One of Kazutora's secret but not so secret love languages is stargazing. Just join him in stargazing. Regardless of what point in time, Kazutora's always been focused on them. He doesn't invite often unless someone asks where he's going, but he always welcomes if someone joins him. When he's younger he mainly goes to abandoned building rooftops and lays there but occasionally can be found at the park or beach. When he's older he normally goes to the apartment rooftop and lays there, but also still goes to the beach or park. If it's a really bad night though he'll go to the old abandoned spots he had (at least those remaining). But for the majority of the time he goes to the apartment roof. If he's feeling restless or had a rough day, he's especially prone to spending hours looking at the star. He's usually got blankets and some pillows out and calms down extremely quickly. Getting to share that with someone though is always something of a bonding moment, at least in Kazutora's eyes.
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I think some folks MAY have gotten the wrong idea about how I feel about Circe with some of my posts. So, to clear the air...
Homies, I love that fucked up sorceress.
I love how we're never given a reason why she turns people into animals. That's so funny and so awful. And another potion-making magic gal?!?! I love that she's just basically vibing on an island doing whatever she wants. I even love the fact that she scares Odysseus shitless! She's morally gray and that's why she's FUN.
I just sincerely hate when people try to girlboss her or have her be a victim of SA when she never was Looking at you, Miller. Especially when she was actually the one who coerced Odysseus in exchange for his men being transformed back into humans. And even then, while he was clearly afraid of her, (it's in the language of the Odyssey) she likely meant him no harm after a certain point. He just didn't know that.
Why does she need a reason to do awful things? Why can't she just be a goddess who does whatever she wants? That's the reason why I love her!!! She's fucked up!!! :D
I hate what the Telegony did to her as well! >:( You're telling me, this sorceress goddess, who makes potions (!!!) wouldn't have magic contraceptives??? Would WANT CHILDREN?!?! WITH THE PATHETIC WIFEMAN?! No. Fuck no. Eugammon of Cyrene, I have beef with you 🤬
Anyways!!! Understand all the "#anti circe" I have is simply Anti "Girlboss Circe" or the book. I genuinely think she's neat af as her morally gray, fucked up sorceress self and just get frustrated with...everything :'D
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Oh! I nearly forgot, but can I ask the significance of this panel?
It comes directly after Dee explains that he can’t come and see her from the future whenever he wants. (Which is one of my favorite moments where Dee’s true eldritch horror leaks in to the story), so I assume it’s… sort of a metaphor? How Emily finds herself at the foot of something she realizes is much, much bigger than she contemplated before?
(Also, I just wanted to compliment you for this panel)
(The first time I saw it, I imagined Dee was showing her this on purpose, time traveling from sometime the same day to really show her what it would be like. An object lesson.
The second time I saw it, I started to wonder
Because Dee himself doesn’t really look aware of what is going on behind him.
And maybe, just maybe, this one moment in time has become the only moment that Dee allows himself to come back to to see Emily, the one moment where he can get lost in the crowd with every other time he came back to look. The one moment where he’s explaining why he can’t come back.
Just… Makes me sad, and I wanted to say thank you for that too, because I love these characters and the story they tell, the sweet and bitter.)
Oh!!!
(Quick test of my ability to find which chapter stuff happens in)
I love your reading of that Uluru panel!! I think I probably didn’t intend anything that deep with it; these time skip montage style chapters are pretty choppy and I’m usually trying to figure out a way to touch on all these brief scenes or moments that I don’t want to spend a whole chapter on for whatever reason, and arrange them in a way where the cuts aren’t too hideously abrupt. For visual reasons I try to contrast different locations and not put 2 dialogue heavy moments directly next to each other. Mood wise, I don’t really want to cut from something serious and angsty to something that’s a complete backflip on that. I also sometimes just feel like drawing a nice landscape and hope it achieves my aims on these fronts haha.
I think also here I was trying to move from that final sentence, “The present is more than enough”, to demonstrating them appreciating having that present together - being able to go do cool and enriching stuff, something not completely mundane but not completely fantastical either. (I mean... sightseeing within your own country is extremely normal, but going to Uluru from Melbourne... not a convenient day trip, since it’s 2000km; 25 hour solid driving, or you can fly in a few hours but I think you have to go via Sydney, so that makes it take at least twice as long I guess. Not that it's specified how long they're there for. I haven’t been myself but I’d love to one day...)
So, yeah!! More of a mechanical/compositional rationale than an intentional metaphor, but I think your reading makes complete sense and actually improves the page! (Sometimes I do intend visual metaphors... but sometimes they’re just happy accidents.)
And thanks for the compliment re the crowd of Dees!! I also love the moments I can lean into his eldritch qualities... they’re sadly few and far between but maybe that helps them be more surprising?? Definitely your first reading was what I intended, that he zigzagged back pretty quickly, probably even from within the conversation, but there is an inherent ambiguity to Dee’s time travelling where unless I take pains to spell it out, there really is no way to know when he’s come from. Even if he can be assumed to be taking every interaction chronologically, there’s no knowing how much time has passed for him between each visit. I don’t even know how to estimate how long his experience of time is, when he’s zigzagging back so densely all the time; even the number of living things on Earth any moment is an incomprehensibly mind-boggling number. That eldritch horror again!
Truth be told I hadn’t thought of him coming back to this moment and blending in with the crowd for the rest of the future ;_; but that’s so real... he could well be, the sad sack...
I had a different sillier thought from slightly misreading your question on first pass, which is that maybe he doesn’t originally know what’s going on behind him, but then later on as he’s just going about his business he goes “oh I know exactly how to punctuate that thing I said earlier!!!” and then does it as an afterthought. Oh to have the ability to add the things you wish you’d said to an earlier conversation 😂
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Enough discourse, I wanna post about headcanons
The Vees are a polycule to me, but in a way that I can't even explain without an entire slowburn fanfic (stay tuned. I'm a slow writer). But I will try.
Velvette:
I do adhere to the lesbian Velvette headcanon. She's dating Vox and still occasionally joins Valentino for a threesome with him. When she first joined the Vees, Velvette used to identify as bisexual (and still loves the bi flag colors the most) and all three of them used to date, before Velvette realized that she's a lesbian.
She and Vox are still dating, and they have an open relationship.
Vox:
Vox's response to Velvette coming out was, "So you're breaking up with Val?" Yes, his pronouns are he/him. No, he's not a man. He'd long shed the fleshy confines of humanity and gender along with it.
Vox is aspec, agender, autistic. To me. He's sex favorable of the 'I want to do it for my partner's enjoyment' flavor. Watching from cameras brings him just as much enjoyment, and he watches everything and everyone, living vicariously, a voyer through the screen. As a result of that, he's so so touched starved, but his sense of feeling is muted (the consequences of betraying flesh in favor of the machine). Soft touches to his synthetic skin don't really register, his sense of feeling restricted to mostly pressure and pain, so he's become a bit of a masochist in response because that's something physical.
Valentino:
He just likes sex. He chases pleasure in any form he can find, dopamine rushes from numerous drugs, orgasmic release, the rush of power from crushing someone underfoot. Anything and everything, he'll try it all. And none of it is really enough, so he'll never stop chasing more.
Valentino doesn't consider his relationship with Vox romantic, even if Vox totally does. They're friends, sure, business partners, absolutely, and fuckbuddies wherever Val is in the mood for it. But romance isn't Val's thing. That's hard work, and Val saves romancing for potential new hires he wants to sign a contract with. What Vox and he have is also written down on a contract, joining their businesses together too closely to be parted without blood, but it's not the same. Not to Val. So, he wouldn't call Vox his boyfriend, but he also wouldn't correct anyone who said they were. Vox is someone he can let his guard down with, one of the few people who would never want to get out of the contract their names are signed on. They work well together. That's better than any romance you can get in Hell, Val thinks.
Val and Velvette are catty besties. Pan/Lesbian solidarity and hostility all in one.
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