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contact-guy · 8 months

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lol THIS ENDED UP BEING SO LONG but it's such a cute story opening that I had to draw Watson roasting Holmes's messiness for the newspaper and Holmes skillfully maneuvering his way out of having to do chores. It's all canon, even the indoor sharpshooting, except for the bit about the cold bath.

canon text under the cut:

An anomaly which often struck me in the character of my friend Sherlock Holmes was that, although in his methods of thought he was the neatest and most methodical of mankind, and although also he affected a certain quiet primness of dress, he was none the less in his personal habits one of the most untidy men that ever drove a fellow-lodger to distraction. Not that I am in the least conventional in that respect myself. The rough-and-tumble work in Afghanistan, coming on the top of a natural Bohemianism of disposition, has made me rather more lax than befits a medical man. But with me there is a limit, and when I find a man who keeps his cigars in the coal-scuttle, his tobacco in the toe end of a Persian slipper, and his unanswered correspondence transfixed by a jack-knife into the very centre of his wooden mantelpiece, then I begin to give myself virtuous airs. I have always held, too, that pistol practice should be distinctly an open-air pastime; and when Holmes, in one of his queer humors, would sit in an arm-chair with his hair-trigger and a hundred Boxer cartridges, and proceed to adorn the opposite wall with a patriotic V. R. done in bullet-pocks, I felt strongly that neither the atmosphere nor the appearance of our room was improved by it.

Our chambers were always full of chemicals and of criminal relics which had a way of wandering into unlikely positions, and of turning up in the butter-dish or in even less desirable places. But his papers were my great crux. He had a horror of destroying documents, especially those which were connected with his past cases, and yet it was only once in every year or two that he would muster energy to docket and arrange them; for, as I have mentioned somewhere in these incoherent memoirs, the outbursts of passionate energy when he performed the remarkable feats with which his name is associated were followed by reactions of lethargy during which he would lie about with his violin and his books, hardly moving save from the sofa to the table. Thus month after month his papers accumulated, until every corner of the room was stacked with bundles of manuscript which were on no account to be burned, and which could not be put away save by their owner. One winter’s night, as we sat together by the fire, I ventured to suggest to him that, as he had finished pasting extracts into his common-place book, he might employ the next two hours in making our room a little more habitable. He could not deny the justice of my request, so with a rather rueful face he went off to his bedroom, from which he returned presently pulling a large tin box behind him. This he placed in the middle of the floor and, squatting down upon a stool in front of it, he threw back the lid. I could see that it was already a third full of bundles of paper tied up with red tape into separate packages.

“There are cases enough here, Watson,” said he, looking at me with mischievous eyes. “I think that if you knew all that I had in this box you would ask me to pull some out instead of putting others in.”

“These are the records of your early work, then?” I asked. “I have often wished that I had notes of those cases.”

“Yes, my boy, these were all done prematurely before my biographer had come to glorify me.” He lifted bundle after bundle in a tender, caressing sort of way. “They are not all successes, Watson,” said he. “But there are some pretty little problems among them. Here’s the record of the Tarleton murders, and the case of Vamberry, the wine merchant, and the adventure of the old Russian woman, and the singular affair of the aluminium crutch, as well as a full account of Ricoletti of the club-foot, and his abominable wife. And here—ah, now, this really is something a little recherchè.”

He dived his arm down to the bottom of the chest, and brought up a small wooden box with a sliding lid, such as children’s toys are kept in. From within he produced a crumpled piece of paper, and old-fashioned brass key, a peg of wood with a ball of string attached to it, and three rusty old disks of metal.

“Well, my boy, what do you make of this lot?” he asked, smiling at my expression.

“It is a curious collection.”

“Very curious, and the story that hangs round it will strike you as being more curious still.”

“These relics have a history then?”

“So much so that they are history.”

“What do you mean by that?”

Sherlock Holmes picked them up one by one, and laid them along the edge of the table. Then he reseated himself in his chair and looked them over with a gleam of satisfaction in his eyes.

“These,” said he, “are all that I have left to remind me of the adventure of the Musgrave Ritual.”

I had heard him mention the case more than once, though I had never been able to gather the details. “I should be so glad,” said I, “if you would give me an account of it.”

“And leave the litter as it is?” he cried, mischievously. “Your tidiness won’t bear much strain after all, Watson. But I should be glad that you should add this case to your annals, for there are points in it which make it quite unique in the criminal records of this or, I believe, of any other country. A collection of my trifling achievements would certainly be incomplete which contained no account of this very singular business.

-The Memories of Sherlock Holmes: The Musgrave Ritual

#they are so married #also watson describing himself as bohemian #i know what you are #sherlock holmes #acd holmes #acd canon #john watson #my art #musgrave ritual

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gothwineaunts · 3 months

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Wow, hello!

So, I was actually feeling pretty motivated to write this post yesterday. But things have gotten exponentially worse, and I admit the pressure is getting to me. There seem to be a ton of expectations surrounding what I should be saying here, in order to… I guess, absolve myself? As if there’s a checklist people want me to go through to perform the “perfect” creator apology. But, I don’t see the point. I care a lot about this community and I think you deserve something a lot more sincere than some hollow chat-gpt apology. I understand that that’s foolish, on my part. Things are done that way so often because they work. But what you’ll find throughout this post, is that I’m kind of an idiot about some things. I’m stubborn and hard-headed and a little bit pretentious. And so, what I’m planning to do here is to simply tell you the truth about what happened. No cherry picking. All my mistakes, but also the context that goes with them. And at the end, my formal apology. This is a long and winding tale with a lot of characters. I’m going to be sharing some usernames as we go, in the interest of clarity and transparency. You’ll understand why with the context. But please do not seek these people out. Don’t pick fights with them. It will only make everything worse, for all involved.

Cool? Cool. But first I need to address the elephant in the room. This will probably seem like irrelevant drama at first, but this is the nuance and background that I wasn’t adequately able to articulate the night before last. In more ways than one, this is a story told in twos. The first set of twos is you, the readers. Who you are, and what you’re hoping to find out in this post.

1. The overwhelming majority of you, are earnestly wanting to understand what has happened in the Nevermore Discord. You are concerned that I am not who you hoped I was. You are disappointed, and I understand why. To you, I am so sorry. I want to say that things are not as bad as they seem, but that is not for me to decide. You will need to draw your own conclusions from the words I write. And I understand, whatever you choose to do next.

2. And there is a small, but incredibly vocal minority of people who are absolutely living for this. They are spreading complete fabrications with no screenshots to speak of. Horrible, horrible accusations. People who are more excited about watching a dumpsterfire than they are about the series that brought them here in the first place. I’m not going to attempt to cater to those people in this post. Because nothing will ever be good enough. Everything that can be taken in bad faith will be taken in bad faith. It would be pointless. But you’ll see them in the comments and reblogs. This is a known group to not only myself, but many others. I will share some of their names in a later section so you know who to watch for. They will make a lot of noise around this post because they’ve been trying to make something like this happen for actual years. And now that I had a genuinely concerning response that good people reasonably want me to explain, they’re lunging at the chance to throw absolutely anything at the wall. It’s parasocial levels of hatred. This is some deep and horrible lore.

The next set of twos is how two things can be true at the same time. And that is exactly what is going on here, in this situation. Let me be really clear, because I don’t want either truth to be lost in my explanation as they are intrinsically linked to one another.

1. I did a downright terrible job explaining myself in the Discord when people started asking about crimson. I can give you all kinds of contributing factors for this, and I might later. But none of them really matter. It was incredibly careless of me to use “egging them on” and “cried wolf” to describe what I understood. At the time I was really laser-focused on expressing what happened as simply and quickly as possible because the channel replies were paused and I felt like everyone was just waiting for me to be finished with my message. But after stepping back, I immediately understood how badly I messed up, because of course these idioms are routinely weaponized against survivors of SA and CSA. That is not how I intended to use them. It was an unfortunate case of one thing looking and sounding like another thing. Incredibly ham-fisted and irresponsible on my part. To the survivors who read my words and felt that it echoed their past experiences, I’m heartbroken that I did that to you. That lapse of judgement was a betrayal to both you and me. I don’t know where my head went, and I’m just blown away by my own lack of awareness in that message. So for that I am and will continue to be sorry.

2. The second thing that can be true is that, while you are all absolutely owed an explanation and an apology, there are also some people amongst you who are using this fuck-up on my part as a springboard to take me down. These people have been trying to get a call out post to pop off about me for at least a year, and they have been very quick to jump into the reblogs and comments about this very serious topic with complete lies and slander. Just, anything that might stick to the wall. We’ll address this later on as well. But please understand that me discussing the harassment I’ve faced from these groups is not at the expense of me also owning up to my faults and taking the proper accountability.

And the last set of twos is one I’ve alluded to in the first sets, concerning a pair of toxic side-servers that ran adjacent to the main Nevermore Discord. Completely unofficial cliques. And invisible to myself and Flynn and our mod team. We were eventually made aware that both of them were breaking laws and Discord ToS in ways that leaked into our server and affected our members negatively. As such, both groups were mass-banned. And the cliques are the ones running a majority of the discourse you’ve been seeing here, because while they are formally banned from the discord, we have absolutely no say in their participation on Tumblr. Now, keep in mind. Both of these groups were uncovered after crimson was banned the first time. That’s important later.

Clique #1

My understanding of the first group is that it started as a gaming server for people who met one another through the Nevermore Discord. I don’t know when or why it started being used to talk shit about other readers, but I do know that it got really vicious. And it was sort of an open secret for long before I knew anything about it. I found out after that there were a lot of people passively in this server, just observing. It was that much of a spectacle.

Now, this clique had been pretty rude. Like they’d try to start fights with me in the discord fairly often, both in the Patreon and free spaces. But it wasn’t grounds for dismissal until we found out about the baiting and the alts. These people had a lot of grievances, but one really united them: they were extremely upset about anyone who would ship Prospero.

Many of you know, that Prospero is an aromantic character, canonically. And you may notice that canonically, he has no apparent love interest. But this group wanted to make sure other readers were not thinking about Prospero in relationships, or creating ship content of him for any reason on the grounds that it would be considered a “proship.” I told them (and I stand on this) that it’s not up to them to police the thoughts of other readers, and that aromantic people have widely varying lifestyles and experiences and do not need to be infantilized that way.

This turned out to be a bad move on my part, because it brought with it an onslaught of alt accounts coming in and "innocently" kicking up what I now refer to as the “prosp-aro” debate every time they had the chance. But because of this and what a common occurrence it was, we started being able to pick out the alts. And we realized that this group of people had been using the same alt accounts with different names to antagonize certain readers they’d decided they hated, and it had gone on for a long time.

I did a lot of investigative work in dms trying to figure out who all was responsible for the harassment, and settled on a list that was vetted by three different people who knew about the clique. And all three of these people insisted that, while Laci was in the group and in a lot of the screencaps saying pretty dubious things, that she was good people. So I believe them, and let Laci stay. This group was banned on April 3, 2024, and contained the following users:

- lilnatx (nat)

- suitino (sushi)

- jj_the_jet_plane (layden)

- rivsticks (jasper)

- atheimee (athena)

- jinxs.com (lanx/jinx)

- smartestginger (nico)

- thereallandofbugs (bugs)

- rosienemui (rosie)

These were the names they were known by on the Discord. I don’t have the Tumblr accounts tied to these identities. But some might be the same. I know a lot of them are here. It should be noted that jinx was later unbanned due to pressure from Laci that they had been banned in error, after the fact. We allowed them back in after a few days as a favor to Laci since the situation seemed like it was very stressful for her. This would prove to be yet another a mistake since, as you have probably seen in the screenshots from the night before last, jinx rapidly escalated things to another level while I was trying to figure out how to handle crimson’s unbanning and subsequent rebanning an hour later.

Clique #2

Phew. Still with me? Great. The second group we needed to ban was one that actually started long before the first one, but was a lot smaller and comparatively more subtle. This group, to my knowledge, cropped up around the time that ep. 39 of Nevermore was released. (11/10/22) We knew about this group but not who all was involved in it or in what capacity for a very long time. They would consistently post things on Tumblr trying to start a scandal. I recall posts alleging that we were racists, or SA apologists, or that we were sending death threats to a random confessions account.

To be clear, these allegations are completely false. This clique will say anything. Like a recent post one of them put up during this discourse said that hiwi (our mod) is both a r*pe apologist and a childhood friend of mine and that’s the only reason she hasn’t been banned. Hiwi is absolutely nothing of the sort, and I have never met her in person. In fact, she lives on the other side of the continent.

Now, this clique is a little different than the first. The first, to my knowledge, was a group of friends that got toxic and felt morally superior about their opinions and it all kind of got away from them. The vibe was a little catty, I guess. Gossipy. But this clique has more of a stalker vibe. It’s dark.

They’ve had it out specifically for me for as long as I can remember. And some of them (at least one, at all times) would subscribe to our patreon, both to sow dissent in our stream chats and also to leak literally all the content back to the others, including me talking about random shit like what I ate for lunch. Just so they could like. Laugh about it, I guess. I’ll never understand why. [Editing note: because in the final moments of proofreading this post I see one of these people has made some master post about what a terrible person I am? A lot of those screenshots are from Patreon channels and the guy STILL has them laying around. I’m telling you, they stole everything that wasn’t nailed down.]

The biggest grievance this clique had is that any ship with Montresor is an “SA fetish ship” because to them he is a r*pist because of how he made Ada bark (?) and since Montrada is canon, that means we are supporters of SA, and that Morella and Ada should be together instead. Listen, I’ll level with you, this one baffles me. I don’t even know how to begin to untangle it. But if you see a lot of vitriol about us being SA apologists from these users, it’s because Montresor exists. That’s pretty much it.

You can ask them for screencaps ‘til you’re blue in the face, but unless they build fake ones from the ground up, they’re never going to be able to back up their wild claims. Simply put, they’re provocateurs, and they use the scariest words they can to whip people up into a panic.

We became aware that they were leaking patreon content when one of them was caught publicly referring to things that were being said behind a paywall when we knew they weren’t a patron. It unraveled from there. People who knew about their antics shared screenshots and information with us, and we finally realized the scope of the clique’s hatred and banned whoever was even left in the Nevermore Discord. But they continue to be active in the community on tumblr. You’ll have seen them around. They were banned on 5/11/2024 and the names involved are as follows (again, a mishmash of discord names, nicknames, and tumblr accounts):

- percy (gremlinguy145 on tumblr)

- queenmorningrose (annabel-lee-nevermore on tumblr)

- spoopycactus630 (spoopy-nevermore-dump on tumblr)

- grif/horrorshow (conscience-grim on tumblr)

- unreqiknizd

- duke aralt (westofthestyx)

- eden (sapphic-mad-scientist on tumblr)

- priemium

Again I’d like to reiterate. The point in sharing these names is not to incite any sort of response against these people. But they are folding themselves into the fray and doing what they can to whip everyone else up into a mob, and all as we’re talking about a discord server that they have been banned from for months now. The above context is also relevant for the next section, which is why you’re all here in the first place.

What the hell happened with Crimson?

I hope it’s not confusing, but now we’re going back to 3/14/2024, before anything I just outlined above had come to light. The cliques were quietly doing their harassment and baiting and raiding and whatever-the-hell behind the scenes, but Flynn and I and the mods were blissfully unaware of how bad it was getting. We get a dm from Laci. The same Laci who was part of Clique #1 and was rescued from being banned with the others by her friends outside the group. Jinx’s friend, who managed to get them unbanned as well. You have probably seen these screencaps already, but I will show them to you again, just in case.

Sufficed to say, we were immediately alarmed by the information Laci shared in her DM with us. Now, I want to be very clear about this because it’s been lost in the game of telephone. What Laci outlines in her dm to me, were the events that occurred between six users (including crimson) in a group chat with minors. Everyone in the evidence was censored (pfp and username), as was the image that crimson showed them. When I asked, Laci agreed to give me one name of one of the minors in the dm. I’ll call them Alice, but that is not their real name. I asked if I could talk to Alice about this, I was told by Laci, no. Alice doesn’t want to talk. I was like, ok I understand, that’s fine.

I hope it makes sense when I say that it is not feasible for us to moderate the things that happen in peoples’ dms. As you’ve seen above, the mod team doesn’t usually get involved with drama unless whatever is happening is directly affecting the experience people are having in the Nevermore Discord because that is all we can see and the only place we have any real authority. But this was obviously a special case. We banned crimson very quickly without asking any follow-up questions, because of course we did!? I’ve seen people say I’m harboring or defending crimson or that we’re buddies but we barely spoke, ever. They were a stranger to me then, and they still are now.

But something about the entire situation wasn’t adding up to me. And I want to be clear that none of this is in any way meant to discredit csa survivors, I’m really just trying to put you in my headspace and walk you through my thought process. But I found that the evidence was just, sort of strange. Laci started her dm explaining that she found this information out because she and a group of people were investigating crimson for ‘art tracing’ which felt, to me, like a bizarre non-sequitur and totally irrelevant next to the evidence of them showing nsfw content to minors. Petty, kind of. Like I wanted to ask – why were you doing that in the first place? People trace Flynn’s art all the time. As long as they’re not selling it, it’s not a big deal.

Most of the crops are from a PC but the windows are oddly small, and only contain a couple messages at a time. Some have American formatted time and some have European formatted time. So different users, I assume? The names were blotted out, which I would understand for a public call-out but not for a private report to the mod team. Laci was not in this gc at any point in time, despite being the one to report.

One of the users was apparently 12, to which I ask – what is a 12-year-old doing on discord at all? If we knew who they were, we would have reported the account. Discord is not a safe place for a child that age, let alone a small group chat. Along with 18-year-old Crimson, there was also a 22- and 17-year-old in the chat, which left us wondering – why hadn’t anything been done?

I had no evidence that anyone ever told crimson they were minors, and I feel if it existed, it would have been in the screencap dump (I find that sometimes a noticeable lack of key evidence is evidence in itself). No one seems to have tried to kick crimson from the group chat or report their account for inappropriate behavior. Then there’s the fact that this is a group chat. Anyone in it can leave at any time.

Then I came across the messages that started this whole gc, and it only got stranger when I realized Alice started it, called it “Women Lovers” and created it “so we can talk about Nevermore women without having to filter ourselves” after they all reacted to a sultry but sfw drawing of Lenore that crimson had made and posted in our hideout channel. And all that made me wonder why Alice didn’t just kick crimson, if she had admin power? Do you see what I mean? It’s just all a bit head tilty. I noticed it at the time. But I said nothing. Because it didn’t matter. Crimson, no matter what happened, exposed minors to nsfw content. And that’s on them. And I’ve never in my life defended it. We banned them.

Crimson was beside herself. She came off humiliated and apologetic, and insisted she had no idea and begged to come back to a community she said she loved. But we told her no, there’s no coming back from doing what she did.

Time passes and we uncover Clique #1. And while we figured out who the main players were, I dmed with Laci. And it was Laci herself, who tells me that it was Alice who made most of Clique #1’s alt accounts, and that it was Alice who used those alt accounts to harass people and try to get them to start fights or say something that might get them in trouble.

And I’ll be honest with you, the mod team still didn’t think much of it, outside of – we need to figure out which accounts were the alts. So we did. We had several confirmed to us. And those accounts were zeroing in on certain users that the clique didn’t like. At the time we noticed two notable targets in addition to the mod team. I won’t name them, it’s their business if they want to weigh in about all that. But in screencaps, they’ll be labeled Target #1 and Target #2.

More time passes and Clique #2 comes to light. As you can imagine, by now we’re feeling disillusioned, and very tired of trying to moderate shit we cannot see for ourselves. And that’s when crimson comes back to very hesitantly ask if they might be able to appeal their ban. It wasn’t until then that it occurred to us that Laci (on behalf of Alice) was the only one who ever reported anything to us about Crimson.

And I want to just say that again. Because it’s gotten lost too. Laci was the only person who ever reported Crimson. There was not one single other person who ever sent a modmail or a dm or even a ping to anybody on the mod team. I have since (only yesterday) seen some screencaps that are rather skin crawly, but even those happened in yet another side server. Thinking on this, the mods went back through the known alt accounts Alice had used. And they found that Alice harassed crimson both on her main account and on the same alt accounts that she used to harass the other targets.

By now, Alice is banned for completely unrelated reasons. Not because of what happened with Crimson. I’ve seen that one flying around and I’m sorry it’s just not true. It’s because she was relentlessly harassing and cyberbullying people in the discord we moderate. Laci is still there, but had lost my trust, for being involved with both the drama I’ve mentioned here and more that I don’t care to dip into. It’s ultimately irrelevant. But what am I going to say to Laci? “Hey, did you and Alice, by any chance, coordinate some kind of bizarre trap together to get crimson banned from the discord because you suspected them of tracing their art?” And once again. Because I want to keep this top of mind. Even if that were the case, it doesn’t make what Crimson did alright, and it never will. Sharing nsfw content in front of minors is a disgusting thing to do. And one that we frankly are really irritating about in the moderation of the discord. I’ve heard people say that we over-moderate when it comes to art.

But all this stuff about a “known pedophile?” If it was known, then we were on the outs. And to even this minute right now, I don’t have any conclusive evidence that Crimson is a pedophile. The evidence I have is that Crimson shared nsfw with a group of people whose ages they did not know. Which is fucking gross. It’s an adult’s responsibility to make sure they’re speaking with other adults before posting things of that nature.

But at the time, the way I read the situation is that Crimson had only just stopped being a minor and was egregiously negligent in how they were speaking and what they were posting, likely in part due to them not being aware enough of their adult responsibilities. And hey. I know some of you are chomping at the bit. You can call me naïve for this! This is what I’m referring to when I say that I can be a real idiot. But I feel everyone has been very quick to call Crimson a pedophile. I know this is pedantic to say, but the prerequisite for being a pedophile is “being attracted to minors.” Based on the information I had at my fingertips, I did not think Crimson sought out these minors. Crimson was invited to the gc, they did not ask to join.

I have seen discussions about all the things crimson did to their victims since we unbanned them but I have not seen screencaps to support that whole ‘marriage proposal’ thing, and again I think it sounds a bit odd coming as a pedophilia accusation from someone only one year younger than crimson.

But you know what? I don’t know crimson. Maybe we were wrong. But even if we weren’t, I realize in hindsight that it was a stupid decision for the mod team to give them a second chance. We didn’t have anyone to consult about what happened because all the other people in the chat had been obscured from me and I didn’t feel like Laci would give me a straight answer.

The mods and I felt at the time that crimson, like the other targets of Clique #1, had been singled out and that they deserved another very closely monitored chance in the discord, which they said they still missed dearly. I’m a bleeding heart, alright? A total sap. I know that. But being honest with you, I felt bad. It feels horrible to be singled out and targeted. And I was probably too close to that feeling at the time, seeing as we were on the tail end of finding out the Clique #2 had pursued me so relentlessly for so long.

So for my part, I’m sorry. I made a rash decision that was influenced by some very personal circumstances. And we should have left it alone. Based on the evidence I've seen, I don’t know if I personally would call crimson a pedophile and certainly I wouldn't call them a known pedophile, but I am regretful that we risked it either way.

When I was trying to explain all of this in the west common room channel two nights back, things had boiled over and were already getting out of hand very quickly. A lot of brand new accounts were joining the discord with one word intros just to start conflicts in the public server with crimson. Alts. Either from banned users or burner accounts. And I got panicky. One of the mods paused the messages in west common room but no one besides me was available to handle the situation at that moment. Reacts about being silenced were pouring in and I felt pressured to quickly take over and try to explain.

In my rush, I stupidly didn’t backread more than a quick skim. And I ate shit, y’all. You saw. One thing I want to state outright. I’m talking a lot about my thoughts and my feelings and it’s because I don’t wanna speak for Flynn or for the mods. But I didn’t make this decision alone. In fact, I was dragging my feet and being really lazy about okaying the whole thing. Just because I was busy, not because I was fretting over it or anything. But I had to be pinged and then literally tapped on the shoulder by Flynn, asking me to respond to mod chat when this was being discussed earlier that day. That doesn’t change the fact that I was part of the decision. I agreed to unban crimson. Foolishly. I understand that, now.

I hope that now it makes some more sense though, how it came to happen. I never meant to hurt anyone. My own past and present feelings got in the way, and I own that. But in the moment, my personal intention was to give crimson a second chance because I felt that they’d been targeted by Clique #1. Not to ignore anyone’s concerns or make them feel unsafe, even if those were the ultimate outcome.

So, completely underprepared and defensive, I jumped into west common room and I just. Blew it. Totally fucking blew it. I knew it instantly but it’s hard to stay logical when people are telling you you’re vile and evil and they’re sick that they ever thought you were a good person and that they’ll never see you the same way again. My mind went blank and I don’t really remember much of what happened next. But I said what I said, and I should have done better.

I wish there was a word bigger than sorry. I’m beside myself. I know there was probably a way to make everyone happy. To make everything okay. But I wasn't clever enough to figure it out in the moment, and it eats at me. So it’s like I’m sorry for my poor judgment and my terrible choice of words, but there’s another layer where I’m also sorry for not matching how wonderful this community is with how wonderful (or well, unwonderful) I was two nights ago. I promise I am going to work harder to be better for you all.

Again, to every victim of SA and CSA, my heart is with you, more personally than you might realize. I don’t think I could have handled my explanation in a worse way. And I’m so so sorry.

Moving forward, I am also going to take an enormous step back from moderating and participating in the discord in general. I feel like a lot of this happened because I was still treating it like it belonged to a smaller fandom, like Shiloh’s. But realistically, I don’t have time to both moderate and make the series itself, and I really dragged my feet on being honest with myself about that. And for that too, I apologize. We’re going to get more mods, they’re going to have full control of the moderation, and Flynn and I are going to do what we love more than anything in the world and just make Nevermore.

I understand if you won’t be there for it. This is not a flattering picture I’ve painted for you. And you’d be well within your rights, to decide not to give us another chance. But it's been a pleasure to lurk here in this wildly talented corner of tumblr. And I’ll never forget it. <3 Yours truly, -Kit Trace

#red post #nevermore webtoon #cw pedophila mention #cw sa mention

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pomefioredove · 3 months

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HII i saw your event! reading the prompts list gave me too many ideas to send but OKAY maybe you can pick whichever stands out to you the most:

"you're a bad idea, but i like bad ideas" with jamil

or any of the following lines with vil:

"your lips would look so much better on mine" / "smiling is the second best thing you can do with your lips" (sorry you've written so many vil requests already but i just CANNOT get enough of this man)

TYSM in advance!

since we have another jamil fic coming soon, I will do another vil. for the vil fans

summary: "smiling is the second best thing you can do with your lips." type of post: short fic characters: vil additional info: romantic, reader is gender neutral, reader is yuu, established relationship, fluffy, vil being a teeny bit protective

"You should smile more; it looks good on you,"

The first year's comment sits in the back of your mind all day.

It had started off as an innocent group photo with your class, and ended with a Octavinelle student you hadn't really spoken to dropping that and walking off.

You assumed it was supposed to be a compliment, but something about it didn't sit well with you.

"Do you think I don't smile enough?" you ask, carefully studying your reflection in the vanity.

The dark room is lit by various sweet-smelling candles, warm light sending flickering shadows across your face.

"Hm?" Vil hums, putting out the match he'd been meticulously lighting each with.

The scene is perfectly romantic. Your boyfriend doesn't often get whole nights off, but he takes full advantage of the ones he does.

"Of course you smile enough," he says, his eyes turning to you. "...Why?"

"No reason," you lie, though you know it's useless. He can read you like the back of his hand by now.

Vil walks over to the vanity and pulls you to your feet. "You're a terrible liar," he brings you to the bed and pats the spot next to him for you to sit. "Now..."

"Tell me what's wrong, hm? I won't be able enjoy myself if I know something is bothering you."

Ugh. You can't tell if you hate or love how he can see right through you.

"It's nothing. I'm over it, anyway,"

He raises an eyebrow, almost amused by your deflection. "So someone said something, hm? About your smile?"

You're not getting out of this one any time soon. You sigh.

"Nothing... bad, per se. Someone just... tastefully implied I don't smile as much as they think I should,"

Somehow, that seems to bother him. His smile drops, and he goes quiet for a few seconds too long.

"And why is it any of their concern?" Vil asks.

"...Tsk. You would assume the other housewardens would teach their students some manners..."

You observe his expression carefully, watching it go from nonchalance to unease, to annoyance, and then back to neutral with a little sigh.

"...And they upset you?"

"Not really. I was just a little self conscious about it,"

"Don't be," Vil says, cupping your face in his hands. "You don't owe them any of your attention. Besides..."

A faint smirk graces his lips, and he draws you a little closer.

"Smiling is the second best thing you can do with your lips,"

#twisted wonderland x reader #twst x reader #vil schoenheit x reader #queued

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meanbossart · 7 months

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Oh boy, VaM is kind of a trial and error experience LOL I couldn't really show you how to use the interface and stuff without a whole video or something, but it's not THAT difficult to get a hang of if you just give yourself a day or two to play around, not to mention the number of tutorials you find out there. Luckily, if you only want to use it as a reference software that makes the process far easier (to this day I have no idea how to animate on that thing, since that's not what I use it for)

As for how I use it, it's pretty self explanatory - if there's a complicated pose I want to draw but I'm either having trouble with it, or just want to double-check angles/anatomy, I will use it as a resource! I use for most of my "proper" pieces (y'know, the nicer looking ones) and every once in a while for my silly comics if I'm having trouble with a pose.

Lets use this drawing for example (the character on top of DU drow belongs to @namespara )

I don't draw a lot of mud-wrestling (shocking, I know) but I had an idea of the kind of pose I wanted them to be in. So the very first thing I did was make a rough sketch of what I was envisioning:

I often do a rough sketch first, even If I know I'm going to be pulling the program up because A) It's less tedious than adjusting the models over and over again until I pick a pose and B) because sometimes I'll decide I don't need the reference, after all, and so that's 30 minutes I'll have spared myself of playing around on the software.

Now, this is a pretty complicated pose! It's in a weird angle and the bodies are making contact in ways I'm not used to depicting, so I did choose to whip out VaM for this one. I went into the program and after some messing around, I flopped my little dolls together like this:

Now something really cool about VaM is that you can completely customize your models, and if you have the patience, I would definitely encourage you to do so! Obviously, you don't have to make picture perfect replicas of every single character you have, but as you can see here I have made a DU drow "decoy" to help me better understand some of his features when I draw him: he has a strong brow, a short nose, a square jawline - these are all going to look a very specific way from certain angles, and I might not always be sure of how to draw it right! So it's useful to have models that bear SOME semblance to the character so you can better understand how different viewpoints will affect their bone structure and mass.

Also thank fucking god for the elf-ear slider. Figuring out how to draw those shits from certain angles was a huge pain in the ass when I started drawing DnD races.

So, with the reference in hand, I go over the sketch again:

Now you may notice that I don't stick to the reference 100%. There's three reasons for this:

posing on VaM is tedious as hell. You can get something incredibly natural looking and picture-perfect to reference from if you wish, but it's going to take you hours to do. So, for the most part I just slap guys together until the results are "close enough" and use that.

In my opinion, you should always aim to ENHANCE your reference material, not replicate it exactly!

While VaM is a PRETTY DANG GOOD source of anatomical reference, it isn't perfect, I often supplement it with further reference from real life resources or make tweaks based on my own knowledge where I catch it falling short (and, antithetical to what I just said, I sometimes fuck the anatomy up further on purpose if I think it looks better that way LOL it's all jazz baby).

Then lines, color, yada yada. I don't have a tutorial on that and I don't think I could make one, because my process is chaotic as hell, but I do at times use Virt-a-mate as loose reference for lighting too when coloring - waaaaayyyy less so however, because that process is even more tedious and I feel like I often get better results by just winging it. It is a feature of the program though, and I'm sure it would be helpful for someone who has a difficult time visualizing lights and shadows. I only started using this program a few months ago, so I happened to already have a pretty good understanding of that kind of thing and just don't personally feel like I get much out of that particular mechanic.

Here's a few other examples of pieces that I made reference for (WARNING: Suggestive)

Now, for the question many of you may want to ask:

"Can I trace this junk?"

And to that, I say: Buddy, you can do whatever the hell you want with the reference material you created.

However,

If your goal is to learn and improve your art, and to recreate realistic proportions and anatomy from memory, tracing won't help you.

Developing your own style, your muscle memory, and personal technique will all be hindered by choosing to trace instead of drawing from observation, so I would encourage against it. Hell - even when tracing is employed as a technique, it's usually by high-skill realism & concept artists who are looking to either cut some corners, save time, or just double-check their own proportions in order to improve further - if you try tracing as a beginner, you will most definitely find the result to still look stiff and "off".

So trust me, there is so much more to be gained from drawing from observation. Make note of tangents, compare proportions, use all the elements of the picture to dictate where and how things should go - it will be a far more rewarding experience.

Hopefully this has been helpful! VaM is a really cheap program (you get it on the guys' patreon for I think 8 dollars, just google it!) and it's definitely been worth my money as an artist since I found it. Learning to use it can be a little intimidating at first glance, but as I said above you only really need a day plus one or two tutorials to get a hang of the interface.

A fair warning though, IT IS A SOFTWARE MADE FOR VIRTUAL SEX/ADULT ANIMATION So when looking it up expect to see a some spicy content.

#Funfact THIS is the post that got me flagged last time so i'm really tempting fate right now LOL #ask #art #tutorial #resource

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genericpuff · 2 months

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I'm not sure if anyone else has made this connection, but I've never seen it mentioned before. I think, similar to Lolita, RS was also inspired by the art of Trevor Brown. His work has a lot of young girls and medical fetish themes (to put it lightly) in a style reminiscent of RS's earlier stuff.

sigh

CW: medical fetish art often depicting children / child-like characters and medical equipment such as needles, gas masks, etc. seriously don't hit the jump if medical equipment or young girls in nurse's outfits or with open wounds makes you squeamish, I will not blame you for turning around now LOL

OP I was about to just... dismiss this. Wave it away as a funny coincidence that is indeed funny, but doesn't have any real evidence to back it up. I had a post typed up in response already declaring this, after which posting I was gonna move on with my day, work on Rekindled, play some XIV.

Because sure, there are a lot of resemblances between Trevor Brown's work and Rachel's old art, but nothing that can't be dismissed in good faith as a simple coincidence of being within the same genre of fetish art (first three are Trevor's, last three are Rachel's).

But then that little voice in the back of my head whispered in my ear, "Puff. You should double check. Just to be sure. Do your due diligence." And I once again found myself on the precipice of the rabbithole that somehow becomes deeper every time I jump. This time though, I knew it couldn't be that bad, I mean, I had enough confidence in knowing that there's no fucking way she listed Trevor Brown as one of her favorite artists-

God fucking dammit. How in the world did I miss this? I mean, I suppose I missed it simply because I'm not familiar with the works of Trevor Brown, but you can bet your ass I became familiar with it in my digging. Yeah, this guy is a supreme creep.

Again, I am not going to accuse Rachel of being a pedophile because that's just not an accusation that should be thrown around without undeniable evidence. What I will say, which has largely remained the same - though even more confidently now than ever before - is that she's clearly someone who took a lot of inspiration and influence from very problematic artists when she was young (I'm talking in her late teens which has me wondering if she started making medical fetish art when she was still a minor-) and then, BEST guess, she started to drop the medical fetish stuff around the time she went to college (which was also the same time she dropped The Doctor Pepper Show, which later got reworked into The Doctor Foxglove Show which was a lot less reminiscent of her medical fetish style from the early 2000's, but still had some of her usual preferences at play) and that's led up to today where she's drawing comics that look like they're for kids but tackle heavy adult subject matter in the worst way possible that straight up perpetuates grooming.

No matter how much experience I have with this already, no matter how much I think I've already seen, I always find more, and this time was no different. In fact - though unrelated to the original topic - thanks to this one fucking ask, I even found the full Mads Mikkelson comic with the completed caption. You know, that one.

And apparently Mads Mikkelson did very much replace her crush on Jeremy Irons.

Who's Jeremy Irons?

Oh yeah.

I just... y'all I can't. This is un-fucking-real. I'm gonna go take a shower, I need to scrub myself off of this 😭

#ask me anything #ama #anon ama #anon ask me anything #lore olympus critical #anti lore olympus #lo critical #the timeline of rachel's art career and how it came to be in the form that it exists now is starting to become a lot more clear #my eyes are burning #i've mentioned before that i don't like scrutinizing rachel over her past stuff because being a cringy teen on the internet isn't a crime #but there really is something to be said about how much of her past influences have bled into LO #as well as her outlook on the heavier topics that she's tried to “tackle” through LO and failed miserably at

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dlsau · 3 months

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Hi, we’re the Drawn Like Shit AU, and we’re drawn like shit. Ask us anything.

Hey y'all, I'm hopping on the ask blog train with these totally great not at all knock off characters. They're here of their own free will. You should ask them questions or smth idk

(Real talk. I'm not super experienced when it comes to art, and I'm such a perfectionist that it's very hard for me to make things knowing the end product won't be totally amazing. But that's how you get better! This is my dilemma.

So, this blog is just a way for me to doodle and get used to drawing more often without putting so much pressure on myself. It doesn't have to turn out perfect if that's the bit!)

Rules:

Don't be a stinker. If ur rude to me I'm gonna block u.

If you wanna send me some drawing tips, whether it’s how you draw the characters or general info that you think would be helpful, feel free! Just not too many at once please, I get overwhelmed 🥺

Will add more as they become necessary.

Warnings:

They are going to swear at you. Sorry.

Will add more as they become necessary.

That's it lol go nuts

#tsams #sams #tsams au #sams au #sun and moon show #sun and moon show au #the sun and moon show #the sun and moon show au #I'm in the main tags for this post but after the first couple I'll leave #and then everything will be tagged with #dlsau #also if you recognize my 'art style' no u don't shut up

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breathlesswinds · 6 months

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(Devlog) What We Learned Making A Trans Dating Game

Hello, Amelia here, the writer for Breathless Winds. It's been 250,000+ words, countless revisions, and three years since this game entered development, and I wanted to talk about what I've learned leading up to release.

The concept for Breathless Winds was actually sort of a joke between friends. I was talking with Doris about how there should be a dating game where you play as a trans woman and your dating options revolve around certain ‘tropes’ we’d both seen in trans fiction-- the totally accepting cishet guy who falls in love with the trans heroine before she even knows she’s a woman, the cool trans woman who the heroine doesn’t know if she wants to date or wants to be, and so on.

Doris wound up suggesting we make this game ourselves. We both like visual novels and want to tell LGBT stories. Still half-jokingly and half-seriously, we started fleshing out what the romance options would be and coming up with a setting-- and soon, we were fully committed to making this game real.

I was a fan of visual novels but had only ever written prose. I knew which visual novels I liked and which scenes stood out, but I didn’t know why they did or how to make my own.

I read some great advice from visual novel developers, but a good amount of my knowledge came from just working on Breathless Winds. As our first project, this game has grown a lot with us and we’ve learned a lot while making it.

Learning How to Write Visual Novels

A bad habit I had to break out of was only using the ‘novel’ part of the game and not the ‘visual’ part. I would sometimes write “He smiled” or lines like that, and Doris informed me that we can convey this much more simply with a sprite change.

It sounds obvious in retrospect, but lines like that are often pretty invisible when you’re reading a non-visual novel. These lines change the sprite of the character inside your head (if that makes sense, haha). I realized that I’m so used to them being ‘invisible’ that I didn’t notice their absence in visual novels I liked, so I would accidentally include them while writing.

I was also writing these routes in a word processor, so I didn’t have the visual portion to reference, myself. I wound up making a lot of ‘tone’ notes like, “Lantana should be smug here” so that the meaning would carry when revising and implementing these into Ren’py.

So, while visual novels share a lot with prose, they’re an entirely different medium. On the subject of representing things visually, I’ve struggled trying to figure out how much can be visually represented and how much should be written.

Every asset in the game has to be drawn by Doris, so if I want the characters to go to a new location for a scene, I have to keep in mind that’s another background that Doris has to draw. If I want a new character to show up, that’s another sprite she has to draw. I don’t want to overload her, but if I’m trying to avoid this entirely, characters sometimes wind up standing in one room talking for ages without anything significant changing on-screen.

I’ve learned that it’s recommended for something to almost always be changing on-screen, though, so sometimes I just have to ask Doris to make a new asset for a certain scene. I still try to stick to locations/characters that already exist more often than not.

Every single thing in a visual novel is deliberate. Another thing I’ve had to learn that I never even considered before is how to write each line so it fits in the text box. It sounds obvious, but when I’m playing a visual novel, I don’t usually think about how each line has to be carefully constructed so it doesn’t need to be split up into two or more text boxes. In my mind, if a visual novel is well-created, there’s not much that breaks a reader’s immersion.

Planning & Outlining

The previous section might sound really weird to some people, so let me elaborate. I’m a lifelong ‘write by the seat of your pants’-er, so the biggest trial-and-error of creating Breathless Winds for me was planning out the game.

Initially, I created outlines for each of the four routes, and we agreed ahead of time on which CGs each route would have. That way, Doris could draw the necessary backgrounds and CGs while I was in the long process of drafting this game. My original outlines weren’t great. I know a lot of people have different experiences with writing, but for me personally, a story is always shaping itself in my mind. When I started making the outlines for Breathless Winds, I knew the concepts we wanted to convey, but I didn’t know what each route (and the game as a whole) was really about yet. This might sound weird and unprofessional, but sometimes, I don’t know what a story is about until I finish the first draft.

So while I was writing, I would look at my outlines and I would think, “this doesn’t actually make sense, he wouldn’t say that” or “this plot point would work better if moved to this other section” or “there’s a plot hole here I didn’t notice”. The story wound up changing a lot in this way as I learned what it’s really ‘about’.

And even after I finished the first draft, I’d get feedback from Doris and/or my editor and they would suggest fixes to problems that even I hadn’t noticed, and then I would revise the route some more, and later on I’d come back and need to redo part of the route to comply with something I wrote in a later route-- I haven’t really felt ‘finished’ with Breathless Winds at any point, and I think I’ll still feel this way after the game is released.

This means that sometimes, a background was created but would go unused because there was no space for the scene that would use it, or we’d need a new CG last-minute, or so on.

When I’m figuring things out as I go while writing a non-VN, the only person that I can adversely affect is my own self… so I’m eternally grateful for all of Doris’s patience with me on this matter. I think Breathless Winds has come out a much better game for all the re-plotting and revision.

I redid the outlines several times as I went. I think I’ve understood how to create outlines that personally work for me-- ‘living’ outlines that hit all the main points, but leave wiggle room for moments when a character does something unexpected, work the best for me.

Scope Creep

So, originally, each route was meant to be 40,000 words. “With four routes, that’s only 160,000 words!” I thought. “And some of my favorite visual novels are about that long, so I can write that much, too!” ← clueless

This is the most infamous mistake that new creators make, and I walked right into it. I should have known better since I’ve bitten off more than I can chew with past non-VN writing projects before, but I was starry-eyed and didn’t realize how much work it is to make a VN. Some of those favorite visual novels I referenced were made by much larger teams, writers whose full-time job was writing (I wrote all of these routes on the side while working at a day job).

If I could have done it again, I would have asked Doris to start out with a really short VN. But, I don’t regret making Breathless Winds at all. It’s brought Doris and I a lot closer, for one. Every time I thought I wanted to give up on this, Doris would motivate me to continue. Without the two of us both and our strong friendship, Breathless Winds wouldn’t exist, and I think that’s beautiful.

No matter what, we’re going to see it through to the end. (I hope people like it, though…)

Anyway, here I am talking about how much 40,000 words is. Each route now is about 60k to 70k words. The problem with having evolving outlines is that they can often evolve into double their original size.

We came up with the idea of the poachers really early in development, and then not addressing the poachers felt like a failing, but by that point it was too late to remove the poachers entirely… and so the game wound up a lot longer dealing with the poachers.

I think that if we had an editor sooner on in the game’s development, then we might have had someone to tell us, “do you really need all of this in the game? Does this plot point really need to be there? Will you be able to write all of this in a reasonable amount of time?”, haha. But Doris and I were really excited about the possibilities of this game when we started creating it, and without anyone to reel us back in, we wound up coming up with more and more things we wanted to put in the game.

Did you know there was going to be an island full of talking rats who say things like “the big cheese” and stuff all the time in Breathless Winds? Yeah.

The Core Design Philosophy of Breathless Winds

So, for anyone who’s read this far but doesn’t know yet-- the premise of Breathless Winds is that you play as a trans woman who doesn’t know she’s trans yet, and she finds love with one of four love interests as she discovers her gender identity.

In real life, it can be a lot messier for a person to date when discovering their gender identity. To put it briefly and mildly, a trans person’s life and sense of personal identity can rapidly change during a gender crisis and the early stages of transition.

However, we wanted to make this game a ‘wish-fulfillment’ type story-- a trans fantasy about acceptance, community, and love. During a gender crisis, it can be easy to feel as if one has lost touch with themselves and become isolated from others. A sincere wish shared by many trans people is to be accepted, loved, and even celebrated as their true gender, not just tolerated.

Since many trans people don’t get love and acceptance in real life, especially with the ongoing transphobic moral panic, we wanted to create a game that would bring this feeling of trans joy and celebration to trans audiences.

We also hope that cis players will still enjoy the story and characters, and maybe come away from the game with a new understanding about being transgender and other aspects of LGBT identity (although we never intended this game to be ‘educational’).

Making Characters that Celebrate Trans Identity

Although we went through several revisions, the core identities of each character stayed the same since the game was first ‘jokingly’ pitched. In another post, I discussed how each character is themed around a change in seasons. (I also wound up theming them around the four humors when I was initially concepting them-- I really wanted to avoid too much ‘overlap’ in the LI’s personalities, haha).

Ultimately, characters are created to serve a role. The LIs in Breathless Winds were designed to be love interests, of course-- characters who would appeal to the hypothetical trans femme audience. As mentioned earlier, we modeled them after other trans fiction tropes because these types of characters have a certain tried-and-true appeal, but this left plenty of flexibility to put our own spin on it.

A trans woman being loved as a woman by a cishet guy can feel like a high form of ‘passing’, ‘fitting in’ to the female gender role, and being validated by his orientation. He only likes women, and he likes you, so you’re undoubtedly a woman. As a cishet guy, he represents a sort of acceptance into a societal norm that trans women can desire to live to. (Lantana, as a cis lesbian, represents the sapphic counterpoint to this-- although there is of course a big gap between the ‘normalcy’ of a cishet man and a cis lesbian woman, and I don’t mean to say those two are equivalent.)

But not all trans women want to live to that (cis) societal norm. Rue and Valerian, as a trans woman and a trans man respectively, are the t4t options.

Rue’s route represents that trans/sapphic ‘envy’ (“do I want her or do I want to be her?”) as well as finding power in community aside from what society considers ‘normal’. We’ve always been pretty clear about what we wanted to do with Rue’s route.

We went back and forth a lot more on Valerian’s route. Initially, we were unsure if he should be trans. He and Rue are the two less-friendly love interests (at least initially), so I was afraid it would come across that t4t is a more hostile option, which is not true at all. But it also felt like a mistake to not have a trans man in the game-- but making Gallardia trans would have required a big overhaul of what we had in mind for him and his route. (Although, childhood friends t4t is a really good idea...)

Beyond that, Valerian takes a villainous role in any route that isn't his own. We were worried that it would be wrong to have a trans antagonist who represents unjust power. However, Breathless Winds is a queer game with other positive trans characters, and we've always approached Valerian as a hot anti-villain man that you can't help but like.

In the end, Valerian’s route is about breaking generational cycles and what it is that makes you a man, and I also managed to sneak in a scene where they dance at a ball in the royal palace, so in the end I think it all worked out great.

Wish Fulfillment and Catharsis

Doris and I both agreed that we wouldn’t depict on-screen transphobia in Breathless Winds. Poppy worries about not being accepted, but fear of acceptance can come with any change in identity. Rue was rejected by her family for being trans, but this doesn’t take place ‘on screen’ in the game. There exist certain metaphorical parallels for transness and transphobia, but every route has a happy ending.

Following up on this-- it can be difficult to write about discovery of gender identity without writing about transphobia, considering how many trans people suffer from internalized transphobia during their period of repression.

Sometimes, repressed/closeted transgender people ‘hyper-perform’ their assigned gender as a form of denial. A trans woman might grow out a beard and join a gym, while a trans man might become very interested in makeup and feminine clothing.

In Breathless Winds, Poppy often struggles with ‘strength’ and what it means to be a man. In several routes, she tries to prove her strength under the assumption that being stronger would make her happy. Afraid the world would reject her if she became who she really is, she preemptively rejects herself.

Not every trans person suffers from prolonged denial, internalized transphobia, or even gender dysphoria. I don’t think it’s impossible to tell a purely-positive story about trans joy.

While Poppy never gets rejected for being trans, faces transphobia, gets called a slur, etc, she faces both internal and external (metaphorical) obstacles to realizing and accepting her identity.

Gallardia represents a societal norm that Poppy can’t live up to herself as a man.

Lantana suffers from certain aspects of her identity as a woman, which makes Poppy feel guilt for wanting to be a girl.

Rue is isolated from town at the start of her route, a ‘punishment’ for breaking this societal norm.

Valerian has to hyper-conform to his masculine gender role at first in toxic ways before finding acceptance from within and from his loved ones.

These struggles are real to a lot of people, but instead of pretending they don’t exist, I hoped to tell a story about catharsis. Poppy is able to live up to her truth as a woman and finds love with Gallardia, Poppy and Lantana redefine what being a woman should and does mean to them, Rue and Poppy find community in others who don’t fit the norm, Poppy and Valerian stop seeking gender validation from a society that was never made to serve them.

Although these powerful forces of oppression exist, loving yourself as a trans person- and loving those around you, protecting the natural world, and standing up for what you believe in- can save the day. That’s the kind of story we wanted to tell.

Wrap-up

There’s a lot more I could write, but this has already gotten really long (sorry!) so I’ll wrap it up here.

Learning how to write a visual novel in terms of technical skill (how to depict events on-screen, how long each line should be) as well as in terms of writing skill (how to outline the game, how to plan visual assets) has been a massive undertaking for me.

Writing Breathless Winds has been a big challenge but also deeply rewarding, and all of your support has made the experience even more wonderful. Thank you for reading and thank you for supporting the game!

#visual novel #otome #dating sim #amare #trans #lgbt #breathless winds

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cripplecharacters · 1 year

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How should you write/draw burn survivors? I know this isn't a drawing blog but I don't know of one that I could ask this question to.

Hello!

I'm not a burn survivor myself, so I'll mostly talk about facial differences/visible disability in general and link some stuff made by burn survivors.

First thing, I think it's important to remember that being a burn survivor changes a lot of things - not only appearance. Very important part is the psychological one, but I'm not a burn survivor so I will just let the resources linked below speak.

From the physical aspect, burns can also come with: chronic pain, limited range of motion due to scarring, tightened skin, problems with regulating temperature, itching, skin irritation, and even different nutritional needs during the initial healing process.

There is also specific everyday care associated with burns - something you basically never see in fiction. That could be things like occupational therapy, physical therapy, skincare (like heavy moisturizing and scar massaging), wearing sunblock, wearing splints, or stretching to prevent contractures or tightness.

There are also different types of burns and they (unsurprisingly) differ from each other - for example, electrical burns have a much higher rate of amputation than any other type. Chemical burns can cause eye issues. A burn caused by a fire in a closed space might result in a brain injury due to the lack of oxygen. A much larger portion of people than you (probably) assume have survived burn injuries as small children, and if they were young enough they might not even remember the event at all, unlike older people who might be very affected by the trauma.

Experiences of a person with 80% body surface burns, a person with quadruple amputations from an electrical burn, a person with a facial burn, and a person burnt very recently will be different from someone who has a 5% body surface 2nd degree burn in a spot that’s usually hidden, who has lived with their burn for a decade - despite them all being burn survivors.

When it comes to more thorough research, I recommend going through Phoenix Society’s and Face Equality International’s websites to learn more about both real burn survivor’s perspectives, and face equality as a social justice topic. I think the 3rd link (see below) puts it very well when talking about burn survivors being represented in fiction:

“Most likely, these characters were not created by someone with lived experience. The result is an increasingly garbled game of telephone [...] To avoid contributing to this false narrative, embrace research as part of the process. Explore interviews, first-person accounts, and articles from reliable sources.”

I personally think that the links below should be mandatory reading for writing not only burn survivors, not only people with facial differences, but visibly disabled people in general - because the treatment we get is often so similar the advice still holds up just fine. And if you don't plan on writing any of these, you should still read them to see how prevalent of a problem ableism in media is.

Lise Deguire's Hey Hollywood - scars don't make you evil.

Face Equality International's International Media Standard on Disfigurement.

Niki Averton's Tips for Writing about Burn Survivors.

The main sentiment that you will read from basically any first-hand source is that if you're writing the burn survivor to be either:

evil (just throw the whole character away. please.)

a guy with the "World's Saddest Most Tragic Backstory Ever and It's So Sad and Tragic" (because he revealed he has a scar.)

a helpless victim who is there to be The Helpless Victim

...then you're already doing it wrong and need to make some major changes.

From our blog's reblogs and posts, you might want to look at tips for writing a visibly different/disabled character and tips on drawing people with facial differences. Neither are specific to burn survivors but cover the topic of visible disability and facial differences.

Now for tips on drawing burn survivors (that weren't included in the last link);

Reference real people. 99.9% drawings of burn survivors seem to go through the same "increasingly garbled game of telephone" that Niki Averton mentions with how burn survivors are written, in that the newer the drawing, the less in common it has with how real people with burns look like because people reference from each other and none of them ever think to actually check if their depiction is accurate. If you just google "burn survivor" you will very quickly notice that burn survivors don't have that damn red overlay layer put on top of their skin. It just doesn't look like that, and basic research (aka Google Images search) will tell you that - and still, people color a hand with bright red and think that's how it looks like (it doesn't).

In the same vein, maybe don't just draw an able-bodied person and then put some scarring on top (or maybe do exactly that. No burn scar and no burn survivor is the same, and there are people that fit what I just described... but hear me out for a second). Think about how scars interact with their features - do they have both of their ears? Do they still have all of their hair? Do they only have parts of their eyebrow? Do they have all of their fingers? Can they move the same as before their burn, or are their scars limiting their joints? How did their body react to the post-burn hypermetabolism? Lots to think about. Take into account what type and thickness of burns your character has.

Ditch the mask trope. Just ditch it. There's no need to cover your character's scar from the world unless you as the author think it requires to be hidden, is too scary to show, or other ableist trope that seems to always come up with drawings of visibly disabled people, especially burn survivors. The one exception I will mention is a transparent face orthosis/mask (TFO) that facial burn survivors might wear while awaiting a skin graft early after their injury. But as the name suggests, it's transparent and doesn't work for the awful "ohh scary facial difference better cover it up and only reveal it in some hyper dramatic scene!!" trope because you can see right through it. (I will also mention that TFOs are a very modern thing. Your medieval burn survivor wouldn't be wearing one.)

No "body horror", no "gore" tags or trigger warnings or whatever. That's a human being. If you feel the need to warn your followers before they see a disabled person existing, you're better off not drawing them.

Some last notes;

Throughout this ask I used the term "burn survivor" rather than "burn victim" because that is, to my knowledge, the general community preferred phrase. Individual opinions will differ (because no group is a monolith) but "burn survivor" is generally the safest term to use and probably the best if talking about a fictional character.

Similarly, I used "facial difference" rather than "disfigurement". Just as the above, opinions will differ on what is the best to use but I personally, as someone with facial asymmetry and a cranial nerve disorder, heavily prefer the term "facial difference" over "disfigurement". (I am in this case The Individual Opinion Differing because you can notice that in the links above, facial difference and disfigurement are used interchangeably. The general community uses both, some people have specific preferences. I'm some people.) When talking about a fictional character, "facial difference", "visible difference" and "disfigurement" are all probably fine. Just stay away from calling a person "deformed".

mod Sasza

#anonymous #mod sasza #face difference #writing advice #writeblr #writing disabled characters #writing tips #writing resources #writing guide #art reference #burn survivor representation

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rinqwpan · 21 days

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Hi. Long time no post here 🤡 apologies for not posting here as often bc I’ve been busy with um. Life. But also I’ve been using insta more lately.

ANYWAYS THATS BESIDES THE POINT I CAME BACK TO POST THESE!!!!! Wow I didn’t think I’d have another rin au but here she is. JJK rin. The rinverse is growing 🛌🛌 (she’s a bit more plain compared to HxH rin and DR rin, bc I didn’t want to make her stand out too much) and I just HAD TO make fanart for the jjk fanfic “Your Life As A Tokyo Jujutsu High Background Student” by @sincerelyamee :DD! I’ve been loving the fic so far and I’ve been wanting to draw fanart for it for SOOOO long but unfortunately I’ve been sooo busy and suffered with art block for a while… but now I finally found the time and motivation to draw this and so here it is!!!

I drew a ref of Rin as Spices (basically I inserted my OC into the fic bc I personally prefer not to insert myself) and I drew a scene of Spices and Megumi (bc i love them so much and Megumi is so pookie 🤭🤭) from Chapter 34!! Everything was just how imagined Spices and the scene to be, so I apologize if it is inaccurate..! 🙇‍♀️🙇‍♀️ may draw more fanart when I find the time….

The other arts are just JJK doodles from when the leaks released, I was brainrotting so hard and just had to doodle the pookies ✨✨

Anyways u guys should totally check out the fic I mentioned earlier if u haven’t and rlly like jjk and wanna be healed from og jjk bc this fic is honestly amazing, the writing and details, characters just feel soooo in character—RAGHH just check it out I promise you will not be disappointed 🫵🫵

#pls help idr how to use tumblr anymore #oc #jujutsu kaisen #jjk fanart #jjk #jjk x reader #megumi fushiguro #jjk megumi #fushiguro megumi #nobara kugisaki #jjk nobara #anyuu rin #rin anyuu #fanfic #fanart #check out the fic rn 👹👹🫵🫵🫵#aight I’m out byeeeee <3333

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creative-clawmarks · 1 month

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Longass Vampire AU Loredump

I feel I should preface this with the most important fact of this AU: supernatural beings are not actually a part of this world.

What I mean by this is there is no secret society of vampires, there is no chapter in the medical books on lycanthropy, and ghost hunters still have not found conclusive evidence. As far as you or I or anyone else knows the cast of MH are the only things like them in existence.

Because the Operator did this to them.

It's a parasite, and its strategy is to make people into predators then mop up the trail of bodies they leave behind.

As for why their monstrosity takes the specific forms it does? The Watsonian Explanation is that we will never really know, such things are beyond people's understanding. The Doyalist Explanation is that I have taken the character's metaphorical roles and made them literal to give myself an excuse to draw sharp teeth.

With that out of the way, here's what these freaks are actually capable of:

Alex (Vampire):

Standard package of fast healing, unnatural speed, and unbeating heart. Probably immortal but I guess now we'll never know.

Drinks blood, of course. But I like my vamps fucked up so there's a good dose of gory cannibalism for flavor.

He won't combust in the sun or anything, but his skin is especially sensitive to heat and his eyes are especially sensitive to light.

Heightened senses, especially hearing. He could hunt someone down with his eyes closed just by tracking their heartbeat.

Venomous, specifically paralytic toxins. Once he's bitten you there's no running away, you're basically screwed.

Fangs and claws are retractable. I also gave him a forked tongue because he's like a terrarium snake to me :)

"Once more I have seen the director go out in his lizard fashion."

He can purr. Because I know what the people want.

Tim (Werewolf):

Standard package of fast healing, unnatural strength, and canine features. Would rather not think about whether or not he's immortal.

Does not hunger for human flesh. If given the opportunity he might maul a deer tho.

Burned by the touch of silver. He also personally thinks wolfsbane is gross but that's unrelated.

When in human form he's mostly that, human. Sure his senses are sharper and he can grow out his teeth and claws a little bit but otherwise he's normal.

When in wolf form, on the other hand, he is DANGEROUS. I'm talking bite through steel tear you in half only thing that can stop him is a silver bullet dangerous.

The wolf form is analogous to Masky in this AU, as in he turns against his will whenever he's threatened or misses a dose and he won't remember much whenever he eventually turns back.

The only time he can change under his own power with his mind intact is during the full moon. He looks forward to it every month because without the threat of loosing control being a wolf is rad actually.

If you scratch him under the chin he goes boneless. Doesn't matter what form he's in.

Brian (Ghost):

Standard package of walk through walls, disappear, and fly. I don't think the term immortal applies to this situation tho...

You know the excuse that ghost don't just physically manifest cuz they don't have enough energy for it? Yeah he's so incandescently pissed that he's tangible more often than not.

Its actually kind of the opposite conundrum where he has to focus and calm down to actually use his ghostly abilities.

Salt circles will totally work on him, but good luck catching him first lol.

Even if you can't see him you can still sort of feel his presence, the room will get colder and the shadows will get deeper.

If you catch him on a bad day he can pull some Poltergeist TM level shenanigans.

Can't really communicate like he used to, his mind is too broken and detached from what it once was. That's why all the ToTheArk videos look like that.

If you were to put a spirit box in the room with him all you would hear coming out of it is his death screams on loop.

Jay (Mortal):

He's just a guy lol, poor bastard doesn't stand a chance.

Why yes, he has read Twilight. Why do you ask?

#my art #marble hornets #vampire au

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percheduphere · 10 months

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LET’S TALK ABOUT EXPLORING LOKI & MOBIUS THROUGH THE LENS OF QUEER EXPERIENCE

Thank you for this request, @nabananab

Before I dig into this juicy ask, I think it’s important to note (however obvious the fact maybe) that an individual’s unique engagement with art is an inherent and integral part of art. The intention of the artist and the sociopolitical influence of culture, while important in our interpretation of a work, are not the sole source of drawing the work’s meaning. We are all artists in one form or another. I consider myself one of the pen, and nothing is more important to me than art giving someone a sense of emotional connection. I should hope other artists would agree, and for this reason I am an ardent believer in art taking on a life of its own once it has been created. The creator’s word, while it matters to some degree, does not supersede an individual’s relationship with the creation. Our histories, our desires, our fears, our likes, our dislikes, indeed our infiniteness as fragile human beings, allow us to create an elevated, spiritual interpretation beyond the confines of original intent. With art, there is no such thing as “reaching” or “reading too deeply”.

I leave this message with all of you as we look at these beloved characters through the lens of queer experience.

LOKI

Culture influences what we see and hear, which in turn influences artistic portrayal. Setting aside Norse myth, Marvel’s Loki is a classic example of a queer-coded villain (later canonized as a queer antihero). Deception, daggers, sexual temptation, transformation, and magic are all culturally tied to the “immoral” facets of femininity. Just as a strong, independent woman untethered to the control of man is deemed a “wicked woman”, a man demonstrating gender ambiguity and like qualities is similarly judged. Only masculinity is viewed as pure and good, and this no doubt was—and continues to be—a key force in white, western colonization’s destructiveness. It all but crushed our rich global history of divine femininity, gender diversity, and romantic and sexual expression.

Asgard, as Marvel portrays it, is without a doubt a masculine-dominant warrior society. Only two women feature prominently: Queen Frigga and Lady Sif. Whereas Sif embraces her masculine qualities and fits in easily with Thor and the Warriors Three, Queen Frigga embraces her feminine powers, though her authority is submissive to the All-Father, Odin. Her influence is most heavily seen in her adopted son, Loki, with whom she shared and taught magic in hopes that Loki might “feel some sun on himself” despite the “long shadows [Thor] and [Odin]” cast. The magic that Frigga gifts Loki, however, attracts scorn. The subtext here is that Loki’s specialness, his individuality, comes from feminine powers despite presenting as a man, and a gender ambiguous one at that. Unlike Thor and Odin, he is not masculine. While strong, he does not exhibit Thor’s brute strength. He is cautious, thoughtful, another feminine quality, whereas Thor’s courageousness often veers toward foolhardy and brash.

Thus, if Loki cannot be loved and accepted as he is (a queer person of another race), he will force love and acceptance through the power of the throne. Kings oft inspire fear, coercing subjects to love them whether they wish to or not. But we know Loki never truly wanted the throne. The throne is a mere distraction from, perhaps even a poor replacement for, what he truly wants: genuine love and acceptance that cannot be bought. Unfortunately, Loki believes he will never get these things, which is why, when Mobius questions him, Loki’s desire for control (Loki, King of the Midgard; Loki, King of the Nine Realms; Loki, King of Space) can never be satiated. Mobius challenges Loki for the exact purpose of revealing this to him. What do you really want? At this point, Loki does not have the words to form an answer. In S2E5, Syvlie raises the question Mobius originally asked in S1E1. It is then, after experiencing Mobius’s friendship and the other relationships that come to being as a result (including Sylvie’s), that Loki can articulate his answer.

Loki’s othering, even before the discovery of his true identity as a Jotun (an allegory for a villainized foreign race), creates a lonely environment in which Loki’s potential for goodness is quashed by centuries of resentment, bitterness, and jealousy. His attempts at masculinity take the form of violence, all of which are, as Loki admits in S1E1, “part of the illusion; the cruel elaborate trick conjured by the weak to inspire fear.”

Loneliness and the desire for love and acceptance are a universal human experience, but they are felt far more acutely within our intersectional queer communities.

MOBIUS

His fascination with Loki is compelling because there are many things we can infer about its reasons. The first, most obvious explanation is Mobius’s “soft spot for broken things”, which is in some ways tied to his qualities as a compassionate, forgiving, and supportive father. A secondary explanation is a wish for partnership. We know from S1 that Mobius’s friendship with Ravonna spanned eons. We later learn in S2E6 that he and Ravonna started out as peers, hunters. They were partners on the field, but where Mobius “failed” because of his humanity, Ravonna “advanced” because of her ruthlessness. This change in relational dynamics left him partner-less. Finally, a third, less obvious reason is Mobius’s desire to express himself in ways Loki does so effortlessly. That desire may come from the suppression and repression of his own softspoken queerness in order to survive the fascist culture of the TVA.

Mobius is captivating for many reasons. Whereas Loki is a textbook example of culture viewing “queerness as evil”, “queerness as flamboyance”, “queerness as stylishness”, “queerness as loudness”, “queerness as sexual promiscuity and deviance”, “queerness as chaos”, Mobius very much aligns with the image of a straight-passing, repressed queer individual. This is an identity that does not get as much attention or presence in artistic media as it deserves, for there are many who need this representation to reflect them. He is not stereotypically queer by any means: he is not colorful. He is not stylish, flamboyant, or loud. His sex appeal primarily derives from the viewers’ attraction to his personality, though it certainly helps that Owen Wilson is quite handsome.

Combine these three reasons, and it becomes easy to see how a character (or person!) like Mobius might fall in love with a character (or person!) like Loki.

There is a certain amount of beautiful irony in how Loki and Mobius affect one another and consequently their identities. Mobius, feeling compassion toward an individual who has been brutally othered and oppressed, seeks to free Loki from the confines of his narrative, as determined by the “Time Keepers”. The only feasible way to do this is to bring a variant of Loki out of the timeline and into the TVA. Mobius then provides Loki with the opportunity to change by: acknowledging Loki’s strengths, giving Loki the chance to use his strengths in productive ways, praising Loki when he does well, listening to Loki, believing in Loki, calling out Loki, and accepting Loki as he is, with all his history, without judgement. Mobius does not try to force change like Thor or Odin. Rather, he creates an environment in which change could happen naturally. This kindness and, indeed, what becomes unconditional love by the end of S1E4, allows Loki to embrace his authentic queerness with self-love and use his feminine powers for altruism rather than masking them with self-hatred and masculine rage.

FREEING LOKI

In S1E1, Mobius is enthralled with Loki’s hijinks as the handsome, charming, devil-may-care, D.B. Cooper. This minor escapade in Loki’s life, which was likely only intended for laughs by the writer, reveals something interesting about Mobius: Loki’s mischievousness, his magic, his cunning, are all quite endearing to him when no real harm is being inflicted. That is, Loki, when not under duress, is someone to be admired when he’s being himself. We admire in people what we wish we had in ourselves, and this, at times, may lead to powerful attraction.

Loki, for his part, does much the same for Mobius. The environment (the TVA) which allowed Loki to thrive is also the same environment that has abused and constrained Mobius.

The heat that Ravonna presses upon Mobius, however, changes his tone with Loki himself. When Loki asks Mobius why he “[sticks] his neck out for [him]”, Mobius provides Loki with two options to choose from: “A. He sees a scared little boy shivering in the cold, or B. He will say whatever he needs to say to get the job done”. Option A, while insulting, has compassion layered beneath the barb. Loki, an expert at cloaking truth with meanness, sees through this and indirectly chooses what he believes to be true in the cafeteria scene: that Mobius feels sympathy for Loki’s painful childhood. The subtext of this acknowledgement is that the true means to the end is reversed: Mobius doesn’t need Loki to catch the Variant on the timelines. Mobius needs the Variant to free Loki from the timelines. The Variant is an excuse and another agent of poetic irony: when Sylvie unleashes the multiverse, she literally frees Loki of his predetermined narrative.

The conceit of S1E1 is that Mobius intends to use Loki for the “good” of the Sacred Timeline. It is important to remember that characters, while not real, are meant to mirror human complexity. Multiple, seemingly conflicting things may be true concurrently. In S1E2, we see in Mobius’s conversations with Ravonna that he deeply believes in Loki’a capacity to be a wonderful person and wants him to have the opportunity to change. His enthusiasm for these things outshines his desire to catch Sylvie.

And, because the Variant is Loki, because Sylvie is Loki, because, as she says, “[they] are the same”, Mobius’s own freeing of Loki, his unconditional love for him, cascades from Loki to Sylvie. Sylvie would not be free to live as she pleases if not for Mobius’s compassion for Loki in the first place.

In S1E4, Loki reveals the TVA’s sham. Mobius’s sense of self becomes fragile alongside his sense of partnership with Loki. But because of our sociopolitical culture’s influence on capitalism, the creative voices of the Loki series self-censures what could be (what is) a queer romance. This self-censureship makes itself known in Mobius’s own self-censureship. His jealousy and heartbreak cannot be spoken directly. It must be spoken through the words of a woman, someone who presents as the opposite sex. Through a looping memory of a scornful Sif telling Loki, “You are alone and always will be”, Mobius makes known the nature of his feelings for him.

BUT WHO WILL FREE MOBIUS?

In the same cafeteria scene in S1E2, Loki asks Mobius if he’s ever ridden a jet ski. Mobius’s response is demure, saying him riding one would “cause a branch for sure”. The jet ski gives the audience another clue as to what Mobius seeks in life: something fun, thrilling, and reckless. Yet Mobius sets aside his desires for what he believes is for the good of the TVA, and thus humanity. This suppression and repression of authentic selfhood mirrors the queer experience of living within a heteronormative culture, especially one with religious doctrines that equate pleasure with sinfulness.

Because Mobius extended his heart, his partnership, his love (symbolized by twin daggers hidden in his locker [a closet]; notably a male phallic symbol of which there are a pair [partners]) and was soundly rejected, Mobius retaliates with the loneliness he himself feels. This loneliness may be interpreted as an allegory for the loneliness of being closeted as opposed to the loneliness of being out but othered.

Ultimately, Mobius’s love for Loki shifts from selfish desire to unconditional love when he chooses to help Loki save Sylvie. In S1E5, it is conspicuous that after delivering Sylvie safely to Loki’s side, Mobius’s partings words are, “Guess you got away again”, to which Loki replies, “I always do”, which echos the lover’s trope of “the one that got away”.

[It drives me absolutely bananas that I can't find the specific gif I need when I literally saw it multiple times earlier this week but didn't need it THEN]

Owen’s acting choice is interesting here. He laughs, smiles, then looks down before looking up again, his eyes shifting from fondness to what feels like longing. Mobius extends his hand, a sensible choice for someone who believes his love is unrequited and is unsure of how Loki defines their relationship. Loki, appreciating what Mobius has done for him, closes the distance with an embrace and thanks Mobius for his friendship.

In S2E1, upon Loki’s time-slipping into the war room, whatever apprehensions Mobius had about physical contact was wiped away by the collapse of the TVA and the memory of Loki’s hug. In this scene, it becomes clear to Mobius that Loki is panicking. He makes the executive decision to use his physical contact as a grounding force, relocates Loki to a quiet environment, asks after Sylvie with no bitterness in his voice, then prioritizes Loki’s physical well-being. Perhaps, in Mobius’s view, his love is unrequited, but there is nothing in place to stop him from expressing that love more freely while honoring Loki’s feelings for Sylvie. This regard, which may be construed as platonic, may also be viewed romantic, courtly love.

The fight between Loki and Sylvie in S1E6 sets the stage for Mobius to receive Loki and become a refuge for heartbreak.

S2E2 and S2E3 has Loki’s and Mobius’s temperaments when it comes to investigating flipped. In S1, Mobius was focused on the mission and often had to reign in Loki. In S2, Mobius is more casual, more willing to take his time and enjoy the sleuthing as it unfolds, while Loki administers pressure to stay focused. The question is why?

In S2E2, Brad attacks Mobius’s sense of self. He points out how weird it is that Mobius is not at all curious about looking at his timeline and stresses that the TVA, and everything in it, isn’t real. Brad calls into question Mobius’s reason for staying. Knowing that the answer is Loki, we can surmise through the queer lens that Brad also corners Mobius into potentially outing himself in front of the object of his affections, someone he believes does not return his feelings, and whose knowledge of those feelings may threaten their friendship. This is a traumatic experience for queer people in the real world, and this extra layer of emotional conflict adds depth to Mobius’s violent response.

Mobius influenced Loki in a myriad of ways. One that has not been discussed yet is an appreciation for focus and order. Loki, in turn, has cracked the door open for Mobius to explore pleasure. We can speculate that, in his own way, Mobius is testing what happiness could look like living a life between the TVA and the timelines. For him, this means cocktails at the theater, cracker jacks, and exploring the World’s Fair, all of which are pleasurable on their own but are even more so with Loki’s company. His queerness, once again, is quiet, mundane, but playful in its own right, and finally brave enough to explore. These scenes suggest that Mobius is indeed happy at the TVA and, as we see in the finale, this happiness is solely rooted in his relationship with Loki and the emotional intimacy they share together.

Loki expresses concern for Mobius, noting that he has “never seen him like that before.” Mobius, interestingly, deflects every concern by absurdly blaming Loki: “He got under your skin”, “I was following you!” The psychological undercurrent here is that Loki is the reason why Brad got under Mobius skin. Loki is the person that Mobius will follow.

Loki takes Mobius’s distress in stride, responding in a way the Mobius normally would. However, Brad’s question piques his interest, and his own care for Mobius prompts him to gently challenge Mobius’s lack of interest in his own timeline. Mobius’s reason for avoidance is, “What if it’s something good?”

In S2E5, it’s interesting that “good” in this narrative is defined as a heteronormative fantasy of a house, two kids, and (possibly) a puppy and a snake. The “good” in Mobius’s original timeline, however, is imperfect. There is a partner that is missing (partners being a recurring theme in the series, particularly in S2E3), pronounced gone not once but twice. The entire scene between Don and Loki has been discussed at length by many, so there’s no need to reiterate it here. However, let’s bring our attention to Mobius’s avoidance of this “good” because this avoidance resonates with another queer experience.

The TVA, for Mobius, is the place where he studied, saved, and developed a close relationship with Loki. The fear of the “something good” is the fear of being confronted with something Mobius “should” want more than the TVA, and therefore “should” want more Loki. The fear is wanting something (or feeling pressured to want something) other than a queer relationship with no children. The question of “choice” is impacted by what is considered the “norm”.

S2E5 very pointedly focuses on the concern of choice, especially Mobius’s choice, in the bar scene between Loki and Sylvie. “Mobius should get a choice now, no?” At this point, Loki’s regard for Mobius has finally caught up with the romantic nature of Mobius’s feelings for him. And Loki, living his own queer experience, is also afraid of his true desires like Mobius. In being part of the intersectional queer community, the psychological need to guard against disappointment is high and commonplace. Desires are easily disappointed by the expectations of oppressive social mores. This survival tactic manifests itself with our hope and heartbreak with mainstream media, Loki the series being among them.

But Sylvie, the harbinger of true and absolute freedom, takes on the role of supportive ex and challenges Loki to answer Mobius’s question in S1E1: “What do you want?”

In this, Mobius and Loki’s individual relationships with the TVA are identical. It was never about where (the TVA), when (time works differently at the TVA), or why (the timelines). It was about who. It was about each other. The TVA represents a liminal space which became home by virtue of the people who brought love into it. The TVA is code for Loki and Mobius when each speaks of it.

Again, the artists behind the media must self-censure. In this, Loki also self-censures while giving the truth. “I don’t want to be alone. I want my friends back.” It cannot be denied that Mobius is Loki’s first truest and closest friend. “I don’t want to be alone. I want Mobius back.” Sylvie appreciates and validates this desire, but also points out that showing the TVA is something that cannot be unseen. The implication of this response suggests that Sylvie believes that Loki’s friends will feel compelled to join the TVA out of moral pressure. She reiterates the true lives that are being lived, and Loki, loving his friends, loving Mobius, elects to not take that away from them. “You are just fine without the TVA.”

Yet, Loki must choose an act of profound selfless love to save everyone. In doing so, he saves and frees Mobius in the way Mobius saved and freed him. The tragedy and, once again, poetic irony is that they both would have chosen each other. In giving everyone freedom, the true freedom of Loki and Mobius is sacrificed. This double-standard reflects in our reality between those who identify as cis and heterosexual and those who do not.

When Mobius looks at his timeline in S2E6, he does so for one reason: that timeline survived because of Loki’s sacrifice. He must honor that sacrifice and see what Loki protected. Mobius appreciates what he finds, but he doesn’t belong there. It is not what he ultimately longs for. And there must be worry, shame, in recognizing he would prefer to give up the house and two children if a life with Loki were a viable choice.

We all experience loss in our lives. Loss without a goodbye is also commonplace but is another pain that is more acute within the intersectional queer community. I speak of missed opportunities for happiness due to external forces. I speak of loss of self. I speak of loss of friends and family and home. I speak of death, losing a loved one without a goodbye, because same-sex lovers are not considered next of kin, an impossibility without marriage. Marriage echoes back to Don, who has no spouse, and Mobius, who has no partner.

#asks #loki #mobius #lokius #loki season 2 #loki series #loki meta #my meta #loki analysis #my analysis #queer community #queer #queer representation #queer relationships #lgbt representation #lgbtq community #lgbtqia

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