#oobi lore

[what-is-my-aesthetic]

OOBI LORE

[ohthesuspenders]

I just remembered this show existed because YouTube recommended me a 22-minute video on Oobi lore

[image: IMDb picture for the kids show “Oobi”; you know, the one with the hands from 2003]

[probsnothawkeye]

I haven't cried this hard at a Defunctland video since the first time i watched the Oobi video

[bluepoodle7]

#Househuntedgame #RealtorLore #SuperSmashBrosMelee #SuperSmashBrosBrawl #MasterHand #Tabuu #MyThoughts

I remember seeing a old post that Mortisfox said the Realtors lure body acts like a hand and the real body is the house.

But the creator said that the species is the house and the human-looking body is more like an appendage like an arm or leg.

Realtor's be like.

If you want me to stop then just tell me.

3:06-3:07

Super Smash Bros. Melee Event 51: The Showdown (Master Hand) - YouTube

0:25-0:41

SSBB Subspace Emissary: is Master Hand Bleeding or Burning? - YouTube

If true this is what two cooperating infected realtors be acting like in battle.

That's in my au lore.

6:51-6:34

Super Smash Bros Melee - Roy - Classic Mode (Very Hard) - YouTube

Images not mine but links are there.

I'm scared I might get kicked out the fandom for my deep thoughts.

Infected realtor's and Real Estate Agents/Brokers when they eat with their lure body be like.

Basically Inu Domo's lure body when feral.

3:11-3:14

Super Smash Bros. Ultimate - All Crazy Hand and Master Hand Battles [HD 1080P] - YouTube

3:25-3:27

Super Smash Bros. Series - All Final Boss Battles! (v.1.0) - YouTube

Kissing a Realtors lure body is like kissing a hand with googly eyes on.

I noticed there is no fanart of Maison's house body but just the lure body.

I can see a Yousona that is dating a Realtor kissing the door then the lure body when leaving for work.

10:02

John Doe - HOUSE HUNTED - All 4 Endings (game is created by the John Doe dev) No Commentary Gameplay - YouTube

Images and video not mine but links are there.

Oobi Eats the Popcorn - YouTube

Uses for Googly Eyes | orange-stripe

[aceofbooks-creative-anthologies]

The Lovers' Library

Here you will find my selfships nicely sorted by amount of lore, then fandom, and then character name. Will the rest of this blog be as nicely sorted? Probably not. But this is the one spot where I will put the effort in.

This list is subject to change depending on how my maladaptive daydreaming goes and what shows I end up watching. It basically has a mind of its own, so *shrug emoji* 🩶

Note: Like 95% (99% currently) of these are gonna be anime men. These are largely romantic selfships, though plenty of these characters are platonic selfships as well, depending on the context/universe.

Note: If they have been crossed out, that means that they’re an ex-partner, canon to our selfship lore. If there is an asterisk *, that means that our canon selfship lore exists in the same universe as a different selfship and are canon to the second selfship. If there is an ampersand &, that is a poly-selfship. The plus sign + is used for one very specific, very complicated selfship—it does not need to be elaborated on here.

In The Stacks:

🩶Black Clover

Sukehiro Yami*

Fuegoleon Vermillion*

Sukehiro Yami & Fuegoleon Vermillion*

🩶Bungou Stray Dogs

Michizou Tachihara

🩶Fairy Tail

Laxus Dreyar*

Loke/Leo*

Laxus Dreyar & Loke/Leo*

Max Alors*

Hibiki Lates*

🩶Fire Force

Benimaru Shinmon

🩶Fullmetal Alchemist: Brotherhood

Jean Havoc

Major Miles

🩶Haikyuu!!

Daichi Sawamura

Koushi Sugawara

Daichi Sawamura & Koushi Sugawara*

Ryuunosuke Tanaka*

Keishin Ukai

🩶Maximum Ride

Iggy (It’s been a while and I don’t remember our lore *head in hands*)

🩶My Hero Academia

Shouta Aizawa*

Oboro Shirakumo*

Keigo Takami*

Shouta Aizawa & Keigo Takami*

🩶Obey Me: Shall We Date?/Nightbringer

Belphegor

Mammon

Mammon & Belphegor

🩶Ouran High School Host Club

Kyouya Ootori

🩶Tokyo Revengers

Keisuke Baji

Takashi Mitsuya

Keisuke Baji & Takashi Mitsuya

Manjirou/Mikey Sano*

Rindou Haitani + Manjirou/Mikey Sano + Keisuke Baji & Takashi Mitsuya + OC* (this lore is so fucking complicated)

Entering Circulation:

🩶Attack on Titan

Levi Ackerman

Jean Kirstein

Jean Kirstein & Connie Springer

🩶Bluelock

Hyouma Chigiri

🩶Buddy Daddies

Kyutaro Kugi

🩶Bungou Stray Dogs

Chuuya Nakahara

Sakunosuke Oda

🩶Chainsaw Man

Aki Hayakawa

🩶Dead Mount Death Play

Takumi Kuruya

🩶Dr. Stone

Senkuu Ishigami

Ryuusui Nanami

🩶Fairy Tail

Mest Gryder/Doranbolt

🩶Fate

Waver Velvet

🩶Fire Force

Takahisa Hinawa

🩶Haikyuu!!

Kei Tsukishima (I refuse to put him in the stacks)

Shinsuke Kita

🩶Jujutsu Kaisen

Gojou Satoru

Kento Nanami

Toge Inumaki

🩶Log Horizon

Krusty (I refuse to put him in the stacks)

Shiroe

William Massachusetts

🩶Mashle: Magic and Muscles

Rayne Ames

🩶Moriarty the Patriot

Sebastian Moran

Zack Patterson

Sherlock Holmes

🩶My Hero Academia

Katsuki Bakugou

Katsuki Bakugou & Eijirou Kirishima

Hitoshi Shinsou

🩶Obey Me: Shall We Date?/Nightbringer

Satan

Barbatos

Simeon

🩶Soul Eater

Dr. Franken Stein

Akane☆Hoshi

🩶Tokyo Ghoul

Koutarou Amon

🩶Tokyo Revengers

Kazushi Yamagishi

Chifuyu Matsuno

Atsushi/Akkun Sendou

🩶Trigun: Stampede

Nicholas D. Wolfwood

Available for Interlibrary Loan:

🩶2.43: Seiin High School Boys Volleyball Club

Subaru Mimura

Misao Aoki

Akito Kanno

🩶Ascendance of a Bookworm

Sylvester

Benno

🩶Assassination Classroom

Red Eye

🩶Black Butler

Baldroy

🩶Blood Blockade Battlefront

Stephen A. Starphase

Zap Renfroe

🩶Bluelock

Rensuke Kunigami

Meguru Bachira

Seishirou Nagi

🩶Buddy Daddies

Rei Suwa

🩶Bungou Stray Dogs

Osamu Dazai

🩶Case Study of Vanitas

Olivier

🩶Chainsaw Man

Kishibe

🩶Dead Mount Death Play

Tsubaki Iwanome

Kouzaburou Arase

Tsubaki Iwanome & Kouzaburou Arase

🩶Deadman Wonderland

Senji Kiyomasa

🩶Dr. Stone

Kinrou

Matsukaze

Gen Asagiri

🩶Fairy Tail

Gajeel Redfox

🩶Fate

Robin Hood

Cú Chulainn

Diarmuid Ua Duibhne

Gilgamesh

🩶Fire Force

Akitaru Oobi

🩶Frieren: Beyond Journey’s End

Sein

Sein & Gorilla Warrior

🩶Fullmetal Alchemist: Brotherhood

Roy Mustang

🩶Goblin Slayer

Spearman

Heavy Warrior

The King

🩶Haikyuu!!

Akiteru Tsukishima

Yuusuke Takinoue

Issei Matsukawa & Takahiro Hanamaki

Hajime Iwaizumi

Yasushi Kamasaki

Koutarou Bokuto

Keiji Akaashi

Rintarou Suna

Osamu Miya

Yuuji Terushima

Tetsurou Kuroo

🩶Hell’s Paradise

Yamada Asaemon Shion

🩶Jujutsu Kaisen

Gojou Satoru & Getou Suguru

Kento Nanami & Gojou Satoru

Getou Suguru

Megumi Fushiguro

🩶Log Horizon

Isaac

Soujiro Seta

🩶Mashle: Magic and Muscles

Dot Barrett

Lance Crown

🩶Moriarty the Patriot

Sherlock Holmes & William Moriarty

🩶My Hero Academia

Eijirou Kirishima

Tamaki Amajiki

Shouto Todoroki

Natsuo Todoroki

Denki Kaminari

Sero Hanta

🩶Obey Me: Shall We Date?/Nightbringer

Beelzebub

Beelzebub & Belphegor

🩶Ouran High School Host Club

Takashi Morinozuka

🩶Overlord

Brain Unglaus

Peter Mauk

Lukrut Volve

Demiurge

🩶Romantic Killer

Makoto Oda

Tsukasa Kisaki

🩶Soul Eater

Mifune

🩶Tokyo Ghoul

Hideyoshi Nagachika

Ayato Kirishima

🩶Tokyo Revengers

Shin'ichiro Sano

Shuuji Hanma

Kazutora Hinemiya

🩶Trigun: Stampede

Vash the Stampede

Vash the Stampede & Nicholas D. Wolfwood

© divider from @/cafekitsune 🩶

[ceruleanthing]

I’m suddenly remembering a bunch of horrendously old ocs that lived in a world that was basically a crossover between Oobi and Guardians of Ga’Hoole. I’m pretty sure I still have the lore manual type thing I made for it

[scrumptiousbeardbasement-blog]

Random Thoughts on Worldbuilding and Exposition

So I started this post once already and my computer crashed. As a result, it may be slightly more rushed than I would have wanted.

I read a thing an hour or so ago about character development-- I can’t remember the source, sorry, will update once I dig it up-- and it got me thinking about a similar problem in sci-fi/fantasy works: worldbuilding

When I went to Anime Boston a few months ago, I actually attended a panel on exactly this topic. Most of the discussion was focused on ensuring the soundness of a world for storytelling-- that is to say, making sure that the world in which your story takes place is sufficiently deep and believable and compelling and consistent. It goes without saying, of course, that these are important things when planning a story with rules different from the ones we’re used to.

But creating the world is only 50% of the task. The other 50% is communicating it-- and this is where things can get really messy.

Why does it get messy? Because now we have the problem of exposition.

The most basic problem of expostition-- at least as I see it-- goes as follows:

1.) The reader comes in knowing almost nothing about the world

2.) The reader needs to understand the world for the story to make sense (among other things)

3.) The characters and the narrator (if there is a narrator) or the author (if there isn’t a narrator) know all about the world (seeing as they live in or created it)

4.) Information therefore needs to move from the characters and/or narrator and/or author to the reader in order for the story to function

There is, of course, one obvious way to go about this: just tell stuff to the reader. With the author and the narrator, this is pretty basic:

“They two of them walked together to Ooby-Dooby Castle, which was a giant stone fortress at the edge of town where all the wizards lived”

Or

“I walked with him to Ooby-Dooby Castle-- the giant stone fortress at the edge of town, where all the wizards lived”

The second example is a bit more stream-of-consciousness, but the technique is the same: just directly tell the reader what they need to know.

When you exposit indirectly through characters, it tends to be a little more dialogue-based

“Come with me to Ooby-Dooby Castle”

“What’s that?”

“It’s the giant stone fortress at the edge of town, where all the wizards live”

Let me preface my next point by saying that there’s no “right” or “wrong” way to exposit. Different authors have different styles, and different stories might benefit from different techniques. They way I do it is not better than any other way. It’s just the way I do it.

All three of these styles are usable, but they all have the drawback of being a little heavy-handed. Fantasy authors often get around this inherent awkwardness through the use of the “Outsider”-- the guy who has lived a perfectly normal life before being dragged suddenly into the world of witches and dragons and Ooby-Dooby Castle. This is generally the protagonist.

We see this trick used all the time. Harry Potter is a normal kid who learns all about Hogwarts in the same way the reader does. It isn’t weird that Hagrid just goes around explaining everything to him because why wouldn’t he? Harry doesn’t know anything, and Hagrid knows that Harry doesn’t know anything.

Another twist is having a character who just knows way more than anyone else. Think Gandalf. Our Grey friend spends half of Tolkeins work just ominously expositing ancient or political stuff that the Hobbits wouldn’t have any reason to know-- even though they are already a part of this world.

To compare the two, Harry Potter is like a person stepping into water for the very first time, whereas Frodo is like a fish who has lived his whole live in the ocean, but with no clue of the things lurking in the deep.

A third trick-- and this is one of the more interesting ones I’ve seen-- is what I like to call the “double-fish”. This is a technique in which you have two protagonists from very different parts of the fantastical world and have them exposit to each other. I first ran into this in Garth Nix’s The Seventh Tower-- highly recommended, great read.

But I don’t do those so much. I love all of them, and I do ‘em from time to time, sure. But my technique of choice (when I can swing it) is exposition through conflict.

The reason so many authors go for the fish-out-of-water trick for exposition is that it provides a really great excuse for more knowledgeable characters to say lots of stuff which, to them, is obvious to the point of near-inanity. It’s very efficient for that, because it also makes the protagonist slightly easier to relate to. 

But when you want to tell a story where all the characters sort of know what’s going on, this trick doesn’t work as well anymore. Exposition from the author or narrator can still fly, but that edges you dangerously towards “exposition dump” territory. 

So what do you do?

After all, why would people go around saying obvious things if they didn’t think some other character didn’t already know them?

That’s where the conflict comes in, because there is another scenario in which people do that-- when they’re arguing

“There’s no choice. We have to go to Ooby-Dooby Castle”

“Do we?”

“We do”

“Okay. And what, exactly, is your plan for dealing with the wizards?”

“Come on, there aren’t that many wizards”

“There are”

“There aren’t. There are only, like, fifteen wizards”

“Well fifteen wizards is a lot of wizards-- and even if it wasn’t, who cares, because there aren’t fifteen wizards, there are twenty wizards!”

“I’m pretty sure it’s just fifteen”

“Twenty”

“Whatever. Five more wizards”

“Five wizards is a lot of wizards”

“I thought fifteen was a lot of wizards”

“Doesn’t matter! I’m not marching all the way to the edge of town just to get blasted by any number of wizards!”

And so on.

This technique has a few advantages, and a few disadvantages. One obvious disadvantage is that it takes up a lot more space than just a simple “tell-’em-about-it”. Another disadvantage is that it forces you to put characters in a state of conflict whenever you want to use it, which in turn forces you to resolve that conflict in order to move the story forward. This can make your characters seem a bit testy, not to mention wishy-washy when one or the other inevitably caves, again and again.

But the advantages are nothing to scoff at either. As exposition goes, it’s a very organic style. It can also be used to develop characters, and create that sense of slight ambiguity which ironically helps to strengthen in-universe lore. Having people disagree on the number of wizards in Ooby-Dooby Castle cements the fact that there are wizards in Ooby-Dooby Castle.

Just a few thoughts