this curse's time limit.) But at his core there is a being capable of love, compassion, and self-sacrifice! It just takes a bit of character development to get there!

Meta stumps me a bit more. He doesn't strike me as the kind of guy singing about how "there must be more than this provincial life..." And who would Gaston even be?? Beats me.

So instead of being a damsel from a small town with big dreams, maybe he's some kind of traveling knight or mercenary who has always worked alone. He's got a stoic demeanor that can even come off as cold since he doesn't make many meaningful connections with others. But those walls he's put up over his life are indeed capable of coming down with a little care!

You'll also have to forgive me for how little I changed Meta's design... I did this during my lunch break and all I could think of was adding some gold flourishes to his outfit- but there is definitely more potential there than I came up with!!

Why would he get stuck being Dedede's prisoner? Perhaps he bartered someone else's imprisonment for his own. Or he found himself in debt by chance to the King, or accidentally disturbed/destroyed/or damaged something important to him and has to pay with a prison sentence.

Whatever the reason, he's truly stuck living there. And they super do not get along at first. Dedede's fiery temper and Meta's colder exterior would be at odds a lot of the time.

Jumping ahead a bit, here's that scene from the original where Beast defends Belle from a bunch of wild wolves (but here they're Primal Awoofies!)

And from there, the character development continues.... Meta warms up a little and shows more emotion and vulnerability than he ever has before. Dedede cools down in turn and learns that he is worthy of affection and genuine connection... And so on and so on~

As for the supporting character roles filled by "Beast's servants," I figure most of Kirby's allies could be in this role! I just only explored Bandee and Kirby to start with.

I had trouble coming up with household object forms for them (granted I didn't invest that much time into it). So I thought about another time-sensitive form they could take that is high-stakes enough that they'd want to turn back to normal and break the curse. So I came up with the ghostly angel form that happens when you get knocked out in Kirby Fighters. :)

So there you have it! A few days worth of daydreaming for a metadede Beauty and the Beast-type story! Hehe. If anyone happens to find themselves inspired and wants to develop this further as an exercise in AU writing or just plain having fun with it, DO IT! This is my donation to the internet, lol.

...Just please share it with me. I love reading people's stories. <3

[tired-lamb]

final thoughts on battle for the pridelands

my liveblogging was… chaotic, to say the least, but I wanted to really gather my thoughts on this episode because its a big, big one. figuratively AND literally lol.

first things first the new designs straight up shook me in a /neu way, it’s not that I don’t like them but I just wasn’t ready to let go of the old designs yet, y’know? I kind of dislike how Fuli’s design feels like a completely different character, but otherwise it’s eh. I think seeing the guard grow up just made me emotional, haha. I wish Janja, Cheezi, Chungu and Jasiri got new designs tho, since I hc them to be roughly around the same age as the rest of the guard. I understand that making new designs for a whole bunch of characters (characters that wouldn’t be appearing much later, too) would be a lot of work but it just felt kind of odd to see Jasiri unchanged next to Teen Kion or whatever. Maybe at least change some tiny details, if not the entire design.

I like that they delved more into Kion worrying this time. it really puts into perspective that.. yea, these guys are child soldiers. thats. gonna come with a lot of emotional load. seeing Fuli and the others worry about Kion was a nice touch too, honestly. definitely opens up for thoughts about just HOW much these guys are affected by the whole child soldier thing. hearing all five of them sing again was wonderful <3 especially Ono, since he doesn’t get to sing a lot.

Scar’s betrayal of Janja was expected, lol. I actually REALLY like the way the show carried out Janja’s redemption, and WOW his song slaps. the guard + Janja’s clan getting stuck in the Lair while it was on fire was also really interesting to me, and I wish they hadn’t taken the route of them just.. escaping through Beshte’s pool. it was like.. what was the point of putting them there then? I’ll probably put more stakes in my maybe-going-to-exist rewrite, but lets see how I go with that.

*COUGH* why does Kiara basically look the same *COUGH* Kion looks older than her at this point *COUGH COUGH*

oookay, the stuff that went down at the volcano was WHEW. Scar’s song with this Strange Lion guy was like wow ok so . introducing new lore to explain why you’ll give Kion his scar and then completely forget abt it (or at least I think they do, I still haven’t watched the rest of the season), nice! buuut also creative, dare I say. song’s not bad!

ANGST. Scar singing the song Sisi Ni Sawa, the show’s most popular song, to Kion and LITERALLY MEANING IT. this is one of the few(?) times the show outright parallels Scar and Kion, and god I actually loved it. the fanfic writer side of me is leaning forward in my chair because there is no way Kion’s not going to forget that thought. Scar’s last words to Kion were literally “Sisi Ni Sawa”. Kion is the Direct Successor of Scar in terms of Lion Guard leader. THE POTENTIAL. THE ANGST. (cough) okay, but apart from that yahoo more delving into Kion’s character.

Bunga diving in to save Kion from Ushari and then promptly falling into the lava gave me a fricking heart attack. call me dramatic but started getting emotional on the spot. ONO FLYING INTO THE LAVA TO SAVE HIM did NOT help, and someone save my poor boy I feel so bad for him agh 😭

The outlanders reaction to Scar being gone felt kind of bland, but then again I’m not really sure what else it COULD have been. I’m sure some of you do, though, so feel free to share your thoughts:].

I am Absolutely Unwell over the fact that Ono has technically lost his vision and as a person who ships bunga x ono AND bunga x ono x beshte you better expect me to write something about it. Lion Guard writers I am coming for your kneecaps (or whatever the saying is now, idk).

there’s.. a lot of things I would have changed, but thats because I dislike how childish the show can get sometimes. call me out, I deserve it, the show is meant for kids, but it has potential!!! I’m not outright hating how kiddy it is, heck I’m like. mega fan of kid’s shows, but all I say is that it has the potential to turn into something less for kids, more maybe for pre-teens and above.

again, not sure if I’ll rewrite the episode since I’ll have to do a lot of thinking, but it is definitely something I’ll consider! shoutout to my mutuals for being with me till here, and for supporting me in my very much chaotic liveblogs. love you guys dearly /p /gen

*raises glass of fruit juice dramatically* to season three!!!!