#i like it/its because it makes me feel LESS human . i connect with these characters because they are inhuman and monstrous fundamentally

[sepublic]

Alright, let's talk about some details from the TOH pitch bible;

A lot of the stuff is what we've already seen and/or in line with the show. What's interesting is that King WAS a former King of Demons at one point, and we would've had an episode where he runs into his old gang and chooses Luz and Eda over them. It makes me wonder if he even had a connection to the Titan in earlier drafts, if he wasn't recognized as one back in the day because he just wasn't big enough, etc. Eda makes a deal to help remove the collar, which IS the source of King's woes, placed by a 'mysterious wizard', I wouldn't be surprised if it was Obron AKA Proto-Belos.

What gets me is that Tibbles originally started off as a friend to the protagonists, while Bump was an antagonist! Coupled with Tibbles being re-elected as mayor after Bump is deposed for corruption. I like the detail of Bump being a parasite controlling a body from the head, because it carried over into his final design with Frewin, and before we got confirmation Frewin was a separate entity, I loved the joke theory that the imp on Bump's head was the REAL Bump!!! Seems that was always the implied story of the design, I love it. Tibbles being the demon fan of human stuff would eventually become Gus instead, so this is technically Proto-Gus too…?

Interesting how Bump and Tibbles' alignments switch completely with one another, and it makes sense that with Lilith no longer the principal in the final draft, it goes to Bump, who ends up being really chill and a subversion in his own right! Interesting, but I do prefer the final Bump we got, and that's fine by me, because when the concepts aren't as interesting as the final product, it means we got the best possible version.

I've already discussed Obron and William in a separate post, and Pupa is someone we've been told about in a previous livestream. Lilith would've been both head of all covens (and not just the Emperor's Coven) AND principal at the same time, and she seems much more of a jerk to Eda in general; She has no qualms with cursing Eda because of a direct order from Obron.

Apparently the curse would've been an AGING spell, which settles my questions on how it would've been portrayed in earlier drafts! This goes along with Eda's older look. Likewise, there would've been a subplot of Eda considering Luz's sacrifice as a way to restore her youth, which likely goes hand in hand with Obron's orders to bring Luz to her, etc. The 'Bloom of Eternal Youth' quest, which Eda and Lilith go through together as their sisterly relationship is explored, feels like a carryover from this past idea.

I think I prefer the final draft; I like that the curse isn't just aging Eda, but also takes away her magic, makes her turn into a beast, etc. I like Lilith being a lot more complicated in her relationship with Eda, instead of just hating her and cursing her without hesitation. The redefining of the curse makes it less about age, and more a chronic illness metaphor, and I like how Eda in the final draft is upfront about having to learn to live with it, deal with it, on her own terms. She isn't trying to find a cure (although Lilith being promised one by Obron feels like a carryover of Eda's moral dilemma with Luz), and that adds another nice dimension to her conflict with Lilith, as well as Gwen. It's pretty frank in its own right about normalizing disability, and those who play an antagonistic role (however brief) are the real weirdoes for making such a fuss about it.

The Bat Queen would've had more of a recurring role based on the description, which saddens me; I always got the vibe she was planned for more, but between all of the other stuff the show had to juggle, plus the shortening, she ended up getting shafted despite being one of the earlier characters. Sashley, Pasha, and Bruno are also interesting, with Pasha in particular giving me freaking Philip Wittebane vibes with his grossness, beard, and anti-demon attitude; He even starts off as a potential friend to Luz because fellow human, only for his true bigotry to show. Makes me wonder if Philip ended up incorporating Pasha, we also have bodily transformation because of consuming magical stuff... P-names.

(Also, I like how in the drawing of typical Demon Realm denizens, I can see an eye demon who resembles a past drawing of Dana's!!!)

Eda was actually a late bloomer, which creates a parallel with Luz in one way, and their relationship is referred to as sisterly (in the final draft it’s explicitly maternal). So Eda wouldn't have been the talented youth, in fact things may have switched between her and Lilith; Lilith's disdain may have partially come from Eda not being as innately talented as her.

Luz and Amity's dynamic seems like it would've had Amity retain a lot of her more stand-offish, pragmatic personality even as a friend with Luz, and this would've come up more; So basically, she'd remain more like S1 Amity. That, or this part of their relationship would've lasted longer, and then we would've seen character development as Amity unlearns a lot of the issues her parents passed on. I also wonder if the Willow who cameos in the pilot was originally supposed to just be an extra separate from ‘Paulina’, but then they combined the two together.

The themes are exactly as I expected, glad to see they're still there, nothing changed! Luz becoming a witch and defying all odds to do so, putting in real work and passion. Celebrating individuality amidst conformity, plus Luz trying to impose her own fictional tropes onto the world, only to have to put that aside... Just like Wing it like Witches. It seems Amity would've had more involvement with Luz's journey to become a witch, though we still do have a carryover of that disconnect with her rant near the end of Covention.

I love the Demon Realm being situated BELOW the Human Realm, way to be subtle about being Hell you guys lol... Apparently portals to the human world are a lot rarer to find and use, which makes me wonder if the pilot's 'dimension port' doesn't have access to the human world; Meaning Amity is Luz's only way back, so her improved relationship with her is linked to getting back home. There's a gag about the Knee having service with the human world, but I can see how that didn't make the cut, for dramatic purposes; It seems like the premise for a S1 episode or at least a B-plot. Would Luz have struggled to communicate with Camila through this, or would her search for wi-fi be for mundane reasons?

Apparently Luz's magic would've required a lot more steps to complete, and I see why the show simplified things down to just glyphs. I wonder if there was always going to be the connection of glyphs as a gift from the Titan, or if the Titan and her story was going to be less intertwined in the overall narrative. There also don't seem to be nine main covens, just the many, many covens, some of which are pretty ridiculous, and Covention's sub-covens seem a callback to that.

Luz's first spell would've been levitation, and THEN she would've infiltrated Hexside, with Amity being a lot subtler about exposing Luz, though in the final draft she does figure that out as the way to go in I was a Teenage Abomination. Yeah, I prefer Light being her original spell, feels so much more symbolic and personal, etc. I wonder if the Titan is even as much of a character in early drafts, and if there's still the whole connection/relationship with the land and learning to respect it aspect. Some of these hypothetical episodes push the idea of Amity as a more episodic, typical popular kid antagonist, though in the final draft, the show goes through her character development and explores Amity's romantic relationship with Luz and its complications.

It seems the idea of the Mirror Ghost was split into Adegast and Vee, with Adegast being the one who offers the easier narrative for Luz to believe in about becoming a witch (only to be a fraud who uses uncanny puppets), and Vee being a doppelganger whom Luz communicates through with mirrors. Interesting how Yesterday's Lie was born from this. We saw the test animation from Spencer Wan for TOH, so I guess we know what Luz's puppet-doppelganger is called! And we can safely call her Proto-Vee. I wonder if she also would've been a sympathetic character, I always thought she reminded me of Lake from Infinity Train (and speculated her to be as such since Enchanting Grom Fright), and now the similarities are even MORE apparent!

Alas, The Good Witch Azura, or 'The Unassuming Princess' seems like it'd have been a lot less dear to Luz's heart, as the pilot also reflects; In the end, it turns out the author is just Eda's ex using her adventures as basis, and including private information. I remember when I once speculated that Raine, before we saw their face, would've been just like this as the author of Azura... Again, I think I prefer Azura as being a lot less mean-spirited in the final draft, and instead a celebration of who Luz is as a person, her relationship with fantasy and fiction, etc. We also would've had a Luz birthday party, the Quincenera we've been hoping for since S1...! In the final draft (and episode) we still get that Human-Demon Realm disconnect, though by that point, Luz is much more attuned and chill with the isles.

There’s definitely more of an episodic, sitcom feel to this pitch bible, especially when you compare Proto-Yesterday’s Lie to its final version. Makes sense, Dana is pitching this to Disney executives, though her statement on Understanding Willow feeling truly like her show makes me wonder if she always intended to push TOH in that more serious, emotional route we got.

#the owl house #the owl house pilot #king clawthorne #principal bump #hieronymous bump #luz noceda #the owl house tibbles #lilith clawthorne #eda clawthorne #edalyn clawthorne #amity blight #lumity #boiling isles #analysis #the good witch azura #meta #speculation

[raptorrobot]

i feel like i'm fighting for my fucking life here

#ultrakill #hollow knight #risk of rain 2 #baldur's gate 3 #there are absolutely more out there these are just the primary ones from games *i* play #it's totally fine to hc other pronouns tho like it's very obvious when it's just queer ppl having fun #i'm talking abt the ppl who default to he/him pronouns when referring to nonhuman characters #it's always he/him too . like what's up with that #i am an any pronouns user but it/its are my favourites #and i dunno Feelsweird when it/its is pretty adamantly used for characters ingame and ppl just throw it aside #'oh but it/its pronouns are dehumanising' that's the POINT !!!!! grrr #i like it/its because it makes me feel LESS human . i connect with these characters because they are inhuman and monstrous fundamentally #. you know #this is all in good fun btw i'm not that serious about this #just felt like it needed to be pointed out

[ineffablelunatics]

The Good Place and Crowley

A while ago, someone sent an ask to Gaiman. It went as follows, “In the book, ‘Golden Girls’ was Crowley’s favorite TV show. Is that slo TV Crowley’s favorite or does he have a current TV show that he prefers?” He answered, “I think he’d love the ‘The Good Place.’”

The Good Place is one of my favorite shows. I completely understand why Crowley would like it. It has some of the best debates of the philosophy and ethics of modern day society including the afterlife. It argues that people should not be defined as good and bad. It shows that people can improve. It tells us why and how they improve.

There’s two things about Crowley that really connect him to these thoughts. 1. Crowley does not like to be defined as good(or nice). Though we haven’t really seen that include bad, I would assume that it would be the similar thought. It also might have something to do with Aziraphale saying those things specifically, but that’s another post. 2. That people are not defined by what happened to them, and that means that anyone can improve.

Crowley fell from Heaven. He fell from grace which made him demon which means that for all intents and purposes, he should be evil. But he isn’t. Crowley doesn’t ever really commit truly evil acts. Any truly evil act that Hell thinks Crowley committed, humans committed. Crowley just took the credit. Crowley likes the thought that people can change. In Hell, he sees tons of people who are awful, but he also sees people who just made some mistakes. He sees demons who are like him who don’t find joy in treating people terribly. He’s seen angels causing harm happily, but others giving away joy like lollipops.

Those two things are fundamental in the show, The Good Place. I would argue Good Omens as well. If Adam had always been treated like he was evil, he probably would have never had friends who he genuinely cared about so much so that their fear pulled him out of his power drunken state. If Aziraphale had assumed the snake was evil(if he even saw him lol), then smited him, where would Crowley and humanity be? The demon with the imagination burned to ash and humanity living with almost decision-less whilst tucked neatly within Eden’s walls. If people couldn’t improve then Shadwell would have never been able to put aside his fears and foolishness so that he could love Madame Tracy and show it. Gabriel and Beelzebub would still be planning Armageddon 2.0 if they hadn’t moved on and fell in love instead.

The Good Place reminds us of the things time and time again. Each of the four main characters get reset, and every time, in the right circumstances, they always become better people. They are also never really defined as good and bad either. At times, others try to define Eleanor as a bad person, but every time, she reminds them that, yes, maybe, she shouldn’t be in the Good Place, but at the very least, she should be in her very own Middle Place. Every time, Chidi teaches her how to become a better person(which only works, because she wants to be one) and in the process, he becomes one too. Just like Gabriel and Beelzebub.

This was way longer than I expected it to be, but here are some quotes from The Good Place and where I think they would fit into Good Omens whether that be place and time or people and relationships.

“Sometimes, when you’re feeling helpless, the secret is to help someone else. Get out of your own head. Trust me. The next time someone asks for help, say yes.” This feels like the whole of S2, specially Aziraphale with Jim and then Maggie

“If you have bills to pay and shit to deal with you don;t have time or energy to become a better person.”  The Resurrectionists in 1827 with Elspeth and Wee Morag

“If there were an answer I could give you to how the universe works, it wouldn’t;t be special. It would just be machinery fulfilling its cosmic design. It would just be a big, dumb food processor. But since nothing seems to make sense, when find something or someone that does, it’s euphoria.” All the couples in GO, but that quote right there seems to be how Crowley and Aziraphale has been holding on for so long

“I guess all I can do is embrace the pandemonium find happiness in the unique insanity of being here, now.” Nina specially during The Ball

“People improve when they get external love and support. How can we hold it against them when they don’t?” Beelzebub and Gabriel

“We have no plan. No one’s coming to save us. So... I’m going to do it.” Aziraphale(specifically him at the end of S2 in my opinion)but also just everybody in S1 with Anathema, Agnus, the Them, Aziraphale and Crowley, just all trying their best

“If soulmates do exist, they’re not found. They’re made. People meet. They get a good feeling, and they get to work building a relationship.” All the couples, but especially Aziraphale and Crowley with the Agreement, they were working on their relationship before they knew they were even working on their relationship

“What matters isn’t if people are good or bad. What matters is if people are trying to be better today than they were yesterday. You asked me where my hope comes from? That’s my answer.” Crowley, because deep down, at the end of the line, we know that he’s an optimist

*reminder that all of this is my opinion, if there’s anymore quotes you would like to add, please do, some of the information might be incorrect

#good omens #good omens 2 #crowley #aziraphale #ineffable husbands #good omens spoilers #david tennant #michael sheen #the good place #eleanor shellstrop #chidi anagonye #jason mendoza #tahani al jamil #the good place quotes #I don’t know why #but here is a really long post about the good place and good omens #because i love them so much

[super-paper]

How do you think AFO would be taken out?

Hard to say! All the heroes uniting against him as ~the ultimate evil~ might seem satisfying on some level, but it also plays directly into AFO's toxic comic book narrative and it doesn’t really "engage" with his character in a totally satisfying way, if that makes sense. I'm firmly on team "afo shouldn't get what he wants, Ever" so I'm not a fan of any ending that merrily sends him off into his next life as a "demon lord" instead of actively trying to rip that mask from him. Hori hasn't really let me down on this front, yet-- and as I suspected, it does seem as though chapter 419's AFO is more or less picking up where body!AFO's character arc left off. AFO's core desires as a human and the immensely fragile "heart" he's hidden away are both things that are being directly challenged in the most recent chapter, too:

Izuku, the hero, constantly inspires others to come to his aid because he doesn't hide his humanity, his identity, or his struggles from others-- people see him fighting for his life and realize that he is "just like them," and that motivates them to rush to his side and offer help. Meanwhile, AFO finds himself completely alone because he wont let go of the demon lord role and accept his own humanity. Something something We Still Need To Know His Name smthing sm.

With all of that in mind, I still think the most appropriate way of defeating him involves forcing him to confront his own humanity + weakness in all its ugliness (which Hori has already been doing at a pretty steady rate this arc!) and ultimately forcing him to take responsibility for Yoichi's death. This might seem like a massive leap from the person AFO is right now, but depending on how things go, I do think Hori could pull it off.

Anyway, as for what I would like to see:

Personally, I would like an end where he willingly lets Yoichi go (and by proxy, finally lets Tenko go). Not because I think this would redeem him (it wont) or because I want him redeemed (i don't), but because I do feel like something along these lines would be the natural conclusion to his character arc and the best way to symbolize him accepting death/his mistakes. He came into the world desperately gripping onto Yoichi, and was unable to ever truly live or truly die due to his obsession-- so it makes sense to me that AFO will only be able to leave this world when he finally lets Yoichi go. Like.... even now, we see him stubbornly persisting with the idea of conquering the world even though he feels it's totally pointless-- with the implication that he's doing this because the demon lord role and the captain hero comics are literally the only thing he has atp that still connect him to Yoichi in some capacity.

If I end up being right and the OFA embers now exist within Tenko's body, then ideally, I still want some sort of conversation + resolution between the brothers before Yoichi finally passes on with the rest of the OFA embers. I'll admit that I've never been 100% fond of the idea of reading Izuku & Tenko's story as Yoichi/AFO's "good ending", simply because so much of Tenko's story is about reclaiming his own identity (+ detangling himself from his abusers) and so much of Izuku's story is about finding his own identity-- which is why I feel the final resolution to the OFAFO plot needs to be between AFO and Yoichi, not Izuku and Tenko.

I actually don't want Tenko to kill him! I think I've said this before, but I feel this outcome would be only satisfying to folks who want Tenko to have very surface-level revenge on his abuser w/o thinking about the effect this act would have on Tenko himself. I personally feel it wouldn't do Tenko any favors, mentally, since the crux of AFO's abuse involved convincing Tenko that he only exists to destroy. And people really hate to admit it, but-- Tenko sincerely loved AFO and I don't want him to have to repeat the tragedy of being forced to kill someone he loved all over again (even if they don't deserve that love by any stretch of the word). Like, a lot of people want Tenko to take AFO out the same way he took Kotaro out, but I feel this would only emphasize how Tenko and AFO are trapped in an endlessly repeating cycle.

side note: Kotaro coming directly from AFO's stomach/womb during the 270's vestige realm sequence feels extremely intentional now, what with the constant cannibalism and pregnancy imagery surrounding AFO and Tenko. MHA continues to be a masterful example of visual storytelling and Horikoshi continues to be a straight up freak for no real reason /positive!

A big part of Tenko's healing was always going to involve him confronting his feelings for Kotaro, specifically-- all of his love and disappointment and wishes and anger. And with that in mind, it feels like Hori is setting AFO up to act as a sort of Kotaro proxy for this next stretch of Tenko's character arc (even TomurAFO's current hairstyle and facial structure reminds me of a mix of Kotaro x AFO x Toshi.... Hori really said "Tomura's final character design is gonna be a mish-mash of every potential father-figure who has ever let him down byeeeeee :)" and he was sooooo sick for doing that wtf). Anyway, I know people like to joke about AFOtaro, but honestly, the narrative itself really does justify the read of Tenko being AFO and Kotaro's traumababy lmfao...., 😭

Also worth mentioning is that this iteration of AFO/TomurAFO has pupils, despite there being no Tenko component to his personality at this time. AFO's lack of pupils are textually/canonically meant to convey his inability to "see" others as people, so I'm very interested to see where Hori intends to take things from here.

#mha spoilers #all for one #shimura tenko #midoriya izuku

[sp0o0kylights]

oho? I love playing with character perceptions, so number 11 got my immediate interest!

AND THE LAST ASK for real thank you for sending in so many and another thank you to anyone who sent in any ask at all this was a blast:

Turns out this connected to a different document. I desperately need to clean out my drive ANWAY

11! "A large part of the Steve Harrington lore was that he left his throne, his popularity, childhood best friends, behind for Nancy Wheeler. This was a lie."

Snippet:

A thump as the object rolled out of its bag and onto the floor.

It was a wooden baseball bat, same as one might find anywhere--with one noticeable difference.

"Steve." Eddie said simply, eyes raking over the haphazardly hammered nails, some of which were bent from use, "What the hell is this?" 

Steve at least, had the good graces to look abashed. "Ahhh…" He said, trailing off as he clearly fished for anything other than the truth and came up empty. "A nailbat?"

Spoken out loud it even sounded like a fucking fantasy weapon.

"Is that blood all over it?" Eddie asked, tone amazingly even given the panic that galloped wildly through his chest. 

The fucking thing wasn't entirely covered but there was unmistakable red and black splatter that was either the product of the world's best prop artist, or the real deal.

"If it makes you feel any better, I don't think any of the blood is human." Steve said, who overall looked more embarrassed than anything.

Like Eddie has found his porno mags, and not whatever the hell this was. 

"No Steve, that does not make me feel better." Eddie managed to get out, the words a little strangled. "You don't think the blood's human? What the hell do you think it is!?"

Because he had to know. There was no way he could not know, with a literal McGuffin, sitting in between them.  

In fact this entire set up felt like something right of of a D&D scene and once Eddie was done panicking, he kinda wanted to write down a few notes. 

There was a very long, dedicated pause, where once again it became very clear Steve was racking his brain for a lie. 

Eddie let it go on, because he wanted to hear what possible excuse the guy could come up for this. 

Particularly given that Eddie had once shared an English class with him. Steve Harrington was about as imaginative as a child's first chapter book (and frankly, the book probably knew more words.)

"Rabid dogs?" Steve said, sounding more like he was guessing than anything else.  

How he had gotten away with lying to the cops about those house parties of his was a downright mystery.

"Rabid dogs that just might be human." Eddie deadpanned. 

Steve winced.

"I might have swung it at a few people." He admitted.

"No shit." Eddie said, staring at him flatly. It almost felt like he was two people for a moment--a perfectly calm one, demanding answers out of a nervous and clearly spooked Steve Harrington like disappointed mother discovering a baggie of weed--and a person who wanted to fucking book it, immediately.

Before Harrington lost his shit and started swinging the nailbat at him. 

There was no reason for King Steve, richest boy in town and previously its most popular (though given Hargroves penchant for violence, Eddie didn't doubt a lot of people would accept Steve back with open arms so long as the guy stood in between them) to own a clearly used homemade weapon. 

"Okay look, you've caught me in a lot of lies and I'm gonna be real with you, this one came with an NDA." Steve said finally, like that wasn't a wild string of words. "The less you know about it, the better."

And that, Eddie could agree with.

#Eddie: whatcha got there Steve? #Steve #holding a bloody af nailbat #“uhhhh....a smoothie?” #I finally recalled that this one involves Eddie tripping over Steve in a number of weird situations #sort of in the same manner billy tips over him in S2 at the byers house #and just constantly jumps to conclusions #except you know steve has a TBI #multiple concussions #is trying to figure out who he is #and navigate Eddie trying to peg him back into the King Steve persona #while shits happening lol

[genericpuff]

I was reading your essay on "fat" rep in LO and as woman who is overweight, maybe not but definitely chubby/pudgy and often getting shit for it by my family... Do we ever see Persephone with a not-flat stomach? Even just a little protruding, not necessarily round. Or a double chin? I know fat looks different on different people, but... To me that seems like a pretty obvious way for an artist to show their character is meant as fat rep. If Rachel actually wanted that, I mean.

There are definitely times Rachel tries to draw her "fat" but it feels so tone deaf because it's still just like... as I've mentioned in my essay about it, it's "Hollywood fat", i.e. the kind of belly pouch fat that many women have that's often painted as ugly even though it's very commonplace to have (because no person is entirely flat! we're humans, not planks of wood!) The problem is if you try to quantify as little amount of fat as possible as "fat representation", you can't really call it fat representation because it only represents people on the lower end of the spectrum of fat. Here's an example of what I mean when I tried to find that one specific image example I was thinking of that I had seen ages ago lmao (this isn't the one I was thinking of but it gets the same point across):

Yes, cartoon stylization is a thing, but watch out for the folks who say they can't draw fat people because "it wouldn't suit my style", it falls into the same type of excuse camp as Tim Burton saying black people wouldn't suit the "aesthetic" of his films. They actually could draw fat characters in their style, it's more likely they just don't want to (but don't want to admit to that).

And honestly, if someone just wants to stick to drawing characters of a specific race, body type, etc. that they're familiar with, that's not a crime in and of itself IMO, but don't claim that your work is representation for a group when it's really only carrying the bare minimum or if you're just forcing it for the sake of seeming progressive. That's pretty much where LO falls, its "fat representation" only represents the bare minimum of fat that doesn't apply to the people who are looking for legitimate fat rep in media. Sure, there will be people who will still connect with that body type, especially for people who have stretch marks or belly pouches, but can it really be called 'fat rep' on the whole when it's not going to connect with the people who are genuinely fat? I'm someone who's gone through weight gain and struggled with body image, while I can totally relate to the type of body Persephone has where she (sometimes) has a muffin top and cellulite on her legs, that doesn't make her "fat representation" as a whole because she doesn't represent the women who are genuinely fat beyond chubbiness or being "not flat".

All that aside, the only indications of Persephone being 'fat' are the odd panel where Rachel gives her a belly or "stretch marks" (tbh they look less like stretch marks and more like scars from a bear attack lol):

But then she'll also draw Persephone with a straight up bodybuilder torso and have her say outloud that she's "small-medium":

It all feels very tone deaf because it's Rachel trying to have her cake and eat it too - she wants to draw Persephone as her usual small cinnamon roll self who can be infantilized and fetishized by the men around her (which Rachel loves to write and draw btw) BUT she also wants to try and take credit for Persephone being "fat rep" so whenever she remembers to do so, she'll throw in her laziest attempts at making Persephone seem "fat" but really she's just the Hollywood version of "fat" by having a belly pouch and stretch marks that many women of varying sizes have regardless of weight changes. We can't even assume that she may have been fat at one point and lost the weight (leading to the stretch marks) because we've seen Persephone in basically all stages of her life from childhood to adulthood. She's always been itty bitty and her entire personality and relationship with Hades is written around that.

#ama #ask me anything #anon ama #anon ask me anything #lore olympus critical #lo critical #anti lore olympus

[teecupangel]

What about a kitsune Desmond, a white fox appears shortly after Altaïr's birth white as snow with one black leg and golden eyes it follows Altaïr for his entire life seemingly never aging and smarter than any animal should be. Years after Altaïr's death Des feels a pull and shows up at the birth of Ezio and gains a second tail, the same trend continues with the Frye twins, the Kenways and the other two post Altaïr protagonists whose names escape me right now which if my math is correct leaves him able to get his ninth tail as he steals his infant self from the farm

I'd imagine he'd get more powers from each tail he grows maybe foxfire with his second (fire that burns as bright as the sun) and gaining a human form around 4 or 5

I’m going to be honest with you, nonny, I know a bit about kitsunes, specifically fox spirits, because one of my favorite characters during my childhood is Daji (specifically Dakki from the og Houshin Engi anime) and I never stopped loving her in all her malicious tyrannical glory.

While fox spirits/kitsunes can be benevolent or malicious, a lot of fox spirits are shown to be trickster.

… and seducers.

Like, being able to shapeshift into beautiful women and men who ‘bewitches’ or seduces humans are signs of how old a fox spirit is XD

But I kinda like the idea that Desmond remains as a fox the entire time, never changing in size or weight.

His tails can easily be ‘disguised’ into one tail by making sure they all move as one so it just looks like he has one big bushy tail (which is strange but not ‘mythical’ strange).

Now, we want Desmond to have 9 tails so the list of people would be:

his initial tail

Altaïr’s

Ezio’s

Edward’s

Ratonhnhaké:ton’s

Arno’s

Evie’s

Jacob’s

The ninth tail would be his own infant self.

My suggestion for his powers are, depending on how many tails he has, he unlocks:

Immortality and eternal youth (default)

Foxfire (kitsunebi) – the number he can summons grows with the number of tails he has

Dream sharing with his current connection (Ezio, Ratonhnhaké:ton, etc) – he always appears as Desmond Miles in their dreams

Shapeshifts to Desmond Miles

Shapeshifts to any human he is familiar with (having genetic connections with them makes it faster to shift to their form)

Shapeshifts to anything that is not human

Possession (having a genetic connection with Desmond Miles makes it easier to possess that person)

Ability to cast illusions that are almost impossible to distinguish from reality

Omniscience due to a direct connection with the Calculations

(These are all powers that are more or less seen in kitsune stories. If you think there’s too many shapeshifting powers, kitsunes are also known for being able to turn invisible, can fly, bend time and space or make people crazy)

Oh and making Desmond a white kitsune is *chef’s kiss*. In folklore, a white kitsune has reaches the top of its powers and is called celestial/heavenly which is a good foreshadowing on how powerful Desmond could become.

If I may suggest, whenever Desmond uses his foxfire, his tails is engulfed in white flames like this (but white and gold and without the ‘seal’:

#kitsune desmond #i cannot stress how hard it was to not turn him into a 'vixen' type ala daji XD #also i'm so proud of myself for not making a teen wolf nogitsune remark at all XD #assassin's creed #desmond miles #ask and answer #teecup writes/has a plot #fic idea: assassin's creed #desmond is turned into a creature subgenre

[reunionatdawn]

My Analysis of the Best Paired Endings in 3H (Part 2: Dimitri/Byleth)

Despite the popularity of some of Dimitri's M/M ships, he seemed to be a typical heterosexual man to me. However, his straightness was actually part of what made his character so interesting, ironically. He spent his youth absorbed in masculine activities like hunting, training, and practicing with the sword.

He was willing to TRY and take Sylvain's advice to pick up girls. But he was very inexperienced with women. Chivalry definitely promotes homoromantic social bonding among men. And perhaps because of that very male-dominated culture he grew up in, he deeply yearned for a relationship with a woman.

The tagline for the game was, "Sweet memories twisted by time's cruel hand". Dimitri's feelings for his stepsister may have been only puppy love, but it was his first time emotionally connecting with a girl. It was one of his sweetest memories. That was why Edelgard's betrayal hurt him so deeply. The emotional core of AM is Byleth taking the spot in Dimitri's heart that Edelgard once held.

The developers did not want to write an entirely different script just to accommodate male Byleth. So, they just took out the Goddess Tower scene, S-Support, and paired ending. The loss of which are a huge detriment to the integrity of the story. Dimileth is just as "canon" as its counterpart Edeleth. I don't even think AM's story or Dimitri's redemption make sense unless there was a romantic connection between those two. Dimitri's Goddess Tower event even foreshadows that specific scene, proving that the moment Byleth reached out her hand was written with romantic undertones.

Byleth being female is an integral part of the story of AM. If Byleth represented the divine masculine in CF, then it follows that she represented the divine feminine in AM. She was a vessel for the soul of the goddess, but more importantly she was a human who could directly intervene in the world and support people with her own flesh and blood.

Dimileth is often criticized for being a simple "fixing the bad boy" straight girl fantasy. But it's less cliche than people give it credit for. Byleth and Dimitri are an interesting blend of masculine and feminine qualities. Byleth is a silent protagonist, but I could tell that Dimitri enjoyed her dry sarcastic sense of humor. She was not a typical healer or pegasus knight like most FE love interests, but a deadly mercenary. She was meant to be similar to Glenn, which is why Felix sees her as his rival.

She serves the role of being Dimitri's sword and shield and stood at his side and protected him during the final battle, filling the knightly role Glenn would have if he had survived (and the role Felix serves in Hopes). She was the Seiros to his Wilhelm. Dimitri is one of the very few male characters that Byleth will give her mother's ring to when she proposes. Yes, it is a woman's ring that Dimitri wears. In fact, Dimitri's whole character arc is about rediscovering and embracing the softer feminine qualities he had as a young boy.

The Professor taught Dimitri how to live. In AG, Dimitri told Shez that from the moment he was born, he never felt like his life belonged to himself. He overworked himself because it was the only way he knew how to live. After Duscur he lost everyone, including his best friend, and his life belonged to their ghosts. The only time he could imagine being happy was upon his death, having devoted his life to forming a peaceful kingdom full of joyful citizens. He yearned for someone to stand by his side and give him a reason to live for himself.

I've seen many people online criticize Dimileth because they say Dimitri already had plenty of people that he was close to in his life and his non-Byleth relationships should have played the biggest role in his redemption. But I disagree. The story made it quite clear that Dimitri's support system was totally inadequate for his emotional needs and could not have pulled him from the abyss.

He was not actually all that close to his childhood friends, even before the Tragedy of Duscur, and he did not confide in them about what he was feeling. He said Rodrigue was the only person outside the castle he was close to. Rodrigue obviously cared for him, but he had not seen Dimitri in two years prior to the academy. Dimitri and Dedue shared a very powerful bond. Losing Dedue was the cause of Dimitri’s initial descent into savagery. But Dedue still insisted on being his vassal instead of his friend and equal.

Felix was obligated to fill the role due to his bloodline, but he did not WANT to be the person Dimitri unburdened his heart to. He was constantly irritable and losing his patience in Azure Gleam. Glenn was one of the ghosts who shadowed Dimitri's every move. And Felix said that since Glenn's death, "his memory has followed me around like a shadow." He hated acting as his brother's replacement. In their AG A-Support, it seemed like he was pretending to like the idea of being the right-hand man because of how dependent Dimitri was on him. We see a direct parallel of that scene in AM where Dimitri is hallucinating in the chapel. While Felix certainly felt compassion for him, he was very eager to foist the role of confidant onto Byleth.

Without anyone to lean on, Dimitri acts pretty monstrous. For five years, he tortured and killed people brutally, as if they were not even human. He threatened to kill Randolph's friends and remove his eyeballs before killing him and we can probably assume that he actually did that sort of thing to his other victims. I related so well with Felix because I felt the exact same mix of disgust and pity towards him.

I didn't ship Dimileth because I self-inserted onto Byleth and I wanted to marry him. I just wanted Byleth to accept him. And I don't find it difficult to believe that she would. Because before she was the stand-in for the goddess, she was the Ashen Demon who cut people down with no emotion. She only began to smile when she started teaching his class. He offered his shoulder to lean on when she lost Jeralt, something the other two house leaders didn't do.

The main ideological conflict between Edelgard and Dimitri was how much they are willing to compromise and accept the unacceptable. Dimitri seemed to understand that Edelgard had legitimate issues with the Church of Seiros as well as the existing world order. But he thought that total destruction of that system would require too much sacrifice. It was an interesting moral quandary.

And honestly, there was no easy answer. In an ideal world, there would be no false religion and no such thing as nobility, period. Even most of the nobles in the cast would have been happier to just be regular people. AM certainly doesn't end in a utopia or anything (although it's less status quo than AG). It was about the characters compromising and making concessions with an inherently unjust system because perhaps taking innocent human life is wrong even if it's for a just cause.

The Crest of Blaiddyd is associated with Strength. The Strength Tarot card is the Major Arcana of inner strength. It represents mastering raw emotions in order to bring calm to yourself or a situation. Dimitri was born on the winter solstice making him a Sagittarius, which is a masculine fire sign symbolized by a centaur. The horse portion of the Sagittarius symbol is unruly, relentless, beastly, and strong. The human portion is wisdom-seeking and rational. Dimitri's character arc was about overcoming his anger and hatred and becoming the wise "Savior King" who could reach out his hand to his mortal enemy.

Byleth & Dimitri The marriage of the newly appointed Archbishop, Byleth, and Dimitri, who officially ascended to the throne of the Holy Kingdom of Faerghus, further delighted the people amidst the celebrations of the end of the war. Continuously seeking a better future for Fódlan, they pursued their ideals, gradually reforming the traditional political systems and the structure of the Church. They upheld their roles as leaders of the Church and the state, engaging in intense debates at times. However, when they went on long rides or hunting trips alone together, they wore not the faces of the Archbishop and the King, but those of an ordinary, loving couple.

JRPGs are known for "killing god". AM ends not with you destroying the church but becoming its leader. The people of Fódlan paid lip service to the goddess, but they actually revered Nemesis and the 10 Elites. So much so that Rhea had no choice but to refer to them as heroes and Crests as gifts from the goddess. Fódlan is a patriarchal land. Faerghus especially so.

With Fódlan unified under Faerghus, Byleth acts as the divine feminine force who will change that society from the inside out, just as she did her husband. Is rulership by a benevolent monarch and a matriarchal pope a good enough ending? Well, that's for the player to decide. But I found it to be the best ending, both for Fódlan and for Dimitri and Byleth themselves.

#fe3h #dimitri alexandre blaiddyd #byleth eisner #dimileth #fe3h meta

[aro-comics]

Growth (Part 1)

Growth, 1/3 – And … oh my gosh. I can’t believe it took THIS LONG to finish this comic ;A; I feel like I say this every time, but y’all – I STARTED PANELLING THIS ALMOST A WHOLE YEAR AGO. Really. It’s been sitting on my plate for too long, and I’m so glad I can finally share it!

Where do I even begin with my thoughts? For starters, I wanted to say the examples chosen in slide 8 are mainly from larger pieces of media, because they have greater influence on our *general social consciousness*. I don’t necessarily recommend or approve of the source material! I also have more thoughts on these characters, and about amatonormativity in relation to character growth in general, but for the sake of keeping this caption short(er) I will do so on my stories and pin them to my profile for future reference 😂

AUTHOR'S NOTE: For the sake of accessibility (and my own health) I will be making a transcript of the stories in its simplest form, posted here.

If you have any examples you can think of too, please let me know either in the comments or via DM 🐸🐸

I wish I was joking about the events which inspired this comic, but this LITERALLY happened to me, and this wasn’t the only time I experienced some form of amatonormativity or direct arophobia growing up. You may not think things like this are a problem, but this idea of romantic relationships as a crucial part of emotional growth has real world implications. Aros get told that their orientation IS the root of all their problems, or IS THE PROBLEM ITSELF, a lot. And not only is this wrong (and queerphobic), it also causes people to overlook the real issues that we may be struggling with. This can prevent us from getting help we NEED, not to mention the fact that orientation isn’t something that needs to be fixed.

In my personal experience … I don’t want to get into the specifics of the situation described here (Because it genuinely was one of the worst times of my life, and I don’t like thinking about it) – but basically, the help I needed was definitely NOT to get a romantic partner. A lot of my behaviours were very clearly ones that indicated I should have been hospitalized, or at least sent to a highly trained medical professional for intervention. But I never received any care, even though my parents were to some degree aware of what the issue was … and it somewhat appalls me that this family friend would take one look at me and somehow decide the issue was anything less than a serious, medical situation.

I want to emphasize I know none of them did it on purpose, and to be fair, it wasn’t entirely clear what the specific issue was (to the family friend at least). But it does hurt to have so clearly shown signs of crisis, to have done a near 180 in personality and behaviour, and to have it brushed off or implied that this is caused by something fundamental to your orientation. It makes me feel so inherently wrong, and if I’m going to be even more brutally honest I think the amatonormative way I was raised is a big part of the reason why I still struggle with my self esteem as an aro today. Even now, I still get told that maybe my remaining problems and personal struggles will go away if I was willing to give dating a try.

It just makes me so tired.

But, the more I reflect on my orientation and am able to connect with aros and the community as a whole, it has been helping. I don’t think it will go away any time soon, but at least when the feeling (that my orientation is something that’s fundamentally wrong with me) comes up I can tell myself that it just isn’t true. That I know that being aro isn’t a curse, isn’t a flaw, isn’t something that should haunt me for the rest of my life, that it’s something natural and beautiful and that I adore about my community. And I should extend that same care to myself, too. It has been getting easier.

As always, I would love to hear your thoughts and experiences on this topic. Do you feel that others perception of your maturity and growth as a human being is influenced by amatonormativity?

Image Descriptions

Title Card: Cover Image. This Comic series is titled “Growth”. Celia, an east asian girl with wavy chin length hair, is illustrated wearing a cream crop top and yellow pants sitting amongst leaves and yellow flowers on a rocky surface. A watering can sits in the background.

Slide 1: Celia is seen standing from the side, with her arms crossed. She frowns. “When I was going through one of the worst times of my life, a family friend went out of his way to tell my parents that he noticed how unconfident I seemed.”

Slide 2: Scene turns to a memory, depicted as a sketch. The family friend is shown talking to Celia’s parents. “He told them not to worry though, because there was an easy solution. I just needed to find the right person, and start dating them.”

Slide 3: A speech bubble from the family friend illustrates this analogy. On the left is a flower pot with no plant, and a sad face above it. On the right is a blooming flower with hearts around it.

Celia’s note: I wish I was making this up. Blossom was LITERALLY the analogy used here

Slide 4: Back to Celia, who is speaking to the reader now: “It really, really hurt. I knew the reason why I wasn’t the best version of myself wasn’t because I hadn’t found love.”

Slide 5: She stares down at a yellow flower as she continues, “But unfortunately, I think thoughts, and unwarranted comments like these, stem from a deeper amatonormative view of the subject of growth”

Slide 6: “Countless stories which show the hero’s growth as pinned to their romantic arc.” Illustrated beneath is a stereotypical hero kneeling on the ground in front of his love interest. He holds a yellow flower as he says “I couldn’t have become the person I am today without you, your love showed me what’s worth trying for”.

Slide 7: “And on the more toxic side of things, those without romantic love or those who reject it end up as decrepit, cold, emotionally stunted, or sad.”

A few characters from popular, influential, or otherwise notable television shows are depicted here: Cruella de Vil from 101 Dalmations, Queen Chrysalis from My Little Pony (Generation 4), Dr. Berkowitz from One Day at a Time, Alan Harper from Two and a Half Men, and Rajesh Koothrappali from The Big Bang Theory. A note indicates to the reader to check the description.

As a disclaimer: The inclusion of these characters do not indicate the author’s recommendation or approval of the original source material – they are only meant to serve as examples of the point to be made.

Slide 8: Scene switches to Celia now watering a collection of ferns, mugworts, and other leafy plants in a greenhouse. She says “As an aro person, it’s tiring to hear the more toxic side of this narrative again and again. It feels like we’re being told we won’t grow, like others can.”

#regularcomic #GrowthComic

[cleromancy]

oracle year one born of hope from batman chronicles #5 (published 1996) is hands down the best defridging story ive ever read for a lot of reasons--the first being just that its such a damn good comic in the first place. but every time i read it im so struck by the way it reframes the casual *incidental* violence done to barbara in TKJ, where she's just an obstacle in the joker's way to get to jim (to get to batman) and it's not *about* her. on the very second page of OYO we have this:

the entire page (...minus bruce in the bg up there) is drawn from barbaras point of view while she recounts the incident from her hospital bed. literally recentering her and her perspective, her experience and her feelings. where TKJ sensationalizes and sexualizes the violence done to her we see an illustration of her choice--love for her father, "don't get up"--then the shock and pain of the injury, then the operating room.

and she opened the story with "i cant believe i was such an idiot," berating herself for not looking through the peephole or using the chain on the door before she opened it, emphasizing that she knew better, and its a very human response to being the victim of something like this--almost fixating on a small mistake you made. inside the story its about the grief and the sense of control bargaining gives you--"if only i had--!" and then on the meta level its actually addressing the "well why DIDNT barbara look through the peephole???" (<- the answer being that TKJ never considered whether or not she would have, bc that was less important to the story than hurting her.)

and the next page. god. its masterful:

the balance of OYO being a response to TKJ on a meta level and the genuine story-level exploration of barbaras feelings just in the first 3 pages alone... chefs kiss. the way it addresses the previous bullshit storytelling choices--but builds something new off of them, because that shouldn't be the end of barbaras story.

and its so fantastic bc it doesn't shy away from barbaras ugly feelings...

she's so angry and she's allowed to be. and thats also what makes it such a good defridging--that its a resonant portrayal of becoming disabled. anger, grief, humiliation, shame, fear, the absolute *slog* that is recovery, the realization that your independence has been compromised... it really reckons with what this means for her in that moment and moving forward.

just posting this one bc i love her...

and the crux of the story is barbara taking control back over her life, barbara not feeling helpless anymore. its a superhero origin story to its core and its fantastic at what it does.

and i mean... i do always feel iffy about this part:

the juxtaposition of her wanting to do this without batmans help with her, well, unknowingly accepting bruces help. makes seesaw motion with hand. i always feel like its a bit of a weak spot... i like elements of it, particularly *because* this work is addressing so much of TKJs bullshit; this is making bruce actually care about barbaras injury because fuck you he *should* care, he *should* do something. and barbaras need for independence and her struggles to accept help are pretty central to her character and in a story about disability... i mean interdependence is a core tenant of disability rights activism, no man is an island and all that. but btwn it being bruce who finds richard dragon for her to train with, and richard dragon both being yknow a man and not a wheelchair user himself, it falls flat. which is really something you notice bc the rest of the story is so damn good... its hard for me to put my finger on exactly what i think they should've done instead, bc they only had 18 pages for this story and like. it's incredibly tight, not a panel wasted, so it *was* important that barbaras teacher be someone we the reader already know, and there was no *time* to establish some other way for barbara to find someone of richard fucking dragons caliber on her own without bruces connections.

but that i guess does bring me to. the other thing i find frustrating re: OYO which is just that it's. 18 pages collected with two other stories, neither of which is memorable... i mean how many other year ones of a heavy hitter like barbara freakin gordon can you think of with less than a single full issue? and batgirl year one had 9 issues (9 mediocre, mediocre issues). i dont think OYO needed that much time (but hey neither did fucking bgyo)... but come on. come on!!!!!!

anyway whatever. oracle sweep

#dc #text #note for the record that like #barbara had already been doing oracle stuff all the way back to suicide squad in like 1988 #and i think the first bop mini was the winter before this came out #but when i say this is the defridging story i hope u still know what i mean.

[transmascutena]

I think it's interesting how one of the healthiest relationships in the show is Wakaba and Utena's friendship. Obviously, it has its flaws and tensions. But those tensions arise directly from the concept of being "special," from Wakaba dealing with their sense of inferiority towards Utena, who actively puts their sense of self-worth in winning these duels to keep Anthy at their side (a noble Prince...) People talk about Tatsuya being rejected as a Black Rose duelist a lot, but it's so notable that he's rejected because he's just...a more emotionally mature, less toxic person. Yeah, his heart is broken, but there is something decidedly human and mundane about how he approaches the conflict by asking, "What's wrong with me?" He sees him and Wakaba as two equals, he doesn't put their love conflicts on a pedestal, and he wants genuine solutions and hopes to confront his own flaws to understand why Wakaba rejected him.

Literally no one else is doing it like him.

A key theme in this show is critique of the nuclear family, but an extension of that theme is how said family unit breeds deep dysfunction into the characters' lives. The lack of communal infrastructure means characters are constantly putting their eggs in one basket. Everyone wants to return to their past because Ohtori and the patriarchal system doesn't offer chances to form new connections outside of the ones born of your trauma/childhood. Their lives are defined by their suffering. I view Wakaba and Utena's relationship as so important BECAUSE of how mundane it is, these 2 people met and they became friends and they eat bentos together and Wakaba views herself as non-special, but she doesn't realize how severely fucked up and lonely all the special people are.

I could go on. I want to write essays about this anime, for real. But it's something that struck me as I watch the show for the first time.

one of the reasons i find utena and wakaba's friendship so interesting and appealing is the fact that it and its issues are so mundane in the middle of all melodrama of the duels and the student council relationships and all of those things. their flaws feel very real for a teenage friendship, and they're all things i can personally relate to on some level. they obviously genuinely care about each other, but their friendships suffers from them not truly understanding each other, mostly because of their own lacking communication (utena doesn't tell wakaba any of the weird things going on in her life, probably out of some desire to protect her from it, and wakaba doesn't tell utena how upset that makes her, and ends up resenting her.) and it's completely accurate what you said about the tragedy of wakaba wanting to be special like utena is, but not realizing that said "specialness" comes at the cost of abuse and trauma. ohtori (akio) purposefully obfuscates that abuse to make it seem like something you should want. trying to disguise grooming as romance, etc. etc. the beauty of the rose hides its thorns and all that.

i'm not sure i'd call it the healthiest relationship in the show (although the bar is so low that it probably is by default) but it's important that the ways in which it is harmful are so normal. who hasn't ever been bad at communicating their feelings to people they care about? who hasn't kept secrets that they probably shouldn't? who hasn't grown apart from a middle school friend once new things started happening in their life? i'd argue that the flaws in the show's other relationships are also pretty normal when you strip away the layers of metaphor and symbolism from them (in the sense that abuse is exceedingly common.) but utena and wakaba's friendship exists almost entirely outside of that, which makes it stand out.

#i will say that i do not personally think tatsuya is really more mature than the other black rose duelists. #just that the ways in which he blames himself/wakaba aren't very useful for manipulating him. but i didn't really want to get into that her #thank you for the ask i really appreciate it :) #revolutionary girl utena #analysis #utena and wakaba #asks #m

[dammons-forgefire]

A general question how do they look naked? (No sexual purpose I’m just curious about what’s the difference between us and them) are they half devil??

Hello anon, thanks for your question! :)

The reply has gotten a little more lengthy, sorry for that. I hope it answers all your questions.

First of all, I do believe that thanks to the "Blood of Asmodeus" curse, tieflings are to some degree blood-related to devils, though they are not half-devils. That blood, however, does affect their looks.

I will definitely be talking more about tiefling skin in general in the future, from the nice ridges on their tails to the skin around their horns, and the bumps along their chests and backs, but those are already visible in the game. Have a quick look for example at the back of Poem, my tiefling character:

The way those ridges work I believe, is to provide additional protection, almost like a layer of body armor created by a tiefling's own body, shielding more vulnerable places like the spine, but they also exist on areas of skin like the elbow and knee that are already thicker in humans, as the skin there has to withstand mechanical stretching from those joints having quite a bit of mobility and being used all the time.

Due to fewer oil glands in this area, the skin there gets drier and flakier, and retains less water. I believe the thicker skin there also serves protective purposes, but not exactly the same way as the ridges on the spine and ribs. They are probably mostly there to ease friction, but also protect the sensitive nerves there. (Yes, the funny bone is actually a nerve called the Ulnar nerve, and tieflings probably have no issues hitting it, because it is much better protected.)

Then, of course, there are genitals, which were kept fairly standard for tieflings in BG3.

As much as I personally like to imagine their genitals to be ribbed or nubby, I don't think it would make much sense. The bumps and ridges on their skin are for protection, and while genitals are definitely a sensitive area, they should probably not have this particular type of protection.

My reasoning here would be how these ridges work vs. what you would typically want.

I've quickly doodled something to explain this a little better, please excuse the quality here and my terrible handwriting haha

Please note that I drew up this little diagram as a more general sort of overview and the yellow subcutaneous tissue has its color from the fat that is typically part of this layer, but is missing in clitoris, penis, eyelids, and other similar areas of skin. That's why these areas of skin feel different, by the way!

Epidermis (Outermost layer of skin)

Dermis (Middle layer of skin containing connective tissue, the superficial arteriovenous plexus [a] with all those fine little blood vessels, and also the deep arteriovenous plexus [b], so the thicker blood vessels, but also the dermal nerve fibres that I marked in pink here.)

Hypodermis/Subcutaneous tissue (Layer right below the skin, anchoring the skin to the connective tissue of the body)

As you can see, the nerve does not reach all the way into the epidermis (which is good, you absolutely would not want that). But that also means adding a protective layer to it, as I have done in tiefling-red on the right, you create an even thicker barrier before reaching the nerve, making the skin a lot less sensitive.

Obviously, you do not want a tiefling's genitals to be insensitive like this. You want them to enjoy having sex after all.

Additionally, according to this article, as well as the player handbook, the Asmodeus curse has made tiefling genetics very dominant, meaning that tieflings will always produce tiefling offspring, serving "a purpose for the Hells in that it strengthens their presence in the mortal realms".

This leads me to speculate whether tieflings might have higher libido than humans and if, perhaps, they are more potent.

Additionally, due to the way their pelvis is shaped thanks to their tails (I will get more into this in the tail essay), there is a chance that - compared to humans - giving birth is slightly less painful for them. While probably far from an enjoyable process, they could potentially see some benefits from their sacrum being turned outward.

As far as shapes and sizes go, it seems logical for them to be at least compatible with other humanoids to ensure that they can produce offspring with one another. Tiefling vaginas would probably be similar to those of humans, not much deeper or wider, since too many differences would make impregnation harder for any non-tieflings.

Tiefling penises probably also wouldn't be much longer or thicker or strangely shaped, as that could do significant damage to a human or elven body, which would once again not lead to creating more tiefling offspring for Asmodeus to extend his reign.

But it is possible for them to have differences! I think that's mostly where people's headcanons can come in. Anything that doesn't make it biologically more difficult to conceive a child is fair game!

Penises with more tapered tips? Possible.

Larger or more sensitive clitoral glans? Hell yeah!

Want your tiefling to have an additional g-spot that Asmodeus put in there to be cheeky? Go for it!

--

I hope that did answer your question well enough, but please feel free to follow up if there is anything else you would like to know.

#baldur's gate 3 #tiefling #bg3 #nsft #bg3 dammon #bg3 rolan #bg3 zevlor

[mari-lair]

Aye is me again!

I was just wondering if you had any theories on what Teru's dream involving Aoi may be. He says she's necessary for his dream and I wonder if its because she's a direct descendant of the kannagi line?

I hope his dream includes Akane too bc even if they won't end up together I just KNOW they'll be besties either way (am soft for Akane being the 1st person he shows his true self to outside his family)

Hello! :D I have no hope Aidairo will treat this sub plot with care, (or any plot that includes Aoi) so this will be more of a rambly analysis than a theory.

I am inclined to believe Teru’s dream doesn’t have anything to do with her Kannagi blood because of how he approaches Aoi compared to Nene.

Nene is also a Kannagi, but Teru never searches for Nene or gives her much thought, he even let her have a crush on what he sees as a dangerous supernatural since it is what she wants so who is he to reprimand a dying girl? Whenever they are together he flatters her but never asks about her life or tries to make her linger in his presence. 

He does show interest in Nene being a Kannagi but it does not feel like he sees her as a weapon or an important tool that he can use to achieve a ‘goal’. She is still a ‘silly girl’ or a ‘funny girl’ in his mind, someone he is kind to when they are face to face, but he doesn't go out of his way to do much for her.

Aoi is canonically very hard to get close to, so trying to 'be her friend just to use her later’ would be contrived and too stupid for a character built up to be smart, considering Nene (who had a crush on him throught a big part of the manga) would be a far better target to get his hands on Kanagi powers.

Teru actively goes out of his way to try to learn more about Aoi and make her stay with him, even if he has to resort to manipulation, he will do it to spend more time with her.

It also bears mention that Akane's tactless way to ‘woo’ Aoi is what he hates the most about Akane. Not Akane supernatural contract or, any of his behavior with Teru, but how he approaches Aoi:

Teru trusts Akane, but he gets disgusted with how he put her on a pedestal, how his obsession gets on creepy territory at times, yet, when Akane and Aoi work things up and are able to properly communicate, Teru gets grumpy and mopes about their almost kiss. A kiss that shouldn’t be significant if what he was interested in was her Kannagi status.

He listens to Akane go on and on about how ‘sweet and kind and pretty’ Aoi is without ever shutting him down, and despite loving to annoy the clock keeper, he never disagrees or implies that Aoi isn't as amazing as Akane claims, so he does have a very positive view of Aoi.

I can’t say for sure what his dream is, but it feels related to Aoi as a person, not her blood or ancestors. Is a desire of his own.

Minamotos are very connected to supernaturals, and they are pushed to put their duties first, but being disconnected from other, and able to have a level head in dangerous situations doesn’t make them any less human or emotional: They value their family, their friends, their desires, occasionally putting them above their job for selfish reasons.

Now let’s talk about a theory Maagi shared with me, that the more i thought about it, the more plausible it seemed: If Teru was in love with Aoi, it wouldn't be the first time a Minamoto fell in love, or at the very least, was very attracted, to an Akane.

The manga makes a point to heavily imply that Kanagis usually live with loved ones at the start of their lives, and that even in the old ages where Sumire’s story takes place, it's seen as cruel to abandon a child so young.

They mention her family wanted to ‘get away from her resentment’ but considering how oblivious and happy she had been to “marry God”, eager to declare a demon her husband, it is far more likely they wanted to get rid of Sumire for reasons out of her control, like her bloodline.

From Sumire pale eyes, which have hints of the Akane purple we know, but is mostly blue, to her expertise in using spiritual tools (from her knife, to bracelets, to even a protective barrier)  it’s just far too much of a coincidence.

Even her personality seems like a mix between Teru and Aoi.

And I can see the argument that her exorcism tools are things that every Kannagi can use, since Aoi can use them too, but it is still strange that Sumire has so many tools associated with the Minamoto clan, when every other sacrifice has none. Not even a bracelet.

The bracelet is not part of a Kannagi’s uniform. Or a precaution of No.6 that comes with his duties. It’s a Minamoto’s gift. Which makes Sumire feel more personal than ‘just another sacrifice girl’, like her protection matters for someone.

This leads me to how Teru gave Aoi a bracelet the second she got mixed with supernaturals, and let her keep it,

He never offered this kind of protection to anyone else, not even Nene, the girl that lives in danger.

So even if the fandom will cry at the idea, there is a lot to indicate Teru is genuinely interested in Aoi. The seeds are there, Aidairo was just clunky when hinting his interest (I’m still baffled an interaction as important as the convenience store one is in a spin off.)

And I am sure his dream includes Akane! Akane is his best friend, even when he wants to spend time with Aoi, he isn’t opposed at all to Akane tagging along.

He values Akane in a completely different way than he values Aoi, but is so clear he has tons of fun with the two Aois!

(There is a reason I would be chill if his crush was either Aoi or Akane, he acts in such a way that no matter who he has a crush on, it is still obvious he really values them both)

#tbhk #teruaoi #terukaneaoi #teru minamoto #aoi akane #akane aoi #toilet bound hanako kun #sumire akane #when i think too hard about my trio i can feel a spark of love again in my tired soul

[wasyago]

Love your art! I was super inspired by your Gillion design specially. He's so squishable (positive).

Do you have a specific process for designing characters? Be it original or reimagining canon designs of fandom

thank you!! :D

hmm, well, i don't remember the last time i properly designed an original character, so nothing on that front. for reimagining designs... i don't have a step by step way i do it, it varies from character to character, but i can point out some of the things i do that might be helpful?

i largely base my designs on the vibes the character gives me: their manner of speech, their actions, their story and personality. and also the world and environment around them if it affects the character. it sounds pretty obvious but like, duh.

im gonna try and explain on gillion's example since its the one you mentioned. he's a himbo, a swimmer and a paladin, so he's gonna be buff or at least a little thicker. he's a triton, so he's short. he's also short for the reason that he is in an unfamiliar for him world and he might feel small in it. he's also short because it makes him look almost child like, connecting it to his trauma and lack of childhood that manifests in his behavior now. gillion is kind or at least trying to be, so his features will be softer and rounder. but sometimes he's chaotic or harsh, so he has some sharp features too. though they're secondary, the softness is still the main focus.

i also really like to think and overthink the designs while drawing. i try to keep everything simpler and less detailed, showing personality with shapes rather than uhh presence(?), but that means that details i do include have a lot of thought behind them.

one of my favorite things is practically. i love to think about what a character would realistically wear in the climate they're in, which clothing would be comfortable for their anatomy and field of work. would certain things get in the way or would they be helpful? how would they style their hair, do they need it tied back or do they not care? would they wear make up, why yes or why not? etc etc etc. i like asking myself questions and answering them in the design.

continuing with the gillion example. he's constantly wet because he's a triton (again, yes), so it would be more comfortable for him to wear a wetsuit. other clothes may stick to him and be uncomfortable, or get stuck on his fins, etc. he doesn't have any piercings, there's no way he would've gotten them in the undersea, and on the surface i don't think there was anything meaningful enough to promt him to get it. plus fin ears. he doesn't have his hair styled in a complicated way because of the coral on his head. doesn't wear a lot of jewelry because he jumps in the water a lot and it'll easily get lost. no belts or flowy bits because they constrict the movement and might get in the way.

and then like. all the personal headcanons and preferences and little bits and things. there's a lot of elements that i draw just because i like how they look. or because that's a comfortable thing for me, or because it's cute or hot or sad or whatever. or because i saw it while looking for inspiration and i really liked it. just bullshitting with the design and making it my own, yknow?

for gillion. gave him a cool long tail and lots of fins everywhere because i like it when inhuman characters are openly and visibly inhuman and have distinct features. and gillion is VERY much not human, part of his personality is being confused about humans. big ol yellow eyes with slits — look cool, also doubles as an inhuman feature, also makes him look curious about the world. small black stripes all over his body — make him look more fishy, plus because there's a lot of them and they're all the same they form a pattern that looks more like a natural anatomical feature and draw less attention. coral that goes around his head and not only the front like a tiara— makes it feel more three dimensional and looks cool in perspective (also i kinda just drew it wrong and never fixed it). coral and fins are pink — adds some much needed color variation and contrast, plus pink is one of the more natural colors which again make him look animalistic and not magical, plus ties in with pretzel. his skin is closer to green than blue — removes blue from the color pallet (especially with his eyes being yellow instead of blue), making the design more coherent and pleasing, allows me to properly introduce reds and purples without it looking like a mess of colors (although it still does sometimes). sharp teeth — fish, cute. yellowish underbelly — supports the yellow for the eyes and makes it stand out less, plus again, animalistic feature. little to no details on the clothing — creates good negative space that lets the eyes rest and focus the attention on everything else. his fringe and hair are floating around and don't follow the laws of physics — personal headcanon that it always looks like he's under water, plus adds roundness to the design because of the waves and curls.

ookay haha sorry didn't mean to write down literally every design decision here-- kind of derailed the post again.

basically yeah, for me designing is like a dialog with myself where i ask and answer questions. also something that wasn't mentioned are references and inspiration. if i don't have a good idea when i start, i usually scroll through my gallery or pinterest for some time to get ideas and figure out the general direction i want to take the design, maybe also find some fun stuff to include, etc.

hopefully this long ramble was at least somewhat helpful or gave you insight on my progress. i wanted to draw some things to also visually explain the design decisions for gill, but i think I'll do it later and in a separate post, and maybe include chip and jay too...

umm good luck 👍👍

#yagotalk #how to yago

[lemonhemlock]

The thing I have also noticed about targies is that they not only refuse to engage with the historical precedents of a pseudo medieval world, but they admit that for them the magic is the main appeal for of HOTD/ASOIAF.....which is incredibly bizarre to me because Martin, whether intentionally or not, has thrown the more magical elements of the story to the wayside, in order to focus on the human socio-political drama in both ASOIAF and Fire and Blood. ASOIAF, in general, is very 'low fantasy' there is very little magic, the magic that is there is not thoroughly explained, and the Others, the big bad of the series, has been mentioned approximately three times over five books and 25 years. The magic is essentially a plot device and not even a device that Martin particularly likes to use lmaoo.

Anyway this hyper focus on magic and the inability to see what GRRM is doing with magic - it's not the solution it's the problem - is a big reason the fandom is so....off in their predictions. Like, the dragons are not saviors, there is no prophesied savior, etc.

This is why targies are always harping on how there is no way for Sansa to be QITN or even go back to Winterfell because she lost her 'MaGIcAL ConNeCTioN' when Lady was offed - as if I'm supposed to give a fuck about direwolves or what the fuck 'warging' is lmaooo when there are vastly more interesting human dramas and political plots playing out in the series.

Conversely, this is why King Bran as Martin's endgame is so stupid imo lmao. He's giving a magical solution for a political human drama that he's been setting up for five books and has not done enough to build up the importance of magic in the series. Like, I'm sorry but a seven year old all seeing Tree Wizard Warlock as King of the 7K is an absolutely hilarious endgame and makes all the philosophical discussions about good rulers and leadership a joke.

Bullseye. 🎯

The only caveat I have is that, while I agree with your assertion that ASOIAF is low-fantasy, the magical element does slowly gain in importance and it's fair to say that the characters who ignore the magical threats (the Others, dragons) are categorically in the wrong and will end up paying for it. But it is very, very likely that the end of the series will see Westeros returning to a normal climate and the disappearance of magic once and for all. The man himself is on record saying magic can be a hindrance and part of the problem!

This is my personal theory as to why he is taking so much time to publish The Winds of Winter, not just because he wrote himself into a corner with the Meereenese knot, making it very difficult to get Dany to Westeros in one book. But it's also that the King Bran ending doesn't make any sense. Perhaps that was indeed his original planned ending, perhaps that was indeed what he told D&D all those years ago, but as he likes to consider himself a gardener-type of writer, the garden he tended started to grow beyond his control and now having a CCTV Tree in charge of Westeros at the end of the series directly contradicts the themes he developed for nearly 30 years.

No hate to Bran, who is an OK kid, but everyone else in the series who's become entangled with the magic to that extent has paid dearly for it. We have Beric Dondarrion on page telling us exactly how it takes its toll and he feels himself becoming less human. Bran also commits several other transgressions that would normally have other characters cursed or punished via deus-ex-machina like warging into Hodor and eating jojenpaste (the last is theoretically unconfirmed, but come on).

At the end of the day, he is an immature child who's being used as a pawn by Bloodraven, with little formal training in the ways of being a lord (the bare minimum), no practical experience with leadership, no social skills and no charisma. These are all consequences imposed on him given his status as a fugitive and not his fault by any means or reflective of a lack of inclination, but they are practical realities nonetheless. GRRM has spent so many pages already criticising poor leadership skills and has always punished bad, immoral, incompetent OR naive people in positions of power - how is he going to make an exception out of Bran without negating literally every other POV he's chosen to write? This is a serious problem in the construction of the story.

He's also already been caught with his pants down by the show and saw for himself how nearly everyone either hated or mocked the King Bran endgame. I'm really very curious what was his opinion on that and whether it made him reflect in any way. D&D did indeed make a hodgepodge of the final season, but it's still got to sting to see how the majority of viewers thought it was a completely random choice and a joke ending.

#ask #anon #anti bran stark #for filtering purposes #i have no idea if bran has militant stans #i don't even necessarily dislike him though i do find his chapters boring #grrm #asoiaf #magic in asoiaf #worldbuilding

[rodentbrains]

one of the things fhr does so wonderfully, which i’ve rarely seen popular media deal with at all, much less well, is where the need for control can stem from. the version of it shown in fhr connects so deeply to my experience as a autistic person.

control isnt shown to come from an almost giddy desire to have other people under your thumb, but complete and utter fear and panic. the kind that feels like your life is deeply in danger because you do not know how people will react and what they will do. thats the crux of it, their autonomy means that they are completely out of your control and therefore can leave in you in a state that is unsurvivable to you! in this sense, the fantasy of telepathy, the idea that i can make sure i will survive my encounters is so tempting. something like that would make me able to live more, make me feel like a real person. which i never feel like (much like sidestep.)

its obviously very immoral, but the desire driven by fear is sympthetic. the intensity of this experience is perfectly enhanced with sidesteps reality as ‘non-human’ and the very real physical danger they face due to their illegal existence. their fear of literal torture and death echos my emotional experience of stepping out into society and i say this without exeggaration. you also get to see ortega react to it. someone who loves sidestep doesnt necessarily understand them by the virtue of that love. the same way a lot of neurotypical people cannot understand autistic experience, and there is something so comforting about seeing that. about seeing a character, who obviously does have a deeply distorted sense of reality, but is still correct in their understanding of aspects of that reality!

sidesteps fear of the farm is incredibly legitimate, despite it being something that a lot of characters in the story do not understand. many of them have the initial reaction that sidestep is exaggerating, but they are aren’t. its a reminder that there are also incredibly real aspects to my fears. that autism isnt just a distortion. when sidestep breaks down and shows the overwhelming terror they experience over not being able to read/control ortegas mind, they are horrified. naturally. it is horrifying considering the abilities sidestep possess, im not understating that. its however also clear to us, the audience, that this need comes from being petrified. from not knowing any other way to stay safe, stay human. the fear of losing autonomy they fought for so hard is another element of all of this, and unsurprisingly, being robbed of autonomy is a common autistic fear too. but thats a whole other post

#i lost my mind over the autism sidestep parallels at 1am again dont mind me #fhr #sidestep