#however. if i may get wildly specific for a moment.
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Mr. Qi Friendship and Romance Mod: 4/19 Progress Update
It's a working title, I'm trying to come up with something less wordy that still will pop up in Nexus searches.
I wanted to be able to track my progress, mainly for myself, but if you're curious, this is the state of the mod right now:
Writing:
Heart Events - the 2 heart event is fully written (with blocking directions), and the 6, 8, and 10 heart events are outlined. The 4 heart cutscene currently has me a bit stumped; I have ideas, but nothing concrete yet. I definitely now understand why Sam's 4 heart cutscene is him dropping an egg. 14 hearts is on the back-burner as a little treat to myself once I get further into things.
Generic Daily Dialogues - about 1/3 done, probably the highest priority for writing. I'm leaving his vanilla casino dialogue as the two heart dialogue, and the vanilla Walnut Room dialogue as his four heart dialogue, with a few small changes. And, since it's me, I have more marriage dialogue written than anything else...
Day-Specific Dialogues - very few written, lower priority. Hoping to have a lot of these made eventually, and I have plenty of ideas, but they aren't necessary for the core of the mod so they're on the back-burner for now.
Gift Dialogues - all 5 generic gift response dialogues are written, with an additional 22 dialogue lines for specific items/groups of items. I'm also up to around item 530 in figuring out what item corresponds to which dialogue/whether or not he likes it. Certain item groups, like cooked food, still need more lines, however. This is definitely something that should be low priority, but also something I'm really enjoying working on. Some personal favorites so far are-
[if given a fish (hated)]: "Eugh, it's all slimy..."
[if given a legendary fish (disliked)]: "If you must give me one of the rarest fish in the valley, can you at least wrap it so I don't have to touch it with my bare hands?"
And I think that's pretty funny.
Art
Portraits - 3 new portraits finished: "deep frown" "glint" and "glasses-less". I'll probably be messing with "glasses-less" for a looong while; it's first shown at a dramatic moment so it needs to look good. Blushing portraits are next on the docket.
Here's "glint" btw, with a background thrown on so I can have a custom icon. You know I gotta make him do the anime glasses thing a few times.
Sprites - no progress yet. Walk cycle is up next after I finish the blushing portraits. Did you know he doesn't have a walk cycle at all? [1.6 spoilers] in the cheated Summit cutscene where he attacks(?) you, he literally just slides at you very fast. Anyways, I may also change his map sprite a bit as well, since it was drawn to match his old portrait and doesn't actually have the same color scheme as his sprites. Note to self: is it possible to make the sparkles on his outfit prismatic?
Maps - no progress yet. The 6 heart and 10 heart cutscenes both require custom maps, with the 6 heart one being a fully custom asset. 10 heart recycles some existing assets but will still need some custom stuff done as well.
Misc Sprites - in my head, there's a dream version of the 8 heart cutscene that has so, so many unique sprites. Like an incredible amount of stuff. I think it'll kick ass, but also that sequence could be done with a few lines of text. So, for now, it's low priority. But maybe in a few months I'll put out a request for help.
Implementation
Not totally sure how to split this into sections yet, as I'm very much still in the preliminary stages so far. To say that I'm feeling overwhelmed is an understatement; documentation on the wiki swings wildly between "an asset is a file in a video game" and "this is an advanced tutorial. Read these 4 other pages first before continuing."
I've started using Ms. Coriel's NPC Creator which has been good for setting up the basic file structure, but ultimately doesn't cover some of the more complex stuff I want to do. EDIT: Turns out it's completely outdated for 1.6! Had to throw out a bit of work, but I still learned from it so it's fiiine.
I think setting up his "schedule" will be a challenge, in that I don't actually want him to have a real schedule like most NPCs. Not to pull back the curtain too much here, but I want him to "exist" in both the Casino and the Walnut Room simultaneously, which is to say, he does not exist in two places at once in the narrative, just in the code. This will change after marriage, however.
My next goal is to set up placeholder cutscenes for each of the heart events, and then to implement the generic daily dialogues once those are finished.
Final Notes
God, this will be a work in progress for a while, but I'm enjoying it! Definitely enjoying the writing more than anything else, but hey, that's how it be. I've got around 70 lines of dialogue written, a bit of art done, and I've started learning how to actually get stuff in game. I've always been more of a designer than a coder, but it's getting there!
ADDITIONALLY I've decided that if I abandon this project for more than 8 months, anyone is welcome to request my work so far and use it for their own mod. If this blog hasn't posted in a long while, feel free to send me an ask or message! I may say no, however.
Ultimately, I want this mod to exist in some fashion. While there is an existing one, I have a pretty different take on the character and I want to share it with you all! Every line of dialogue, every heart event, every little detail needs to share something interesting about a character and their world. Yet, Mr. Qi is a mysterious guy, and I think some things should be left up to player interpretation. And I think it's crucial to be able to match his tone and voice to the vanilla game, while also expanding on his characterization. It's a fun challenge to write, and I hope the finished product, uh, well I hope it gets finished mostly, but I think it'll be pretty good.
Thanks for reading all this. This is largely just a stream of consciousness for myself, but I hope it's...interesting, or something?
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The Radio Demon & the Billboard Doe (15)
Pairing: Alastor x Fem! OC
Warnings: Swearing; Sexual implications
Genre: Angst/Fluff (& Humor!)
Word Count: 5K
15. Stargazing
He’s a huge fan of ballroom dancing
asked me to dance during the hotel’s party
😱😱😱
what happened?
uhhh
he just breathed on my face??
😂😂😂
oh! he squeezed my waist when he dipped me
Oooh. didn’t know the RD was freaky 😉
good job.
“Spill,” Angel Dust trapped Voe in a corner
“Spill what?” She feigned innocence
“You know what! You fuckin’ Smiles?”
“What?” She slipped out of the corner he had her in and started walking away “I don’t know what you’re talking about.”
“Don’t lie, Niffty told us she saw him go in your room and then heard moaning and shakin’ last night.”
She furrowed her brows and looked down “Niffty, what the fuck?”
She giggled maniacally “The noises help me sleep.” Her tone is eerie as hell
“Despite what Niffty may or may not have been eavesdropping to, I deny all claims I am being accused of. Besides, even if she did hear those things who say it was fucking?”
Angel looked around like she was an idiot “What else would y’all be doin’?”
“Maybe talking? If you wanna know so bad, you should ask him.”
“I am not asking Freaky Face about what he does with his dick!” He makes that last part a whisper
“Well then I guess you’re outta luck pal.” She shrugs
Normally she’d have no issues discussing who she was fucking and how, but among the pillow talk, Alastor had outlined one specific request for her.
“May I ask a favor of you, my dear?”
She turned her head to him as she lay on her stomach “Hmm?”
“I’m well aware of your tendency to gossip, but I require that you refrain from telling anyone about this, or any of these ‘excursions’ we will have.”
“Mhmm. Why? Are you ashamed of me?” She asks teasingly
He pokes out his nose, opening one eye “I believe that this is something intimate and there are some things you just shouldn’t discuss with others. We are the only ones who need to know about this, clear?”
“Alright,” she says before lulling off into sleep.
When she awoke, he and his clothes were gone. No trace of him ever having been there. She wondered how this day would go when she saw him. How would he act around her now? She was lowkey excited to see him, but it was Angel she ran into first.
“C’mon, I won’t tell nobody!” Angel tried to bargain with her
“There’s nothing to tell,” Voe crossed her arms and tried to keep her smirk down, but she wasn’t sure if she was succeeding
“You know what, whatever. It’ll slip. I’ll get you one day toots,”
She turns her back to him “Mhmm,”
“Or I could find out about it from somewhere else,”
“Uhuh, sure.”
Voe’s ears twitch wildly when she hears Alastor come down the stairs. His grin was wider than ever before, looking refreshed and well-rested, despite most likely not having slept. He stands tall as he reaches the parlor and approaches Charlie in conversation.
“Well well well, look who it is!” Angel turned to Voe “He looks different, wouldn’t you agree toots? A lot fresher and brighter huh?”
“Yes, indeed.”
She watched him past Angel where he was engrossed in his conversation with the princess. He kept stealing glances at her however, his eyes darting towards her direction on multiple occasions, and he adjusted his collar, adjusting his grin almost imperceptively to something more smug. Voe approaches the two of them with intention.
“Sorry Charlie, I need to borrow Alastor for a moment,” Voe interjects
“Oh, no problem!” Charlie goes over to the other side of the room
Alastor turns his attention to the doe, his smile turning playful “Good morning,”
“Good morning to you as well, sir!” Voe’s eyes brighten when she looks at him
His hands are placed squarely behind his back as he leans slightly forward “What is it that you need, my dear?”
“I seem to be missing a certain garment that I distinctly remember leaving on my bedroom floor.” she whispers “Any idea of where it might be?”
He puts his finger on his chin “And just why do you think that I would be aware of the location of that garment?”
“I just thought as the facility manager, you would make it your business to know what goes on in these halls…and in these rooms,”
“Unfortunately my dear, I seem to have let this one thing slip through my fingers. I am dreadfully sorry, I promise to do much better next time.”
She steps closer, her voice lowering in volume “I also figured you would know considering that your clothes were missing right along with it.”
“Why would my clothes be in your bedroom?”
Voe’s eyes and smile widen, thoroughly amused by this conversation. She gestures for him to bend down and he does “I never took you for a panty thief my good sir,” she smirks
“Whatever are you referring to my Belle?” His eyes glint with mischief “I do not recall any thievery on my part.” He leans in to whisper directly into her ear “I will say however, that if I were to be the culprit that..collected your undergarments, then it would not have been for the thrill of theft, but for their delectable scent.”
She was a little frustrated because that pair made her feel extra sexy, but also amused that he was that obsessed with how she smelled.
“I don’t think Charlie would be happy to know that her facility manager is stealing from guests rooms,”
He leans forward on his cane “I also don’t think Charlie would be happy to know a certain guest is sleeping with her father,”
She gasps “Bite me,” she shot at him
“Careful my dear, I just might.” Alastor’s golden grin shined in the light
“Ugh, yes Daddy” Voe moans with absolutely no change in expression
“I swear they’re fuckin’” Angel whispered to Husker over at the bar
Husk has his back to the spider “Nah, boss doesn’t fuck,”
“There’s something different about ‘em can’t you see it?”
The cat glances over at the pair “All I see is a sick freak toying with his food. And the food’s too head over heels to notice.”
“Aww c’mon, he can’t possibly be changing?”
Husk stares at Angel, sliding him a drink, his expression not changing “She’s not that special. Nobody is.”
______________________________________________________________
Walking back to her room, Voe spots Niffty stabbing at the carpet, chasing after a particularly quick bug, and is completely overjoyed when she finally catches it. She laughed maniacally and didn’t seem to notice Voe standing and watching.
She approaches the little cyclops “Hi Niffty,”
She looks up, holding the bug on her needle “Hi Mommy!” she pants and waves the needle
“I haven’t checked in with you in a while. How are you?” she squats in front of the little demon, genuinely interested in her conversation
“I’m good. I got a bug! See?” she shows it to Voe
She smiles, backing away from the needle “Now you can it to your puppet show,”
“No! That’s old news! Now I’m making roach kabobs! For everyone!”
Voe purses her lips “Hmm. Can I ask you something?”
“No, I don’t do anything while you sleep! I just watch,” she waves her off
“Well, uh no. Not that. Now I’m definitely buying that padlock. But why did you tell Angel that you heard moaning and shaking in my room?”
“Because I did!”
“Right, but why did tell him that?”
She giggles “Why not?”
Voe sits on the floor “What did you think it was?”
“You having sexy times with a bad boy!”
“You mean, Lucifer?”
She taps her chin “There are lots of bad boys in Hell!”
“Who else do you call a bad boy?”
“Lots of people!”
“Like who?”
“Lucifer, Husk, Alastor. They’re all my bad boys!”
She tilts her head “Is that why you let him own you? Because he’s a bad boy?”
“No!”
“Why then?”
Niffty thinks for a few minutes “I have no idea!” she laughs “I don’t remember!”
Voe smiles “But he treats you well, yes?”
She nods “Yep! Alastor is very nice! He listens to me talk! Sometimes I climb on his head! Or I show him the bugs I’ve collected! But he won’t let me take some of his hair though,”
“How long have you known Alastor?”
“My entire life!”
“Hmm?”
Niffty nods “Mhmm! Forever and ever and ever!”
“And how do you feel about him?”
“He is the sweetest guy!”
“But he’s a bad boy?”
“Yeah…” she grins menacingly
Voe leans forward “How do you feel about me?”
“You’re wonderful Mommy!” Niffty hugs her leg
Voe puts her hand on the smaller woman’s back “Niffty, why do you call me Mommy?”
She perks up “Because Alastor is like dad! So you’re like Mom!”
“How so?”
“You argue and fight like you’re married, and you can’t stay away from each other!” Niffty crawls up her leg and bites it.
Voe only mildly reacts to the bite “Do you think I like Alastor?”
“No! I think he likes you! Just like my real Mom and Dad!” Niffty steps on Voe’s lap and rips out a piece of her hair
“Ah! FUCK!” Voe rubs her scalp
Niffty scampers off “For my collection! Good night Mommy!”
______________________________________________________________
“So are you actually not going to give them back?” she comes up behind Alastor as they both descend the stairs, her on a higher step
“Whatever do you mean?”
“You know what I mean, Alastor,”
His ears tilt back “I’m afraid I don’t, my dear”
“My panties Alastor! My panties!”
He turns around quickly and places a finger to his lips “Shh. Remember what I asked of you, my dear?”
She lowers her voice “You have to give them back eventually,”
“And why would that be? If I had them,”
She leans forward, closer to his face “They’ll stop smelling like me eventually. Then what will you do?”
“I suppose that if I had your undergarments, I could throw them out once they stopped smelling so fondly,”
She stomps “No! Give them back!” she pouts “That’s my sexy pair!”
“You don’t need undergarments to be sexy,” he waves her off
She runs in front of him “So I’m already sexy?” she winks
He fakes shock “You didn’t know?” he walks past
She blushes, running to keep up with him. “I talked to Niffty last night?”
“Mhmm?”
“She said you’re ‘like dad’ and that I’m ‘like mom’”
Alastor stops in his tracks and turns his head downward “And what else did she say?”
Voe suddenly felt a bit self-conscious, now directly under the demon’s gaze, which was strange given that they had now been past the point where they had seen each other naked.
It takes her a moment to gather her words “Just that we remind her of her real parents,” she told him
Alastor turns his head back up to look forward and says “Hmm,”
Oddly enough, though she had gone into the interaction with the intention of telling him everything, seeing his piercing gaze made her want to keep part of it to herself. Specifically, the part where Niffty said that he likes her. She didn’t want reality to come in and ruin it. She wanted to live, at least a little longer, with the idea that he liked her for a little while longer. She didn’t want to admit that she wanted him to like her, but she also didn’t want him to say something mean and shatter the glass so to speak, or hurt her feelings. So she let him walk away, content with her imagination, at least for now
“Hey, toots!” Angel ran up to her breathing slightly heavily, breaking her fantasy
She stands up straight “Yeah, what’s up?”
“I got something, that you gotta see!” He grabs her arm, not waiting for an answer, and drags her out of the hotel, down the hill, past the broken streets, the blazing sidewalks, and the raging turf wars to the center of Pentagram City. Once they reach it, he lets her arm go. Voe looks around and sees the same old violence and chaos as always.
“What Angel, I see this all the time,” she flattens her brows in frustration
He rolls his eyes “I know that you’re so close to the ground, but look up toots!”
She purses her lips but obliges to his instructions. Upon looking up she saw a tall building adorned with an ostentatious billboard atop it, the billboard reading ‘Respectless by Velvette’, on a white background, and to the right side was the photo of her from the photoshoot she had done with the other models, with her squatting in the pink two-piece with her back to the camera and her face turned towards it. On the right side was her posing with the hot pink whip.
Voe was absolutely speechless staring at herself up there on that sign. She looked at Angel who grinned at her, then looked back at the billboard, she couldn’t believe this was real. A demon bumped into her when walking past and Angel yelled “Hey you walking into a celebrity here!” he pointed up to the billboard
She scoffs at first and then she sees Voe’s face and gasps “Are you Voe the Beau?”
“Yeah!” Voe answers almost more excited than she
“Can I get an autograph?”
“Yeah!” she looks around for something to write with and Angel materializes a marker
“Word to the wise, always carry a sharpie,” he winks at her “You’re gonna need it,”
The demon opens her jacket, implying that she wants Voe to sign her boobs and Voe does, her mind disconnected from her body as other demons stopped to stare and started walking up to her more and more of them asking for autographs and selfies.
The next two weeks were a blur. Suddenly she was everywhere and everyone wanted something from her. She was on the news, in the paper, on taxis in magazines, follower count blowing up, and brand deals on Sinstagram. If this was everything she could get just from telling her boss some little teeny facts about Alastor, then it was worth it. Even Alastor himself would agree that was a fair trade, she convinced herself. Her face was everywhere. She knew that it would all be fine, and it was a dream. HER dream and nothing could ruin it for her.
he hasn’t admitted to it yet, but i swear he stole my panties
ew creepy
def telling Vox 😭
Voe didn’t know how to respond to that message, she’d meant it as something to laugh at, she didn’t see it as something creepy at all, but maybe she was wrong.
“Voe,” Alastor calls from the top of the stairs, she looks up from her phone to face him “I require your immediate assistance.”
Voe takes her time climbing up the stairs to him. “Yes?” She asks once she gets to him. He snaps, sending them to her room.
She sighs “What do you need?”
She’s slammed against the wall and rushed with hands, lips, and teeth all over her body. Alastor wasted no time this go round, he knew what he needed and how to get it.
There was no talking this time, only the sounds of wet slapping and heavy breathing. As she moans he slides his tongue into her open mouth and their lips collide, he swallows her loud moans, her kissing him back with her plump soft lips, mouths moving in sync. She grabs his hair as they kiss, needing something to hold onto while he went to town in her pussy.
He raises his head to growl “Vera…” in her ear and she grips his body tighter in response.
Voe sits upright on the side of the bed, staring off into space.
Alastor sneaks up behind her on the bed and leans down to her ear. “What’s wrong, my dear?” He breathes into it, caressing her arm, then diverting his attention and hands to her hair.
Voe snaps out of her trance to say “You kissed me,” he is busy pulling her hair back from her shoulders. “You kissed me.” She repeats turning to look at him.
“Oh, yes I suppose I did. Is there an issue?” He raises his brow, his red eyes piercing into hers.
“You’ve never kissed me before,”
“Well sure I have!” He gestures wildly as he normally does “I kissed you on the hand when we first met!”
She turns completely around “On the lips asshole.“ she wanted to sound annoyed, but she couldn’t help but smile. “You kissed me on my lips. Multiple times,” she purses her lips “with tongue.” She accentuates the last word “I didn’t even know you knew how to do that.” She teases him
“Well yes, I suppose that I do have some skills that others are unaware of. I am a bag of tricks”
She wasn’t listening to him at this point, his tone was that of a performance, and she wasn’t his target audience.
“Why did you kiss me?”
“I wanted to see what it felt like.”
“And…”
“I would say that it’s one of the more…enjoyable things I’ve experienced.”
“So you liked it?”
It takes him a moment to answer “Yes.”
She crawls over to him on the bed “Come here,” she says
They lean into each other, lips pressing gently, then aggressively. Alastor grips her hair and Voe holds his chin as he slips his tongue into her mouth once more. When they pull apart Alastor smiles and says
“Yes. That was pleasant,”
“Have you ever thought about eating me?”
“What?”
“Well, you’re a cannibal, right? So have you ever thought about eating me?”
He ponders. “Yes,”
“Well, what stopped you?”
He flattens his brows “You’re much too pretty, my dear”
She laughs “You don’t eat me because I’m pretty?”
“Not just because you’re pretty. Because you’re too pretty. I can’t stand the idea of not having you to look at.”
“Have you ever thought that about anyone else?”
“No,”
She laughs “So you’ll look at attractive people and think ‘dinner’?”
Alastor turns over on his side “You’re thinking of it as if I consider people’s level of attractiveness when I seek to eat.”
“You considered mine,”
“Yes, but I’ve already explained that you are a special case. I do not seek attractive people when I am hungry, I seek who or whatever seems to satisfy my taste buds at the time, and I consider how hungry I am at the moment,”
“Do you also eat the meat raw?”
“Sometimes,” Alastor sits up “What about you?”
Voe raises her eyebrow “What do you mean?”
“Have you ever tasted human flesh?”
“No, it’s not on my palette, thanks.”
“You should, it’s quite delectable.”
“Yeah no, I’m good.”
“Your loss,”
She sits up with him “What exactly causes a person to decide that human flesh is their go-to meal?”
“It’s like trying a new food. Sometimes you see something that you think you might enjoy so you try it.”
“Yeah, but like why? Like, what about human flesh did you see and think ‘that might be worth a try’?” she imitates his accents
“I didn’t start cannibalism until I got to Hell. It was my sixth or seventh victim, and once you’re in Hell why not try anything?”
She purses her lips “Okay, fine. But why raw?”
“It’s got a certain satisfying slippery, slimy taste going down,”
Voe grimaces “That sounds disgusting,”
“Don’t knock it until you try it, my dear.”
She lets out a dissatisfied grunt.
______________________________________________________________
“He said that the raw meat has like a satisfying slippery feeling going down?” She offered, but the Vees rolled their eyes
“No offense love, but that’s not really news. There’s a whole town of cannibals down here in Hell, it’s not very interesting.” Velvette responded
“Do you have anything else?” Vox asked sounding on the brink of a breakdown
Valentino slivered next to her “Preferably something sexy,”
“For fuck’s sake Valentino can you stop being horny?” Velvette smacks her forehead
“No,” he wiggles his tongue at her
“I can’t believe this,” Vox starts pacing in a circle “All we asked for was some information on Alastor. I didn’t think that was SO DIFFICULT, but APPARENTLY IT IS! ARE YOU EVEN TRYING?” Vox rushes up to her face
She was startled, unable to respond by the amount of tension being up on her so quickly.
“HELLO? GOD, VELVETTE DID YOU BRING US AN IDIOT?!”
Velvette sighs “Ugh Vox, calm down! You’re giving me a headache. She’s not an idiot.” She turns to Voe “You’re telling me that you haven’t heard anything else? C’mon, now I’m vouching for you.”
Voe’s eyes dart between each of the Vees, she can feel them losing faith in her, thinking she’s stupid or incapable. She can see all that she’s worked for, all that she’s dreamed of, disappearing, and she could think of nothing.
“THIS IS A WASTE OF TIME!!” Vox puts his hands on his head “If you stop being useful at this, maybe we can use you for something else. Val?” He glances at the moth, who grins in satisfaction.
Sweat dripped down all of Voe’s crevices, under her pits, her boobs, and even her cheeks. Her whole body was warm at the terrifying thought of being owned by Valentino.
“I remembered something,” She blurts out
The Overlords turn to her as they wait for her word.
“The housekeeper, Niffty. I was talking to her and she said that she thinks he likes me!”
“Thinks or knows?” Vox leans into her personal space
She gulps as more sweat trickles down her face “He sniffs my panties!”
The room is quiet for a second or more, and then the Vees start laughing.
“Ohh, now I know why you’ve been holding back gossip!” Voe’s eyes widen “Do you like the Radio Demon?”
“No!” She answers quickly
Valentino cackles “Aww poor Alastor,” he purrs into her ear “You’re playing him like a fiddle,” he bites his lip “You’re a bad girl” he licks her hand “Never thought I’d pity the Radio Demon,”
“Yes nothing more poetic than a woman being the one to destroy a powerful man,” Velvette’s grin is far from innocent
“Good girl,” Vox pats her head between her ears
“But if you mess up again,” Val turns her head to him “you’re all mine.”
“Fuck off Val, you all need to get out. Not you sweetie,” she holds Voe’s arm
When the men leave, Velvette turns to her “You alright? You look like you’ve had a fright,”
Voe nods wordlessly
“Don’t worry about them,” Velvette cups her cheek “Just focus on your mission alright? I won’t let them take you away from me, okay babe?”
Voe nods along with her, so terrified of what would happen if she didn’t start talking this more seriously.
______________________________________________________________
“Voe! Someone’s at the door for you!” Charlie yelled
She skips down the stairs up to the front door, taking a bag from the man who’s eyes widened upon the sight of her “Excellent,” she goes to close the door.
“Wait,” the delivery demon stopped her “Aren’t you Voe the Beau?”
“Yeah,” she closes the door in his face. She looks into the bag “Amazing,” Voe starts walking back up to the stairs, making eye contact with Alastor and motioning for him to follow. He does, once he approaches her he speaks
“What’s that? More fan mail or gifts?”
She turns to him “It’s actually for you,”
Alastor raises his eyebrows and reaches for the bag, which Voe pulls away from him. “You said this it was for me, my dear.”
“It is, but I guarantee that you’re going to want to be out of earshot of everyone else when you see what it is. Send us to my room”
He places his hand on her shoulder and does as she asks, once there he removes his hand.
“Sit.” She commands, and he obliges, turning his cane into nothingness. She turns his head to make him look in the mirror “Alastor. Look at yourself. You’re tall, dark, and very hot- at least by my standards” his large grin turns smug “You’re charming and enticing. A true gentleman.” She holds his chin “practically untouchable, and radiating power. That is why I like you. You are so close to being the perfect man.” She turns his face to make him look at her “But your breath smells…like…SHIT! It’s disgusting. Smells like a dead and rotting animal took a fucking dump on your tongue and then you swallowed it, and let it ruminate. You need to brush your fucking teeth and tongue. Hell, you need to swallow the whole fucking container of mouthwash. This is not debatable. And not up for discussion. You’re sexy as fuck, but I am not kissing you again until you take care of that!” She thrusts the tools into his hands, and his grin becomes tense, stretching the limits of what counts as a smile.
“We have a deal, my dear. You agreed to provide me with your company.”
“That doesn’t mean I have to kiss you. I can do that without even getting close to you.” She stood in front of him defiantly “Like, what’s your beef with oral hygiene? Geez, you’d be a lot more intimidating if your breath smelled good. But whatever, you can continue to stink if you like, but that means no more kissing.” She starts to walk away, leaving him staring after her. She turns to stare back at him with a smug grin, her words oozing with power “Your choice.”
“Alright, my dear. You’ve twisted my arm.”
She shoves the bag into his hands, it’s filled with toothbrushes, toothpaste, floss, mouthwash, lip scrub, and moisturizer. He holds up the latter two things in confusion.
“What? Don’t give me that spiel about manliness. A well-groomed man is more attractive and an attractive man is more intimidating. I guarantee it. You want to send shivers down people’s spines? Brush them teeth!” He rolls his eyes “You can start now!” he exits her room with the bag in tow “Going to the bathroom I hope!” but he’s already gone, slammed the door and all. “Well, he took the stuff, that’s a good sign.”
She takes out her phone to text Velvette:
I just had to give Alastor a lesson on oral hygiene
😂
Voe heads down to bar to get herself another drink. She didn’t really drink this often while alive, but she loved to rub it into Husk that he was now obligated to make them for her. He groans when he sees her coming. She smiles at his reaction.
“You already know what I want cat man,”
Husker rolls his eyes and makes her the drink, sliding it to her forcefully, as if intentionally trying to spill it.
“Don’t do that, I wouldn’t want to have to tell your boss about you throwing a tantrum over a drink,” she tilts her head
“Calm down princess, your drink’s right there.”
“Still,” she takes a sip from it “You could’ve spilled it, and that’s not good at all.” She tsks the cat
The cat does not respond, returning to cleaning bottles as she watches him while sipping from the glass
“Was becoming a bartending cat your dream? Or did you just happen to be an alcoholic who knows how to mix drinks?”
“Did you come down here just to fuck with me?”
She thinks about the question “Yes,”
“You and Boss deserve each other,”
“What in Hell are you yapping about now cat?”
He slaps his paws on the counter “What I’m ‘yapping’ about is hearing about you and Boss fucking,”
Voe’s face drops “Where did you hear that?” she sips her drink, the rest of her body still
“Angel,”
She scoffs “Angel doesn’t know what he’s talking about,”
“And neither does Niffty?”
She looks up over her glasses “No,”
“Right. Like I said you two deserve each other. You and that sick bastard.”
She rims the glass “What’s it to you anyway?”
“Look everyone in this hotel knows that you and him are doing stuff together. Half of us just know you’re fucking and the other half can see for what it is. You trying to change and fix him into your ‘perfect toy’. It’s not gonna happen! Better find somebody else to make your new project. He is not the type to play house,” he looks away from her “Before you become his plaything,”
“He’s not a project! I’m not trying to fix him! Have you ever thought that maybe, just maybe..” she slaps her hand on the bar counter “I like him fucked up?”
“But why?”
“Maybe I’m fucked up too?”
He scoffs “You? Miss millions of followers?”
She crosses her arms “Yeah? What about it?”
“The only thing fucked up with you is that you like him,” he says cleaning the bottom of the glass
Voe leans on the bar counter “Y’all only see what I want you to see,”
“Uh huh, whatever,”
“At least I’m treated fairly,”
He laughs “You think the Vees are treating you fairly? They’re giving you what you want because you’re giving them what they want.”
She squints her eyes “How do you know?”
“You’re the only fool who doesn’t know about the Vees and decided to go and work for ‘em. You think you’re so smart but you’re not. You’re just a dumb kid who thinks she’s better than everyone else.”
“I am not dumb, nor a kid.”
“Could’ve fooled me,”
She laughs dryly “Yeah well, it’s easy to fool an alcoholic,”
Husk gives her the side eye as if responding to her would be beneath him.
“What?!”
He smirks at her “What what?”
“Why are you looking at me like that??”
“What’s the matter? You can stare at people, but I can’t stare at you?”
She purses her lips “I don’t like how you’re looking at me,”
“Aw,”
Voe slides the glass across the counter, hearing it shatter on the floor “Oops,” she says walking away from the bar.
She lies on the bed in her room, covering herself with a blanket. Even when she put the cover over the top of her head, she couldn’t help but feel so naked and vulnerable. It was uncomfortable, almost painful. She never ever wanted to feel that way again.
#headcanon#hazbin hotel alastor#hazbin#hazbin alastor#hazbin hotel#hazbin hotel charlie#hazbin angel dust#alastor hazbin hotel#hazbin oc#hazbin hotel fandom#alastor the radio demon#the radio demon#hazbin hotel oc#original character#black oc#alastor x oc#hazbin hotel fanfiction#radio demon#alastor#black queer#original female character#oc fanfiction#eventual smut#black protagonist#black writers#hazbin the vees#hazbin lucifer#hazbin velvette#hazbin vox
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Umineko Liveblog: Thoughts/Theories [Episode 1 Chapter 13 Edition]
In Umineko chapter 13, it happened again. Barely three chapters after the previous slaughter, the second twilight unfolds. The two who are close were torn apart, in a gruesome and inevitable moment that shocked everybody and nobody. It is a compact chapter that almost entirely hinges around Eva and Hideyoshi’s demise.
However, that’s not all that’s going on here. Beyond the shock and the horrors, some of the more salient elements of the story are slowly simmering to the surface. Eva and Hideyoshi’s involvement in the first twilight, the nature of the witch narrative, Genji’s role in these grim events, and Kinzo’s potential bizarre and horrifying motive.
And also try to figure out just what went down in that locked room.
Our first stop on the chapter 13 writeup brings us to the titular two who are close. I’m not yet talking about their corpses or the seemingly impossible closed room they were killed in just yet. First, I want to think about the very loaded conversation between Eva and Hideyoshi in the opening half of the chapter.
At first glance, it feels like nothing more than an endless parade of death flags. They comment on how proud they are of George, they affirm their love for one another, and then they talk about their plans to travel somewhere beautiful once this is all over. There was never any subtlety about what was going to happen to these two in this chapter. The surface level reading is incredibly apparent.
What’s less apparent is what else can be gleaned from this conversation. Yes, Eva and Hideyoshi are having their “when we leave this place” doomed by the narrative conversation, but there is one specific death flag that doesn’t get tripped. Not once do either of them talk about the murders, or Beatrice, or any fear they may have for their own safety.
Eva and Hideyoshi not necessarily caring about their murdered siblings doesn’t come as a surprise. What does come as a surprise is that Eva, who spent the last two chapters mercilessly interrogating the mystery of Kinzo’s disappearance, has very little to say on the matter of these bizarre murders. They briefly comment on how Natsuhi is letting the power go to her head now that Krauss is dead and that it’s a relief that Shannon was killed so George now cannot marry her. That is the extent of it.
It is almost out of character how far removed from the situation Eva and Hideyoshi appear to be in this conversation. After all, the killer is still at large and there are still twelve hours until the boat gets there. So why are they so completely unbothered? It’s almost as if to them, this murder business does not concern them.
And why would that be? Why would Eva and Hideyoshi be acting without fear despite having no outward reason to do so?
If they are unafraid, that indicates that they believe, for whatever reason, that Beatrice and the killings pose no threat to them. This is something that was evident even in the previous chapter when the two of them broke off from the group despite the clear risks associated with that. It’s also reinforced by the fact that they make plans to escape to the Maldives in a few weeks’ time – there is not a shred of doubt that they will be leaving the island alive. Everybody else on Rokkenjima is panicked and terrified, but not Eva and Hideyoshi. In short, in private, they are acting as if there is no threat to their lives at all.
This is of course a wildly bizarre stance to take given the situation they find themselves in. What’s important here is trying to find a reason as to why these two would act like this and say the things they do. What they talk about is reaffirming their future and going away on a luxury trip. No mention of the murders, the epitaph, the gold, or the inheritance.
Almost as if these problems are no longer a concern for Eva and Hideyoshi, despite half their family being killed and them still in the red financially. Those things might as well not exist behind closed doors. Why is that?
I think figuring out a compelling reason for this relies on a prior assumption almost certainly being true: Eva and Hideyoshi were involved in the first twilight. More specifically, they were helped along in whatever they did by the originator of the Beatrice narrative enough that their culpability has been taken care of for them. If “Beatrice” is making their problems disappear with “magic”, then of course it would be no issue for the two of them to play along with the witch narrative as long as it continues to benefit them. Hideyoshi leaning in on the “demonic” nature of the magic circles despite his prior skepticism towards Beatrice makes complete sense under this light.
This would also be why Hideyoshi chastises Eva for her receipt ploy with Natsuhi. The witch narrative works on ambiguity and uncertainty, of not looking too deeply or closely at the mysteries. If the Kinzo death embezzlement theory is true, then the coverup is operating on the same logic as the narrative that is protecting Eva and Hideyoshi. If Kinzo’s death is unmasked by the family, then so too can Beatrice be unmasked. And if Beatrice is unmasked, then Eva and Hideyoshi’s role is exposed.
Further, this can also be used to explain away their Maldives plans. We are presented with a very Romantic vision of Eva and Hideyoshi making peace with their lot in life and renewing their love for each other in the wake of tragedy, the facts of which can only be contradicted via attacks on their character and not via logic. However, if we use the Detective’s approach and separate the actions from the emotions, what are we left with?
Eva and Hideyoshi, who are no longer concerned about the inheritance and Kinzo’s fortune, are making plans to be out of the country in a remote location about twelve weeks from the present moment. This would leave them totally unreachable and untouchable at what would likely be the height of the police investigation into the Rokkenjima murders. They would be in a foreign nation under foreign jurisdiction right around when they would be scrutinised either as witnesses or suspects. They will be out of the country, and thus uninvolved with the immediate management of the Rokkenjima estate in the absence of pretty much every other viable next-of-kin.
Why would they be out of the country at such a crucial time, and why would they not be concerned with taking control of the family’s affairs? I think two points can be extrapolated here.
The first is that they need to be out of the picture so as not to be a suspect. On its own this would not make sense because them being unreachable would only serve to make them more suspicious, so it stands that there is some kind of contingency they feel is protecting them. The second is that they don’t challenge the succession/inheritance because they either already have everything they need, or they know that it is a matter of time before they get it anyway. Eva is ambitious and desperate for the top slice of the Ushiromiya pie. She would not back off without a guarantee.
What this tells us, I think, is that there is an individual who exists to take the heat off Eva and Hideyoshi in some way. Some person who would be infinitely more suspicious than even the only surviving beneficiaries who have fled the country. Some person who, in some way, will guarantee that Eva and Hideyoshi will still have access to the Ushiromiya fortune when all is said and done.
A perfect candidate for this sort of person would be a hypothetical individual who has already seized ownership of the headship and the fortune who otherwise should not have it, and who will very quickly get caught out by the police for having wealth and power above their status. Someone who is, say, a servant who solved the epitaph and gained control of Rokkenjima and its gold. A servant who will most likely be swiftly arrested, not believed, and their stolen wealth immediately returned to the highest-ranked Ushiromiya still alive. This is everything Eva wanted and more, and all she has to do is sit quietly and let events fall as they will. Like Kinzo before her, she will be bestowed untold riches through Beatrice’s magic, so long as she keeps her mouth shut.
Ultimately, when Eva tells Battler to think more deeply on what she said before leaving the parlor, she is obviously imploring him to consider Natsuhi as a duplicitous hypocrite. However, if your thinking extends beyond the “who” and into the “how” and “why”, then Eva’s trick with the receipt provides a solid blueprint for breaking down the witch narrative. This is, of course, almost certainly not something the person behind Beatrice expected to happen when they stepped in to clean up Eva and Hideyoshi’s mess. If the witch narrative is destroyed too early, then not only does whatever Beatrice’s plan is get thoroughly ruined, but also Eva and Hideyoshi get suspected as culprits and lose everything.
Each one has the power to destroy the other. However, while Eva and Hideyoshi cannot survive without the witch narrative, the witch narrative can certainly survive without Eva and Hideyoshi. So Beatrice cuts her losses and disposes of the two of them before they can become a liability in order to keep the narrative going.
And of course, the witch narrative itself plays a central role in this chapter as an unseen yet glaringly visible force. We’ve already gone over how and why Eva and Hideyoshi would play into the witch narrative, so now let’s examine the broader narrative that exists beyond the two of them.
Until now, it was fairly easy to read the witch narrative as a mere metaphor coverup for the killing of the Ushiromiya siblings. It cloaks the murders in obscurity and makes it hard to understand anything other than the hard fact of death. The first twilight is a masterclass in a mystery that gives nothing away easily. Not so much with the second twilight.
A lot of this comes from the fact that the interim chapters between the two twilights have been peppered with glimpses into how this narrative is being constructed, and who is telling this story. The scenes between the servants talking about Beatrice reveal that whatever is going on is much more than a little bit of occult obfuscation. Beatrice is made into a consistent character with concrete personality traits that are completely superfluous to the “a witch is murdering everybody” scenario. Why does it matter that Beatrice is respectful to those who respect her in kind? Why would Beatrice have a propensity for pranking? Why does the story of Beatrice, in Battler’s words, have to bring everyone on Rokkenjima into another world?
This still mostly touches on elements of the witch narrative that are hard to figure out at this point, related to things like the paradox of an unsolvable mystery begging to be solved. I don’t think this chapter does much to advance my understanding of these issues. Instead, I want to examine the way the witch narrative is working around the second twilight, and what these features can tell us.
The first thing I noticed on this front is a soft culmination of the recurring image of the TV. Since the first twilight, there has been a narrative emphasis on Maria being totally absorbed in watching TV, except for the moments where the narrative flares up and she gets the chance to be witch-Maria. The TV here is used as a symbol for the unreality of the situation – the programs Maria watches are fictional, a fantasy to keep her absorbed in. The witch narrative is similarly an all-absorbing fantasy, and during the scenes in the parlor when everybody is discussing Beatrice and the occult, Maria is able to turn her attention away from the TV. When they are not talking about the witch narrative, Maria returns to the TV.
If you view Maria as totally fantasy-absorbed within the story, then the only times she stops watching TV are when the fantasy has spilled out into the material world. The TV, then, is a stand-in for the witch narrative – only those invested in perpetuating the witch narrative watch TV. The TV itself is also a signifier of the fiction contained within the screen leaking out into wider reality.
This is all important because in chapter 13, the TV features heavily in the guest bedroom. Alone in the room, Eva and Hideyoshi turn the TV on, and it becomes the only audible sound aside from the rain. While discovering the murder, Kanon remarks on how the light and noise from the TV grow stronger and stronger until they are the only thing he can focus on. The TV strengthens throughout the chapter, right up until the moment where Eva and Hideyoshi’s bodies are found.
If TV = witch narrative, then chapter 13 is a steady progression of the witch narrative increasing in strength. Despite the seemingly disconnected shock of the murders, there is still that Beatrice-shaped throughline linking it to the first twilight. Whatever happened to Eva and Hideyoshi is part of the same continuity of killings that was responsible for the deaths of the other siblings. This is perhaps the most important takeaway from this observation: we must consider the two sets of murders as a continuous series of events. Whatever caused the first twilight is still happening.
More than that, it also means that so much of this scene is shrouded in that misleading obfuscation inherent to the witch narrative. It’s hard to know for sure what’s going on since the important parts of this chapter were entirely relayed through a third person outside perspective and not through Battler’s eyes, so if there are discrepancies in presentation they are not yet known. All we have to work with is the singular, third person series of events. If there are incongruities to be found, it is too soon to speculate on them. The only thing that is certain is that if the witch narrative is in play as strongly as the story would suggest, then it must not be taken for granted that everything here is as it seems.
The other witch narrative element in this chapter comes in the form of more occult symbols, of which we get two: bizarrely-decorated icepick-esque murder weapons, and a freakishly elaborate magic circle.
The icepicks, or whatever they are, are a little easier to puzzle out. The characters remark on how bizarre and out of place they seem to be, not knowing how or why they got here and were used in the murders. Regardless of how truthful you may assume these observations to be, I think it’s fairly easy to say that the weird ornate weapons came from Kinzo’s collection, same as the gun. If so, then these picks may have either been obtained the previous night when Kinzo’s study was entered to prepare for the first twilight, or at some undisclosed point beforehand depending on how much in advance these murders were set up.
What the picks actually are is a little less straightforward. If you’re going by the rules of occult symbols and weapons, the first thing that naturally comes to mind when thinking of “conical object with a fancy handle” is some kind of stake – I’m thinking more along the lines of blood sacrifice than demon slaying here. It was described as being like an icepick but not an icepick, and similar to a spear but too short to be called a spear, so I think some kind of modified sacrificial stake is the best fit. I said a second ago that I think the intended evocation is of ritual sacrifice rather than the killing of something demonic, but in the prior scene Eva describes her own toxic ambitions as a “devil” in her head. Killing the “devil” inside Eva by running a stake through her has a nice ironic thematic resonance to it that I think further justifies considering this object as some kind of stake.
The other issue, however, is that stakes are almost only useful for piercing soft flesh – the traditional image is of a stake through the heart, and not through the forehead. It is far easier to pierce the chest than it is the skull, so if this is some kind of stake (not that the exact nature of the weapon matters that much), how did it do that?
I think that, both like and unlike the first twilight, it’s worth considering a more mundane tool here. In order to get something thin and piercing through a hard to penetrate surface, you need to apply a lot of force. The gun could not be used since that is still in Natsuhi’s possession, so some kind of shenanigans there is automatically out of the question. Given that, what’s left to us?
What’s worth noting is that we never get a good look at the weapons, beyond seeing their handles and that they are roughly conical in shape. How they are embedded in Eva and Hideyoshi remains unknown. My thinking is, given the size and shape and purpose of these wounds, that a drill was likely used to create the effect seen. A drill could, with enough pressure, pierce into someone’s skull. It would then either be a case of having the weapon attached to some kind of screw as it is drilled into them, or sticking the weapon into the hole after the fact. The drill could be easily sourced from the same tool storage room Kanon acquired the bolt cutters from, and easily returned without suspicion.
One question that arises from this is that it is once again very unlikely that Eva and Hideyoshi died by having their foreheads drilled through. Given the list of suspects and the logistics of the killing, it is most likely that the mutilation happened posthumously like with the first twilight. Which means, again, that Eva and Hideyoshi were actually killed in some other way that left no other visible signs. And once again, I have reason to believe that may be poison.
Before I consider who could have administered some kind of poison to the two of them, let’s also think about the magic circle for a second. According to the narration, Kanon first notices the magic circle when returning to the bedroom with the bolt cutters – a more elaborate magic circle than the first has appeared on the door. Kanon and Kumasawa both react in shock upon seeing it – Kumasawa because it is so ghastly, Kanon because it was not there less than five minutes ago.
On the face of it, this is another impossible-seeming occurrence, even more so than any other occult symbol seen so far. That said, if you keep in mind the overwhelming swell of the witch narrative and the reliability of our narrators, then it becomes less impossible to consider. Going back to the Detective/Romantic narrative viewpoint, we need to remember that these third person scenes are more about being faithful to the emotional truth than the literal truth – the why is accurate, but the how and what may not be.
For the magic circle, what we get is the emergence of this symbol accompanied by Kanon’s shock, fear, and helplessness. Kanon is not in a good place when he looks upon the magic circle – his distress culminates in the appearance of this symbol. This does not necessarily mean the magic circle literally materialised in a handful of minutes, but it does mean that the magic circle’s emotional relevance only became clear upon Kanon’s second known trip to the bedroom.
Now that Kanon has the means of entering the locked bedroom, the witch narrative bleeds out into something concrete and grim. When the bedroom was still a sealed space, there was no occult iconography. The appearance of the circle, narrative-wise, marks a point of no return. As readers, we know what this means: the epitaph murders have continued, and Eva and Hideyoshi are absolutely super dead. There is no avoiding or delaying that inevitability. Likewise, Kanon having the bolt cutters means that he, too, can no longer ignore the writing on the wall.
The bolt cutters break through the material lock on the room. The magic circle breaks through the immaterial lock of obfuscation. We know exactly what is in there, and how to get there. There is no use in pretending. Truth, or some form of it at least, rules the moment. Beatrice shows her hand when she knows we can no longer deny her presence.
So we see the magic circle and understand. So Kanon has the bolt cutters and can step into the room. If the witch narrative is about one thing, it’s the conferring of understanding onto observational parties. Despite the obscurity and mystery surrounding everything, the signs and symbols are remarkably devoid of ambiguity. Magic circles indicate that a completed murder lies behind the door. The imagery of the first twilight goes from a spectacle to a pattern.
Of course, this still means that this is the witch narrative, and this still means that the information we are receiving Is obfuscated. Under the witch narrative, the magic circle inexplicably manifested within a few short minutes as a signpost by the Golden Witch. If you take away the witch narrative and apply more of a Detective’s logic, you then also have to come up with an alternative explanation that conforms to human rules and human logic.
If there is no witch and no magic operating on the physical level, that means that the magic circle was materially constructed by a material entity. With the previous circle on the storehouse door, I reasoned that the six hour timeframe is more than enough for the culprit to draw it. With the second twilight. However, that timeframe has rapidly shrunken. The one that the story offers us, of less than five minutes, is plainly not feasible. Therefore, like other mysteries in this story, we’ll have to extend that window as much as possible.
We know from the chapter breaks that chapter 13 starts at 19:00. We also know that Eva and Hideyoshi are alive at this time. During the discovery of the bodies, Nanjo remarks that they have been dead for roughly an hour. This chapter doesn’t end with a clock transition, but from this we can roughly surmise that the family finds the corpses at 20:00, thereabouts. An hour is still a tight timeframe to produce a magic circle that complex, but infinitely more feasible than five minutes.
Another detail we’re given about the circle is that the paint still appears to “drip”, so assuming that to be true, an hour would still be enough time for the pain to be fresh enough to still run. Really, depending on the type of paint used, this “wet” period could last as long as two to three hours. This was obviously less of a problem for the first twilight, given that the paint was exposed to the rain the whole time and would therefore have difficulty drying. With the second twilight, this is on a door in a sheltered, likely heated, hallway. Even with upper estimates, the amount of time the paint can be visibly wet for is limited.
So what is the earliest that this could have been done? The first major hurdle that needs to be eliminated is Eva and Hideyoshi. If the circle was on the door before they entered the room, the initial assumption is that they would have reacted to this in some way. This, of course, is also predicated on Eva and Hideyoshi having minimal involvement in the witch narrative.
However, the past couple of chapters have proven that Eva and Hideyoshi are, if not producing, at the very least perpetuating the narrative. Like I thought about before, it’s likely that they’re choosing to play along as insurance to protect themselves against being caught out with their involvement in the murders of the first twilight. There’s also the sealed letter found under their door that we never get to see – perhaps these are/were some kind of written instructions on how they were to act for the rest of the weekend? An updated primer on the witch narrative to keep their story straight as the story evolves? Either way, given that, it wouldn’t be too much of a stretch to imagine that they’d ignore the existence of the magic circle under instruction. After all, whatever keeps the suspicion off them works.
Where we do run into an issue is that prior to this, Natsuhi and the servants performed a full sweep of the mansion in search of Kinzo. Unlike Eva and Hideyoshi, Natsuhi is not embroiled in the witch narrative in the same way, and absolutely would have said and done something had she encountered a magic circle while searching the mansion. This means that either Natsuhi never went near the guest rooms (unlikely) or that the magic circle was painted after her search was complete and she returned to the parlor with the gun (much more likely).
If that’s the case, then that pushes the window of opportunity back by an additional hour or so. This also, ultimately, leaves us with a very small pool of suspects. In an anticlimactic fashion, these are basically the same people who were the only ones in a position to draw the magic circle on the storehouse door: Genji and Kanon.
The servants excuse themselves from the parlor early on even in spite of Natsuhi’s attempt to keep everyone in one place. Ostensibly they are in the kitchen to prepare dinner for the family. Kumasawa is shown to be the one most involved in the cooking process, only calling upon Kanon to help her plate up and serve. This gives Kanon and Genji a lot of leeway to move about the mansion and prepare things for the second twilight.
This also, by extension, puts Nanjo in a less favourable light. He spends time in the kitchen playing chess with Genji during the timeframe when he and Kanon would be coming and going. So either Nanjo was completely oblivious to this happening, or he is complicit on some level in what is going on. As always, the dilemma of Nanjo remains ever present and ever unsolvable. His positioning here only adds to the question, and helps very little in pinning anything down. Nanjo is there. This kind of makes him suspicious. It also kind of might not.
More relevantly. I want to instead examine my new prime suspect of the day. Up until now, my prevailing theory has been that Kanon has been the one behind the witch narrative, with Genji as an accomplice. This was mostly based off considering who could have been responsible for giving the first letter to Maria, and who would have the strongest motive to tear down the Ushiromiya family. However, after this chapter (and percolating on things from the last few) I am reporting that my stance has totally shifted. Genji is the orchestrator, and Kanon is the accomplice. I got it backwards.
Too much falls into place too perfectly if you consider Genji to be the “mastermind” of the operation. The bizarre coincidences with everything on Rokkenjima either being out of service or out for repairs specifically over the weekend of the conference makes a hell of a lot more sense if you consider it to be Genji’s doing. The only people who could have done this are those with any degree of authority with household management, which shrinks the circle to Kinzo, Krauss, Natsuhi, and Genji.
Natsuhi has already been eliminated from the suspect pool a million times over, so I won’t spend time repeating myself. Kinzo is too far removed from reality to care much about the specifics of sealing Rokkenjima off from the outside world (although I do have more to say on Kinzo shortly) and also he may or may not actually be alive as of this October weekend anyway. Krauss is a possibility, but him being killed during the first twilight the way he was seems to indicate that he is not involved in any higher-level machinations. Genji, however? Genji is very much perfectly placed to do this. As the defacto senior member of the household staff and as the one person on Rokkenjima who actually has Kinzo’s favour, Genji has a lot more options open to him than the self-professed humble “furniture” would have us believe.
Of all the servants, Genji is the one who can most easily move about unchallenged. Natsuhi and Krauss distrust him too much, and fear Kinzo too much, to make any serious attempts at obstructing him. Kinzo does not care enough to take that much of an interest in anything Genji does. The other servants are either beneath him or unaffiliated with him (as is the case with Gohda). Genji just is, able to go about his business while assumed to be untouchable.
Even if you were to suspect Genji of ill intent, he very effectively wields his position as a servant to deflect. Genji is one of three servants on Rokkenjima to bear the label of “furniture” – a term that is associated with being in Kinzo’s inner circle, and with being a victim of Kinzo’s abuse. For Shannon and Kanon, to be furniture is to be less than human, it is to be the servant before the person. It is to be so folded into your position of servitude that nothing else can be permitted to exist, save for your function of being at the mercy of your superiors. They are powerless teenagers trapped in a cruel situation. For Genji, though, this narrative does not quite click.
Yes, he is bound to serve Kinzo regardless of his personal will. Yes, he has almost totally given himself over to his role as a servant. Yes, he is seemingly “stuck” on Rokkenjima. But it’s not the same as Kanon and Shannon. Genji was not plucked from birth and forced into this position. He was, by all accounts, a good friend of Kinzo’s in their youth who chose to become his personal servant at some undefined point decades in the past. Genji entered into this arrangement willingly, even if the present circumstances do not necessarily match the starting conditions.
But Genji still calls himself “furniture”. He is deliberately positioning himself as part of the same class of individual as Shannon and Kanon, despite ostensibly having more in common with someone like Kumasawa. She is another elderly servant with enough leeway to get up to antics, but she does not refer to herself, or anyone, as furniture. She lacks Kinzo’s favour, but in all other measures she is equivalent to Genji. Furniture as a term used to browbeat junior servants into complacency checks out, but furniture being used to describe a man who willingly entered into the service of his once good friend does not track in quite the same way.
In an earlier chapter, Genji pulls Kanon to one side and discusses with him how they are in service of both of Rokkenjima’s masters – Kinzo and Beatrice. There is a sense that this private conversation carries with it a degree of sincerity. Genji is autonomous compared to the other servants, and yet he is still bound. This is a glaring contradiction in Genji’s psychology that continues to undermine the notion that the Beatrice narrative is all a farce put on by a cynical and crafty servant. There is a sincere notion of a belief in something underpinning the goings-on here, something that drives Genji to step further into whatever unpleasant role he is assuming.
Genji is furniture in service of his master. This statement alone reveals much of the truth we need to understand what is happening here, or at the very least cobble together a compelling theory.
What we know of Genji is that whatever he and Kinzo have goes far back into the past. There is, or was at one point, a genuine affection between the two men. The scene between the two in the study is proof of this, no matter if you subscribe to the notion of Kinzo being alive or the notion of Kinzo being dead. If Kinzo is alive, then the affection is straightforward and reciprocal if erratic. If Kinzo is dead, then Genji is evoking a mirror to feelings that are deeply true in his own heart if nowhere else. And ultimately, what Genji feels matters more than what Kinzo feels, especially for this theory.
The theory is as follows: Genji is the orchestrator of the witch narrative, and Kanon is his coerced subordinate. Where this differs from my earlier Kanon theory is that rather than try to shoehorn a reason into why Genji would so intimately know all this occult stuff in order to deploy it for the murders, I instead think that while Genji is executing this scheme, he is not the mastermind.
The mastermind of the witch narrative, and the originator of “Beatrice”, is actually Kinzo. Or, to be more technical, the ghost of Kinzo.
In order to explain this, we need to go back to the very start of the story, to the prologue scene between Kinzo, Nanjo, and Genji where all three men discuss the issue of Kinzo’s last will and his declining health. This scene has always been a little structurally weird, owing to the fact that it never really connects neatly to anything else in the story. We have no way of knowing when or why this scene happens. All we know is what, and the “what” of the scene is that Nanjo declares that Kinzo has not got long left, and that he should really get to making a will before it is too late. And Kinzo, in response, says that all he cares about is Beatrice, and he would happily throw all his family and all his possessions in the fire for one last glimpse of the Golden Witch.
One implication of this scene is that Nanjo was subtly pushing Kinzo to seek absolution for some undisclosed sin that hangs in the air. I do not think this is what happened – In Kinzo’s own words, he has no regrets. Instead, I think the shift in conversation conveys a literal truth in reasoning. Kinzo’s final choice is to offer it all up to the Demon’s Roulette for the witch. It is not that Kinzo refuses to make a will, but that he does choose to produce one, albeit on his own spiteful, warped terms.
For this to work, I firmly believe that, regardless of everything else going on, Kinzo was definitely alive in this prologue scene. This may have taken place days, weeks, even months before the 1986 family conference, and while that could be pinned down by examining certain actions taken on Rokkenjima and Krauss’s embezzlement efforts, the exact timing does not matter at this exact moment. What matters is that Kinzo formulates some kind of rotten plan before he dies.
What we know here is that Kinzo longs to see Beatrice again, and that according to Maria and the epitaph, Beatrice is in/from the Golden Land. From the few bits of information we have, we know that Beatrice is an unreal ghost-like entity, and that the Golden Land seems to be some kind of afterlife/world Beyond. Or at least the supernatural definition of Golden Land – I also believe that the gold vault is another kind of Golden Land. Glory in life, glory in death and all that.
From this, we can extrapolate that “reunion with Beatrice” is fuelled by some kind of death drive. To meet the Golden Witch in the Golden Land is to cross the threshold of death. The material world must be departed from in all its forms, otherwise there is no point. And more than this, any deaths offered during the twilights are consigned to be little more than sacrifices for Beatrice’s power.
This poses a conundrum for Kinzo. If he dies as a sacrifice, then he is very unlikely to be graced with Beatrice’s smile. If he survives the whole ordeal, there is every chance he just does not see Beatrice at all. For him to get what he wants based on what we know of how this system operates, he either needs to die before the epitaph murders, or after. We know that Beatrice is a ghost. It stands to reason that “Beatrice” would also be a ghost. In other words, I think Kinzo died at some point between the prologue scene and the family setting foot on Rokkenjima. Or at the very least, gave the total impression of death to everyone that matters. Whatever it took to put him in a position where his last will could be carried out.
A spiteful last will, designed to ruin the family that Kinzo so loathes, and to bring him closer than ever to his deranged fantasies. A scheme twofold in its purposes, one final echo of the Ushiromiya patriarch’s abuse, inflicted from a place that totally shields him against any kind of retaliation. The abusive father “exists” in the shadows, forcing everyone on the island into the role of frightened and helpless children, where adulthood and money offer no defence against the horror. The wry and scheming Eva is, in the end, as powerless as Maria in the rose garden. The witch narrative becomes a grand and cruel equaliser only interested in pain.
And, of course, for Kinzo to be the phantom behind the stage, this means that there must be somebody carrying out this violence in the material world. We are given exactly two people who would be privy to this plan of Kinzo’s, if it exists: Nanjo and Genji. Nanjo may know, but Nanjo lacks the power and influence to do much more than potentially splutter out some regurgitated nonsense about the witch narrative and maybe a lie a little about the state of crime scenes. Genji, however, has intimate knowledge of Rokkenjima and of Kinzo, and command of the household staff, including whatever control and leverage is used to keep the other “furniture” in line. One final request to an old friend, one last blood-washed sin to see it off.
The big question, of course, is why on earth Genji would do something like this. We know that there is some kind of unfathomably deep devotion towards Kinzo in spite of everything the man is. We know that, in Genji’s heart at least, there is a fondness that is one of the major components keeping him going. I don’t think it’s as literal as I’m positing, but I do think there is a sentiment towards Kinzo that Genji harbours which goes beyond servitude and friendship and into something resembling love. Be it romantic love, or some other kind of bond formed by history, companionship and proximity, I am not sure. But Genji feels strongly enough about Kinzo that he is willing to bloody his hands in this dirty business simply to fulfil his dear friend’s final wish. The nature of this bond is less important than the fact of its existence.
Genji is acting as Kinzo’s “furniture”, as a manipulated piece on a board that further manipulates pieces beneath him to adhere to the plan. Kanon, then, is trapped under a new layer of torment and abuse as Genji’s fanaticism takes centre stage. He loses his sister and dirties his hands for the sake of a dead man. He has no other option except to acquiesce, because unlike Genji Kanon does not have the luxury of saying “no”. He has nothing of his own, nowhere to go, nobody in his corner. Kanon is little more than a tool, the ultimate embodiment of the “furniture” concept. Kinzo is gone, but the power and abuse dynamics remain as alive as ever.
This is the stage of the epitaph murders. Genji, acting out a rehearsed script bestowed onto him by the evil master he will follow into the depths of hell. Kanon, forced to play deuteragonist no matter what he would rather want for himself. The other servants, the supporting cast of varying relevance. Everyone forced into carrying out Kinzo’s final wish to see his family destroyed in the name of his fleeting, warped dreams.
Keeping that in mind, let’s now try to sketch out what I think happened during the second twilight.
We already know that Eva and Hideyoshi are involved in the first twilight, be it as culprits or accomplices. As the only surviving siblings of that eventful night, they are absolutely painted in suspicion that has taken the witch narrative firing on all cylinders just to keep at bay. And even then, it was only a matter of time before Eva’s ego and the family’s reasoning would lead them to the conclusion that the two of them had some degree of involvement in the deaths of the six. And from there, that would of course lead to the witch narrative potentially being uncovered and the entire scheme falling apart. The two of them are liabilities if “Beatrice” is to have any longevity.
I do not think Eva and Hideyoshi at any point thought they were in danger. They were so secure in their innocence and survival that, after separating from the rest of the family, were willing to make plans about what would happen after the conference. Disappearing into the Maldives for a few weeks at the height of the criminal investigation into the murders indicates that at the very least, the two expect to have the means to do this. After this weekend, they will no longer be in need of a lot of money right now. All they need to do is keep up the pantomime for a few hours longer.
Even if Eva and Hideyoshi weren’t always intended to die, their performance that morning solidified that keeping them around would jeapordise the witch narrative immensely. So either Genji/Kinzo intended to betray them from the start, or this decision came about after witnessing them flail to keep their cover in the parlour. Whatever the case, their decision to break off from the group and retire to the guestroom was actually them stepping into a trap.
Depending on the timeframe of the magic circle, there can be a case made that at some point during the afternoon Genji and/or Kanon painted the door, and Eva and Hideyoshi were told to head to this room at a certain time. Perhaps they were told that staying in a room with a magic circle would make them look like survivors of an attempt on their life in a scenario akin to the stains on Natsuhi’s door, and take the heat off them in the same way as it did Natsuhi. Perhaps they didn’t think to ask questions, so long as they were confident in both their survival and their financial gain. Either that, or the magic circle was painted after they had already entered the room. Both cases are viable, and neither one detracts too much from the overall shape of events.
While Eva and Hideyoshi are in the room talking and doing all the other stuff they were doing, Genji and Kanon are almost certainly preparing the murder. This would involve taking the picks from Kinzo’s collection and painting the magic circle, depending again on the timeframe we’re working with. Either way, that first hour is spent closing the trap in.
At some point in a nebulous timejump, either Genji or Kanon enters the guestroom. Most likely this is done using the pretence of the second letter, which they may have believed contained further instructions for the rest of the conference. I also think that, going by the pattern of culpability, that the person who greets them at the door is Kanon.
The most likely scenario is that Kanon knocks on the door a short while after Eva and Hideyoshi have finished making love. Eva is found dead fully dressed on the bed, and Hideyoshi is found dead naked in the shower. I think you can extrapolate from this their final actions: Eva cleaned herself up first, and Hideyoshi was about to enter the shower when Kanon arrived.
So it is most likely Eva that let Kanon in. She does this because she believes she is not at risk of further harm, and because Kanon and Genji have the blackmail of her involvement in the first twilight over her head. With no choice but to receive further instruction, Eva opens up the guestroom.
In order to kill them, Kanon likely serves Eva and Hideyoshi something poisoned. This was most likely prepared by Genji using whatever poison Krauss and Gohda used in the first twilight. Ironically, the paranoid Eva would not have thought to detect any poison at this stage, and will die of the exact thing she taunted Shannon and Natsuhi about earlier in the story.
After serving them the poison and having some kind of interaction with them, Kanon most likely leaves the scene. What follows next is that Eva chooses to lie on the bed, while Hideyoshi enters the shower. The poison takes hold and kills them a short time after that, leaving them in the positions the others would later find them in.
At this point, Kanon and Genji would likely return to the scene with a drill and the picks to dress up the murder scene with occult accessories. Their heads are drilled through, the picks inserted, and the letter placed under the door. Then, via whatever method achieved such a thing, they lock the room from the inside with the chain and left the scene.
An amount of time passes here where Kanon and Genji help to prepare dinner and dispose of the leftover evidence. At around eight, as we see in the chapter, they return to the guestroom to complete the charade. Genji knocks on the door, receives no reply, and then he and Kanon “discover” the letter. To keep up the illusion, Genji and Kanon return to the kitchen in a panic. Kanon and Kumasawa seek out bolt cutters, while Genji and Nanjo return to the guestroom.
Once Kanon and Kumasawa return to the guestroom with the bolt cutters, they “discover” the magic circle. Kumasawa acts shocked, but it cannot be discounted that this is also part of the act. Whatever the case, the magic circle has been here for some time, and only now is Kanon permitted to acknowledge it. Kanon then unlocks the door chain with the bolt cutters, making quick work of whatever method allowed the room to be sealed in the first place, and Eva and Hideyoshi’s corpses are “discovered” in their final occult resting positions. This is, I believe, the overall gist of the second twilight.
The major question that lingers is “how was the locked room constructed”, something for which there is no answer at this stage. The major outlier with the second twilight concerns the drilled heads. Unlike the poison, this is not something that could have been passively set in motion before the locked room’s construction. We also know that there was nobody in the room except for Eva and Hideyoshi, so it’s not like somebody could have stayed in there and done the drilling after the room was locked up.
There is also not really enough time for Eva and Hideyoshi’s heads to be drilled after the room was unlocked, either. Even if that was somehow managed, the issue of hiding and disposing of the drill becomes much harder than my earlier theory. Ultimately, while I could tie myself in knots trying to pin down the locked room, I don’t think the “how” is too important. We already know the who and the why, and changing the how doesn’t change either of these factors.
So, to sum up: Eva and Hideyoshi were killed by Kanon and Genji as part of the witch narrative. This was done first via poison, and then via posthumous mutilation. The servants took advantage of the nebulous timeframe to set the scene, and then pretended to discover the crime an hour after the fact. This was done under Genji’s instruction following a plan most likely sketched out by Kinzo in advance, carried through out of some kind of sick and doomed devotion. Case kind of mostly closed.
What now? Eva and Hideyoshi were the loose end of the first twilight. There are no such ends this time. Just the culprit and his accomplices. Kanon and Kumasawa are not liabilities in the way the other two were, so the next twilight will most likely not occur under similar circumstances. There aren’t any hostile actors left in the Ushiromiya family, either. Just Natsuhi and Nanjo and the cousins.
It is very hard to see what circumstances would breed the next murder under the current conditions. With the death of Eva and Hideyoshi, a kind of equilibrium is reached.
However, one thing worth noting is that the third twilight makes no reference to murder. All it asks is for Beatrice’s noble name to be praised. In more plain terms, this may equate to a kind of acknowledgement of the witch’s existence among the survivors. Perhaps the aftermath of this murder starts to genuinely convince people of Beatrice’s existence, and this “praising” leads to a schism between those left standing that breeds new conflict.
Perhaps the praising marks a threshold point where Beatrice can now for real start interacting with the world, growing more and more capable with each sacrifice. Perhaps we will see the witch narrative scheme fall off the rails in favour of the real murderwitch in action. I don’t know. There are a lot of directions the story could go from this point.
But let’s see how the pieces fall first before we start doom forecasting again. There is another lull between twilights to digest, and more non-murder based mysteries to consider. Let’s see what’s next.
#umineko#umineko liveblog#long post#this took some time i know but at least it wasn't as bad as the 6 month wait for the last murder chapter's writeup lmao#umineko writeup
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Oh would you so kindly expand on your Murray/that plotline™ thoughts? Btw I didn't remember it as a cheating situation but since it's been so long since watching that season i was taking other people's word for it. And yeah i don't think Murray did anything even if it was. like he didn't make them have sex.
I started to type out an answer to this ask, forgot to save it as a draft, and lost all of my thoughts, so apologies if this is a little disjointed but! I will do my best to give my thoughts coherently <3
I really do think the Murray thing is maybe a mischaracterization of his intentions, but also not the thing I care most about when it comes to narratives that deal with Steve/Nancy/Jonathan situation in season 2, because at the end of the day it's just another reframing of the same tired take tbh
I'll stick it under the cut though because I know I can be wordy
There's this, like, company line in this fandom that Steve and Nancy were just two teenagers who hurt each other, which I one hundred percent agree with, only that tends to be the company line everywhere except for the Steve-centric fics that get written about that plotline, which instead seem to frequently make an argument that "Nancy cheated on Steve, was cruel enough to cause long-term emotional damage, and then either is forced to grovel for forgiveness or be shut out of his and his friends' lives forever" which is. Not that. Right?
Fandom cultures at large, not just this one, are more willing to do empathetic, in-depth character analysis of male characters than they are female. This is something we know to be true and this is something that is noticable in how Nancy gets treated by fanon, especially when it comes to her relationship with Steve.
Because here's the thing, we could debate it all day (and I won't, for the record, if anyone's thinking about starting a fight) but for my part, what she did wasn't cheating. From the very first time I watched season 2 when it was released, I always read the Halloween fight and the morning after as a breakup.
HOWEVER, even if Nancy did cheat on Steve? It doesn't warrant the downright malicious Nancy characterizations that often feel ubiquitous to this fandom.
Even if Nancy did cheat, there is a refusal to look at the situation from her point of view, something which even Steve is canonically able to do by the end of season 2 (we'll get to that). Because there's more nuance here to take into account than just Nancy making a choice to specifically hurt or break Steve and there's more nuance here than Steve being incapable of moving on from this breakup.
In fact, if you really look at the choices both of them are making, it has very little to do with each other and everything to do with their own reactions to immense personal trauma and grief. Nancy has spent a year suppressing a mourning she's not allowed to experience out loud, and you expect her not to snap eventually?
Does personal hardship mean cheating is, like, a good thing (if that's the takeaway you're going with from canon)? No. Does it still wildly differ from the cruel and intentionally malicious version of Nancy that shows up in far too much fic? Yeah.
She's a teenage girl whose best friend died in a violent and preventable way at sixteen years old. Nancy tried to fit herself into Steve's coping strategies, tried to let it all go back to normal, and was visibly hurting in the process. She sought out comfort. Understanding. A chance to be heard.
It's a disservice to both of their characters to treat this like there's a "good" and "bad" guy, when the way they handle it in canon, the way Steve comes to terms with it (literally within days he is telling her to go with Jonathan, by the way), is all vitally important to their growth.
When Steve says "I may not be a very good boyfriend" that's not about him being down on himself or having low self worth, it's a moment of growth and self reflection/ awareness for him to acknowledge that in his efforts to make himself feel better, he also hurt Nancy. It's about him no longer being in the same bitter headspace of "what am I apologizing for?" that he was at the start of the season, and having the maturity to see that they don't work as they are at their current mental states, no matter how heartbreaking that may be for him.
And Nancy choosing to go with Jonathan is really just a continuation of everything she was doing in trying to get justice for Barb-- she's choosing to follow her heart after being trapped away from acknowledging it for so long.
In other words, not only does he not have reason to, but Steve doesn't hate Nancy, Steve doesn't hold a lifelong grudge against Nancy, Steve doesn't think Nancy is a cruel and unfeeling bitch, but fic authors sure seem to.
If it were just a handful of fics here or there, I wouldn't be so adamant about it, but it's such an ingrained narrative in this fandom that sometimes I think people have genuinely forgotten the canon context.
Don't strip them of their agency and everything they learn from getting together and falling apart by making Steve less emotionally competent and Nancy more borderline abusive than either of them are.
It's boring and it's sexist and it shouldn't be the norm.
but that's just my 2 and a half cents peace and love anon, hope this answered your question <3
#ask#dot thought#this has been sitting in my inbox for days sorry anon#should i have waited to answer until I was having a genuinely very bad few days? maybe not! but alas#i am at my most impulsive when sad things are happening around me#also ps weirdos will be blocked on sight I do not have time for it <3
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The Little White Horse: Theme
Final thoughts, and the themes I found in the book and the movie
TL;DR
The Secret of Moonacre was an absolutely beautiful, whimsical film that taught its viewers the lesson of love and forgiveness, and the value of putting your pride aside for the betterment of the world around you. The Little White Horse is a book hellbent on teaching young girls that curiosity is wrong, and not to ask too many questions. Humbling yourself means lowering yourself to the point where you sacrifice your well-being and future, and that love truly is blind to all those red flags.
Now, clearly my opinion of The Little White Horse is not a good one, but I honestly can’t think of a good lesson that came out of this book. Whatever good Goudge was trying to do, is undermined by all the bad wrapped around those morals.
Sexism, racism, male egotism, and here I really want to compare the movie and the book.
I won’t take too long describing the movie, since I’m sure we’ve all seen it. But the movie begins with a young girl who has just lost her father, and she has already lost her mother. She is a city girl, born and raised in London, she is proper, educated, a tad egotistical, curious, and a prideful, stubborn girl.
On her journey, learning about and falling in love with Moonacre Valley, she learns to put these things aside in order to put Moonacre first. Maria learns to appreciate the Countryside and its beauty, her love for the people around her, not just her Uncle, but the servants of the household who are technically ‘under’ her. She willingly gets dirty, thinks about the good of all over herself, and at the very end of the film, she sacrifices herself to save the entire Valley. By jumping from the edge of the cliff, Maria completes her journey of self discovery, she shows that her love for those around her is stronger than her own need to live.
And, everyone else subsequently puts aside their own pride as concern and fear override stubbornness and they all run to the cliff, too late of course, but they forget themselves for a moment, and choose Maria. When Maria is returned by the Sea Unicorn, the Valley is saved, the natural order of things is restored, and peace can finally come to the two families.
In this moment, we the audience have learned the value of love, forgiveness, and sacrifice, of what it means to value something above yourself.
In other words, this silly little film that has a critic’s score of 23% and an audience score of 46%, does what Elizabeth Goudge could not do.
Giving a story that has good morals.
Despite her attempts, The Little White Horse is bogged down in dated world views. Her definition of love is bowing your head to men, who are abusive and pedophiles, and accepting it. She expects women not to humble themselves, but crawl on the floor in order for there to be peace. She does not teach lessons on equality, on the pursuit of knowledge, or of true humbleness. I hate to repeat myself, but there is hardly any good that comes out of this book, and what little good there is is shrouded by an awful message to young girls specifically, and young boys. An acceptance of abuse, that people can be wholly evil and wicked, that peace is unattainable through communication and understanding, but must be brought on through sacrifice.
The truth of the matter is that love is sacrifice. Love is putting others above yourself, giving and providing, of leading all for the sake of someone else, however love should not be misconstrued so horribly that the only lesson that can be taken away is that you must cut off pieces of yourself to be amendable. While wildly praised, I cannot help but feel as if this book is viewed through rose colored lenses, that the descriptions of delicious food has somehow blocked out our ability to see abuse, grooming, racism, and sexism.
The Secret of Moonacre may not be the most popular movie, but the creative liberties they took were absolutely necessary in order to create a story actually worth showing your children. And hopefully, The Little White Horse, can either fade into obscurity, or be used as an example.
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hello courtney, incoming with a hyper-specific and random ask: do you have a signature scent/favourite perfume? if so, what is it <3 if alternatively/in addition, what is your favourite candle/home fragrance scent?
Lola my love, you could not possibly have known this about me, but this is one of my favorite topics ever.
I’ve been wearing the fine perfume oils of @blackphoenixalchemylab since 2004 (hilariously enough, the same year I started writing!). My stash is ridiculously huge, like hundreds of bottles, and indeed, I do have ones that are almost twenty years old — one of the fantastic things about oils is that they age, and change, and get better with time, like fine wine. Sometimes I think my oil chest is the thing I’d grab from a fire, second only to my cat.
The best thing about BPAL, though, is that it’s so dependent on skin chemistry. The exact same blend can smell wildly different on everyone. It does mean that I have death notes — honey, for instance, however lovely it may smell in the bottle, smells exactly like cat pee on me. There’s exactly one blend with a honey note that I can actually wear, Dream of the Fisherman’s Wife, and even then, there’s a solid ten minutes of drydown time when I smell like a walking litter box. But nothing demonstrates the power of skin chemistry better than this review of Jingo-Kogo v6. (Don’t drink anything while you read.)
I have a whole list of Holy Grail blends, but my biggest one is probably an old April Fools’ Day blend called Monster Bait: Underpants. It’s a slightly sweet gourmand with whiffs of saffron and a sandalwood base, and it smells delicious but not like food. It’s kind of a special occasion wear, though, since it was literally only available for one day and I only have so much. My everyday blend at the moment wavers between one of this year’s Yules, Lavender Earl Grey Cookies, one of the old Amanda Palmer collabs, Cupcake Splatter Pattern Analysis, and a long lost Pickman Gallery blend, Undine Comes Into the House of the Fishermen.
I highly recommend BPAL to pretty much any and everyone I meet (poor @hoko-onchi-writes can testify to this). Their catalog is massive. They partner with awesome people for awesome collabs inspired by their work, Mark Waid and Peter S. Beagle and probably most notably Neil Gaiman — there’s a licensed perfume line for all his greatest hits. There’s a healthy helping of nostalgia — childhood tales, the aforementioned Beagle line for “The Last Unicorn,” even a line for The Fraggles. And all of it is absolutely magical. Beth's ability to capture imagery and concepts and feelings in a bottle is simply mind-boggling and must be smelled to be believed. I mean, they were commissioned to do a blend for the Smurf movie premiere, and I swear the best way to describe Smurf Essence is that it smells blue. They also support worthy causes far and wide (and loudly and proudly), so be sure to check out their full and fabulous line of activism perfume.
Wow, that was a lot. Sorry. 🤣
(My candle answer is much shorter! In general, I love love love cashmere blends, but my favorite candle ever is Archipelago Botanicals’ Black Forest. Especially this time of year.)
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hey hey!! random question but what do you think kyle's kids are like? or even cartman's kids. i've just been sitting in my little corner with my own little characterizations so i figured might as well break out of my shell a little and ask other ppl what their interpretations are, and ur rlly fun!! :D
Thank you so much for the ask!! I love all your art of Kyle and Cartmans' children very much, it's fantastic :D I thought long and hard, and have come up with these wildly unfounded headcanons for Kyle’s children, partially influenced by kidfics I have read by authors such as Hollycomb and Sekrit (credit to the latter for being the first to name Kyle’s kid Benji!)
Benjamin Bartholemew Broflovski: I’ve always headcanoned Kyle’s middle name as Benjamin. Likewise, I hc Bartholomew is a family name on Gerald’s side, so Kyle wanted to honour that too. Plus, he's a big fan of alliteration :D
Benji is an overachieving, do-no-wrong golden child. He plays a lot of soccer in his youth (watched over by Soccer Mom Kyle) but switches to basketball in high school after a generous growth spurt. He’s also academically gifted, getting great grades in all of his classes. His favourite subject is history, specifically early civilisation. Would you like to know how the ancient Egyptians mummified the dead? Or the process of constructing an ancient Roman road? Well, he’s going to tell you anyway, and the lecture will last no less than two hours, and no, you don’t get a break. The only time that Benji does not exude confidence is when it comes to dating when he's older, wherein he’s a flustered and stuttering mess. He’s got the Bitchless Broflovski curse, I’m afraid 😔
Despite his radiant childhood, he goes through a rebellious phase in his early teen years. He starts to worry that people see him as boring or stuck-up, and so acts out. I doubt he’d go full goth, but maybe he’d get busted for drinking on school property or something, camped out behind the bleachers with some of the Bad Kids. Kyle gets SO MAD that the full name is cracked out: "Benjamin Bartholemew Broflovski!" but Benji figures if it’s pissing his dad off, then he must be doing something right. This behaviour spirals out of control until he has a bit of a scare (someone gets hurt, but not seriously), and after Kyle comes to his rescue, the two have a good ol’ heart to heart and all is well once more :)
During the brief moment we see him in Post Covid, Benji is shown wearing a kippah, which could indicate that he’s an orthodox Jew. However, Kyle’s lifestyle does not seem to adhere to orthodoxy on the show, and I imagine he’d raise Benji as a reform/liberal Jew, just like I think Kyle is. The kippah could be because they’re at a Denny’s Applebees Max, and some Jews choose to cover their heads when eating, but I believe that, like Gerald, he simply wears his all of the time. As the post-covid conclusion is a utopian vision, Benji has been raised without the same antisemitic bullying that his father experienced, and so has no shame or self-loathing about being Jewish. He’s proud and he’s passionate about his faith!
Ada-May Sheila Broflovski: Kyle strikes me as the kind of guy to name his daughter after a famous feminist figure. Ada is after Ada Lovelace, who’s widely considered to be the first computer programmer! The ‘May’ is a family name, double barreled because he likes the ring to it. Sheila is of course after his mother, who he may have his gripes with, but still loves very dearly.
Ada is a quiet child. Raised in her older brother’s shadow, she’s not as naturally gifted at sports, and despite her namesake struggles quite a lot with math. Kyle loves both his children equally of course, but sometimes he doesn’t know what to make of her, because she’s not very expressive and quite emotionally closed off at times. She really enjoys reading, particularly nonfiction, so Kyle finds ways to connect with her by talking to her about the books she enjoys, and reading her favourites with her.
Ada doesn’t have too many friends whilst growing up, which Kyle stresses over to no end, but she doesn’t mind too much, happy in her own little world. In high school she makes friends with Moisha, Cartman’s son, and they start the school paper together. This kickstarts her passion for photography, as she follows Moisha around with a camera whist he asks people invasive and leading questions. The pair get into a lot of trouble together, and many hijinks ensue. Kyle blames it on Moisha's upbringing by his inept father and secretly misses the days when Ada didn’t have so many friends.
Tzedakah (charity work) is one of the most important commandments that Jews are obligated to observe, and I can see Ada really connecting with this mitzvah. She loves helping people in need, and works on many, many charity drives and events throughout her youth. She inherits a strong sense of justice from her father, and I love the idea of them bonding over this! They volunteer every Wednesday night at a soup kitchen together, and Benji sometimes comes too, making it a family affair :D
So, those are my main headcanons for Benji and Ada at the moment! I’d love to hear anyone else’s thoughts if they’d like to share theirs as well. Thanks for giving me the opportunity to ramble!!
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(Disclaimer! All the canon images on the “Agony” collage are taken from the FNaF Wiki, they aren’t mine, and I do not claim to own them, also! These are simply my own personal ideas and headcanons for this specific AU of mine, I am by no means stating them as absolutes or “canon” or anything of the sort, just sharing my thoughts and having a little fun. :3 )
A FnaF: A Wound Left Bleeding AU Guide to Remnant and Agony.
Remnant and Agony in a sense, can be seen as two sides of the same coin, as such, they do hold some similarities, though their effects and behavior can differ wildly.
Let's start with similarities:
Both Remnant and Agony can have the same base source, the two they share are Memories, and Emotion.
Strong positive emotion and memories usually results in Remnant, where as strong negative emotion and memories will often cause Agony, however, the two aren't mutually exclusive, while there must be some degree of negativity to summon or create Agony, Remnant can appear in conjunction with negativity or positivity.
Both in their own ways can “Extend” life, though one does so in a far more... well. Pleasant way than the other, we'll get to that later.
Both are capable of affecting any living or at least intelligent thing, as such, AI can be affected by Remnant and Agony, thus, machines and computers can at times be affected.
Both have their own tell-tale “marks” that are left on those affected, though they can be easier, or more difficult to spot depending on the creature.
Both are most easily destroyed by fire, or extreme heat.
Now, lets move onto the differences, starting with:
Appearance.
Remnant:
Remnant primarily comes from 3 base sources, the most common being Memories and Emotion, with the third being Souls.
All forms of Remnant tend to look rather close to one another, with Memory and Emotion based Remnant being basically identical.
They appear as small, colorful orbs of light, that usually drift near metallic objects, and sometimes draw close to living things, seeming to regard them almost curiously.
The color of the Remnant Orb can sometimes denote the type of memory or emotion that created it, other times, though this isn't always the case.
Memory and Emotion based Remnant tends to be quite small, and the more transparent/less “dense” than Soul Remnant, density of a Remnant Orb can denote how powerful it is, the less transparent and “tight knit” it is, the more power it contains.
Memory and Emotion Remnant is still very powerful stuff, but it pales in comparison to the third type in regards to absolute raw power.
Soul Remnant tends to appear much larger, more opaque, and denser that it's smaller and more commonly found counterparts, as such, the effects, capabilities and longevity of Soul Remnant tend to greatly outweigh the capabilities of the other 2 types.
Agony:
Agony as previously stated usually only comes from powerful negativity, emotions, memories, ideas, if its strong and negative enough, you may just end up with Agony on your hands.
“Soul” Agony does technically exist, but usually doesn't form naturally in living creatures, more often appearing alongside the spirits of those who's lives for one reason or another were shrouded in suffering or malice.
Agony's most common physical appearance is that of thick, tar-like sludge, which tends to leave ink-like stains on anything it lingers on for more than a few moments.
Formless and shifting, it often pulls its blobular form into the shapes of claws and hands to help drag itself along, though it's also capable of slithering like a snake, it may also form gaping mouths from its shifting form.
Remnant can often be seen hovering in and around more sizable masses of Agony, and can appear like tiny glowing eyes in and around the sludge.
Remnant that is left to linger among Agony too long can become “tainted” losing most of its positive properties, but allowing the Agony the drift about in the air like Remnant does.
“Soul” Agony appears much like it's Remnant counterpart, though the light is far more faded, and parts of the sphere will be utterly marred and/or drowning beneath the thick Agony sludge, a Soul fully taken over by Agony will retain the spherical shape, and little else.
Effects And Use
Remnant:
Remnant's main effects have to do with healing and longevity, regardless of how long something has been dead, or how grievous the injuries or illness effecting whatever Remnant is introduced to, they can be healed and/or revived.
In order to use Remnant for these properties, the substance needs to be introduced to heat long enough to shift its form from the weightless orb of light, to a more malleable, semi-liquid state, the most common and effective means of introducing Remnant into ones system is via a needle and syringe, directly into ones veins, however, ingesting it or forcing it into an open wound can also work.
Injuries that, in theory, could be healed simply with time, and/or proper medical care will be healed in mere moments by Remnant, likely with little to no risk of the injury ever returning without it being inflicted again, common illnesses can also usually be cleared up by Remnant in a single dose.
When it comes to fatal injuries and illness however, it can vary in a case by case basis on if using Remnant once will be enough to keep the effects at bay, or if you may develop a lifelong, or rather, eternal dependence on the substance.
A single clean but fatal wound for example, will likely need Remnant no more than once to allow the victim to recover and revive.
The same can be said if what caused the fatality was a myriad of smaller wounds, that simply resulted in death due to things like blood loss or infection.
Whereas a multitude of severe wounds, loss of vital parts, or in general, extreme damages sustained to a multitude of the body will likely result in dependence on Remnant for a “comfortable” existence.
Remnant is a healer, not a replacer, if parts are removed or otherwise missing from the victim, Remnant can still revive what is left of them, but cannot replace what's no longer there on its own; though with its affinity for metal and organic materials, Remnant can bond new parts to the old body; for better or for worse, and use those in the place of what's missing.
How long a dose of Remnant lasts for those dependent on it depends on how severe their injury or illness is/was, the type of Remnant used, and the volume of Remnant in the dose; generally speaking though, the worse the injury or illness, the more power Remnant is going to have to expend to keep you functioning, thus, shortening how long it stays in proper effect before another dose is needed.
Soul Remnant, even just a piece of it, generally lasts at the very least twice as long as Memory or Emotion Remnant.
All Remnant, once used, has the effect of instilling it's user with effective immortality, keeping them alive even when it lacks the power to make sure they're alive comfortably.
The only known way to negate this effect of Remnant is by burning the body of the user, and even then, results may vary.
Upon entering the body, Remnant will burn a “star” like scar into the flesh of the user at its initial entry point, even if you say, were to inject it into your right arm one day, and then the left the next, you'd still only bear the mark on the right arm.
These scares are often surrounded by a random pattern of smaller scars that somewhat “Halo” the star scar.
In the case of the Remnant entering the system via ingestion, the mark usually appears on the tongue or throat.
Along with the mark, each time a dose of Remnant is taken, the star scar will glow briefly, creating a vein like patter across the skin of the user as it spreads and dissipates through the rest of their system, this display is difficult to miss, but only lasts a couple minutes at most.
Remnant that hasn't been heated to be used in these manners can be used to relieve, or project memories, or, approximations of them when touched.
Depending on the mental state and connection to the memory of the one in contact with the raw Remnant, and the potential presence of others who may have been there during the time the memory or emotion was created, may result in an approximation of the memory held within, rather than a clear cut replay.
The presence of Agony or “tainted” Remnant can twist these memories and projections even further from their basis.
Agony
Whereas Remnant is a healer and preserver, Agony is far closer to a parasite who needs a host to properly express its abilities and properly survive. (in most cases.)
Agony left out on it's own will quickly attempt to locate and amass more of its kind in order to try and survive by itself, but more ideally, it will seek out something “living” or at the very least, intelligent to infect and inhabit, humans and AI heavy machines are it's most preferred targets, though animals and plants can suffice in a pinch.
When the situation presents itself, it's also quite keen on infesting Remnant to sustain itself.
Smaller amounts of Agony left out in the open tends to quickly fade away and expire.
Agony most often infects a host of it's own accord, rather than needing to be placed within ones system manually, Agony needs little more than an sized open wound, if it can bleed, Agony can slither its way in; once inside, it seals the wound itself in an attempt to keep itself from being removed before the injury it entered through can heal on its own.
Afterwards, off-colored scars, and strange “bruising” remain visible on the skin, with the “bruises” slowly fading as the Agony slowly spreads out and latches onto more of the victims systems.
Though Agony cannot heal, once it has a firm grip on it's victim, it tends to at least try and block out their ability to feel the pain being caused by any injuries or illness they may have, or have ended up with due to the Agony itself; this behavior is mostly common in more powerful masses of Agony, or more widespread infections, as Agony needs Agony to sustain and power itself up, it will usually try and ensure it's host suffers to some extent first.
Agony infections that fail to take proper hold, but don't “die”, tend to concentrate into one or two areas of the body and lay dormant until a situation to amass more Agony and power presents itself, or, the need to even “protect” it's host to ensure it doesn't get cast out arises.
Agony seldom has any positive uses, if anything, it's pretty much an instrument of torture and in rare cases in which a sentient being gains its favor, a means of control.
Other visual effects of an Agony infection can manifest as:
-parts of the body temporarily or permanently being twisted in monstrous ways.
-Faded eye color, missing pupils, and the darkening of the whites of the eyes.
-External “veins” of Agony weaving in and out of the skin.
-Agony occasionally leaking from the eyes, mouth, or open wounds.
These vary in presence and severity depending on how much Agony is in ones system, how strong it is, if its widespread or concentrated, and the general physical and/or mental/emotional state of the victim.
Infections are usually initially characterized by the aforementioned darken “scars” and “bruises” but initial infections can also result in general weakness, high fevers, exhaustion, sudden boughts of strong negative emotions or a phantom hopeless or paranoid feeling.
Behaviors
While Remnant and Agony aren't exactly fully “sentient” or completely “alive”, both display behavior unique to themselves, and at times, even seem capable of displaying some levels of understanding and intelligence.
Remnant:
Between the two, Remnant is the more “Shy” of them, usually opting to avoid contact, and preferring to say hidden in rubble or within metal objects over being spotted, though it also seems to grow curious towards people and spirits at times and will drift closer, though (usually) just out of reach as they follow, or even lead the individual they've taken interest in about.
Voices can emit from Remnant on occasion, usually only a few words or sounds at a time are clear, with the rest sounding like disjointed whispers or mumbles.
Raw Remnant when touched will temporarily “transport” whoever came into contact with it with the memory it contains, direct contact with soul Remnant can occasionally result in the temporary possession of the individual making contact, with the soul of the individual; Soul Remnant that comes into contact with a corpse, or machine will possess this thing fully until released via burning.
Remnant will also, strangely enough, despite having the ability to phase through solid objects, will stay within confined spaces if intentionally placed there, making it rather easy to keep for long periods of time so long as you're able to get close enough to catch it.
Agony:
In contrast to Remnant, Agony is far more aggressive, willingly darting towards anything capable of feeling pain or with enough sentience to experience mental or emotional pain any chance it gets.
The presence of blood or open wounds only seems to prompt this behavior even more from Agony.
Unlike Remnant, Agony's “voice” can't be heard unless you're making direct contact with it, or are already possessed by at least a portion of the Agony mass you're dealing with in that moment, otherwise, Agony tends to only make low growls and hisses, and the occasionally incoherent mumbling or whispers in a low, deep tone.
Raw Agony when touched will likely attempt to hold the victim in place in order to search for, or create an open cut or wound to enter from, the sensation of Agony against the skin is icy cold with an extreme “pins and needles” sensation accompanying it.
Agony is near impossible to contain in anything it doesn't already want to be a part of.
Agony on its own is usually a rather thoughtless creature, acting primarily on instinct to survive, and cause harm in order to “feed” itself.
However, once introduced to a more “intelligent” creature, whether they be human, machine, or otherwise, Agony will inherent quite a bit of their thinking capabilities, allowing it to better plot out ways to cause pain and torment per the situation, instead of always relying more solely on brute strength and physical pain.
Agony also, oddly enough, can die out even after finding a host, (without burning it), if the host in question was already far too physically weak or ill for it to properly worsen the situation without killing the host itself before it had time to properly take hold.
Agony that's taken proper hold of a host tends to slowly chip away at them until it has full control, at which point, it will attempt to remove or destroy the host's soul, or equivalent there of, ultimately “killing” the host, and taking full control of it's body for itself until it can no longer function, it will however, attempt to prolong functionality by replacing worn, broken, or missing parts with more Agony, or, metallic components.
As previously stated, Agony infected “Soul Remnant” seldom happens naturally, most times this is encountered, it was created artificially by force.
However, a truly tormented and agonized soul may end up with such an infection naturally; the souls of the dead that never moved on are also very susceptible to these Soul based Agony infections, but generally speaking, the living won't need to worry.
As such, Agony, despite how much it would love to get its claws on that sort of power, will usually just try and remove or destroy the soul of its host all together in order to take control, as absorbing it takes far too much time and energy.
In some rare cases, when Agony finds it easier to inflict mental or emotional pain on a target than physical. (like if they have a high pain tolerance, or some other means of blocking out the feeling), it may manifest to its host as shadowy creatures in order to assist in tormenting him, these shadowy constructs are often difficult, or even impossible for most others besides the victim to see.
Aaaaand that's all for now! I wrote this out pretty quickly and don’t really have the time to give it another once over, so I'll likely occasionally reblog this post with extra info as I think of it, also keep in mind, my mind tends to be all over the place, if an idea I feel fits better or works well in general arises, I may rework some of this. But for now, here's a general post about Agony and Remnant in my AU! :3 Thanks for Reading!
#Insomnia Hyena Art#Insomniac Hyena Rambles#fic spoilers#FNaF: A Wound Left Bleeding AU#FNaF: A Wound Left Bleeding AU: Extra trivia and info#long post
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for anyone who is not into metal gear, who is wondering how the fuck my queer military-hating ass got into what appears to be a military shooter series, allow me to explain:
the story of the games (i am mostly talking about mgs but the original 2 metal gears are probably the same) are very anti-military down the road, as in, "i trust and believe in the military, i am a good soldier, Oh No They Have Betrayed Me because the military is corrupt, i am now my own man fighting for my own beliefs"
on top of that, they take themselves seriously only about 50% of the time (mostly 2 and 3, but 1 and 4 have their moments and even 5 is occasionally a little cheeky). these games are very silly, and they know they are very silly. they also know how to deliver an emotional gut-punch that will leave you writhing on the floor. (looking at you mgs3, and side-eyeing you mgs4)
the plot may sound convoluted from the outside, and... well, it is, but probably less than kingdom hearts is. or maybe about the same. if you can handle kingdom hearts you can handle metal gear. either way, the 45-minute cutscenes are not just filler, they do genuinely try and explain everything. i'd say 4 is the most batshit, story-wise, but it also ties a ribbon on the story of the entire solid saga, so it's worth seeing if you like the other 3. (you are then free to disregard or fix as much as you want in fanwork, natch.)
the game does geek out over guns and mechs, i'm not going to lie. however it does not ask you to do the same. there is no mechanic wherein you must know the exact specifications of a gun to win the game. the game also uses a lot of military jargon, and also makes a bunch of shit up. however i personally found that context clues explained most things. suspension of disbelief is also wildly important.
the characters are good. that's it, that's the point of this paragraph. the characters are very good. they are over-the-top a lot of the time and the dialogue is often very hokey and the voice acting is sometimes particularly hammy, and i hear everyone but david hayter phoned it in for the gamecube remake of the first game, but it all spells out a cohesive cast of bozos whom i love.
are there issues? yes. david hayter was shitcanned for mgs5 and all surrounding materials because hideo kojima wanted a bigger name in his lead role, despite david hayter having voiced (almost) every snake in every english voiced game up until that point. (kojima claimed it was to make the game more serious, but the japanese voice actor did not change at all despite being equally hammy, and otacon's eng VA voices otacon's father in mgs5, so. make of that what you will.)
the series also does not treat women well. it tries to, sometimes, but it will still sexualize them in ways that feel demeaning, often detracting from the weight of whatever story they are trying to tell.
the aforementioned 45-minute cutscenes are also... kind of an issue. (they get longer, too, especially in 4.) like, some of us have things to do, kojima.
and of course, konami booted kojima from their company sometime during 5's production; say what you will about the man, but metal gear was his baby. (personally i'd have preferred they stop at 4 anyway, and kojima had tried to quit the series several times, but wiping his credits from 5's box and continuing to make the series without him feels scummy.)
there are other issues, things i've forgotten or didn't see fit to discuss at length, but at the end of the day none of this sours the series for me. (well, maybe everything post 4, but. not the rest of them.) i enjoy the story and characters and settings a lot, and... well, i watched my partner play them, so idk about the gameplay. but i was very enraptured watching, and have already written one fic and am working on another. (both otasune.) i will draw some things when i get my art mojo back, too.
so... i hope that explains it. i mean, i can see why it might appear to come out of left field from a storied fan of persona, but really, it's not that much of a stretch. i have a lot of reasons to be here.
...did i mention the overt homoeroticism? that's. that's there too.
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I don't get this side of fandom. When Georgia doesn't post pics with David you lot (in a wider sense) start insinuating that 'something is wrong' with imminent divorce implications. When she does post pics, it's a 'photo op', PR, user behavior. I don't get how she (or any wife of any celeb who comes under this type of attention) is supposed to conduct her social media life acc to you. Fans' lil daydreams would look much more realistic and benign if they didn't hate on wives in such schizo ways.
Hello, Anon. Let me first say that I’m not sure which “side” of the fandom you are referring to, because--to politely yet entirely unintentionally borrow from Good Omens--I’m on my own side here. If people want to agree with what I am saying, the thoughts I’ve been sharing about Georgia, they absolutely can. Fabulous! And if people want to disagree with me, that is completely okay, too. Great! Differing viewpoints are always welcome on my blog.
That being said, because I can only speak for myself, I can tell you where I am coming from, and that I think you are mischaracterizing my position/possibly conflating things I have written with things people have written elsewhere (such as on Twitter). I’ve never once said anything about “imminent divorce” when Georgia hasn’t posted pictures of David, but I have seen comments to that effect from other people.
What I’ve mainly seen, though, is fans saying that they thought it was odd that Georgia wasn’t posting about David in the play, while at the same time repeatedly posting about Elliot Levey. It’s also worth noting that those comments came within a larger context of fans sharing that they’d had concerns about Georgia’s behavior long before this, because of reasons having nothing to do with pics on Instagram.
For me, as I believe you are referencing my tags on this post, I think it’s important to distinguish between a “photo op” and “PR,” as I was being specific in my use of the former. The definition I go by is that “PR” is something (a photo, an article, etc.) meant to cover up the truth or to sell something that isn’t actually real, whereas a “photo op” does not have that same “falseness” to it, but still has a self-serving purpose, and is taken regardless of the emotional/physical state or wishes of the other person/people involved.
(Here is another example of a photo Georgia took when David also looked tired/fatigued/etc. that I would consider a “photo op” by that definition, as well as this photo she took at the Evening with Adele that she and David attended last year, when he was still recovering from Covid.)
When it comes down to it, though, I really, honestly don’t care that much about how Georgia conducts her social media life. I know she is going to post or not post whatever she wants, and there isn’t a single damn thing I can do about it, except share my thoughts on my own blog (which, of course, include flailing wildly whenever she feeds into the throuple/poly vibes with her, David, and Michael). And people can agree or disagree and follow me or unfollow me as they see fit.
The one final thought I will add, however, is that I probably shouldn’t have even taken the time to respond to this, because whatever argument you thought you had instantly discorporated the moment you used the word “schizo” in your last sentence. You may not have spent much time on my blog, but ableism/using people with mental illness to make a point is exactly the sort of thing I do not tolerate, and that will never go over well here.
And to me, that says that you didn’t have much of a point to begin with. Thanks for playing, though...
#anonymous#reply post#david tennant#soft scottish hipster gigolo#georgia tennant#the fact that i even gotta respond to this#i can't even with this nonsense#please have several seats#and try reading what i actually wrote instead of accusing me of ridiculous things#trying to provide a balanced perspective#fandom woes#discourse
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Common Grid War, Act 15. The penultimate session. Next month will be the final run of common grids, with...maybe just Lorelei. She is the only gacha common without a grid. I...am a little offended. Anyway.
The new additions are Roark, Shauntal, and Maylene. If you can’t tell, I have a very, very high estimation of this batch.
To go over structure:
S: Units that go far above and beyond, to being near-staples in various game modes.
A: Highly valuable utility, or highly self-sufficient offense.
B: Good utility that’s a bit more stage-specific, or offense that can be great but definitely needs buffing support to get there.
C: More niche utility, or offense that tends to be lacking.
D: Generally poor performance, in which critical flaws impede what could be otherwise interesting niches.
F: Borderline unusable.
Placement Changes
Kahili A -> S. I’m going over these first to establish something for the new additions. I’m putting the super strong Follow-Through sync nukers up here. Kahili deserves this. She has consistently proven herself capable of handling CS stages, and even managed to beat Regirock. Not a joke. Spring Burgh (1/5) and Omastar were enough for her to win. If that’s not S-tier, I don’t know what is. Her DPS is still wildly below what you want, but her tools are stupid good.
Brawly B -> A. Brawly is a really, really good utility bot in Gauntlet, and managed to prove himself recently in CS as well, against the dreaded Fighting-weak Karen. God I hate that fight. Evasion is garbage. I really like the Potion for Gauntlet, and the debuffs can swing a CS match more than I expected.
Ramos B -> A. As I become more familiar with sleep chaining, they gain more and more rank in my book. Ramos is officially an A-rank. Turns out, Latias is also sleep weak. This is the best thing I’ve ever seen.
Drake C -> B. While I still have plenty of issues with Drake, the combination of good paralysis rate and Team Sharp Entry actually does salvage a lot. Yes, I admit, it’s maybe unfair to say he’s secretly great when his partner is often SS Serena. But listen. It works out alright. I just wish his gauges weren’t so bad.
Wikstrom A -> B. Wikstrom is still good, but primarily against Regirock. Gauge control is a huge issue with Iron Head, and despite Vigilance, he’s frail enough that Regirock can still one-shot. I like the guy, but his issues are pretty apparent when you try easing up on what support he needs.
New Arrivals
Roark to S. Just like Kahili. Follow-through on a sync nuke that includes Haymaker and Double Down 5 feels not just appropriate, but correct. If Kahili gets this designation, so should Roark. The funny thing is, Roark might be better. My development into singing Kahili’s praises has been eventful, but Roark stands to be better than her, because Roark can forego that sync nuke, and instead take insanely strong Rock-type DPS in Head Smash, backed by Standfast 7/5, First Aid, and gradual healing for his 1000+ HP pool. I’ll test to confirm, but Roark right now is looking insanely good.
Shauntal to A. Shauntal may not be far behind, truth be told. I’ll really have to see what her DPS does, but +80% move damage is outrageous, and...yeah okay, she’s here because she’s reliant on a special attack/crit buffer and that’s never good. You can theoretically ease that with Critical Eye on her trainer move, but that’s a high energy cost and you lose a lot of tools in exchange. What keeps her out of B, however, is a whopping 60% rate of debuffing special defense, and being able to actually use her trainer move means she’s great for gauge control, and can potentially evade tank later in CS stages or at critical moments in Gauntlet. I’m not sold on S tier, but I definitely think she’s Bruno-esque in her power, without the horrific accuracy issues, and some pretty unique utility.
Maylene to A. I’m not even sure I agree with this placement, but I’ll keep her here on the assumption that many of her failed attempts in Gauntlet will be salvaged by the specific tools she got. Precision Pals really improves her utility for Bruno, Pep Rally is fantastic gauge control, and the MPRs to cap offensive stats are a godsend. But she still seems frail, debuffs slowly, can’t recover well, and has no Endure effect. I can’t say I’m altogether impressed with Maylene as a unit right now, but the potential to really take off with this grid is there, and this has been a good month overall so I’m feeling generous.
Fun Notes
Wulfric is now above Thorton. While Wulfric is not strictly good, his combination of flinch and freeze rates can make some interesting stall tactics that are pretty unique to him. Specifically, Uxie and Regirock become immune to flinch at critical times. Wulfric can also freeze them to get another delay going. It’s rare enough to not be anything beyond D-tier, but it’s at least better than Thorton, who had a lot more trouble with those same stages.
While I can’t justify moving him out of C-tier due to his difficulties in most things, Tate is top of the tier entirely because of Zinfogel’s showcase of his DPS. 13k on Rock Tomb is the most insane thing I’ve seen in my life. I realize it’s with outrageous levels of support, but still.
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💢👪🎂🕷️🌏🔪💗❤️💙 for yasu pwease 🥺
Ahhhh my beloved hacker boy! Thank you for asking! ❤
💢 ANGER - what are some habits they have that will take some getting used to?
The sporadic sleep schedule would be the biggest one, and definitely the most difficult to adjust to. Yasu consistently goes days on end without getting even a wink of sleep — not without outside interference, anyways. If left to his own devices, he would quite literally work himself to death. He’s just generally very bad at taking care of himself.
👪 FAMILY - what is their family like? what is your ocs relationship to them? does your oc have any siblings?
I actually just posted about his family last night ahah.
But yes, he has many siblings — five of them to be exact; three older and two younger. He is the very definition of a neglected middle child; although, a lot of the “neglect“ came from his own side of things, preferring to spend all of his time locked in his room instead of hanging out with the rest of the family. His childhood was perfectly normal, all things considered, and he hadn’t suffered any kind of major trauma that caused him to behave the way he does.
Yasu isn’t really close with any member of his family, not even his own parents. The only one of his siblings that he had a decent relationship with (before being arrested) was his youngest sister, Yuki. She was the only one that he held even a slight soft spot for.
While he is impartial to the rest of his siblings, he does find his oldest brother, Daisuke, to be particularly irritating due to his loud and energetic personality.
🎂 BIRTHDAY CAKE - when is their birthday? do they like celebrating it?
Yasu’s birthday is May 29th. He’s a Gemini.
He doesn’t care to celebrate it, and usually just treats it like any other day. Even when he was young, and his family enjoyed celebrating everyone’s birthdays, he never really saw the point of it. Hundreds of babies are born every day, what made the day he was born special?
Now, though, the day often goes forgotten thanks to the days running together as he sits alone in his cell. Half the time, he doesn’t even know if it’s day or night, much less what specific date of the month it is. Even if you told him it was his birthday, he’d simply shrug it off.
🕷️ SPIDER - what is their biggest fear? do they have any irrational / mundane fears?
If you were to ask him, he would tell you that he isn’t scared of anything. Thanks to his lack of any strong emotions or attachments to anything or anyone around him, there isn’t a lot that can get under his skin.
However, there are times when his mental state deteriorates so low that he becomes manic and goes through episodes of intense hallucinations and delusions that cause him to act wildly out of his usual character. That is when he is at his most vulnerable.
During those moments, for him, it feels as if the entire world is the darkest and scariest it’s ever been; everything and everyone is out to get him.
🌏 EARTH - will they give up the world for someone they love? is this decision easy for them?
Yasu would give up the world on a whim.
For the majority of his life, the word “love” has not been a part of his vocabulary. Everything was either “tolerable” or “irritating”, with only complete neutrality in between. So for him to give up the world solely for the sake of another person is far too extreme of an emotion for him to be capable of feeling. But if someone were to break through that emotional barrier — to become a part of him that he couldn’t bear to live without — then, at least to some degree, he would give up anything else for that person.
The only thing he would not give up for anyone, even someone he came to care about, would be the ability to work with his computer.
🔪 KNIFE - how do they react to injury / misfortune befalling their loved ones (significant other, family, friends)? do they put themselves at blame?
That depends on who gets hurt, and for what reason.
If he were to get news of a member of his immediate family getting a serious life-threatening injury, then he might care to some degree; though, it would still be a passing worry before he ultimately moved on. The only exception is if one of them were to actually die — that would cause some conflicting emotions, subdued as they may be.
If his love interest were to get hurt (or worse, die), he would pretend as if it didn’t bother him — they were just another stranger to him — but on the inside, he’d completely shut down. It would affect him so deeply and subconsciously that he wouldn’t even be able to recognize what was wrong with him. Especially if it were to be because of him or a direct cause of his own actions; he wouldn’t know how to begin to process that.
💗 GROWING HEART - if they have a crush, is it noticeable? what changes when they’re in love?
It’s not noticeable in the slightest.
Yasu doesn’t even know what having a “crush” feels like. Even as it’s actively happening, the emotions are so muted that he barely even notices a difference himself. The weirdest thing about having a crush for him is just the fact that he’s not irritated at the prospect of being around that person. The fact that he doesn’t mind having that person around; he doesn’t mind that person touching him; he doesn’t mind that person talking to him — that’s the strangest part.
But you’d never be able to tell the difference either way, just by looking.
❤️ RED HEART - their love language(s)?
As I said before, Yasu doesn’t experience love in the same way as most other people do. For him, at least in his current state, it’s just tolerance. It can develop into something stronger under the right circumstances, but as he is at the time of canon, it’s just not plausible for him.
That being said, his main love language would be quality time. Even in the state he’s in, if he allows you to be in his space for any period of time without bitching about it, that’s the biggest show that he likes you.
💙 BLUE HEART - do they miss their s/o easily? how do they act when their s/o isn’t around?
He really doesn’t act any different when he is around his love interest vs when they aren’t around. He might have a fleeting thought of where they might be or what they are up to, but it doesn’t last long.
The only time he’d really start to actively miss them is if he hasn’t seen or heard from them in a crazy long amount of time. It wouldn’t really be concern, per se, but a passing curiosity. If the time goes on even longer than that with no word from them at all, that’s when it would start to frustrate him why he keeps expecting them to walk through his door at any moment.
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Parenting can be hard. Specifically, finding appropriate punishments for certain infractions. I haven't always gotten it right. However, I don't feel like I've ever been too over the top.
Whenever I was eight years old, we lived in a farmhouse in a small community known as Burnham. The house was a single story home with a full basement. I lived in the basement. Almost the entirety of it was mine and I liked that a lot. I had a bedroom. I had studio space for my art. I had a playroom. And then, of course, there was the creepy room with the hot water heater and spiders. We stayed out of that room.
The staircase was built in such a way that there was a partition that wrapped around it to keep people from walking straight to their plunging demise, which was handy. Most people don't like to fall. It was covered in trendy wood paneling from like, 1973 and was otherwise pretty nondescript.
On one particular evening I was sitting in the orange rocking chair situated a few feet in front of the aforementioned partition. My mother and I were constantly at odds over one thing or another and on this particular evening, according to her, I had "sassed" her... which is not all that unlikely. And I take to mean that I must have had an opinion on some relevant matter.
So, rather than grounding me or punishing me in some way remotely appropriate for the sin of sassing, my mother angrily stormed into her bedroom and returned a few seconds later with a braided belt that she would occasionally wear with ugly, pleated slacks.
Now, mind you, I'm not inherently opposed to corporal punishment if the situation calls for it. However, I do believe that there are typically better options. On this specific evening, my mother would disagree.
At eight years of age, I was essentially already bigger in stature than my mother. She was all about 5'1" and I've always been a sizeable young man. As such, I made the determination in that moment that my mother was not, in fact, going to strike me with the fashionable braided belt. This did not appeal to me in the least. Moreover, I felt that it was inappropriate for the situation and therefore, I informed her that she would not be lashing me with this staple of 1980s culture on this evening.
It seems that this did not sit well with her and her intended plans in that moment and therefore, since I had refused to stand, in order for her to lash me about my ample gluteal region, she swung the belt wildly, aiming in the approximate area of my cranium. I didn't like this.
With my cat-like, adolescent reflexes, I caught the belt and pulled it from her hand. In the same motion, I tossed it backwards, over the partition and down the stairs, far from my tender buttocks.
I had, for all the world, anticipated that she would retrieve the belt and resume her mission to accost me with it. But, to my surprise, I was wrong. Rather than retrieving the belt, she simply turned, walked into her bedroom, and shut the door.
Now, it may sound like I had struck of victory of sorts. That was not the case. Not at all.
For the next three days, the woman never spoke to me, made eye contact with me, or acknowledged me. The closest I came to acknowledgement was at dinner-time, because my dad insisted that she still feed me. So, while she did prepare me a plate and set a spot for me at the table each night, she would walk by me with my plate in her hand and drop it from a height of 10"-12", ensuring that the food scattered and I had to gather it back up before I could eat.
Perhaps this would have been an effective form of discipline if I had understood why she was doing it, but to this day I really don't. I mean, I get it. Trauma is cool. But that may have been just a bit much.
But hey, I didn't die, I guess. So, I have that going for me.
#blog#life#life blogging#lifeblr#memoir#memories#memory#new blog#truestory#real life#childhood#readme
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Fast X: Cast, Trailer, and Everything We Know - Get Up to Speed on the Latest Fast Movie
Fast X is roaring into theaters on May 19, and there's already been a ton revealed about the beginning of the end of the Fast & Furious franchise.
The tenth installment in the Fast and Furious franchise, Fast X, has arrived, and fans can expect plenty of new and exciting updates. The movie brings back Dominic Toretto (Vin Diesel) and his family for another wild ride full of thrilling car stunts. With the release of the tenth movie in the Fast saga rapidly approaching, fans of the franchise will be delighted to see the core cast returning, as well as some exciting new additions, including Jason Momoa as the villain. Now is the perfect time to get caught up on the series and be ready for the May 2023 release!
The Fast and Furious franchise has been a box-office success for years, but the production of F9 has been plagued by issues due to the pandemic, leading to an unexpected delay in the release of this long-awaited sequel. Despite the ongoing feud between Vin Diesel and Dwayne Johnson, the tumultuous production of the latest installment of the Fast X franchise, and the replacement of director Justin Lin with Louis Leterrier, the movie is still on track and looks to be a return to form.
Fast X: Latest News
Though the plot specifics remain under embargo, critics have shared their reactions to Fast X, and the tweets from those who have seen the movie are overwhelmingly positive in comparison to F9. Praise has been given for the over-the-top action, Louis Leterrier's directing, and most notably, Jason Momoa's portrayal of the new villain, Dante Reyes. Descriptions of his character range from "fierce and flamboyant" to "Fast & Furious' version of The Joker".
Joseph Deckelmeier's comments about the movie some up the general critical consensus, as he called it an "entertaining thrill ride. It’s a visual spectacle with some truly incredible stunts and some wildly outrageous moments you’d expect from the Fast franchise, but what Jason Momoa brings to the film as Dante is magic! His performance oozes charisma." Momoa has become one of the biggest box office draws in recent years and is inarguably the primary reason Aquaman made over $1 billion, and based on the comments about his performance in Fast X, he could do the same for the long-running action franchise.
Unfortunately, there are still some naysayers of those who have seen it, and Germain Lussier even thinks it's the worst of the franchise. The critic noted that Fast X "is the worst Fast yet. Yes, including [insert your least fave here]. The action is fun but it's the 1st film to not up the ante from the last one & the trademark notion of 'Family' is an afterthought. But! Jason Momoa is God-Level in it and worth the price of admission." However, even Lussier, who clearly hated the movie, was still a fan of Momoa's performance, and Dante could be the best villain of the franchise.
Kirsten Acuna represents the critics who sit on the fence about Dominic Torretto's tenth outing, as she tweeted, "Not perfect (end may divide fans), but it’s been growing on me & I can’t wait to see it again. Universal's def trying to make this its Infinity War." It's no secret that Universal took inspiration from the two-part ending to the MCU's Infinity Saga, as Fast X has been heavily promoted as being the first of two movies that promise to be the epic conclusion to the series. However, the director and cast have also been hyping up Fast X's cliffhanger ending, which, according to Acuna, might not be that exciting.
Fast X: Release Date
Fast X will be released in theaters on May 19, 2023. The initial release date was announced as April 2, 2021. However, F9 ended up being delayed considerably due to the COVID-19 pandemic which meant the tenth movie would be pushed back indefinitely. Vin Diesel later announced a possible February 2023 release which was then officially set for the current May 2023 slot.
Confirmation for Fast X began all the way back in 2014 with news that there would be at least three more movies in the franchise following Furious 7. In 2017, producer Neal H. Moritz stated that not only would there be a tenth movie but that it would reserve as the final Fast and Furious movie. However, it was later confirmed that the franchise's end would be split into two parts with the movie following Fast X ending the series.
Fast X: Cast
The main cast of the franchise up to this point will all be returning for Fast X. Along with Vin Diesel (Dom) there will also be Michelle Rodriguez (Letty), Tyrese Gibson (Roman), Chris "Ludacris" Bridges (Tej), Nathalie Emmanuel (Ramsey), and Jordana Brewster (Mia). Also returning to the franchise are John Cena (Jakob), Jason Statham (Deckard Shaw), Sung Kang (Han), Scott Eastwood (Little Nobody), Michael Rooker (Buddy), Cardi B (Leysa), Helen Mirren (Queenie), and Charlize Theron (Cipher).
Jason Momoa will play Dante Reyes, the villain of the sequel, and the son of Fast Five's villainous Hernan Reyes who seeks revenge on Dom and the others for the murder of his father. Brie Larson plays Tess, a new ally to Dom and the daughter of Fast & Furious franchise character Mr. Nobody (Kurt Russell). Daniela Melchoir plays a Brazilian street racer who has ties to Dom. Jack Reacher star Alan Ritchson plays a government agent taking over Mr. Nobody's role who doesn't think highly of Dom and his crew. Rita Moreno also joins the franchise as the grandmother of Dom, Mia, and Jakob.
While there was originally no detail on who, there was word that there will be a huge cameo in the Fast X credit scene, which will be a returning character from the series. Now, Diesel revealed at the movie's premiere in Rome that the cameo is none other than Luke Hobbs (Dwayne Johnson), which comes after a six-year-long feud between Diesel and Johnson. While Johnson's return to Fast & Furious is great news, it doesn't make much sense why Diesel would spoil the post-credits scene.
Fast X: Trailer
The final trailer for Fast X has been released, and at an atypically-long four-and-a-half minute it revealed a lot about the movie. Following the previous trailers, which mostly showcased Dante's theatricality, the new trailer gives almost every main character their time to shine. Most notably, the final Fast X trailer depicts a more easy-going Jakob, who's playing the cool uncle type when he saves Dom's son from a home invasion, and later on, Jakob high-fives his nephew when blowing up enemies, which is completely different from the Jakob in F9.
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Fast X's newest trailer thankfully reveals that, despite the high stakes, Roman and Tej's banter hasn't left. The trailer unveils Tej's remote-controlled miniature vehicle, which even has a Tej bobblehead attached to it, which Roman calls "Tiny Tej". The opening of the Fast X also trailer gives a closer look at Abuela, Dom's grandmother. On top of what hasn't been seen before, the final Fast X trailer gives extended looks at the movie's epic action sequences, such as Letty and Cipher's showdown, Han and Deckard making an unlikely head-butting team, and Dom racing down the side of the dam.
Source: https://screenrant.com/
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May I get 9 and 19 for the writers asks?
Absolutely!
9. what's your writing process like?
The amount of words I put out in a day can vary wildly, from a few hundred words to up to 3000 if I'm really motivated. However, the process is pretty similar in all cases.
For my current 'big thing', Seer of the Dead, I started by writing a very loose outline. I scrapped the majority of it partway through, but it was a jumping off point, and my second outline is much more secure. Either way, it was a jumping off point, and I have found outlines to be absolutely essential.
When I go to write, I try to think if there's a scene or maybe even a side story that jumps out at me. Like many other AuDHD people I know, I have difficult getting started; and working up something specific, even if it's going to be heavily edited later, helps to 'break the seal' on the day's writing, so to speak. If nothing appeals, sometimes I'll read through and do some editing, and that also helps get me started.
Editing for me happens in two or more passes - usually at least three, but up to five if I'm feeling insecure about my writing that day. The first pass or couple of passes, dealing with the roughest of rough drafts, I'll go through and look for consistency mistakes, places where I could stand to add more detail (I suck at describing stuff tbh, so I try to add more description at this point). Sometimes I'll find a place where the transition between one paragraph and another seems abrupt and write more to put there, or a good place to put some foreshadowing. Basically anywhere the story needs something more. Sometimes I'll find something that needs to be cut during this part; usually I like to take that and save it in my notes folder.
The last few passes, I use to check for spelling or grammatical errors. That's not to say that I don't correct those if I see them, they're just not my focus until I get to the end of this process. A lot of the time, my very last read through is just to satisfy myself that the writing's as good as I can make it and to appease the anxiety demons before I send my baby out into the cold, cruel world.
19. If you could write an ideal fic, what would it include?
You know, it's really hard to say. Right now, I think Seer of the Dead is the closest I could get to an ideal fic for me; I'm getting a ton of very enjoyable practice with description, worldbuilding, giving characters backstories, and just generally writing something that's a bit lengthier and heftier in plot than the 1k-2k character exploration fics that I've been writing since I started writing fanfiction in college over twenty years ago. (I'm old, yes) Tbh I wish I'd realized the power of outlines decades ago, but I'm realizing it now.
As well as being great practice, I'm enjoying a lot of self-indulgent moments with this fic; putting in references to things that please me, still writing those character explorations but putting them in the middle of actual plot...it's really really great. Not too long ago I wrote up a 3000 word chapter that included great detail of one of the characters going to an open-air market in Zaphias and I enjoyed the hell out of it too.
So there's that; something that allows me to improve my craft AND be self-indulgent.
#answered ask#writing#writing advice#writing with adhd#writing with autism#fanfic#fanfiction#writing process
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Why Ignoring Minecraft Will Price You Time and Sales
However, nothing like Minecraft which you may build anything, on this recreation many materials just isn't going to accessible to start with, you must get it by hunting, mining, and lots of more. Nothing beats the classics. You may find a true gem in this tier, but with out more suggestions, we won't say for positive. This is very true in case you are planning a youngsters' social gathering because kids will love a theme that is specifically chosen to appeal to them. mycms.org . This wildly in style Facebook game has all it takes to turn into a fantastic kids' celebration theme. Having a theme for a social gathering makes it easier to plan and execute the celebration. Party sessions last for two hours (but you may stay within the zoo all day). Right here you may open this screen by clicking L. The development system consists of many timber primarily based of developments, every tree starting with root development and finishing with purpose or trial developments.
They only pop up in a tree the time when the development earlier than is completed, though, as mentioned earlier than, advancements might be completed in any sequence. Each time the zombies touch the creature, you will lose one life. As you start to log extra hours you'll perceive why the adjustments have developed and why everybody enjoys taking part in in new worlds. A new X- Males film is sure to be proven this yr, and as one of many more in style mutants, Wolverine will certainly be one of many picks come costume season. Lego games bought the most hit to its all film series this yr. What kind of games are you going to weblog about? That said, we fairly considerably know that Lumia is lifeless and that the company has a one p.c share of the cell market now, so a relaunch known as for if the company is going to try to make a comeback, so if not now, in some unspecified time in the future count on the corporate to begin branding all its products with all of the Flooring title, significantly as Google is carrying out using the Pixel and Apple along with the "i" moniker.
There is no doubt that 3D printing has performed a role on the planet we all know at this time, nevertheless it additionally targets a really particular demographic of individuals. As an illustration, infants and toddlers between 0-2, need to develop very important attributes comparable to mobility, dexterity, autonomy, understanding the process of cause and effect and so forth. Due to this fact for every particular bracket, Lego creates age-particular toys so that youngsters benefit immensely and experience a fulfilling play time. Subscribers at the moment are in a position to play both the unique Java Edition of the game or play with crossplay. You should get a short progress window, after which a Launch Standing Update that the instance is now launching. So then how can it's so enslaving? Just a wandering and aimless move can ultimately trigger the dying. You possibly can ask the Manila catering service that you will rent if you possibly can put up a sweet buffet. It'll fulfill energy routinely. A new-era Robocop was seen in theaters very lately so youngsters will almost certainly need to wear the costume pretty soon. Kids do not mind being 'sq.' lately, as long as it is a part of the superhero costume. If someone dresses up as Optimus Prime, one other boy will definitely wear a Bumble Bee costume.
This laptop file will then be despatched to a 3D printer, the place the clever laptop on the printer will acknowledge the dimensions. Before a product may be 3D printed, it needs to be drawn up on the computer by an engineer or a designer. It's a pc which is straightforward to make use of and it has a strong processor and reminiscence. Use the mouse or arrow keys to control the Ninja Miner. Whether or not the answer is Sure, Ninja Miner 2 is the right addictive game for all to play at leisure. The free to play online MMO phenomenon Roblox is exclusive in that it isn't precisely a game, however a sport platform. Very similar to Minecraft, on this sport you will need to craft some thing by buying stuff, creating shelter, search for food, and naturally make your personal world. Using the same graphic which you might see a lot of blocky particulars in your display, you'll want your creating ability right now and create loads of things as you would like throughout the video games.
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