#really just goes to show that ultimately people close to you may not care abt your mental health as soon as it starts to affect them

[kittlyns]

It is so insane to feel everyone getting sick of you. Like goddamn I'm sorry I'm going through what may be my worst year yet but you putting up with me is somehow equivalent to christ on the fucking cross all of a sudden.

[incorrect-ikevamp-quotes]

[SPOILERS FOR LEO’S ROUTE❗️] okay so i just got to the bit after leo reveals what he is, and mc and comte are talking on the balcony & comte offers to turn her into a vampire if she would like. obviously mc declines but i guess my question is, how do you think leonardo would react if mc DID agree to that offer? i am enjoying his route, but i kinda get the feeling he mostly/only loves mc because she is human :/ im interested abt what might happen if she didn’t say no? thank you v much💖💖ly lots

Aww, ily3 hun tyty 💕💕💕I’ll offer my thoughts below, I hope I can answer your questions to satisfaction! 

Ah yes, the point in Leo's route where I essentially get shot in the leg and limp through my walk of shame

Jk jk, but I think there has been a considerable degree of displeasure associated with Leonardo's line in the proverbial sand. No life with him can be spent as a vampire, MC must remain human. Despite his easygoing nature, he remains stalwart in his opposition no matter what the MC or Comte has to say. To summarize it quickly, Comte’s relieved exasperation at the end of Leo’s MS gets more across than I think any of my analysis can convey “Thank heavens one of you has good sense.” It offers the implication that he has tried to broach the topic with Leonardo out of concern, only to be met by a brick wall--or doesn’t try at all for fear that he’ll only ensconce Leonardo further into rejecting a greater future for him and MC.

As to how he would react I......really don’t think it would go well? Only because I think it would serve to reinforce the rifts that already exist in Leonardo’s self-perception. He would believe it was his own fault for pushing her in that direction, and while I don’t think he would hate Comte, he would definitely become estranged from one of his only close friends in life. (What GUTS ME about Comte offering to turn MC is that he is probably well aware Leo might beat the shit out of him, never talk to him again, or both--and he still fully accepts that he could lose his best friend to guarantee a future for both of them. Excuse me while I bawl in the corner) He probably wouldn’t hold it against Comte for too long, but he wouldn’t be any less aggrieved and hurt. And when Leonardo is vulnerable, he will hide and nurse his wounds until he can behave with some level of calm--or at the very least until he can pretend he’s okay after an initial explosion. He doesn’t feel comfortable troubling people with his own problems, so he tends to fall into silence when personal things come up. This doesn’t necessarily mean he resolves all of his emotional turmoil, or heals that fast; it only means that he wallows in those feelings alone unless they’re tugged out of him and worked through forcibly.

Basically, I see only one of two possibilities coming to fruition. The first is that he and MC would wobble only to completely fall apart if some kind of resolution could never be found. He’d continue to blame himself and start sabotaging his own happiness, and that would likely mean some level of selfishness directed at MC--resulting in anguish for the both of them. If MC takes on too much without complaint or Leonardo goes too far...I get the feeling that relationship would either end in shambles immediately, or result in a kind of twisted union in which both feel responsible for the other’s hurt but neither one can relieve it (until they’d be forced to split up before someone gets seriously hurt). They would be the source of each other’s suffering, so much so that the walls climbing between them might never again lower. 

This might sound odd, but if there’s one thing that Leonardo needs it’s control when it comes to his relationships with others. It is a subtle, but acute trait that might not seem obvious knowing his magnanimous disposition. He decides if MC gets to be a vampire, he bargains with Sebastian because he refuses to be a test subject, he refuses to validate Comte’s conclusions (despite knowing he’s right) because he doesn’t want to cede the power silence/smokescreens offer his emotional vulnerabilities. Even around villains like Shakespeare and the final serial killer, pay close attention. Shakespeare begins revealing deeply personal information and wishes that Leonardo holds close to his heart on purpose, snatching Leonardo’s agency and ability to control how his feelings are being conveyed. How does Leonardo respond? With explosive, forbidding anger--instantaneous and barely contained, nothing at all like his breezy attitude and calm.

If you think about it, it’s a fairly obvious extension of the humiliating powerlessness by which he was raised (he needs to be in control; he needs to be the one who decides who gets to walk away and who doesn’t. He doesn’t come on to MC because he wants to, he does it for the sole purpose of scaring her out of wanting to be a vampire. He doesn’t even attempt to explain where he’s coming from because he falls into whole-scale panic. When he loses control of the trajectory of others--of how they perceive certain things about him--all of his charisma fails him. If he can’t explain or justify where he is mentally, when he’s too afraid they won’t hear him or care, then he needs to redirect the opposing party). Additionally, he feels responsible; that he can better adjust the outcome with his experience--and while that may be true for some things, sometimes he gets ahead of himself. Only an individual can decide their own future and their own happiness, the most others can do is enhance or worsen aspects of life. He doesn’t have enough faith that his presence is positive or worthwhile enough to guarantee his spouse’s happiness ;-;

The other possibility I see is MC coaxing him as best she can into reassurance that she’s happy with her new life. While he may have doubts, there is absolutely room for her to help him approach those fears little by little. If Leonardo has even a hint of doubt in regards to his dismal feelings about her being turned, a potential for acceptance may be nurtured. I don’t think his uncertainty would ever fully vanish; there will always be a lurking fear that a fate tied to his can only mean suffering and disappointment. Prove his worth and compassion with time, and this man will be unable to remember how life was lived before her. It would take a great deal of patience and a sizable obstacle, but it wouldn’t be impossible. His heart is much too big for that, I think.

I don’t think happiness with a turned MC is impossible, only that it would take a lot of work to swing it after a heated moment of decision. I think the way to go with Leonardo is a more enduring effort. He shows much more receptivity after years of being together. I think time, ironically, helps him relax into the possibility of forever as a couple. I think he cannot conceptualize a world in which he is in love, and that this love is not conditional--not dependent on his ability to be the perfect companion, the brilliant inventor, the equanimous mentor. I think he needs to see for himself that love can be gentle and real and whole even when he’s at his worst (by his self-perception). 

Also I put some extra meta under the cut because I have brainworms and just can’t stop thinking about Leonardo rn so read if you like, but it’s more related to why he feels this way abt turning MC than necessarily about the outcome. 

That being said, I'm conflicted because I don't necessarily think Leonardo only loves MC because she's human? (Rather, I think it’s more a result of his history and the values he’s developed in response to that upbringing. But I’ll loop back to this in a bit, so stay tuned)

I say this for two reasons. Firstly, I don't want to say that no person in this period shared his values (I mean look at Comte)--this would be an overstatement, even if it was rare. But it does appear that Comte and Leonardo are acute exceptions within vampire society in elevating human beings to an equal status among vampires (if not a higher status at points or depending on the person). As such, a vampire partner he’d be comfortable living with is unlikely. Human beings are more optimal in some regards (more adaptable and more egalitarian than vampires, most likely), but he also knows that he’s more susceptible to falling in love with a human; so he makes sure to squash his feelings or remove himself when his feelings become too intense. 

Secondly, he's in close quarters with MC by necessity, and reacts to her isolation by virtue of the situation. That's probably half the reason they get together at all; he was fully intending to keep his distance despite his initial curiosity. One thing this signals to me is that even when Leonardo did feel attraction to any person he was in contact with, he would avoid them until they were removed from his presence--or he deflected their romantic approaches enough times for them to give up. With this in mind, it can come as no surprise that Leonardo has kept to himself for nearly five hundred years now. If it was another vampire hitting on him (especially a pureblood), he would be playing into his parents' expectations and would approach the vampire social hierarchy he was working so hard to escape. If they were human, he would deem himself a burden; he could never love them within the normal expectations of a human couple (growing old together, raising a family, etc etc). So ultimately I think it's less her being human, and more their compatibility and context.

As such, I think he just locks himself into a kind of Catch-22? Because in the end I think this is more about his own fears and insecurities--that he can never make someone happy, that he himself will never be enough (hello child of abusive home). Not to oversimplify his character, but one crucial element of his upbringing must be considered if he is to be analyzed properly.

There's something I often think about:

Comte, quoting Leonardo: "‘Not all parents love their children, or even think of them as such.’"  [Though he got away and was able to make a life for himself, he had to do it alone.]

There is. A LOT to unpack here. While we may not have evidence of what his familia is like firsthand, this description tells us...so many heartbreaking things. It tells us that Leonardo never once felt like anything more than a child intended to carry on a legacy. The likelihood that his insights, his feelings, or his entire self-hood were acknowledged is pretty much at a hardcore negative three. While it's been a good number of years since he was the problem child/family disappointment, I feel like so many of those experiences seep into his capacity to properly accept the love of another person. It's a good portion of the reason he struggles so intensely with being loved despite his unfathomable wealth of affection for other people. When a person is diagnosed with unlovable and cringe for having positive feelings for others, it's not really surprising that a person might have trouble accepting a commitment or attraction to another person. There is...a kind of Sisyphus dilemma that surfaces in the wake of that kind of life, a constant push + pull between craving acceptance and either expecting it’s loss and/or fearing it’s disappointment. Though he shows signs of healing from it, there are still portions that linger. (Jean-Paul shakes him from this self-berating in his MS, but after four hundred years he still struggles to overcome those instincts. I wish there were words for the extent to which that knowledge breaks my heart...Many say time heals all wounds, but sometimes I think only others can heal them.)

Keep in mind, I don't think his enduring fallacy that "human beings are the epitome of untainted purpose and vitality" is irrelevant or less problematic here. I just think it's a reflection of a deeper disturbance and loss. It's a reflection of his parents' unilateral rejection of the kinder parts of him; his devotion to patience and understanding. It's a kind of reiteration or what he's already known: he's doing exactly what his parents did in an odd way, he's rejecting vampirism whole-scale despite evidence of both pros and cons (just as it is for humanity). I will always offer that his fear of something going wrong during the change is completely valid--but it does feel more like a fear of admitting that vampires (and eternity for that matter) aren't inherently awful. He ran away from his parents for good reason of course, but for all his running he didn’t escape their black and white logic.

It’s funny too, because his absolutism is kind of reflected in his inability to commit to a single discipline in some ways; while part of it is that he probably exhausts study, I have to wonder how much of him oscillating is a fear of eventual failure. (Think his reaction to MC’s knowledge that he can’t dance, his mortification and utter...shock that she wouldn’t use it as a way to make him feel terrible about himself). He probably prefers to hone his skills helping people because the motivation of providing relief is a much more powerful motivator than knowledge for knowledge’s own sake. He needs the impetus, that drive to move him.

Granted, I won't fault anyone for feeling like Leonardo only loves MC for her humanity. At first glance it really did feel that way! But the more I think about it, the more I feel it has more to do with the weight of his life's experience, and the parts of himself he hasn’t been able to reconcile.

Sometimes, with Leonardo, I urge gentleness. So much of who he is disguises all the ways in which he has been hurt. While his decision is selfish and foolish, it comes from a broken place. My unhappiness will always lie predominantly with the fact that he believes to his core that happiness and self-respect is something he doesn’t deserve. 

[kingofthewilderwest]

it kinda bugs me how they cant make httyd3 longer just so they can emphasize the story in a deeper meaning, like your post abt it being disproportionate. httyd3 had a LOT more plot than httyd2 and we can already see how it has to cramp so much and why that makes D2's pace felt pretty fast. the structure of the story is actually well planned.. perfect, to be exact! but the execution like putting pauses, necessary humor, longer dialogue, is whats needed to make it um, understandable? im not sure..

this isnt meant to judge the movie as bad though! but its a question ive been asking why they cant do it longer, for that sake. is it the budget? was Dean really certain the script is okay? or is it meant to be like this so people can interpret the movie their way? (oof that one is confusing).. i dont know, i want to ask about your thoughts on that >

From this.

It’s an interesting conversation for sure! I believe that THW doesn’t have to be longer to be extremely successful in the ideas it needs to convey! The core ideas being:

Toothless cannot be a wild dragon and strong alpha leader with humans. Other dragons probably deserve the respect of needing wild dragon needs, too.

Humans like Grimmel are extremely dangerous to dragons and will continue to arise, so dragons need to go to an area separate from humans to live in optimal peace.

Hiccup and Toothless’ powerful friendship will separate (insofar as physical location) due to the first two points

I know you’re not the only person I’ve talked to who wanted a longer time because you feel like certain elements were cramped, needed more breathing room, or that dangerous plot points didn’t get enough sense of weight. More time would presumably give that flow and sense of scale and danger. Now, it’s true that more time would give us more content to develop these things. That said, I believe solutions aren’t always “add more.” Creating good art isn’t about adding new things; it’s about knowing when to take away or alter, and how to make every second of your creation count optimally.

I remember when I was doing my music composition degree, my instructors hammered into me what would make a good final piece: the editing process of deleting measures - even measures that were really good! - because they didn’t fit what the final product needed. It’s painful to delete, but ultimately, it’s freeing; instead of making a music piece more cluttered to put all possible good ideas in, I can make it less cluttered, more manageable, more beautiful, more meaningful, and more effective to audiences. A better overall piece isn’t putting in every good idea I have; it’s leaving the piece with the beautiful ideas it needs.

I suggest The Hidden World doesn’t need added materials so much as it needs refining what’s already there.

Budget, production green lighting, and carefulness to the script all seem to have been done. HTTYD 3 was given a longer production time than originally planned. They pushed back the date exactly so they could make their best product. Interviews with people like DeBlois and Spielberg (who read several definitions of the script) talk about how much the script was transformed and bettered through its drafts. They did enough tweaking and care to rework the script. As for budget, the movie was 129 million USD, which sure was the cheapest of the HTTYD trilogy to create, but it’s about on par with what DreamWorks has spent on other movies like Home and Trolls - it’s not like there was skimping - and it’s all about making your money count, which I think this glorious, top notch animation quality film effectively did. So from what I’ve heard, I think production ran fine and we can’t question THW there.

I think most of THW’s problems can be solved simply by tweaking how scenes go down, taking a few small elements out, and adding a few small elements in. It doesn’t need time changes; it needs internal modifications to what’s already there. What I propose wouldn’t change much of the movie’s length - though maybe I we could add 5-8 minutes for things like a longer climax.

1. To Feel Less “Cluttered” or “Rushed”

The movie didn’t feel rushed to me or too cluttered, but it’s cluttered. You’re right. In addition to creating less clutter, my suggested tweaks will clear up time THW can spend elsewhere, streamline THW into fewer palatable essential ideas, and give a slight tone makeover that will add more sense of danger and conflict that THW needs.

Fewer humor side gags with minor characters (and less time spent on them). The gang’s antics are fun additions, yes, but that doesn’t mean they’re central to what the plot needs. Spending too much time with them adds clutter and takes away from plot-central, tone-central material. There’s a huge gaggle of gags in THW, more than any movie needs in a less-than-two-hour-long run time. Do we need all these to give THW its comic relief? Don’t get me wrong - I loved the humor - but time needs to be prioritized, and the movie will be improved once “less is more.”

Less time with Tuffnut’s pep talks. This goes with my first point. This comedic gag was lengthy in particular. It’s in part because it connects to the idea of Hiccstrid marrying, which THW does make more central in its themes. However, I also propose:

Spend less time (or delete) the will-they won’t-they marry Hiccstrid plot. THW intends to parallel Hiccup and Toothless maturing into adulthood, including their romantic connections. However, a will-they won’t-they marry subplot in Hiccstrid isn’t needed to create that parallel. Not to mention: it can be uncomfortable to have this undertone of romance as “required” adulthood maturation, and the fact that Hiccstrid are so close and intimate makes it feel “off” that they’re so uncomfortable talking about marriage. Spend less time here, simply make fans aware they’re going to marry in the future but not today, and return to the main relationships THW needs to pay attention to: that of Hicctooth and Nightlight. 

2. To Make Grimmel a Greater Sense of Threat

One of the central points is that Grimmel is extremely dangerous and represents one of many humans that’ll continue to be a threat to dragons. While Grimmel can be overcome, Hiccup will need to interact with Grimmel in such a way he can understand that dragons and humans cannot coexist in today’s civilization without continuing to risk danger, and that it’s best for everyone to live happily in two separate civilizations. It’s not being defeated by the enemy’s oppression, but taking a brilliant countermeasure to give humans and dragons both a better existence.

Making Grimmel feel like a greater sense of threat, and helping audience members understand what Grimmel represents overarchingly of humanity’s current antagonistic state, will help us and Hiccup process why a separation is best. This can be done by:

Show Grimmel’s impact on human society. All we’d have to do is change what his base looks like: it could be located in an area taken over from another human civilization, showing his army’s power and place in this world over humans.

Greater weight placed on Berk’s exodus. The Hooligans lost their home, but it’s played too lightly. It’s not written optimally as an emotionally impacting or destabilizing moment, which decreases the sense of threat Grimmel has. Instead of having the Hooligans excited to find New Berk, show them grieving. They can butt against Hiccup’s ideas of finding the Hidden World, but instead in a way where they’re frustrated at his naive solution and hurt at what they left behind. This isn’t adding time to THW; this is tweaking phraseology and presenting an event differently.

Change how Berk is abandoned. To make the attack feel more dire, threatening, either: 1. Have the Hooligans more reluctant and grumpy to leave in the town meeting, and not play the leaving scene so lightly, or 2. Have Grimmel chase them out of Berk so they have to flee then and there. This might even reduce time! 

Show Grimmel’s power over dragons. We could have a few-second-long flashback of him standing over a field of dead Night Fury bodies, or have his place cloaked in dragon skins or skulls. 

Show Grimmel’s power as a warlord. Grimmel acts in almost a solo fashion, despite cooperating with warlords and having an army. It doesn’t give us a good sense of scale. Show his interactions better with the whole of his forces to make him feel more dangerous, and for humanity as a whole to feel more like a threat against dragons. For example, in the scenes where he’s trying to trap the dragon riders, show him commanding more people.

Show Grimmel’s impact on the dragon (and/or human worlds) through landscape. What if, as the Hairy Hooligans try to find a new place to stay, they fly over several islands that have been destroyed by Grimmel’s forces? Either human civilizations, or homes once havens to dragons, with characters making comment they “hope” people got away. And what if, when Grimmel takes their dragons near the end of THW, it’s again through more violence and a raid and fire and destruction? 

Conversations more clearly talk about Grimmel’s dangers over dragons and humans, and how he’s one of many people that’ll arise. This idea is embedded in THW dialogue, but not clearly enough to fully grasp its weight, especially not in the sense we see characters grasp this. Have Hiccup and Astrid and Valka or something talk about how widely destructive Grimmel is, how even once he’s gone another man like him will take his place, and that while they may continue to fight and win for human and dragonkind, it’s ultimately not the right move to make for everyone to live safest and alive. A conversation laying this out makes a world of difference in our understanding of what dangers are going down and why we need to come to the solution THW concludes with. Again, this isn’t adding time; it’s changing phraseology. 

Add a few minutes to the climax. Make the final fight with Grimmel obviously the final fight, the threat bigger, the action more intense.

Perhaps show that Berk’s done good work changing the world by their choices. Even though Berk ultimately decides to let the dragons go, they are meant to be the voice of peace that changes their world. The good guys can’t resign to letting themselves live under the thumb of bad guys’ choices. Show that they’ve made a difference - Grimmel and his armies are gone and the world is regrowing (no more torched landscape, if we add that element in) - but that it’s still going to help their world by letting dragons go, too… for this generation, at least.

3. To Make Hiccup and Toothless’ Parting Jive Better

Hiccup and Toothless separate out of need - they can’t live in the same place for the better of both their kinds. However, since the movie spends so much time on Toothless chasing after the Light Fury, we don’t get that full sense of need. I propose:

Open THW with a clear Hicctooth sappy bonding moment. We need things like “Forbidden Friendship” and “Where No One Goes” to feel the power of Hicctooth’s love. Give us that starting sense in THW of how close they are before adding in the complications. It can even be done by tweaking how the opening fight scene goes down.

Show dragons profiting by living with humans, but it also being Complicated with their wild side. We need to acknowledge that the relationship between humans and dragons has done the dragons good, too! Otherwise it might feel incongruous with the rest of the franchise.

Show dragons being unfit in the urban area through their own restlessness. The movie tries to show this with Moosie Boi being too big for Berk, and Berk being so crowded with dragons Gobber finds the soup unsanitary. But if we see Stormfly restless and want to leave for the Hidden World, too, wouldn’t this say something more about where dragons are pulled to and belong?

Less time spent on Toothless investigating the Night Fury. You can’t cut this down too much or we’ll feel like rushing, but since THW focuses so much on just Toothless and the Light Fury’s connection rather than an overarching problem for dragons, it’s hard to feel the full-scale issues of the problem. Making it just him and her feels more like a hook up love story than “dragons and humans are incompatible for their needs.”

Change Toothless’ body language. Show more emotional division in Toothless about his conflicting options. Show him hesitant to leave Hiccup and the two interact over that. Show him lonely away from his kind when with Hooligans. Show him feeling that loneliness met - that deep emotional need of being with his own species - when he’d thought was lost to him (rather than focusing on it being a romantic hookup interest). This doesn’t take more time; it tweaks what was already given on screen.

Change Toothless’ emotions with the Light Fury to feel more like loneliness being met than horny boi practicing kissing with a rock. This does a better job of showing that Toothless has a deep need that needs to be met as a wild animal and as a social draconic species.

Change conversations Hiccup has with humans about Toothless’ struggle. Maybe have Hiccup processing less with people and more by himself or with Toothless. Don’t write the conversations with people be about “Toothless has a girlfriend” and “of course he left.” Discuss instead how Night Furies are social creatures and Toothless hasn’t been with his kind in six years - that’s a huge hole in his heart being filled. Validate the deep connection Hiccup and Toothless have, while simultaneously acknowledging the struggle of this moment now. The movie shows that the Light Fury can never be domesticated, so I think that’s fine, but maybe one line from Astrid saying, “I don’t think she’ll come to live with us,” would be enough to help other audience members pick that up too.

More time spent on all dragons being in danger, and Toothless as an alpha unable to protect them with Hairy Hooligans. The story doesn’t show Toothless being much of an alpha - intentional - until he reaches the Hidden World and it clicks. But I suggest it’d be more effective to pull this out more than having an issue with Moose Boi taking up too much space in Berk, and Berk being so crowded Gobber has a dragon in his soup.

Put more of a deal on Toothless being an alpha. You can say that Toothless didn’t understand or use his role as alpha when with humans, but I think showing more sense of conflict, and of an alpha needing to be wild to protect his own, would be useful. Make this an issue for all dragons. The alpha status being used as a blackmail device against Toothless to keep the Light Fury alive could be replaced with us seeing the full species of dragonkind being unable to be protected by an alpha apart from his own people. More needs to be done than dragons bowing to him in one scene to understand what the alpha does for his society.

Show Toothless with more Light Furies. The Light Fury being his singular focus is great. But what about, in the Hidden World, Hiccup and Astrid watch Toothless interacting with a whole group of Night Furies, and he’s clearly in a situation that was Made For Him?

THW already has great content in there - Toothless and the Light Fury interacting, Hiccup crying when he realizes Toothless is fit in the Hidden World, Hiccup freaking out and Astrid comforting him when he feels a low, and Hiccup and Toothless parting ways touchingly at the end.

With these proposed tweaks, we get Toothless and Hiccup’s relationship being addressed deeply from the angle of both friends. We understand what both Toothless and Hiccup emotionally feel, and palatably sense how both love the other. We get a sense that Toothless is attracted to the Light Fury and might want to mate, but that she’s also calling him into a wild life and reminding him that he’s been alone, separated from his kind. We get a sense that it’s not just Toothless, but all dragons who might be called back to the Hidden World. We get a sense that it’s not just Toothless, but his whole role as alpha affecting the entirety of dragonkind.

And once we add in a greater sense of Grimmel being dangerous, and that more humans like him will continue to rise up, we can understand why Berk would release all their dragons. It’s not that dragons hate living with humans - THW can make that clear - and it’s not that dragons haven’t been profited by living with humans. But in the current call, the current situation, it’s best to go to the Hidden World.

I’m mostly tweaking how scenes go down, changing lines and reactions rather than adding material. Feel free to propose a longer movie! For me, THW already has enough space to share its message. Maybe it needed to be a few minutes longer, but I suppose my own sense is that they had enough time to budget in this material, make a smooth-flowing movie with all the material they needed to present, and come away with an astounding storyline.

Like you, this isn’t meant to judge the movie as bad! It isn’t bad! It’s downright wonderful in many aspects. I’m so happy I’ve seen it and can scream over it! Simply, if I were in charge of tweaking the script, these are the first alterations I’d make, and I think it would make THW even better.

[teruthecreator]

💘 for macknerva!!

anon, you are a genius. you’ve basically just sent the magical question that has now unlocked for the world: macknerva origin story (bc honestly i realized i just start posting abt it without rlly explaining it??? and someone people are loving it??? so thank yall for being my ultimate favs but u deserve this origin) 

also this is several days late (thank u Depression) and also super long (thank u Dumb Brain) so i hope you can forgive me for both of these things   

💘: who developed a crush on the other first? 

it’s time we take it back....Back To The Start.  

so since this is my magical world of My Own Personal Canon (since i stole griffin mcelroys rights), minerva ends up in Kepler in a completely unnamed and not talked abt manner (bc im too tired to explain my general alternate theory hgkgldlgbfhke but busically she just got on a ship to earth to avoid dying) and is staying with duck until further notice. she doesn’t mind laying low at duck’s apartment until they’re able to figure out Everything and get her set up w a place of her own (spoiler alert: that never happens, but duck won’t admit he just misses having a roommate so they let it slide). 

after about a month (which feels like eons in minerva’s mind), she starts to get antsy. she’s already been introduced to the pine guard and amnesty lodge, by this point, so she’s constantly trying to hang out with someone so she isn’t stuck in duck’s apartment all hours of the day. 

which is how minerva ends up in the cryptonomica the day kirby has to run into his job at the theatre for a good portion of the day. it’s pretty empty in the shop--i mean museum, so it’s not like ned minds (plus him and mack have already struck up an agreement, which i explained in a previous post abt ned and macks friendship) especially when minerva’s around to willingly pick up the slack. 

but this second job has minerva curious: 

minerva: I assumed your assistant, Kirby, had only the singular position at your museum?  ned, from behind the counter: Oh, for a while he did, but then the theatre opened up and his services were needed elsewhere. And who am I, Ned “Theatrical” Chicane, to deny such a marvelous establishment of the skills and technical prowess Kirby possesses?”  minerva: Oh? A theatre, you say? 

here comes some random personal hc: on her homeworld, minerva was involved in her planet’s form of theatre (which i’ve always pictured to be very greek-esque, thus explaining her naturally booming voice) and absolutely adored it as a hobby. she, obviously, understands there will be a difference between Earthen theatre and the theatre she once performed; but there is no denying that that thought barely crossed her mind as she proceeded to pester ned about the theatre until he suggested she get a part-time job there. 

(ned knows mack’s struggles with keeping hires at the theatre, which is why he is quick to suggest minerva get a job there. that, and ned knows enough abt mack at this point to pretty accurately guess her Type. so let’s just say ned was doing this for both macks gain, but also for his gain to be able to harass her abt her hot new employee that he totally inflicted on her on purpose) 

ned probably brings it up later that night, or the next day. just really casually drops that he has someone interested in a position at the theatre:

mack: Holy fuck--yes, Ned! Tell them they’re hired!!! What can they do?   ned: Hmmmmm, well she’s quite fit, and has no qualms with getting her hands dirty.  mack: Oh, perfect! I need some more set builders! Thanks a whole lot, Ned. I knew you’d always have my back.  ned, knowing full well what he’s just wrought: Oh, of course, dear Mackerel. Anything for a friend! 

cue the next day: mack is just going about the theatre, business as usual, staying sort of close to the house doors so she can be Right There when ned comes in with the new hire. she’s faced away from the doors, checking something on her phone (probably her texts with ned, to see if he’s arrived yet) when she hears the doors open and shut. mack turns around to witness the Hottest Woman She Has Ever Seen In Her Goddamn Life. 

she’s tall--holy shit is she tall--with beautiful dark skin painted with these almost glowing blue tattoos that travel all the way across powerful arms and a prominent collarbone. but the tattoos don’t stop there, of course they don’t. they go all the way up to this woman’s bald head, perfectly framing her beautiful face. high cheekbones, strong chin, a wonderful nose (mack doesn’t have much of a preference for noses but this one is perfect she just knows it), masterfully-carved eyebrows that look like they were chiseled out of stone, and those enchanting, bright, beautiful bright blue eyes.  

mack’s brain basically short-circuits once minerva smiles at her (with those pearly white teeth and a grin so inviting it feels like her whole heart is melting), so she’s barely able to process the smug ned beside minerva. 

@goforduck drew this scene for me a while back and imma show it to u all bc i love him, his art, and the hot takes he gives my special lil ship: 

needless to say, mack Is Attracted, but i wouldn’t necessarily consider it a crush. meanwhile, minerva’s pov, she’s so damn excited for this job that she’s practically vibrating on the way in. and then, like romantic poetic would have it, all of that energy halts as time stands still and minerva locks eyes with....mack.  

mack definitely looks a little disheveled, but it’s like every fly-away hair crowns her head like a halo as those gemstones-for-eyes lock w minerva. she’s never seen someone she has felt so immediately attracted to in her life. but, that being said, she still does not Have A Crush. 

so after all the awkward blustering (AKA mack tripping over every eighth word as minerva turns on the Charm to keep that blush on mack’s freckled face) mack starts to get minerva accustomed to the work environment and the tasks she’d need to do. eventually, she hands minnie off to kirby bc shes got work to do, and the rest of the day goes by uneventfully. 

now minerva works at the theatre, and she’s Delighted w it. the job is easy but entertaining, she’s making friends, her knowledge of the world is expanding, and she now has a target for some very playful flirting and obvious showing-off of her muscles. because, listen....she has Eyes. she Knows mack always blusters whenever she’s around. and she knows herself, too. mack is cute and minerva likes making her blush. but there hasn’t been that moment where things are taken seriously.  

until about a month in, when minerva walks into something she maybe shouldn’t have but also definitely should have. 

you see, mack has a very important ritual in the morning. she arrives at the theatre at the absolute ass crack of dawn so she can get her yoga/stretching/vocal warmups in (since she is still a performer at heart and this has been her routine since college) and then sit by herself on the stage just sorta soaking it all in before kirby comes in with her coffee (which she needs in order to get up from her seated position on the stage bc she is that much of a coffee addict). just about every employee on staff knows not to even bother coming in this early bc 1. this ritual is very Private and Sacred to mack and 2. ur not even gonna be able to speak to her unless ur kirby w her coffee. 

“just about” encompasses every employee except for minerva, who decides to show up before kirby to bring mack her coffee (that she memorized after cornering kirby for the specifics one day) 

so she comes in the back entrance and is sort of at a loss as to where mack may be bc she doesn’t know mack’s routine. and she’s just kinda wandering aimlessly through all the shops and little rooms until she reaches the wings, where she hears the gentle strumming of a guitar. 

she approaches, with all the caution of a woman who has spent years mastering the art of stealth along w her combat studies, and comes upon the following scene: 

mack is seated in the exact center of the stage, eyes shut peacefully as her body sways to the tempo of the song she’s strumming on the guitar she’s playing (which minerva recognizes as the guitar that some idiot pit member left here about two weeks ago). she’s singing (the song is Dream A Little Dream of Me), and her voice is so soft yet so resonate that minerva feels as if she could stand right next to her or be 1000 feet away and hear the exact same thing. and she sounds so good, so completely in the song she’s performing and in her contentedness that it eases some subconscious unease minerva was holding. in the time minerva’s known mack, it’s the most natural she’s ever heard or seen her, just playing for an invisible audience in the dim lights of a theatre not yet awakened. 

minerva doesn’t realize she’s drifting closer to mack until she steps on an uneven plank, and the noise snaps mack out of her little world as she turns to the noise. needless to say, she’s a little surprised that minerva’s here this early, but then minerva wordlessly hands her her coffee and so mack could care less. she accepts the drink w a smile and then decides to go to her office to get started on some business emails. 

it isn’t until mack has already left the stage, and minerva is still stuck in the same position she was when she handed mack her coffee--heart racing a million miles a minute, face hot, and stomach feeling as if an entire colony of butterflies suddenly took refuge there--that minerva realizes that she is Endlessly, Hopelessly Fucked In Love. 

So yeah, TLDR; Minerva was first. 

[shsldepressedlesbian]

Few questions to help both us n you get to know the passengers on this cruise to hell better! 1,upon first glance what something someone would immediately notice abt your ocs appearance? 2,does your ocs Like their talent? This says a lot about them as people and feel free to go into detail why or why not they do. 3,do any of the cast have any character quirks? Be it in speech or otherwise

hey this looks fun :0

1:

Yuuki: i think its safe to say the many assortments of flowers she wears in her hair. while she isnt a gardener or anything, one of her siblings is, and they often send flowers to her. yuuki, in turn, usually mends them all into a flower crown, or even plain just puts a single flower into her hair.

Emica: when it comes to it, i suppose her traditional japanese arm band, symbolising her stance on the student council. her many different necklaces is a close competitor.

Arata: he dresses like he just walked out of a time loop from england 1930s. i think thats pretty noticeable-

Mitsuo: the unhealthily dark bags under his eyes, and the very pale skin which does not go well with his very bright, red hair.

Asuka: her very rich, haughty aura. and even though anyone would hate to admit it, shes borderline very attractive.

Manabu: he looks like he came from a very formal ball, not to mention it would be hard to miss the variety of shiny crystals he wears as bracelets.

Seiichi: at first glance, people might say he looks like he just had a ruffle with someone- but if you pay attention, he actually really is neat and tidy- aside from his tie.

Tamotsu: at first glance, people would probably compare him to indiana jones when it comes to his outfit choice. he doesnt deny these comparsions.

Kamiko: her sunhat, for sure. theyre usually wide brimmed, though fashionable. the second thing is probably the many ‘luck charms’ she wears as accesories.

Kenta: how he looks much stronger than he actually is. also his sneakers. everyone notices the sneakers. even if you arent a fan of footwear, you WILL notice his sneakers.

Chieko: chieko is very… ordinary looking. in fact, her normalness compared to any other ultimate is probably the first thing youll ever notice. it actually makes her stand out.

Masa: the first youll notice about masa is her sheer size of accesories. bracelets, rings, hair pins, and necklaces galore. if you pay enough attention, youll actually notice she and tamotsu have matching necklaces.

Fumiko: a notable thing about fumikos appearance is how… scandalous her outfit is. fumiko isnt shameful at all about how much skin shes exposing; though it never gets too crazy. usually. hopefully.

Kohaku: there is nothing really abnormal about kohaku, other then their very bright mint color scheme. the reading glasses hanging from a small chain on the front of their suit is also something noteworthy.

Aika: the first thing youll notice about aika is the fact that her coat is almost completely made out of buttons- each one she sewed onto it herself. for someone who youd expect look to have come out of the 1990s, she has a reasonable modern feel to her clothes.

Satoru: at first glance, you could see satoru as, to be frank, a vsco boy. his casual outfit, sunglasses, and jacket with many pins relating to saving the ocean can give off that feel. however, he resents the stereotypes of ‘vsco’. also, its hard to tell if his murky hair is either white or grey.

Usagi: the first thing youll notice about usagi is the fact she always looks like shes prepared for a hike. her backpack, casual but warm outfit wear, and always pulled up hair can give that impression.

2:

Yuuki: yuuki has a soft spot for her talent, considering how it dates back to her grandmother, and its always been something shes been experienced with. its fair to say yuuki likes her talent.

Emica: emica really doesnt consider herself worthy of her talent. the only reason she got it, afterall, is because of her dad, not to mention this fact has caused her a fair amount of nasty envy with her fellow classmates. still, she tries to honor her responsibility of being student council president. emica doesnt particularly like her talent.

Arata: if theres one thing arata is proud of, its his talent. hes been into history since he was a small child- and to have his research celebrated is his dream come true. he can, however, be a little cocky about it. he really does consider himself the best historian in history. arata likes, and is very proud of, his talent.

Mitsuo: he wont even tell anyone what his talent is. i wonder why…

Asuka: whether or not asuka enjoys her talent is left to debate. it is, however, for sure something she uses to her advantage. shes part of the main student council! of course everyone has to respect her, right? she also considers being the treasurer ‘finally’ a way to use her social skills and knowledge with mathematics to use. asuka likes her talent.

Manabu: manabu was always expected to be helpful in the study of outer space. his whole family line consisted of astronomers, astronauts, astrophysicists, and more. manabu had to choose his career at a young age, and he decided on astrogeology. this didnt mean manabu was stuck in the career. or, at least, he was, until an opportunity arrived. yet even when he got it, he decided not to take it. manabu always had a soft spot for astrogeology, though perhaps if he didnt have his current family line, he would have become the ultimate of a different talent. manabu likes his talent, though that may only be because of his history.

Seiichi: seiichis history of slam poetry goes all the way back to elementary. its his form of venting, if you will, as even though he comes across as nervous, his head is filled with anger at the world. but also hope, of making a new one. a better one. he considers being invited to attend sailing integrity was just a plus to his journey. seiichi likes his talent.

Tamotsu: tamotsu has been interested in tombs and the history of egypt for a long time. the closest thing he could find to fulfilling his interests was becoming a tour guide to show people around said tombs, and he found himself having fun, rehearsing facts and making the otherwise gloomy places bright. making tourists days a little more fun was good enough for him. tamotsu quite likes his talent.

Kamiko: kamikos talent was always something that she did as a fun hobby. sewing tapestries that told fascinating tales was always something she was invested in. and the many tales she sewed was really the only things that kept her company while she kept herself locked in her room. however, even if she likes her talent, she was not a fan of being recognized for it, and being coaxed by her parents to attend the academy. kamiko likes her talent, but isnt a fan of being the ‘ultimate’ of it.

Kenta: if we were being real here, kenta is very… neutral on his talent, which is weird for him. the way he learnt it is connected with bad memories, but doing it has always been refreshing to him. a way to run around, blow off steam. he supposes being called deemed the ‘ultimate’ of it isnt that bad. kenta likes his talent, for the majority.

Chieko: being the ultimate chemist wasnt chiekos first choice, but she takes it with dignity. chieko is neutral on her talent.

Masa: masas talent was born out of curiosity, and it grew from it. masas history of interpreting dreams is affiliated with many different emotions and memories. but for the most part, its been positive. she is very into the persona of it, and considers it a chance for her to act all mythical and wise. but, shes just really happy that she got to be a ultimate along with tamotsu. masa likes her talent, especially the attention she gets from it.

Fumiko: fumiko, probably, resents her talent the most out of the cast. its a very constant, confusing, love-hate relationship. she dislikes the title of ultimate lucky student, as she finds it cheesy, which is the whole reason why she calls herself a blackjack player. after talking to her for a bit, it becomes clear she doesnt want her talent to define her, and that she honestly couldnt care less about ultimates and the academies. her whole reason for applying to the lottery seems to stem from family reasons. while she dislikes the academy, she also takes any chance she can to pump her ego around her talent. its confusing, honestly. fumiko is not a fan of her talent.

Kohaku: kohakus murder mystery career started out as a coping method. however, they get very attached to every story and characters they make, putting love into every book, which is the whole reason they got recognized as the ultimate murder mystery novelist. kohaku has pride in becoming the ultimate murder mystery novelist, though they dont consider it a big deal. whether or not they became an ultimate wouldnt have any effect on the future of their career. theyll always write murder mysteries. kohaku likes their talent.

Aika: aika considers her becoming an ultimate a complete ‘accident’. aika isnt especially invested in vintage collecting- she just had a lot of old stuff she posted online, not even realising how old and valuable they really were, and the next thing she knew, the email and letter came. actually, the invitation to sailing integrity is what really made her consider making collecting old items a hobby. secretly, aika is a little insecure of her talent, finding it boring compared to others talents. aika likes her talent, but only to a certain point.

Satoru: satorus want to study the oceans animals has been active for a long time, especially since he was always close to water, considering his parents were fishermen. he finds the thought of the ocean being 95% explored to be highly interesting, and his goal is to crack down another 5% before he dies. becoming the ultimate of what he loved to do was very much a welcomed moment, especially with the promise that the academy would supply him with items that would help reinforce his talent. satoru has always been especially passionate about marine biology. satoru likes his talent.

Usagi: usagi is also very neutral when considering her talent. in fact, her talent is always at the back of her mind when introducing herself. usagi, truthfully, isnt a fan of most of the school referring to her as the ‘ultimate runaway’, considering how many of them paint it as a form of rebelling and thus delinquency. shes just a girl who likes taking sharing nature with the world whilst traveling, and wants others to see that as well. usagi is iffy on her talent.

3:

(hmmm im not sure what your definition of ‘quirks’ are, but here, have this:)

Yuuki: taps her foot an awful lot.

Emica: none visible.

Arate: can you consider writing almost everything down a quirk?

Mitsuo: taps surfaces whenever hes thinking.

Asuka: none visible.

Manabu: none visible.

Seiichi: as noted before, he tugs on his tie when hes nervous. also has a habit of rising his voice when he doesnt mean to.

Tamotsu: has more of an american dialect.

Kamiko: has the iconic danganronpa stutter, hides her face behind her hat.

Kenta: none visible.

Chieko: also has an american dialect, though hers is less apparent then tamotsus.

Masa: has a very cryptic way of speaking, except when she lets normal sentences slip through.

Fumiko: has a bit of a drawl to her voice.

Kohaku: none visible, surprisingly.

Aika: almost always moving, cannot stand completely still.

Satoru: rarely uses h’s if they are at the front of the word.

Usagi: has an unidentifiable accent.

[cosmicmoved]

11 !

CRUCIAL MUSE DEVELOPMENT FOR TOMO KATSUMURAfor what would your character give their life? / @sharkapologlst

This is a bit of a tricky question in that I don’t feel it’s right to give a super literal answer, given the nature of Tomo as a character, but I think the non-literal answer is the more interesting on, as well as the one that ultimately says more about Tomo overall. The thing for which Tomo would give his life, in a manner of speaking, is his art. No doubt about it. This refers to, of course, the art of acting. He’d probably admit to it himself, without really realising he meant it. It sounds like a cliché and he’d say it like he knew that, just so he’d sound passionate, but it’s true. Deep down, it’s absolutely true. And I can’t say it’s a good thing.

Despite his reputation as a wild child, he cares deeply about his work. He’s presented to the world as someone who abuses his own talent and fame by partying and making bad decisions but, for Tomo, those things are very separate. The truth is that they’re not and Tomo does dumb shit to cope with the stress of having come into fame at a sensitive age but the point is that he believes they’re separate parts of his life. Still, the trouble is that he doesn’t take his career for granted and he’s not just here to reap the rewards of fame. In fact, he has very mixed feelings about it; he hates being under scrutiny all the time but he needs the attention. Y’know, or else he feels like he’s vanishing away. But that’s a whole different story. The main point here is that Tomo loves acting. Maybe he doesn’t love his job because of all the other shit that comes with it but he loves acting. It’s his passion, it’s perfect escapism!

Even if he’s been pushed to work on a film he doesn’t want to do, he puts his all into it because he cares about the craft. But when he’s working on a film he does genuinely want to do, that’s when stuff can get a little, uh, problematic. Tomo takes his work perhaps a little too seriously. We’re not talking method acting or anything, he’s not that interested in that side of things and he’d never take on a role that demanded physical change because he likes having free reign over his personal life and there’s no director he’s going to trust like that. Ha. It’s more that Tomo tends to obsess over getting everything right when he’s preparing for a role. He’s less open and chatty while he’s in this preparation phase and it’s not unheard of for him to stay at home and mostly just avoid contact with people. Not because he’s trying to block anybody out, just because he’s too focused on what he’s doing. Min often comes around to visit him anyway, granted he has the free time, and Tomo’s more than okay with that because they understand each other’s boundaries and Min’s pretty willing to help him read lines. To be honest, I think hanging out with Min and reading lines with him probably keeps Tomo grounded because he doesn’t have to obsess and panic over whether or he’s getting things right because he has active feedback from someone who understands him better than anybody else. As you may know, Tomo has not long since returned from a year living in Tokyo, working on a Japanese film, and I’m sure it goes without saying that he didn’t have that support network while he was living there. Maybe I’ll talk about how he got on in another post soon. (actually, might write a drabble abt smth soon hehe)

Buuuuuut the fact remains that Tomo is more than willing to put that kind of work before his own needs. Tomo doesn’t really sleep well when he’s working on films because he’d rather spend as much time getting his work done than rest. Burn-out is a pretty common issue for him and, although he tries to approach work as professionally as possible, there have been occasions where filming’s been put on pause because Tomo hit his limit. He hates it when that happens, it makes him feel guilty even though usually he has to be ordered to take a break.Again, this isn’t a very literal answer but I think it’s more that Tomo sees acting as his life. Maybe I didn’t really answer this right! I’m not really suggesting that Tomo would push himself so far for acting that he’d end up…actually dying or anything like that but I mean that, again, his work is his life. He’s already decided, although he’s still young, that he’ll stake his whole life on being the kind of actor he wants to be rather than the actor his bosses want him to be. Doing his job right, continuing to earn the right to do what he wants for a living…these are all things he values as higher than looking out for himself. Because Tomo has a lot of issues with his own identity as a result of being pushed with these strict images at a young age, he’s quite content to escape into his roles. His priorities are very mixed up.

Obviously, he WANTS to have a life outside of his work. He doesn’t want acting to be the only thing he’s got. But the point is that, so long as he’s got that, he thinks he can manage. He’d be miserable but he thinks he could get by and still see meaning in things so long as he had acting. And maybe close friends. Tomo wouldn’t do well at all if he suddenly had no social circle but, so long as his closest friends (i.e; Min) stuck around and he had acting, he’d manage. This is something he’ll NEVER admit because he’s sure someone would inevitably say he was like his dad and that’s something he doesn’t want to hear. He doesn’t enjoy being compared to his dad. It’s annoying. He wants to be valued as his own actor.

Although, trying to be seen as his own actor and making sure the image people have of him doesn’t get to distorted is something else for which he’d go pretty fucking far. It’s important to remember that we’re talking about a guy who drove himself into a tree as a reaction to be pushed a squeaky-clean teen heartthrob against his will. Granted, he was very, very careful about it (he didn’t come out of it unscathed but he really tried his best not to cause too much damage) and did it more for the sake of making a spectacle. This was a few years ago so he had been younger but the point is that he’s willing to do a LOT to make his point. It was a stunt that could have easily ruined his career flat-out. He could have faded into obscurity the second he was fired from that TV show. As seriously as Tomo takes the projects about which he’s passionate (i.e; not that TV show lmao), he’s not afraid of causing a fuss. He’s upset a lot of people in the latter, more recent half of his career. His move to Japan pissed a lot of people off too but he wanted to make a point about his right to be independent. I think he’d rather do risky things and fuck his career than have somebody else push him into a career without passion.

(also, I’m sorry if this is very rambly and confusing and doesn’t make a lot of sense; i didn’t really proof-read it or anything and, honestly, tomo himself…doesn’t make much sense, i guess? he’s supposed to be kind of a contradictory character so, if this is confusing, that’s probably about right ASDFGHJHGFD)