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telekinetic-electronica · 2 days

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Indigo Park: Oswald and Mickey, Rambley and Lloyd

I've not that long ago gotten into Indigo Park and I think it has a lot of potential to be something good. This just hit me, and I read somewhere along the lines but. Here's my theory or speculation, if you will.

Lloyd was the first ever mascot character for the Indigo brand, and was the original face for the Indigo brand. For the first chapter, let's look back at the old timey advert for Indigo Park.

Isn't it weird that Rambley, the face of Indigo Park, isn't up at the entrance of the gate? Especially on opening day, but Lloyd is?

Not to mention, the ONLY character to have a vintage style plushie is of Lloyd not the rest of the gang. It's more custom for the character who started everything to get merch of him in the good ol' days.

Let's look at their color schemes.

Oswald, in modern depictions wears blue shorts.

And Mickey has red shorts.

Lloyd's main color scheme is blue.

While Rambley's main color is indeed, indigo, but guess what he is wearing? A red bandana.

Geese has stated he is a fan of Disney theme parks and their history. I wouldn't be surprised if he put Oswald and Mickey's dynamic into his game. Oswald, at first when he's coming around to Mickey, as bitter, resentful, angry, and jealous that he was replace and that Mickey has the spotlight. Rambley really acts like Oswald when Lloyd is even mentioned, but Lloyd doesn't seem to notice Rambley's distaste for him.

Look at how he reacts to the Retro Lloyd plush.

I think it's obvious Rambley is jealous of Lloyd. It's been mentioned that Lloyd is more popular than Rambley. I think if we add onto the fact that Lloyd is the most popular, with him being the first rubs salt into the wound for Rambley. Because now HE'S the face of the Indigo brand. Why do they still treat Lloyd like he's the face of everything, when he's here? Dude is so jealous of him downright insults him.

Kind of like a role reversal, in a way. Lloyd still gets special treatment, when Rambley is the literal face of the brand. On top of Lloyd being egocentric. Yeesh, that has to hurt. In the song, Rambley says HE'S the most devoted devotee of the park, but gets none special treatment besides... one of his plushies being painted gold.

Not to mention, Geese said in his VOD reacting to YouTubers play Indigo Park, Lloyd is going to be important to the plot and we're gonna see more of him. Do of that what you will.

But I guess we'll have to see. Chapter 2 is coming out 2025.

#indigo park #indigo park rambley #indigo park lloyd #indigo park rambley the raccoon #indigo park lloydford l lion #indigo park theory #indigo park speculation

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ofbreathandflame · 2 days

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who do you think is the most realistic abuser between rhysand and tamlin?

Hi anon!!!

I feel like the overblown for Tamlin has a specific function, and so I usually end-up disagreeing with anti-Tamlin (not criticisms, but this particular crowd of people - if you know, you know ) sentiments. First and foremost, Tamlin and Rhys are purposely made into foils; that is, we are supposed to look at their actions and compare – once we get to MAF. In the first book, the story isn’t necessarily trying to make a point about Tamlin, so the ‘red flags’ being pointed out aren’t moments of intentional, tactical abuse.

I don’t think there’s an actual ‘realistic’ way to experience abuse. I don’t think it’s an adequate way to talk about abuse because there isn’t a universal experience with abuse. Everyone’s experience is different! There are signs, and staples that can help people identify abusive partners and/or experiences, but those experiences in and of themselves are unique, as is the response to abuse. I’ve always thought of Tamlin as a blank canvas that can be imposed upon. He’s abusive, in the fact he does a string of abusive things. He has all the hallmarks of an abuser…but none of the threads that make him feel…like anything more than a canvas, in my opinion. Like – I see how people see their abuser in him, but I also don’t believe he’s a very consistent character. He doesn’t do things for the same reasons, as MaF tries to argue; he also doesn’t act the same between those books. It’s subjective, but character wise he doesn’t stay the same. I’m sorry, but I genuinely disagree with the way Feyre characterizes Tamlin. If the story argues that Tamlin developed abusive tendencies because of his trauma, great! But like,,,the story tries to argue that he was always like that, and Feyre just never noticed and I just…disagree. I have my issues with Tamlin, naturally, but I think the reason Rhys is much scarier to me, is that he consistently has the same justification, with seemingly no introspection. He gets away with the abuse because he is constantly sympathized with. The only reason I don’t dislike Tamlin is because he faces consequences. Rhys doesn’t. He also does the same abusive things to Feyre in like…every book. He doesn’t have a character arc. So, it’s not realism I’m looking at, but consistency.

The more fruitful question should be consistency. Is the dynamic between Tamlin and Feyre consistent, and my answer to that is no. I don’t believe we get a pattern of abuse that is consistent across the two books Tamlin is heavily featured. Tamlin having anger issues is a characteristic that merely exists, for one, because Tamlin is naturally an adaptation of another character and therefore embodies those characteristics. It’s not to say that Tamlin doesn’t have a particular way of handling trauma (see: violence), but that consistently, Tamlin has always known to remove himself from the general public when he does. We never see him leverage his violence against his peers or Feyre ever – even when Feyre is effectively his prisoner. So while his anger is a consistent character trait, it isn’t a consistent abusive Trait. It’s also…the norm for stress relief in this society (see: Rhys + Cass + Az’s schedule beat downs to ‘calm rhys down’). He’s also never used violence against anyone in the entirety of TaR to ‘calm down.’

This is a change for Rhys, as discussed in a previous post, who actively does consistently leverage violence against Feyre (and his Inner Circle) since his introduction in the first book. Tamlin, as initially characterized, is revulsed so heavily by having to hurt his people, that he physically cannot go through with Amarantha’s curse. He chooses his people. He is disgusted with having to whip Lucien. He physically couldn’t stand what Amarantha did to Lucien’s eye – so much so that he vomited as soon as he saw it. In MaF, this entire dynamic (not just his abuse of Feyre, but of his citizens) becomes of focal point. The story tries to argue that Tamlin would willingly harm his own soldiers, and Lucien, when in the first book he literally stood against Amarantha and refused to participate in the curse, with no power. Tamlin doesn’t allow Feyre to leave the house in MaF, yet in TAR, when Feyre is attacked by those monsters in the forest, Tamlin literally just tells Feyre to be careful when she goes out, he tells her to stay close when he’s not there, and they leave it at that. Tamlin doesn’t ask Feyre ‘what does she want from’, as we established. All I’m saying is there’s no consistency in this behaviour. The story can’t even figure out whether Tamlin has always been like this or has just become like this.

And then my next question become has Tamlin ever leveraged violence against Feyre, prior to the events of MaF – and the answer is no. So not only is it not consistent on a character level, it isn’t even consistent between the dynamic between Feyre and Tamlin. When Tamlin initially falls in love with Feyre, he falls in love with the human girl. He doesn’t want a Lady – he doesn’t even believe he’s going to make it out alive. He falls in love with her because she isn’t just that, and he literally subtly shunned the way his mother would not say anything when his father became a tyrant. He’s essentially telling Feyre he doesn’t want her to be like his mother. So like, even that angle is again, not consistent with what we’ve seen. Snd because of this, people have purposely insert and add things to make him look like a worse character because like there’s nothing in that proves Tamlin is worse than Rhys as the book kind of argues.

#anti sjm #anti rhysand #anti feysand #anti acosf #anti sjm: tamlin #anti feyre #anti acomaf #i kind a wrote a rhys part but im too lazy to finish it

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almightygremlinblob · 2 days

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Gojo Satoru HCs - Canon & Fanon!

⚠️CONTENT WARNINGS:⚠️ None, for the first part. Under the cut is when stuff gets weird. So minors and those uncomfy with anything remotely sexual don't click the "Keep Reading/Read More"! Will put another warning, tho. Just in case.

This is for my fellow Gojo girlies, platonic and romantic, because WOOOW 261 MAN. Sukuna's up next and then I'll probably dip again lmao. 💅🏽✨

Word Count: 855

Gojo Satoru HCs - Canon Gojo

A mix of HCs and character analysis, if Imma be honest.

1.) His arrogance is an act - both to himself and to others; although a part of him IS actually crazy. He grew up a spoiled rich kid, yes, but the weight of what he represented in the Jujutsu world has been ingrained in him since…well, he could conceptualize things. He is the strongest, and as such he is responsible for the world's safety (at least against curses) - it is in danger if he isn't. He's the strongest because he also HAS to be. 2.) Is definitely a boy dad to his students - guy OR girl. Though, like Nanami, he does try to make sure his female students feel comfortable around him; he's just more obnoxious about it. Not condescending...just obnoxious. Calls out and makes fun of the male students that make the girls uncomfortable, gives them more breaks if they specify that it's their time of them month and they need it, calls them a cab he can monitor to get them home safe (though he does this for all of his students, to be fair), or other stuff along the likes of that. 3.) Bisexual and Demiromantic, but his first and currently only love was Geto. 4.) Is apathetic to the weak because thinking about them would only weigh him down. Moreso than Suguru's betrayal, I think the deaths of his friends - who were arguably the weaker ones - really solidified in his mind just how important it was to be the strongest because it was so personal to him. The more he cares about the weak, the more he thinks about that instead of BEING it - it's an unnecessary weight. He only needs to focus on being the strongest, and then he can be there for the weak if they need him. 5.) HOWEVER, Geto's betrayal and Nanami's initial quitting only further served to isolate him, to prove to him that strength = loneliness. This is probably where his dream of creating more sorcerers equal to him in strength came from. Guy knows how lonely it is at the top, and doesn't want that for anyone else.

Gojo Satoru HCs - Fanon Gojo x Reader

These can be read as either platonic or romantic. Reader's gender and sex isn't specified.

1.) Teacher has a faaaavoriiiittee…(if romantic then favorite other teacher, random person, sorcerer, NOT student)… 2.) Despite how bold he often is, Gojo shows that he cares and looks out for you in very subtle ways - whether that be gently convincing you to take a break when you clearly need it, standing in between you and the road, giving you his umbrella when it's raining (he doesn't need it - he kept it for you in case you ever did), carrying extra meds you may need on hand, or even just getting you a snack, coffee or tea when you need a pick me up. 3.) Congratulations, you now have access to a luxurious mansion(s)! Gives you the keys to one of his many estates. Come and go as you please. 4.) If anybody makes you upset, he won't do anything drastic per se but…he WILL embarass them, somehow - though he often disguises it as a harsh joke at the expense of the other. 5.) Grew up as a weapon, basically, and when he finds someone that actually treats him like a person - he sticks to them like glue, without even realizing it.

Alright you know the drill. Minors and anyone uncomfy with anything remotely sexual DNI, and just scroll past. Don't click the "KEEP READING" if you don't wanna see all the sex-y stuff, and just go on with your day, furendo!

Fanon Gojo - Romantic

⚠️Further Content Warnings!⚠️

Honestly, not much LMAO - I'll save that for the actual fic in, like, 10 years from now. Mostly Gojo fluff, some mentioned sexual activities, and Sub!Gojo.

1.) Inexperienced with women. As much as I love the fanon interpretation of Gojo, he has probably never once touched a woman in his life, even if he and Geto were popular during their younger years. Guys though? Yeah you guessed it - he and Geto had each OTHER. 2.) Adding on to the point above, this guy is LOOYAAAAL when he finds someone that he truly loves. Just look at him and Geto. He has YET to move on after Geto 💔 3.) A golden retriever boyfriend. AND shares his sweets with you but he has to feed them to you. He HAS to. 4.) Guy is a needy, WHINY sub in bed. Loves to please and can stay seated in between your legs for HOURS as long as you praise him. Loud AF too and is absolutely shameless about it - it ruins everyone's day (except for you and him). Loves the wear the marks you leave on him like a crown and it's awkward for EVERYONE. 5.) Because he has so many responsibilities, and the Jujutsu world won't give him a break, you guys don't actually spend much time together - even moreso if you're a sorcerer, too. Expect missing anniversaries, cancelled plans, mismatched schedules, even nights without each other. Despite this, Gojo does try for you, he really does. He calls and texts whenever he can, sees you the moment his schedule allows, and brings home something for you every time.

I LITERALLY CAN'T WITH THE LEAKS PLEASE JUST TAKE THIS

#gojo satoru #satoru gojou #gojo jjk #jjk headcanons #jjk character analysis #gojo satoru x reader #gojo x reader #jjk x reader #jujutsu kaisen x reader #sub gojo #my writing

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crumblinggothicarchitecture · 2 days

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Taylor Swift Can't Write- She is not a serious or important writer. She is blatantly normalizing cheating in her music.

Let’s talk about Taylor Swift’s honest attempt at coherent narrative -

Just to be clear, the songs in question: Betty (2020), August (2020), and Cardigan (2020).

In these songs, Swift, of her own insistence, makes a clear attempt at drafting together a coherent storyline. I, however, found her work lacking while considering it against the many thousands of other short stories I have read. It lacks any sincerity in giving the moment in which the characters experience self-reflection, or "Epiphany" moment, and growth.

An Epiphany is defined as a sudden spiritual manifestation- and it is this I would posit as something that Swift clearly lacks in her writing. She lacks the spiritual, or emotional, depth to accurately tell a so-called "coming-of-age" type story in which the main requirement is that the character has an "Epiphany" about the nature of life to signify them growing up.

I will explain:

A short story- which I am analogizing to the multi-song arch from Swift- is typically meant to have an epiphany moment in which the main character finally calcifies the main point or the moral of the story. Without the impact of this moment within a short narrative- there is no arc, no moral, and therefore no real story.

Afterall, what is a story, but a coherent subsistence of writing aimed at identifying some universality of human existence (eg.) a moral, a point, or the main message? If I want to get philosophical about it (and I always do), narrative is the act of creation through which the particulars become implicit to a universal experience. Thus, it is a necessity of storytelling- to include the thematic message- or moral backbone of the work.

Swift’s three song arc is intrinsically incoherent, so it becomes difficult to pinpoint exactly what each character is thinking or feeling. I would, however, suggest that through lines like “slept next to her, but / I dreamt of you all summer long” (“Betty” 2020), and lines like “I never needed anything more/ whispers of ‘Are you sure?’ / ‘Never have I ever before’” (“August” 2020). Therein builds an internal tension between the three characters, James seems to be lamenting his choices to sleep with August and ditch Betty for the summer; whereas August is honestly expressing the fact that this is her first time, so it becomes obvious this means a lot to her. First, we see James's apologizing to Betty saying that the other girl, essentially means nothing by saying he was dreaming of Betty all summer even while with August. We also get the other perspective of the other girl losing her virginity to James during the same summer in which he is thinking about Betty every night.

Already, all the characters are set up to be dislikable- which is not always to the detriment of storytelling. However, it is to the detriment of her storytelling that at no point Swift makes use of external POV, or internal POV, to show any form of personal growth or condemnation of the intuitively morally corrupt actions of James here. Thus, there is no real story- according to the theory of “short-story” telling I laid out above.

It is her lack of condemnation towards cheating- and the immature irreverence James treats August with- that solidifies this arc as being a rather poor attempt at coherent narrative. Simply, Swift is either an inept storyteller- or she is blatantly normalizing cheating while also treating “the other woman” like a placeholder. (Clearly, Anti-Feminist rhetoric, btw). It’s especially bad that this storyline reaches no “moral of the story” since it is so obviously August’s first time.

The closest we get to any kind of meta-narrative commentary on thematic point, from Swift as the external 3rd person POV, is with this line “A friend to all is a friend to none/ Chase two girls, lose the one/ When you are young, they assume you know nothing” (“Cardigan” 2020). Again, her use of POV is rather amateurish- because she returns to internal 1st person POV with use of the word “you” in the latter half of the line- which leads me to believe she really doesn’t know how to inculcate the different POV’s into her writing. She’s an amateur- and there's is nothing inherently wrong with that, however, if we could all stop lauding her as literary genius when she is so clearly not that would be “awesome.” Thanks.

She continues the rest of the song back into Betty’s 1st person POV. The poignant nature of this line about "losing one girl" doesn’t land because the rest of the song is about how James is returning to Betty. Swift writes, “I knew you’d miss me once the thrill expired/ and you’d be standing in my front porch light/ And I knew you’d come back to me” (“Cardigan” 2020). Beside the fact that this line is internally incoherent held up against the setting of “Betty” which is broad daylight, so James would not actually be in the porch light if the sunlight suffices, it is also quite obviously the culmination in which Betty is taking James's back. If there is any thematic message here- and I can only loosely believe this is an actual message here- Swift is saying that cheating is Okay as long as the girl, you actually respect and want, is willing to forgive you.

And I’m supposed to enjoy this arc? People are supposed to be impressed with Swift because she came up with this garbage?

She clearly has no grasp on Narrative coherence, no grasp of utilizing POV switching to make narrative more emotionally impactful, and no grasp on how to embed a good moral of the story into her work. So, she has none of the markings of actual great writer.

The effect of all this is a subterfuge of lackluster emotional appeals- and a toxic love triangle that never resolves into personal self-reflection or growth. The story devolves into blameless banality with no personality or literary value whatsoever- just a reiteration of self-centered egoism that enables James to act without thought to the feelings of others. This is what Swift propagates as good storytelling? Is this morally sound story telling?

Let me further drive my point home by dichotomizing this pitiful attempt at narrative coherence with the work of a literary genius, James Joyce.

Has anyone here ever read “Araby” (1914) by James Joyce? (Sidenote: If you love when Hozier talks about issues of British colonialism in Ireland- you will most likely enjoy James Joyce as well- if you love critique of both organize religion and its sociohistorical ties to colonialism- you'll love Joyce).

My critique too- ties into Joyce, where he showcases the blissful ignorance, or naivety, of youth in pursuit of love, Swift showcases no such thing. She is often praised for her juvenile writing schema- yet in her most overt attempt at writing a youthful romance she fails to interject the most important aspect of youth- Naivety versus painful realizations. In adulthood, when we all reprise the past, and trace back into our memories, we often speak fondly of the naivety of youth- with a little knowing twinkle in our eyes as young people around us make the same mistakes we did. It’s so beautifully human to reflect like this- and Swift manages to add nothing of this universal human experience into her work, even though it is often said that her only saving grace is the ability to capture “teenage petulance” and the proclivities of youth. In other words, I’m saying she’s not even doing the thing she’s known for well enough. She writes this love story like they’re all a bunch of bitter adults, not kids stepping into thoughts of love for the first time. There’s no simple wonder at love- instead, she writes about cheating and feeling jaded. Ditching people for the summer only to come back to the first girl with an "I'm sorry" and "she meant nothing." Where is the personal growth in a story like that? In which James gets away with saying "she meant nothing," and August is not shown having any agency or reclamation of self after James essentially uses her. Then, to top it all off, Betty most likely gets back together with James. There is no growth to speak of in any of this- it does not qualify as a "coming of age" story- nor does it particularly qualify as a story at all.

This is like English Creative Writing 101 class- btw. It's strange that Swift does not grasp concepts I've taught to college freshmen before. If the freshmen can handle learning it- surely Swift could also be able to learn and improve the thing she does as a job? Right? No?

“Araby” is a story of a similar predicate to Swift attempt at narrative. So, I thought it most apt to include here as an example which also employs use of Epiphany in short story telling.

In quick summation, “Araby” is the story of a young boy who has a rather intense crush on a neighbor girl. He promises this girl that he will go buy her something at the market, and in doing so sets off a sequence of events which leads to his ultimate disillusionment with the ideals of youth and love.

Early on in his character development, we see a boy who has an overly romantic view on life, with lines like “All my senses seemed to desire to veil themselves and, feeling that I was about to slip from them, I pressed the palms of my hands together until they trembled, murmuring: ‘O love! O love!’ many times” (“Araby” Joyce). He is so clearly caught up in the longing for this girl- that he truly forgets reality for a moment. His senses slip from him, and he is fully immersed into the lost revery of his little crush on the neighbor girl. Then, like magic, she speaks to him for the first time the next day. She asks him if he will go to the market, and he responds eagerly- Yes. He promises to buy her something.

The conflict of the story happens at this point- the young boy meets every obstacle in life preventing him from getting to the market on time. He struggles to find money and then he struggles to find the time in the midst of his other obligations to his family. Joyce is clearly showcasing how our romantic visions of life, of everything going perfectly and romance being easy, can so easily be disrupted by the realities of poverty and the responsibility we all bear for family or others.

The end of the short story outlines the “moral of the story” in which the young man, now nearly too late for the market and without enough money to actually buy anything, with the last refrain that “Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger” (“Araby” Joyce). Thus, Joyce drives home the "epiphany" moment, or the self-reflective moment of character growth, as it pertains to the fruitless endeavors of youthful vanity in romance. Stating, essentially, that people only dream of overly romantic scenes to bolster their own perception of reality as something that should go perfect for them. Life is not perfect, nor is it ever fair, and nothing happens as fantasy suggests it should- this is the hardest, and often the first, life lesson young people ever face. Anguish and Anger. What a beautiful phrase to remark upon- as this poor young man realizes life is comprised mostly of being “a day late and a buck short.”

This intensity- this moral backbone is what brings the story to life. The way this story enumerates the youthful hope- to the burgeoning adult reality- as something full of anguish -allows readers to bridge empathy towards others as WE all grow up in a difficult world. This is the "Epiphany." This appeal universal human experience, through particular circumstances like that of a young man in early 1900’s Dublin, is what is missing in Swift’s work. She gives us nothing but her own selfish refraction of immoral behavior without any appeal to greater human impulse or discovery. Her work rings hollow in the face of actually talented writers like Joyce. She lacks the same depth, sophistication, and ability to actually make the story into a narrative arc.

She claims to write about teenage, coming of age-esque, discovery yet lacks any ability to actually showcase, with empathy, the ways in which anguish at their own naïveté presupposes teenage petulance.

She writes out the most shallow- surface level depiction of some b-plot from a bad fanfiction and wants to pretend that she is a literary genius. Yawn.

Addendum- I am aware that “Araby” is also a story predicated on ideas of Freedom vs Colonialism. To those of you who know the story well, I hope you don’t mind I choose to focus in on the “coming-of-age" part of the story in order to more clearly connect it to Swift’s work. I am not, however, ignoring the real sociohistorical implications of poverty, colonialist attitudes, and human rights thematic points in the story. I know.

“Araby” by James Joyce is free at The Project Gutenberg eBook of Dubliners, by James Joyce

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anonymouscheeses · 22 hours

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Exorcist gang! (I'm so sorry it took forever to get to your ask. I kind of dropped the au for a long time and just now got the motivation to pick it up again.)

Right on the money! I just narrowed it down to three because I can't do anymore(lazy ahh). But they can't actually drive motorcycles because none of them have a drivers license so they just try to seem badass by saying they are a biker gang. All christian but they have no idea how it works and do things looked down upon by the christian community. Left Victoria. Middle Stephanie. Right Kamaria. Kamaria got a tattoo of the upside down cross to seem cool but she knows it's St. Peter's cross so it's kind of a double meaning for her. I also gave Kamaria three toned lips because I jst found out that exists and I had to include that in some character. Atleast one.

Maybe one day I'll draw them as angels just to do it.

For context, they are exes 😫

Are there still feelings? Kind of, they just aren't over eachother yet. Right now tho they are mainly enemies. Valerie(Vaggie) is kind of like Blitzø(relationships wise), but less of an asshole. It was mostly her fault they broke up though. She was uninterested and embarrassed by Kamaria almost all the time so ofc Kamaria doesn't stand for shit and ended it before it got worse. Valerie is like that with Charlie in some ways, but of course that's for growth purposes.

Oh also Valerie dated Lute too before she dated Kamaria so it's just this entire problem within the group bro.. Like, Lute is not over Valerie and not in a "I am in love with u still." Way, but in a "I hate the way you walk, the way you talk, I hate the way dress-" ahh way(and in an i am still in luv wit u way but shh). Lute has no idea why Valerie broke up wit her ass and takes it out on Kamaria. Kama takes no shit and bounced out that place quickly. Good for her ig. She still an asshole too, anger issues ahh, everyone except Charlie(until the vee accident 😏)deserves a kick in the ass.

Pretend Charlie is in her human form. I'm still workshopping it right now! 😔 so yeah nobody else except Valerie knows she's a demon jst so you know!

Chaggie aren't dating yet! But they will one day 😈

For now it's kind of just pining. On both sides ofc.

"So it mine el" we say in unison.

PLEASE TELL ME SOMEONE GETS THE REFERENCE?? THIS IS SO AWKWARD NOW...

Helmets and glasses off! I think they look pretty nice but im not great at making my own character designs from ground up. Which is why I havent shown my actual own OC's. Victoria is trans because I said so. Kamaria is probably Lesbian but she doesn't know yet, it's kind of a label she uses until she knows for sure (so me). And Stephanie is Stephanie (she don care. She don kno 💀). I FORGOT THE FLAME ON KAMARIA'S JACKET RAAAA.

They also all have a picture on the back of their jackets that's jst wings and a halo. So do with that what you will.... if u wanna make fanart that is..... pls..... I'm begging..... jk but it would still be cool lmao.

They used to be in a gang with Adam and Lute but after Valerie was beat up real bad by Lute they all decided to just part ways. Not on good terms... So it's just Adam and Lute now who jst act like they are all that when they cant pack a punch at all 😒. I'll show Adam and Lute's designs in the next update (or somewhere) but that's all I have right now. I can't wait to draw the duo ughhhh‼️‼️‼️

(I have also changed a few things from my original idea, so if your a hxd au og from the first like... 3 posts I made abt it then ya... there's major changes. I'll go through them deeper in my next updates on this au!)

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mushiimune · 2 days

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"And yet Ace could not let the notion rest that Rooney had been right about everything from the start. Rooney was sharper, and brighter, and more perceptive than Ace could ever hope to be. Rooney thought before he acted and always seemed to know the right thing to do, and say. He was unafraid and bold under pressure. Ace shouted too much and rose from the shambles of the character he was meant to play like a broken puppet.

He went from having all the answers to having none. Ace wanted nothing but relief; to feel complete again.

...Of course was too much to ask. Ace was too quickly running out of hope."

Now that I'm all caught up, I'll post my oc stuff in time with when I make it! can I get a yippee yeah and yippee yay‼️⁉️🔊🔊

linktree

#mushiimune ocs #my art #digital illustration #illustration #animatronics #art #lion oc #angst #digital artwork #ocs #original character art #furry #original character design #my writing

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andavs · 2 days

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the frustrating thing about it is that none of it feels grounded in reality or even in the show's narrative at all - like, yeah, 911 is often OTT with the emergency calls, but the interpersonal stuff usually feels very grounded and real, and this is like..... not.

honestly all of eddie's storylines this season have been like that. they had him move his gf in and then kick her out again two days later and apparently his son who lives him was not even worth mentioning as a consideration in all this?? random debilitating catholic guilt from the resident skeptic because eh, he's latino, they all have weird catholic shit going on, right? dead wife doppelganger cheating because apparently shannon had a secret twin or something? like, none of it feels grounded in reality or in the character we've gotten to know up til now, and i'm honestly so aggravated by people acting like it's some massively clever choice to have him act completely OOC this season instead of just lazy, incoherent writing because tim had a wild hair up his ass about doing vertigo

I think @eddiegettingshot put it best: it's just a goofy fucking storyline, and everything they've written for him this season has been goofy. The only episode that felt sincere was the premiere, and that was more about Chris.

I'm sure the plan here is to have a goofy premise that turns serious and packs a huge emotional punch at the climax that I know Ryan will absolutely crush—but the execution and pacing, with Bobby's dedicated episode in the middle, is making it drag out way too long and I'm ready for it to be over.

#'wild hair' is my dad's favorite phase and i don't hear many other people use it in everyday life so thank you for that

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sanktpolypenbourg · 2 days

Text

I feel very conflicted about Spot from 'Spiderverse'. I can't decide if from a pure writing angle, he's a great concept or a train wreck that would have needed a lot more work.

On the one hand, it's fun and fascinating to have a character who is such a gruesome apocalyptic threat be such a silly little guy at the same time. Literally he is like Spiderman's clumsy and even weirder, goofier brother or cousin. He even speaks in the exact same tone and makes the same sort of jokes Spiderman does. Which, of course makes him a great counterpart, sort of a mirror spiderman.

On top of that, he is such a civilian, not a big warrior or mastermind but just some guy flailing around in that world of superheroes like a fish out of water. First time we meet him, he acts like a perfectly ordinary person put into extraordinary circumstances, dealing with it with a mix of gallows humor and relatable social awkwardness. Even the shape of his body serves as a visual aid, not a big muscular superhuman but an unflattering but believable mix of lanky limbs and potbelly (cool side-effect: he looks a bit like a humanoid spider, himself).

You get this sense he's not a villain, just a silly guy caught in the crossfire, and maybe we can sort this out and be friends, maybe he could even be Spiderman's sidekick, or at least a sort of gag villain who fluctuates between nuisance and weird neighbour.

At the same time, all of that only makes it hit so much harder when his violent, murderous side is revealed. Like no, none of the charming, relatable and silly traits keep him from being the most dangerous and vicious villain spiderman ever faced, and that only makes it creepier?

On the other hand, did they stick the landing?

I am left confused by his rants about how Spiderman "ruined his life".

What life? From what we can tell, Spot had no friends, no family, only a job as a low level scientist at EvilCorp.

When they first interact, he doesn't sound AT ALL like he hates Spiderman. They are bickering, but it's almost friendly. He is trying and failing to declare their nemesis-ship, but it's more in a tone of "let's play superhero together".

I can't quite figure out the shift to complete murderous obsession and emotional turmoil.

Is it Spiderman's "rejection"? Realizing that Spiderman is not, in fact, eager to invite him into his world? In a twisted way, he talks like they're family. About their supposed relationship.

When Spot says Spiderman took everything from him, surely it is not his past life as a background character he is referring to - but the life he thought he was entitled to, with Spiderman? His hopes and dreams of being frenemies with Spiderman?

Is that the key to him - is he simply a Spiderman incel?

Still, I am torn - would we have needed to see more of him, to understand him better?

Or is that the point - he is a threat ballooning in the background? While the protagonist and the audience are distracted, he grows ever more resentful, and ever more powerful. He gets worse the less attention you give him. That's brilliant?

I tend to have that issue with certain shows, though - is it actually genius, if you have to put so much thought into figuring out how it is genius?

Or is your first impression the "valid" one - in this case, Spot and by extension the conflict being very awkward to figure out?

#spiderverse #across the spiderverse #spot

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