#thematically a whole entire vibe

[aroaceleovaldez]

was thinking about next-gen kids and decided to doodle a couple. elaborated thoughts below:

Iphis is named with the same naming conventions that Sally used when naming Percy - primarily, mythological figure who had a good fate. Nice for Percy to honor his mom by naming his own kid the same way and Annabeth gets a fun nerdy mythology name. Also sending good vibes to their kid. Plus middle name directly in honor of Sally, of course.

Specific myth is Iphis and Ianthe, with the idea that a.) it's gender-neutral so works regardless of kid's gender and b.) not only does Iphis have a good fate, but arguably nothing bad happens to them ever and they get helped out by like three whole pantheons who show up in a literal parade and they live happily ever after. Percy and Annabeth are pushing for the BEST vibes possible.

(Also I am a very strong proponent of the "I don't think they'd name their kids after dead family/friends" so none of them have that)

Iphis of course inherited the Jackson family early grey hairs <3

Virginia is named after Juniper (cause Juniper is specifically implied to be Juniperus virginiana). She's probably been childhood bffs with Iphis since Iphis was born.

Chuck is Chuck. I gave him a Yankees jersey cause you know he's being raised as a sporty kid.

Do you ever think about how OP Frank and Hazel's kid would be. It's ridiculous. Quadruple legacy, including 2/3 of the Big Three. Frank by himself was already so OP the gods had to nerf him. Hazel came back from the dead and Frank kinda just said "nope" to dying that one time. Hazel presumably has every power that Nico has which is. A lot. Not to mention what Hazel has been shown to just be able to do on her own (including but not limited to SINKING AN ENTIRE SMALL ISLAND). Ares/Mars kids can functionally be completely invulnerable sometimes and also have some limited necromancy. Combo that with Hades/Pluto kids also being hard to kill and having necromancy as one of their main powers. Not to mention how Pluto geokinesis might combo with Chloris (goddess of spring) powers? And this kid is 100% being protected by both Nico (who is probably a deity by that point) and probably Pluto himself as well? Hello?

Anyways Hazel and Frank's kid is a total powerhouse. Possibly functionally immortal. Easily strongest demigod of her generation.

I like to think the latent Chloris legacy would crop up (probably in combo with Mars and Poseidon's plant aspects) and give them an accidental Persephone-type theme and that's fun. Frazel's goth daughter who takes after her grandmother (and uncle).

Figured since Frank is Canadian and Hazel is from Louisiana they'd go for a French name. The flower theme was not intentional on their part it just happened. Law of demigod naming conventions appears nonetheless.

I figure Leo might not have kids of his own but he probably still hangs around with Hazel and Frank so of course he's going to make their kid a cool thematic robot pet. He's probably her godfather or something.

Ronan is literally just some kid who showed up at the Chase Space who coincidentally was a legacy of Freyr and could shapeshift. Magnus and Alex obviously can't have kids cause they're dead, BUT some orphan with essentially a combo of their powers just shows up on their doorstep? Their kid now.

The ironic part is of course their shapeshifting powers just happen to be because they're distantly related to one of Annabeth's friends. Ronan finds himself suddenly gaining two parents and two cousins (Iphis and Lily) in rapid succession.

He only picks up Magnus' last name though cause Alex has 100% disowned her mortal parents.

He has a seal flipper cause shapeshifting and apparently "Ronan" means seal. I just wanted to draw those two showcasing their shapeshifting a lil bit.

Might try to doodle the other next-gen kid thoughts I had at some point but idk when. anyways yeah.

#pjo #percy jackson #riordanverse #mcga #< for ronan #pjo ocs #pjo next gen #< ?????????? #my art #Virginia may or may not have a crush on Iphis who knows #also Virginia is 100% worrying constantly about living up to her dad's legacy as lord of the wild #meanwhile like Iphis and Lily are just going ''haha powers go brrrrr'' #Iphis knows their parents want them to have as uneventful of a life as possible so they have absolutely zero worries #Lily meanwhile isn't worried about living up to her parents' legacies cause she knows she's OP as fuck #she is just fully aware that she is the most powerful demigod of her generation zero contest (or is she...?) #the only way she wouldn't be is if demititans turned up somehow #but who knows! they might! they could! #but regardless Lily is just under the assumption that She Is The Best #Ronan and Chuck dont really have any of that to worry about they're just vibing

[qwertyprophecy]

Update on The Dark Queen of Mortholme!

Phase one is now essentially completed for art, code and dialogue. Onwards to phase two; because every good boss fight needs that part where the boss gets unhinged and gains a whole new set of attacks.

I too have chosen to be unhinged and made a design for the Queen's final form that gobbles up animation work hours like nothing I've done before with pixel art.

Concept sketches under the cut:

Initially I didn't have any ideas beyond doing a more monstrous design that amps up the Queen's features and takes cues from the shapes and colours of her original spell animations. However after writing the dialogue leading up to the transformation I immediately landed on a specific concept.

The transformation is an outburst. It's a manifestation of the Queen's terror and defiance towards her approaching death. She's unraveling, and in doing so she's channeling more of her innate violent power that she doesn't usually let out. She's essentially been having a long argument with the Hero about who they believe they are. Thus far she's gotten by being all smug and detached, but now she's losing and forced to reveal more of her true self to continue.

So her final form's design should convey 1. an outburst, and 2. the unraveling of a false front. Her base design's spikes, hair and skirt all erupt out into the wilder shape language of her shadowy spell-tendrils. They can handily be used to draw the eye from all directions towards the center of her chest, where I wanted to have this cracking pattern, like something hidden inside her is coming out. It's bright as if blindingly powerful, yet the cracks make her seem more damaged and vulnerable than her base form.

Continuing with the theme of an inner self showing through, the skirt's interior is also more visible than before. The flared jellyfish-esque shape connects with the deep sea vibe of the tentacles and contributes to the drama of a nonhuman silhouette.

A big thing for the silhouette is of course the massive hands. What's the thematic explanation for those? Absolutely nothing, I just think they look cool and dangerous.

Finally, lot of asymmetry was also introduced, both to increase the visual interest of such a large sprite, and to make her look like she's really losing it.

---

A note on animating this monstrosity: I've been trying to come up with a whole lot of cheats to keep a complex sprite like this as animated as possible without spending the rest of my life making this game. Early on I decided she should float, just so her idle animation can also be a moving one.

Secondly, the sprite is cut up to pieces so that I can keep reusing the loop of the writhing tentacles while moving her hands, for example. This is not something I like doing because in believable animation, motion in one part of the body always affects the other parts of the body. Treating a character as one entire whole when animating will make them feel more tangible, but alas, it's a compromise to avoid spending a hundred years in pixel-pushing jail. Like, I would love to see those tendrils flutter around behind her as she swoops across the room for her attacks, but... it'll be a lot more reasonable to move her as little as possible and instead add oomph to her attacks with some effects animations.

Anyways thank you for reading about monstrosity, she might be a pain in the butt to move but she brings me joy

#I have not been very good at making this dev blogging a regular thing #busy enough making the game and whatnot else #but if you enjoy reading this then I'm glad! #pixel art #animation #character design #game development #the dark queen of mortholme

[blossomwritesthings]

𝐰𝐞𝐚𝐭𝐡𝐞𝐫𝐢𝐧𝐠 𝐲𝐨𝐮𝐫 𝐬𝐡𝐚𝐝𝐞𝐬 𝐨𝐟 𝐛𝐥𝐮𝐞. | 𝐛𝐞𝐭𝐰𝐞𝐞𝐧 𝐦𝐨𝐨𝐧𝐥𝐢𝐠𝐡𝐭 𝐚𝐧𝐝 𝐚𝐬𝐩𝐡𝐚𝐥𝐭

⬷ 𝐩𝐫𝐞𝐯𝐢𝐨𝐮𝐬 ┊ 𝐧𝐞𝐱𝐭 →

pairing: felix x fem!reader (afab) // chan x fem!reader (afab)

genre: nonidol/collegegrad!felix. waitress!reader. college au. hurt/comfort. angst. fluff. smut - MDNI, 18+ only. reader pov. friends to enemies to lovers au. slowburn romance. lots of pining. cheating. abusive boyfriend/ex. drama galore. the sexual tension is REAL in this one.

content & warnings: explicit & strong language. very thematic elements. felix is reader's estranged childhood bestie. chan is low-key an asshole in this ngl. heavy topics are mentioned such as: abusive/toxic relationships, cheating, and pathological lying. drinking/partying. the summer vibes are real in this one. there will be humor/fluff throughout to balance everything. and ofc smut too because who am i if not a whore for filthy felix smut. 😉

word count: 2.5k

summary: ever since you were born, all you've ever known is living a simple life in the small australian coastal town of bridgeport bay. you're content with working at your parent's beachside restaurant angel waves for the rest of your life, and you're happy with your place in the world - you have good friends and an even better boyfriend. that is, until everything comes to a standstill when a familiar face from the past visits town for the summer. and in the wake of his return, lee felix upturns everything you thought you were content with here in your comforting little beach town.

a/n: how tf has it been so fucking long since I last updated this??? sheeshhh 💀 anyways bitches, I'm backkk and with a vengeance 😈 this bitch has finally got herself a girlfriend, and you best believe with that entails a whole new era of filthy pieces, fuck yeah besties!! 🥵 I'm estimating this series will have another 3-4 parts to it... I've planned to finish this by the end of jan 2024, thanks sm for all of your patience and support!

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ᴅᴏ ɴᴏᴛ ʀᴇᴘᴏsᴛ ᴛᴏ ᴏᴛʜᴇʀ sɪᴛᴇs (ᴛʜɪs ɪɴᴄʟᴜᴅᴇs ᴛʀᴀɴsʟᴀᴛɪᴏɴs). do not copy, spin-off, or write inspired work based off of this fanfic without full permission to do so. ©ʙʟᴏssᴏᴍᴡʀɪᴛᴇsᴛʜɪɴɢs ⤐ ᴀʟʟ ʀɪɢʜᴛs ʀᴇsᴇʀᴠᴇᴅ

Two weeks later, after the continuous ‘meetings’ that you and Felix had out on the beach early in the morning, you found yourself amid a popular club in the area, with Chris holding onto your side as the two of you swayed across the dance floor. 

 You had already finished your dinner at the fanciest Italian joint in all of Bridgeport, and you two were subsequently stuffed to the brim from all of the pasta and bread. Yet somehow, you still found yourselves at the local club, crammed in with the large crowd of other couples and single people. The smell of liquor and cigarette smoke was palpable in the air, the bass of the club songs vibrating underneath your feet and causing you to feel a little dizzy on your toes. 

 Or maybe the two shots of cherry vodka you had just drank were the thing making you dizzy. 

 “You’re so fucking hot- I love… love-” Chris began in a slur, as he tipped into you. You grunted against his weight, stumbling a bit and bumping into a couple that was right behind you. “So much better than… her…”

 Staying silent for a few seconds, your liquor-addled brain took a few extra moments to process his words. At first, you were flattered… you always loved it when your boyfriend complimented you and told you he loved you. But then, the alcohol flowing through your system seemed to melt away as your entire focus honed in on what he had just said. 

 “Chris… what do you mean by her?”

 He stared up at you with glassy eyes, bottom lip wavering just a little bit from the soju that was coursing in his veins. “W-Wha-”

 But you didn’t let him finish, as your heart started to race a little faster and you shook him off of you, disconnecting his arms from holding onto your waist. “What the fuck are you talking about?” 

 Your boyfriend flashed you a confused look, brows furrowing as he noticed the anger that was slowly overtaking your entire facial expression. “D-Doesn’t matter… you’re here now and-” He got cut off again by the sound of his phone ringing. It was loud as hell, and all of the music of the club suddenly drowned out as he pulled his phone from his jeans pocket. 

 Looking at it for a split second, he silenced it before shoving it back into his pocket. When he caught your focus again, your eyes were honed onto his phone. “Who was that?” You asked, folding your arms in defiance and watching his face for any hint of emotion. 

 Instead, he just offered you an easy smile, waving your concern away with a nonchalant, limp hand. “Nobody- was nobody.” And in that moment, you cursed him for being such a lightweight. For loving the taste of alcohol, but only being able to handle two drinks in before he was absolutely floored with drunkenness. 

 “Give me your phone, Chris.” You motioned to his pants pocket with your hand, eyes narrowing slowly as he leveled you with a serious glare. 

 “Why?” 

 “If you have nothing to hide then you’re fine with giving it to me for a second.” 

 “But I don’t see why-”

 “Give me the goddamn phone, Chris!” You screamed so loudly, that the people near you all turned to watch the scene unfolding. Maybe it was the vodka in you that caused the butterflies of anxiety to stir in your stomach, or maybe it was your worries and premonitions making you react so hastily. 

 He rubs me the wrong way… 

 The way Felix’s deep voice had said the words crossed your mind just then, underneath the bar’s flashing rainbow lights. You thought about your best friend again, when you impulsively reached forward and grabbed Chris’ phone before he could even realize what was happening. 

 And as soon as the screen brightened and you read the name under the missed call notification, you knew it was all over. 

 Everything around you, the loudness of the dance floor and Chris, and the people cramming in on all sides, suddenly melted into nothingness. Your breath honed down to a single point, your heart slowing down its beats as you slowly unlocked the phone. He had been using the same password since he was in high school. That much you knew. 

 One click of a button and the screen opened to his messages. To the contact at the top, bolded and covered in hearts. And as much as you didn’t want to know, as much as you wanted to be left in the dark, a tiny, quiet voice in the back of your mind prodded you on. 

 If you don’t find out now, you’ll never truly get clarity. 

 But the voice wasn’t yours. 

 It was… 

 Felix’s. 

 So you opened the thread. And you began to read. 

Today 

11:13 pm 

This bitch actually wants me to take her out on a date tonight- even though I’m fucking exhausted from working all week. 

 Well, at least you have me to look forward to afterward. :) 

 You mean I really get to fuck you tonight? 

 Of course! Why else would I give you the code to my apartment!? Just so that you could use it that one time?? Hell nahh~ ❤️

 You felt like you were going to throw up, and before you could read anything more, a hand was reaching forward and snatching the device away from your gasp. You peered up to see an enraged, red-faced Chris. 

 “Why the fuck would you do that?! I fucking told you no!” He roared, eyes alight with a certain kind of fire that scared you just the tiniest of bits. 

 Everything was scaring you at that moment. The entire relationship had been a lie. All those years, wasted. 

 Because perhaps, he had been cheating since day one. 

 Perhaps, he had been fucking someone else throughout it all. 

 Yeji. 

 Yeji. 

 Yeji. 

 Her name rang across the forefront of your mind like a sick kind of mantra. 

 Your best friend, your closest confidant. The girl you had been working with since you two turned sixteen. 

 But as it turns out, she had never felt the same way about you. 

 Chris continued to scream in your face, the alcohol taking over everything. And suddenly, you felt so light-headed. Like if you kept thinking about it, you’d pass out right there in the middle of the dance floor. 

 Heart shattering again and again into millions of tiny fragments, cutting through sinew and flesh and bone, you backed away from your boyfriend altogether. 

 Soon, you were getting lost in the crowd of people, Chris’ face disappearing in the midst of them all. And before you knew it, you found your back pressed against a wall, as you doubled over with the misery of it all, hyperventilating in panic. 

 Even still, you somehow found the sanity inside of you to pull out your phone. Through your bleary, tear-filled vision, you dialed the one person you knew at that moment who would always be there for you. 

 The line rang for a few moments, and you prayed to every God above that he’d answer. 

 Answer. 

 Please- 

 Fuck, please pick up-  

 “Hello?” His deep voice cut clear across your mind, clearing some of the cloudiness that had overtaken your entire system. 

 “N-Need you to pick me up- please.” You forced out, voice hiking up in despair with each word that you spoke. Your entire began to shake, as the reality of the situation crashed down on your shoulders. “N-Now.” 

 “Send me your location, I’ll be there in under twenty.” 

 He didn’t even question you, he just automatically knew you weren’t okay. 

 “T-Thanks.” You managed to say, wiping away the tears that were quickly falling down your cheeks. 

 “Wait for me- I’ll be there soon.” 

 And then the line clicked off and you were left alone again. 

 Alone in a room full of strangers. 

 And alone with the one person you thought you had known. Yet so suddenly, you didn’t know him at all. 

 Before you could do anything else, a strong hand was clamping down around your forearm and pulling you to the side. You were once again faced with a raging Chris, hands balled into fists and shoulders rising and falling rapidly with his anger. 

 “We need to talk!” He shouted over the booming club’s music that vibrated against the bottoms of your feet. Already, you were feeling so fucking uncomfortable under his gaze. 

 You yanked down at the sides of your tight-fitting mini dress. You wore the red one because it was Chris’ favorite. But all too suddenly, you were realizing how frivolous the entire night had been - the entire relationship, really. 

 “I have nothing to say to you,” You started, glaring down at the way that his hand clamped across your skin. “And get your hand off of me- you have no right to touch me anymore.” 

 You were pushing away from him and through the shuffling bodies in the throng of people before he could reply. You searched aimlessly for the exit, your feet taking you forward and out of the club as quickly as you possibly could. At that exact moment, you weren’t even thinking straight. You weren’t thinking about how Felix would find you if you left the premises of the club. Instead, you just kept walking. 

 Walking, and walking, and walking. 

 Almost like, if you walked far enough, you’d be able to escape all of the bullshit entirely. Like if you traveled a far enough distance, you’d be able to leave your broken, bleeding heart behind in that godforsaken, seedy club. You’d be able to forget all of the heartache and pain. 

  Instead, you’d be reborn again. Into a new woman, with no ailments and no shitty boyfriend to speak of. 

 You were so out of it, you didn’t realize you had begun to walk down the side of the highway until you were stopped by a pair of broad shoulders standing in your way. Staring upwards, your gaze caught the faint moonlight illuminated behind the figure looming just in front of you. 

 It was hard to see through all of the tears, but somehow, you found Chris’ face in the midst of it all. He was staring at you with an empty look on his face, an expression completely devoid of all feeling. 

 Like seeing you crying right there in front of him didn’t even phase him. 

 “Did you even fucking love me, during all of the time that we were together?” You asked, voice cracking at the end of your words. Your heart squeezed so tightly in your chest that it hurt to even breathe in. “Or was I just a means to an end?” 

 He just continued to look at you, eyes hooded and lips pressed together in a displeased line. Like you were a fly that was buzzing around his face amid summer, a complete pest but too fast to completely squash for good.

 “Or was I just a quick fuck for you? A body to keep your cock warm late at night, meanwhile you were out fucking her behind my back,” you said in a low voice, fists clenching at either of your sides at the reaction that he was having to everything. Because there was nothing. Nothing at all. Just emptiness, and no emotion or feeling or empathy whatsoever. And the worst part about it was that you couldn’t even utter her name. It hurt too much, to know that such a close friend had violated every part of your very being and spirit. “I guess I was just your trophy girlfriend- the pretty bitch that you liked to keep perched on your arm, tricking everyone into thinking that you were some perfect fucking boyfriend when really, you were getting your stupid, dick wet every single night-”

 After that, everything happened in a blur of movement and tears. 

 In a split second, the fiery burn was spreading across your cheek. 

 Traveling down, down, down, the column of your neck. 

 Pooling in your clavicle agonizingly. 

 Momentarily, all of your tears stopped. 

 Your heart felt like it was about to explode inside your chest - ribs poking the air right out of your lungs as you gaped up at Chris in utter disbelief. 

 “Don’t try to insinuate that I did shit behind your back, you stupid bitch. I only-”

 Then his hand was raising again, and you caught the look of fiery, unbidden fury deeply set within his dark eyes. 

 Just as he was about to strike again, he was stopped mid-air. 

 Your focus shifted off of the ass and onto… him. 

 In all of his messy, blonde tresses and dark, chocolate brown eyes with the beautifully, sun-kissed skin. 

 He held Chris’ arm in a vice-like grip, squeezing and squeezing until the tendons popped, causing your ex-boyfriend to yelp out in pain as he tried to rip out of Felix’s hold. 

 “If you ever try to land a single finger on her again, I swear I won’t fucking hold back,” Felix said, voice so low it was hard to register over the rush of the highway at your side. Then he was pushing Chris off, making him stumble backward on the sidewalk like the fool that he was. “Harm one hair on her head and I’ll fuck you over so much- you’ll be dead by the time my hands are off of your neck.” 

 Then Felix was bending down, eyes meeting yours for a fleeting second as he scooped your entire shaking form up into his strong arms. Holding you close to his body, you felt the comforting warmth radiate off of him and you were instantly soothed. 

 Melting into his grasp, the sobs wracked through your form, as you squeezed your eyes shut, trying to will the last twenty minutes out of your mind - your memory entirely. 

 As your limbs shook in his arms, he trudged forward, towards an unknown point. Most likely to his car, but in that moment, you couldn’t give a damn. You felt his heart beating wildly, as you pressed your ear against his chest. 

 “It’s okay, angel… I’m here now,” he whispered in a low, gravelly voice. Like he was barely holding onto his restraint - his sanity. “Just hold onto me, yeah? I’m not gonna let anything happen to you ever again- he’s never going to talk to you or touch you, ever again,” you felt his lips ghost over the crown of your head, as he pressed a gentle kiss there. “So don’t worry your pretty little head about it, okay? As long as I got you, as long as you’re mine, no one will be able to hurt you ever again.” 

 The corners of your blurry vision darkened after that, as you succumbed to the overwhelming feelings of it all. 

 And the last thing you remembered feeling, just as you slipped into the bleakness and let the fuzziness take over everything, was the feeling of him - so close to you, and holding you so tightly and carefully and securely against him. 

 Like he always had, since the first day you had met him - he was there for you when you needed him most.

To be continued...

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[isa-ah]

gamers help me world build. the general genres are horror, speculative biology & shouldn't have gone there.

the generalized idea is a fantasy world that's not rlly all that different from ours, but magic and different creatures are an accepted and mundane part of life. the cast is a pentuplet of 3 researches / 1 adventurer / 1 body guard that are tasked with exploring a newly opened passage in the belly of a cave that seems to have tapped into a wholly new network with some very pronounced... oddities.

this network has been sealed off for milennia and has fostered an ecosystem entirely unique to itself. I'm rlly going for deep sea evolution vibes; half the critters are blind and go by hearing, vibrations or scent, the rest use some manner of bioluminescence to communicate in the dark. some fat lazy reptiles that stick to the walls and barely move or react, some semi aquatic, at least one carnivore w plenty of detritivores...

the plants have evolved over time their own brand of bioluminescence to attract the lower rungs of the food chain to themselves and so when they first arrive it's like breathtakingly beautiful and alien. just really bizarre and pretty and they're setting up camp right at the mouth of this juncture so they can make trips in without setting up entirely within the network.

the horror elements coming in with a specific type of fungus that strikes up like a cyan match underfoot and lets out clouds of glowing spores. they don't think too much of it but over the weeks to come they're going to be changed by it in really grotesque ways, I think. (and perhaps see this happen at a much faster scale to small critters with morbid realization).

glowing veins and bones and rotting, eventual blindness as the fungus grows over the wet surface of your eyes, yeah, but maybe it has almost rabies like effects where they become extremely photosensitive and claustrophilic, finding further, more narrow passages to cram into to better spread the fungus.

I've considered a lot of other horror angles to go with it too, like beginning to hallucinate pretty potently and becoming aggressively distrusting of their companions. maybe the body guard even kills one of the party and they scatter after that. a final girl moment where one of the researches has managed to stay safe but in her final escape attempt she hits a patch and realizes if she goes aboveground she'll only be spreading this beyond the passage, & so with the last vestiges of her autonomy she tries to seal it back in...

the types of plants, fruit, flowers, critters, etc... those are what I really want to dig into tho. the stuff they'd be researching and learning about. I haven't had a whole lot of ideas on what to use yet but anyone who does have thoughts send it to my inbox. 👀

restrictions are primarily nothing too big, and nothing that burrows. I think burrowers would have been discovered significantly sooner? so let's stay contained to preexisting tunnels. definitely got plenty of groundwater, springs trickling down the walls and pooling in flooded passageways etc. otherwise I don't have a lot of ideas yet!

also open to discussing the party. I think the final girl will be a magical researcher who's that clumsy kind of determined. the adventurer being any kind of smaller race (do I even want to use traditional fantasy races? idk!) and the body guard being the largest amongst them and by far the physically strongest.

thematically the horrors of spelunking at all, hypothermia being a constantly offset issue leading to paradoxical undressing as the fungus overrides basic control, stripping the last of your dignity and humanity, how prolonged darkness convinces you you can see (even after, say, fungal nodes have overtaken your eyes), no shortage of auditory hallucinations bc the white noise of trickling water is all you'd ever hear, the body guard becoming a very great threat after killing the adventurer, having become extremely hostile in response to the fungus.. u get the picture.

#what do i even tag this as #cave fungus project #<- lol. lmao even #horror #unsanitary

[bengiyo]

Hey there!

I've seen a bunch of peeps echoing your thoughts on the KH adaptation, like how it's kinda "Japanese" and might be hard to transfer. Can you talk about what exactly gives KH that "Japanese" vibe? I've checked out some JBLs, but my memory of KH is lowkey foggy. Or if you've talked about this before elsewhere, can you drop the link pls? (btw, loving your stray thoughts posts – they're a life saver keeping up with all the BLs. Thanks!)

I'm trying to find a useful way to describe this. Japanese live-action media still hearkens back to a stage tradition, and as such you need to widen your eye to appreciate what's going on.

Close-Ups

I think Westerners watching Asian media rely heavily on close-ups of actors doing things to read their emotions in a scene, and that's not always where the most important stuff is happening in a Japanese drama.

I'm struggling with the gif search, but this shot above is a good example of that stage tradition. Hashimoto was feeling embarrassed at this moment and wanted to leave, so she literally exists stage right. The Japanese also love depth of frame. We see Aida as the barrier she has to cross to leave in the foreground, and we can see that life is still going on in the background.

I think a lot of us in the West rely on close ups like this to read characters from any given moment, and you see this reflected in what gets giffed and what doesn't. Michieda Shunsuke has incredibly large and expressive facial features, and he exaggerates them constantly to play up the hyperreal aspects of Aoki, which is another staple of these kinds of Japanese stories.

You got a lot of this in Mr. Unlucky Has No Choice But to Kiss! as well.

I'm struggling right now because I don't feel like fighting Viki and God Himself to get screenshots of the wider shots in the show, but the wider shots allow for us to get information about multiple characters and the dynamics between them quickly.

Thematic Focus

Another thing that Japanese dramas have that sticks out for me is focus. Because filming in Japan is expensive, most of their comedies of any sort are in a half-hour time slot, a lot like US comedies. You have to use your time wisely, and so there's far less mission creep to create an in-show ad for juice or to insert or expand side characters to try out other pitches that didn't make the cut for the whole show.

The entire focus of Kieta Hatsukoi's TV Asahi adaptation focuses on the complications around the confused romances between Aoki, Hashimoto, Ida, and Aida. We spend time with Aoki's disaster bi revelation, his and Hashimoto's cowardice in romance, and Ida's demisexual discovery. We cover a lot of ground in 10 short episodes that Thailand media won't in 12 long episodes.

As a result, the pacing overall tends to be extremely consistent and you're rarely asking yourself why a narrative beat is happening. Because this show is about two characters having a queer awakening, we get interactions across age groups about what it means for these boys to be Known Queers in their community and see them deal with that.

Emotional Communication

One of the other things that feels distinctly Japanese is the ways characters will communicate their feelings to each other. Sometimes there's a stoic layer coming from male characters who won't express themselves because they think their actions are making it clear, and then another character will come through to challenge their presumptions about what has been done and what hasn't been said.

One of my favorite moments is in episode 9 when Aoki gets frustrated that Ida doesn't seem to be straining under hormonal urges the way he is, which lands well because the audience and Ida knows that Aoki is struggling with those urges.

Some of this could come down to translation issues and the things that are presumed in Thai that don't always make it specifically onto the screen, but oftentimes I find that Thai characters are having a big confrontation about the wrong issue that misses the core fight, and then that gets resolved as if it was the core disconnect.

Those are just some of my thoughts firing from the hip. The vibe felt off in the trailer we saw yesterday and it left me feeling deeply uninspired. I'm hoping that as they work on the script and preparations for the roles the Thai version will be solid, but adaptations don't always work.

#answered #gmmtv 2024 #japanese bl #thai bl #kieta hatsukoi #my love mix up

[centaurianthropology]

Why Spenser Starke is a Fantastic Horror GM (and the Core Fantasy in Candela Obscura)

So, I have seen some rancid takes about Spenser Starke online. Less so on this webbed site, largely because people around here are not in a pissing contest to prove who’s the most cynical, superior, and dickish. But there have still been some mind-blowing ones, from “he says UM too much” (guess who else does that? Brennan, but I don’t see these people criticizing him), or “he describes scenes like shots in a movie and that’s BAD WRONG” (while you might not stylistically enjoy it, I for one adore seeing a new interpretation of how to narrate while GMing, and think he’s doing great).

But the two that rub me the wrong way most are that he “controls the narrative too tightly” and doesn’t allow the characters to meander too long before throwing them back into the narrative, and that he’s “too harsh” in that even mixed successes tend to net characters damage of some sort. I saw accusations of “GM vs Player” mentality, but everyone was clearly enjoying themselves and the experience.

And that, I think, highlights the fundamental disconnect between these complainers and what’s actually happening on the screen: they don’t understand the core experience.

They have likely never played horror TTRPGs. They may have never played TTRPGs period, and instead are armchair DMs based purely on how Matt and Brennan DM, not really understanding that there are a thousand other ways to DM. But if they have played TTRPGs, I would guess that they’ve exclusively played D&D or its ilk. And I say that because there’s a very clear belief here that empowerment and ‘winning the game’, as well as wandering about freely to create your own narrative at your own pace are all fundamental parts of the TTRPG experience as a whole. But they aren’t. They’re fundamental to D&D, yes, but this is not what players come to a game like Candela Obscura for.

Each TTRPG has a central fantasy playing out. In D&D it’s heroic empowerment. D&D is mechanically built around getting more and more power and eventually defeating the big bad. A good GM in D&D, like Matt Mercer, focuses on giving out challenges, but always helping their players strive to overcome and grow and become better. This self-actualization is at the heart of the experience.

Horror games are not about that at all. The closest to that fantasy is something like ‘Vampire the Masqerade’ or other World of Darkness games, which do feature power growth, but the core fantasy is actually about learning that you are a monster. And embracing power will lead to even greater monstrousness. The horror in games like this is both political and personal, and the system is mechanically built to accommodate that horror.

And if you watch LA by Night or NY by Night, you’ll actually see that Jason Carl employs a fairly similar narrative tightness to his storytelling as that of Spenser Starke. Because a huge part of horror is about establishing and maintaining a mood. To do that, a DM has to keep a tighter rein on pacing, cutting from scene to scene and moment to moment in a way that is more directed than in D&D, because that helps establish and maintain the vibe being created.

Candela Obscura plays, thematically, a lot like one of my favorite games to run: ‘Call of Cthulhu’. CoC is a game all about disempowerment. The power differential between the players and the monsters is vast. Combat is vicious, short, and deadly, and direct combat almost always ends badly for an investigator. There is an entire chapter devoted to running away for a reason.

Both CoC and Candela are built on danger, vulnerability, and a constant sense of tension. And Spenser is fantastic at all of these. He keeps his narrative laser focused, moving between moments rapid-fire to keep up that tension, and to introduce new dangers. He is a ‘vicious’ DM only in so much as even mixed successes hurt. But this also keeps the tension up by keeping the characters and players on the edges of their seats. They are almost never safe. They are almost never well. They are constantly juggling dwindling resources. They are underpowered, vulnerable, and afraid.

And that’s the core fantasy here: exploring fear in a safe way. Being stressed out in a way you can leave behind as soon as the scene is done. Constantly living on the edge, fighting the odds, and knowing that you likely won’t succeed or will only do so at great cost. And he is masterfully keeping that intensity running through each session.

He gives characters time to talk about themselves, time for scenes to play out, until he feels the tension begin to flag, and then he pushes on. He never lets the air go entirely out of the narrative sails. He has a great sense of when a character needs a moment (his use of the red PTSD lighting exemplifies how closely he’s paying attention to his players and adjusting the setting to fit their moods). He sometimes pushes on, gets pushback from a player who wants another beat, and is always happy to give that to them. He keeps the pace up, but is always very careful to make sure his players have what they need to still enjoy this particular experience.

All this is to say that Spenser is absolutely killing it at being an exemplary horror GM. His sense of pacing and tension, his ability to direct action while still always embracing player autonomy, and using the mechanics of the system to never allow them to feel entirely safe are all great tools in a horror GM’s toolkit.

Horror games are not for everyone. Certainly there are plenty of people who only ever want the hero fantasy of D&D, but I think it’s important to recognize what the goal of a game is, and what constitutes success within those parameters, rather than parameters that only exist in an audience member’s mind, because they don’t really get how horror games work.

#candela obscura #spenser starke #I was frankly shocked at how many people were bitching about him #and all their whining mostly boiled down to him not GMing a horror game like one would DM D&D #it was just a fundamental misunderstanding of how horror stories sort of have to get told #in order to actually scare your players #and give them the core experience of HORROR that they came to the table to feel #I love running horror games #I think Spenser is not only doing great #but he’s got quite a few tricks I want to try out myself #This is not DM vs Player mentality #this is literally just how you play these sorts of games #constantly being close to death or running out of resources

[norcumii]

SPOILERS AHEAD FOR D20′S NEVERAFTER

(This was started the weekend after the finale, then my spoons ran away for awhile. -_-; Hopefully this is coherent anyways, even if late.)

I have been...struggling with this season of Dimension 20. As we’ve gone from episode to episode, I keep coming back to the issue of foundational rules – not in the sense of mechanics of world-building, but the thematic underpinnings and models. You’re telling a story about stories. We have these elements of horror and free-will; themes of consumption and corruption; cycles and multi-verses.

And I haven’t been able to tie it all together. My metaphorical wall-chart of photos and string has been an unending tangled mess (and my brain staunchly refuses to stop fixating on Aesop’s Mouse and Lion, aka the mascots of Disney and MGM so obviously that’s been a heel-turn of Capitalism waiting to happen >_>). After the finale I just sat there blinking for a bit, feeling like that certainly was a thing that had happened, but what did it all MEAN?????

There wasn’t anything that felt wrong with what happened, but there wasn’t any narrative logic I could grasp, no themes to tie things together other than “things are better now and what people chose for themselves” which is...nice, but vague enough to be unfulfilling. I couldn’t find anything to the Adventuring Party episode to help, so in growing frustrating I went browsing through the related tags on the tumbls.

This deceptively simple post broke me because it explained matters so well. It’s trauma. The whole season, all the horror and meta themes are about trauma. Suddenly all the oddly shaped puzzle pieces I couldn’t stop pawing at fit.

This is why the dark times began in the first place. People worried so much about trauma that they managed to traumatize themselves. Look how Sleeping Beauty’s vines literally smothered her in an attempt to protect her. All these population centers withdrew from each other, borders closed between the various kingdoms, and thus people pulled away from the potential for community support – everyone was left to struggle and fall on their own.

It wasn’t what I originally thought, some nebulous fear of fear itself inevitably leading to the darkside nonsense, but instead how we isolate ourselves into our little echo chambers – each person caught up in their story and their story alone. How we become mired in those events/trauma until one’s entire life is framed around That Horrible Thing What Happened At One Point In My Life.

Which in turn addresses the Authors – as a storyteller myself, I was mighty uncomfy with the presentation of the Authors as a unified bloc of uncaring eldritch horrors from beyond that only wanted the suffering of their playthings. I couldn’t figure if I was picking up on the wrong vibe, or if this was one of those learning moments where “if you’re uncomfy that might be ‘cause it hits too close to home and you need to sit with that for a bit to chew it over” or whatever. With the trauma context, it makes sense. On the one hand, the Authors are the external force: just like the characters, they’ve been corrupted by the fear of the Dark Times, and thus spreading that to their creations, which spread it back to them, etc. On the other they are very much an internal force: when we are traumatized, we tell ourselves stories to contextualize what happened. That can be done in a healthy way – this is one of the reasons we tell stories to begin with – or one can become mired in that narrative, telling and retelling it while fixating on the worst parts (that fear of the Dark Times thing again) until all that one sees is the worst iteration.

Which is why there was the multiverse aspect, and why each one could/did get worse. For that matter, it addresses the evolution of Pib’s minis, which baffled me when they were revealed. He begins as the dapper rogue, then becomes the hardened stray, then the scared little cat. Trauma wears at people, and oftentimes the immediate reaction is to withdraw, to be emotionally distant and appear tough – Rather like Zac’s choices on how Pib changed between incarnations. From there its so easy to get ground down further, into something so tired and hurting that it’s difficult to expect anything other than to be hurt further. Or look at Rosamund, increasingly isolated by her briars, which are choking her as they “lovingly” work to protect her from the big bad scary world – until she is puppeted by them.

Honestly, a lot of character choices make a lot more sense. Ylfa’s separation, how she believed that “the girl kept holding the wolf back.” The Stepmother’s everything, exemplifying that old saying about how “hurt people hurt people,” and a classic example of how easy it is to repeat generational trauma, especially when you don’t have a model for other ways to approach matters. The princesses’ utter nihilism, the exhausted desperation to just have the suffering stop. The fairies as the well-meaning but misguided faction endorsing placating the/a source of trauma to keep things from getting worse is all too familiar of those caught up in traumatic cycles but want to exercise some, any kind of autonomy. Meanwhile look at how Rapunzel grew able to lash out at literally everyone, and how she was utterly honest without ever needing to be truthful. How so many people just needed to rest in Mother Goose’s book, to get some reprieve from the relentless cycle of trauma (and how it helped them, and in return helped the party).

This explains the horrible Worst Case ending that was mentioned in the Adventuring Party: the Stepford Wives society of terrifying seeming-perfection crystallizing everyone into a semblance of how Everything Is Fine, Nothing Is Wrong, and no lessons are learned, no changes can be made, and the core is often rotting away unseen. All too often, society pressures us to pretend trauma didn’t happen, or that it wasn’t so bad. (How many times have you heard that PTSD is only for military folks, or those who survived massive natural disasters or whathaveyou?) The lesson we internalize is to pretend that all is peachy-keen, no problems whatsoever, and when that happens the trauma is never addressed. One can’t heal if all your energies are devoted to keeping up the facade of an idyllic existence. To be stuck in that cycle is indeed pretty apt for the worst end of a horror season.

Of course, this leads to the big question: what makes the players different? HOW did they manage to break the cycle? By literally crafting a new narrative – by allowing EVERYONE to make their own, new narrative, to shed the weight and burden of generational trauma. Some of them, like Pinocchio, had already internalized their own story – in his case, that meant taking up the terrifying responsibility of autonomy, taking up his own strings and destiny. Pinocchio learned and understood his story, stepping forward to not be ruled by his past experiences – like Gerard, choosing to leave his humanity and stop chasing the old goals that everyone said he should desire. Even though they both grieved the loss of that goal, and all the ramifications of leaving those hopes behind – even as it meant accepting the scars and changes it wrought upon them – it helped them and others in their stories break out of the cycle of trauma.

Stories are doorways to other places – sometimes a temporary haven in someplace better, where no matter how bad things get, there is a ‘happily’ at the end of it. Sometimes they’re models of how things could be horrible, and we can learn how others deal with grief/tragedy/horror – so we in turn can acquire those skills and life lessons. Vicarious experiences can help mitigate/understand trauma, and somehow, without me even noticing it, this season leaned wholeheartedly into it.

I think I need to rewatch it all through that lens, and tbh? I’m looking forward to it.

#dimension 20 #d20 #neverafter #neverafter spoilers #spoilers #meta #analysis #thinky thoughts #stories #story telling #trauma

[sophia-sol]

Delicious in Dungeon (Dungeon Meshi), by Ryoko Kui, translated by Taylor Engel

I decided to read Dungeon Meshi because I kept seeing people on tumblr posting about the new anime adaptation, and it looked fun and cute. And although I don't watch much tv, there was an entire manga I could read instead! So I did.

The basic premise: in a world where adventuring parties going on dungeon crawls is a thing that happens, one guy has a dream: to be able to cook and eat all the different kinds of monsters in the dungeon, to be able to find out how they taste!

And because his party needs to be able to head deep into the dungeon to rescue a party member who was left behind, and they don't have the funds or the time to collect supplies, all of a sudden they have REASON to need to eat monsters. They're going to forage and hunt for all their meals as they make their way down.

So using that as the basis, the manga goes on to explore the worldbuilding, the interrelationships of the characters in the party, everyone's backstories and reasons for being there, a developing plot, and of course, the ingredients and nutritional composition and flavour of every meal they eat.

I absolutely adored every bit of this!!! The main characters are all a delight, and it's the kind of story where the author sees and shows you the inherent personness of all characters, including antagonists. And the world created to make sense of the dungeon's existence is fascinating, as are all the ways the ecosystems within the dungeon are expanded upon to make sense of the creatures living within it.

And it's a story that knows what its themes are, too, and is able to tie them all together in extremely satisfying ways in the climax of the narrative!

I had this moment leading up towards the ending where I was like:

[thematic spoilers below the cut]

ohhhh it's about….everyone being part of a balanced ecosystem of life and death where everything sustains everything else! the various human species included! and I was filled through my very soul with this feeling of connectedness myself.

Anyway it was amazing and I had a lot of feels.

And as well as enjoying all of that, I also just really loved our main characters! We start out seeing them all fairly shallowly but over the course of the story as more aspects of them are revealed they're all just…..I love every one of them.

I did struggle with a few aspects of the manga, but none of it significantly affected my ability to enjoy the read:

It kept adding more and more characters, and I got rather lost occasionally trying to keep track of them all. But ultimately it's not vital to remember every tertiary character to get a good read out of this, so it's not as bad as it could be.

In the mid to later parts, it became a lot more plot focused and actiony than I'd really been expecting, in a way that made it harder for me to follow, since fight scenes in sequential art are challenging for me. And occasionally it drew back more than I wanted from its focus on food. But it refocused eventually!

It turned out to be pro monarchy in the end, which isn't my fave, but it's not like a major theme of the manga or anything so I could overlook it.

I kept expecting it to have at least a little bit of textual queerness, and there wasn't any as far as I could see! Even various background relationships or depictions of people's attraction was m/f. But uh. Falin/Marcille, anyone? There are some powerful vibes there. (I'll also accept Laios/Kabru)

In conclusion, I highly recommend it, and if you want to read it, you can read the whole thing online for free in English translation here: https://dungeonmeshi.com/manga/dungeon-meshi-chapter-1/

#dungeon meshi #delicious in dungeon #ryoko kui #book thoughts #sophpost

[abysskeeper]

What is that draws you to Ruby x Oscar? (I mean it on a 'pls infodump me' vibe.)

I enjoy committing to the bit of less popular ships in RWBY and suffering the consequences

@flytehwire Ok, seriously, to answer this properly I need to explain something about myself. When I am looking for character pairings, I am looking for, in order of importance: 1. Harmonious themes and rhetoric, 2. Character interactions, and 3. Other, extenuating factors. While other factors can sometimes determine how I view a pairing (romantic/platonic/friend/familial/etc) and character interactions can override the thematic element, I am primarily looking for those sweet, sweet story beats.

So, when you give me two kids carrying the weight of massive legacies they feel they have to fulfill, stepping into leadership roles neither were prepared for, and throw in a smattering of identity issues to boot? Yeah, I'm hooked 100%. These two are important to each other on a base narrative level, before even considering we see they're important to each other in their interactions throughout the show. Their arcs mirror each other, but are different enough that they compliment each other and are not going through the exact same thing.

By which I mean, both are struggling with the very same things listed above, but slightly to the left of each other to make them different enough that it makes them both unique and interesting in their own rights. For sake of time and ease of answering, I'm not going to fully cite my sources, but it became increasingly apparent (especially through v9) that Ruby's whole issue is attempting to follow the legacies of those from before her, starting with the general, Hunter/Huntress ideal and the heroes of stories in the early volumes, and then moving over to the SEWs and her mother in the later volumes. A lot of untangling in this personal arc for her revolves around reconciling the fairy tales she believed in and what is being asked of her in reality, and then determining who she is and what she stands for when it becomes apparent those ideals are more lofty dreams and reality is much more complicated. In essence, Ruby's arc is finding who she was when stripped of everything she believed as a child, and we saw that exactly throughout v9 ("What are you?" // "What is a Huntress?" ultimately boil down to "Who is Ruby Rose?")

Oscar, conversely, I would argue, already had some sense of who he was at the start. Sure, he may have wanted more and was unable to voice exactly what "more" was, but he's young...who honestly knew what they wanted to do with their life when they were 14? Regardless, his arc is less about asking who he is and is more about the fear of losing himself entirely now that he's part of the Ozcarnation line--and thus, it's also more about proving who he is to the world around him as everyone else assumes he's just another copy/paste of Oz. Oscar had to have a strong handle of his own identity at the start simply in order to beat the "he's just Ozpin" allegations, which he eventually did do (with some help from Oz's disappearing act).

And that isn't to say that there aren't echoes of each other's themes as well. Ruby very much does lose herself and must reassert who she is at her core (most evident in v9, but definitely starting in v7). Oscar very much does have to figure out who he is in the Ozcarnation line and how he specifically wants to handle situations (most prominent in the "Her name...is Jinn" decision in v6 and his actions through v7, but also metatextually hinted at when he talks to Ironwood at the end of v7 holding himself and acting like Ozpin, and then getting shot, and then in v8 when he tries to act like Ozma and Salem directly calls him out. It's almost like fate is punishing him because he's supposed to think and act like Oscar, and not try to be those who came before him...). And I think ultimately that's what makes them fun for me, they revolve around this overarching theme of identity in the face of legacies and destinies and leadership and each take a piece to compliment the other.

Of course, that doesn't mean they have to be romantic. And that's correct, they don't! Full transparency, I honestly wasn't fully onboard with Rosegarden until the end of v7/start of v8. Oscar's blush at getting rescued was the first time I felt fully vindicated over a ship, but the ending of v7 is really the beginning for the end of me I think. It was at that point where it became apparent their themes were merging and then splitting off again into the projected trajectories they're on now. And, in terms of interaction, throughout v7 and v8, Ruby and Oscar are shown repeatedly to be in sync with each other and trusting each other (even when they don't necessarily agree with each other!) All of those moments for me boiled down to one single, striking fact: because of what they're going through and how similar each struggle was, Ruby and Oscar to me are the only two characters in the show who could understand each other on a deeper level.

(And as an aside, the release of 'Until the End' and 'Fear' being the last two songs of that volume, and clearly being a Ruby song and an Oscar song respectively, completely altered my brain chemistry. That's a separate 3k essay, but the call and response between 'Fear's' "Who will you see there in the darkness? // When no one is watching who will you be? When you're afraid and everything changes will you see a stranger? // Feel proud or betrayed?" vs 'Until the End's' "I promise I’ll be here until...Our story has been told // 'Til our bodies break down every door // 'Til we find what we’ve been looking for // And stare with pride into the face of fear // In our finest hour, I’ll be standing here // And should we fall to darkness // This power, I will harness // I promise I’ll be here until the end" just does things to me on a personal level).

Others come close. Jaune and Weiss both have similar arcs about breaking legacies as well (Weiss with her family and Jaune with...presumably his family, if not his personal views on what he should be and on his promises to Pyrrha), but they're both on a far more personal and less world-shaping level than Ruby and Oscar. Blake as well, with reclaiming her identity, but that as well is a little more personal and also more about regaining what was "stolen" by Adam, so to speak, than finding herself altogether. And Penny is more about learning everything altogether and learning about who she can and cannot trust more than about who she is at her core. And, as an aside, I am a multi-shipper. I do like several of these pairings with Ruby, and Oscar and Penny is an utterly fascinating concept to me.

The reason why Ruby and Oscar come out on top for me is because at the end of the day, they're still the only two who can understand and empathize with each other on the deepest level. They're the two that appear to be entirely in sync with each other. And they're also the two currently slated to be running the show in the next generation. And if there's one thing I love more than seeing my power couple ships completely in love, it's seeing those two characters entirely and implicitly understanding and trusting each other.

This is of course glossing over a lot too. Their scenes together are often pretty striking: the dojo scene in v5 (Oscar admitting he's scared, Ruby for the first time really opening up about Penny and Pyrrha at The Fall of Beacon), the cane scene in v6 (Ruby being the only one to comfort Oscar and reaffirm that he isn't Oz), Oscar's panic during the fight with Cordo, like...every scene they had in v7, Oscar's blush in v8 and the almost hug that wasn't, and of course, THE scene in v9 (and another 3k essay could be written on why that had to be Oscar, though most of the starting points on my opinion for that are above). They also have some other dichotomies going on in their rhetoric, with the silver/gold symbolism and the sun/moon symbolism; and the extra info in the show with the "Warrior in the Woods" fairy tale and Oscar's allusion to the Little Prince. But several other people have written far better analyses on those than I could ever do currently, and this is getting long enough as is.

But yeah, tl;dr thematically and rhetorically complimentary kids just trying to do their best, figure themselves out, and save the world? Yeah, I wanna see them cuddle and comfort and rely on each other in the way they only can with the other.

#don't mind me #well...you did ask for an infodump #the extreme tl;dr is that I like themes #and ruby and oscar themes match wonderfully #rwby #rosegarden #asks

[greenfiend]

I've always been kind of skeptical of Will-with-powers theories that give him these grandiose reality-warping powers -- like, that ability does sort of vibe with the Stranger Things universe, since we already have a little girl who can rip open portals to another dimension -- but creating entire universes or people out of nothing still feels a little over-the-top compared to what the show has established as possible.

But I do think the manifestation theory is a good fit for the show, thematically -- Will summoning a girl into existence who perfectly fits the role he thinks he isn't good enough for, both as a hero and as a love interest for Mike.

So I'm thinking... if this is El's true origin, then the power Will used to create her isn't likely to be reality-warping so much as time travel.

Time paradoxes are perfectly capable of creating whole new realities out of nothing -- my pet theory is that this is where the Mind Flayer comes from -- so what if whatever happened to Will in the Upside Down was the origin of the time bullshit that created El?

In regard to the skepticism, I feel you. It does seem very over the top, especially at first. I mean, this is God-level abilities! (Though the Jesus symbolism does exist for Will…) I imagine if I told a GA this theory, they would look at me like I have two heads! If this is what they’re going for, it will need to be executed well and a lot of things will need explanations.

But yes, narratively and big picture-wise… it does have some merit. Will is, and always has been, a major player in the story. Even when they hide him in the background, he’s still important and significant. Plus, there is something more to the connection between El and Will that has yet to be discovered. They are compared and contrasted FAR too often for it to be merely a coincidence. I think the major problem we face when theorizing is often we lack the ability to combine small details with the big picture stuff. Some theorists are exceptional at finding small hidden clues within the show, but miss out on the big picture stuff. And vice versa. But the fact that this show is difficult to predict makes theorizing so much fun. We can run wild with different ideas here!

Ahhh yes time! Time is so important in the story. I like this idea. Time paradoxes fascinate me. I think you’re onto something here. Altering time can definitely create new realities (and people). This can definitely explain the creation of an entire human being. Like in Back to the Future, Marty’s existence was threatened due to the alterations in time. A lot to think about here!

Love your theory post! The mind flayer being a reminder of Will’s future is brilliant and SO fitting! It’s so tragic how much damage homophobia does. The fact that Will is probably worrying he’ll become a monster is just… heartbreaking. 💔 We all know he won’t though. He’ll be able to embrace his true self AND be the hero!

Thanks for the ask. 💕

#ask #Will Byers #stranger things #stranger things theory

[bradassholemajors]

Wtf Is Shock Treatment’s Deal? (Or, Local Critic Discovers Escapism and Having Fun In The Midst of Late Stage Capitalistic Dread)

Watched Shock Treatment for the first time this week, and I am a changed man lol. Here are some disorganized thoughts:

I think something that makes Rocky Horror so special is that it can be as deep or not-deep as you want it to be. Like, if you want to think about the cultural implications of the themes portrayed (hedonism, gay & trans liberation, gender roles, the Invasion-of-the-Body-snatchers style infiltration of outside queer forces, the downfall of the safety contained within a collective identity), you can absolutely do that! There’s so much to be interpreted there!! But if you are just here to see Tim Curry looking incredibly sexy and violently thrust along to the Time Warp at a midnight showing with a bunch of cool strangers, that is absolutely awesome, too. Slay!! Take what you want.

BUT SHOCK TREATMENT MANNNN??? Shock Treatment is a whole different ballgame lol. Like, it is also a thematically rich goldmine, if you’re willing to squint a little— in terms of content included, not necessarily how it’s portrayed within the narrative. In the words of Barry Bostwick here, “it was a statement about the future that we weren't quite ready to explore. We didn't really even have the mental emotional vocabulary to understand what Richard [O’Brien, the creator] was trying to say.” I think this is spot-fucking-on!!! It’s absolutely frighteningly prescient, especially today in terms of the commodification of mental health. Like, woah. Janet being crowned “Miss Mental Health” felt like such a Gwyneth Paltrow moment. Cultural prophet Richard O’Brien saw the dark cloud of Betterhelp and wellness culture galloping over in the horizon in the distance of the American landscape, and he set out to warn us.

I still don’t quite understand what happened in the movie. I still don’t know what my takeaway was supposed to be. And I guess if you’re a little insane and love having fun doing thematic analysis with weird media (like me), taking Shock Treatment seriously may be right for you, lol. But thematically overall I think it’s safe to say: it’s a lot less coherent than its predecessor. It’s messy. It’s not interested in being flawless. It’s not interested in appealing to an audience. It’s barely interested in being a sequel. Shock Treatment is lowkey pointing and laughing in the face of those who showed up expecting a masterpiece— which admittedly was me, because I take Rocky Horror pretty seriously. (I put off watching Shock Treatment for a while bc I wasn’t sure about how it would affect the Rocky Horror Universe I had in my head.) If not for the internet reviews prepping me, I would have walked in completely expecting another nuanced perfect symphony of a movie to measure up to Rocky Horror’s magic.

But the thing was? Watching Shock Treatment, it ended up I did not really care!!!!! I was having the time of my life!!!!!

(more under the cut whoops)

Wtf was going on!!!!!!!!!!! Who knows!!!!!!!!!!!!!!!!! I still don’t quite know!!!!!!!!!!!!!!!!!! And I loved it!!!

This reaction of such joy, just letting myself vibe out made me think because when did I start getting surprised when watching a movie is more pleasurable than not??? Isn’t that the entire point of media??

I think with the modern commodification of media analysis and examining pop culture up close, I’d argue that Fun Media without a message is actually pretty hard to come by— at least in mainstream culture. Even stuff as sanitized as Disney movies are now digging into like generational trauma, appealing to what seems to be a collective search for depth (or at least the appearance of depth.) Modern neo-nazi brands of fascism wields power like never before, horrific images of violence follow everyone left and right. Sometimes it seems like this open secret, that everyone knows there’s this looming darkness at the forefront of our minds at all times.

So this transition from Rocky Horror to Shock Treatment felt actually sort of powerful to me. Rocky Horror’s generation-long reverberations of shamelessly depicting sensual revelry are so powerful; it’s bold even for today! (Of course, we all know transvestite isn’t a term commonly used today, but looking at it through the lens of its time, it becomes clear what a miracle the movie is. Knowing what it must have meant to queer people at the time it became a phenomenon— giving them a real space to be themselves in a hostile world criminalizing who they were, in a time of oppressive pressure to stay silent — that is the type of brave blatant acceptance hard to come by in any era.) Rocky Horror is something I don’t know if will ever happen again, and its sequel seems to concur.

Shock Treatment has been called a cash grab but I beg to differ. If you’ve seen it, no offense: but does this seem marketable to you??? It seems like it’s a Richard O’Brien project (already wacky) that went through several levels of development hell and heavy modifications through the creative process. Said with the utmost respect… it may have got away from them a bit. Put lovingly, Shock Treatment lowkey kinda sucks a little at times. It’s silly, it’s got a huge cast and musical fun galore. It’s serving B-movie realness. I don’t say this to bash on it, I say this with a bemused respect— I think the existence of Shock Treatment is as much a miracle as Rocky Horror (aren’t all creations???)

So in the first iteration, we have advocacy and fighting for freedom for those long silenced… but also, Shock Treatment seems to allow the creators to just let themselves have fun. Aren’t they both revolutions in their own right? Does everything have to be lasting cultural milestones or does our enjoyment matter in the moment? I’d argue we need both as human beings to thrive. It comes back to that Rocky-Horror-experience philosophy I covered where you’re taking what you feel you need most from the media you consume: a message or a celebration of just being here.

In conclusion, sometimes shit doesn’t have to be that deep. More movies should just say “fuck it, we ball” and give you the most absolutely incoherent fun time of your life. I love not taking things seriously, and I love creators willing to not take their work seriously. Perhaps Richard O’Brien also had a premonition with Shock Treatment in the sense of how he just had fun with it! Maybe we need less attempts at masterpieces and more attempts at just creation for the joy of it— or both, because joyful creation makes masterpieces!!! I’d love to see more creators of every skill level and every background, known and not known, say fuck you to capitalism and expectation and marketability and just say, we’re gonna do it anyhow, anyhow!!!

#this got away from me #just like #shock treatment #may have for #richard o brien #media studies #hey janet. i’ve got something to say #this is so incoherent but I’m okay with that ❤️ love and light ❤️❤️ #written while I was so so sleep deprived pls only discuss if you are nice and kind abt it lol #love me writing a whole essay on how cool it is to not take things seriously - taking it Very Very Seriously #mamma mia #<- this is also abt her in a. way #Farley flavors call me

[rawliverandgoronspice]

I absolutely love your analysis of the gerudo and Ganondorf because they put into words what bothers me about how TOTK portrays Ganondorf. That being they remove his agency as a character in favor of having some great evil against the good guys.

[Major story spoilers ahead for the end of the game]

At the end of the game, when you’ve defeated Ganondorf, he swallows the secret stone and becomes a dragon, like Zelda, fully knowing the consequences of what happens when that happens. And it’s just kinda left me with a bitter taste in my mouth? In the context of the story it makes sense, he’s portrayed as a egomaniac who just wants to destroy Hyrule. But compared to other versions of him, this one just feels more openly biased against him and the gerudo, with no reason or justification other than “he’s evil, hate him.” As far as I can tell… They never really show us that he’s done anything horrible or deserving of being feared before the show of fealty cutscene, other than not submit to Hyrule, attack them once, and generally have bad vibes. It feels forced how much they want us to hate him and the people who follow him. I’m not saying character in video games always have to be nuanced or complex but comparing like, Wind Waker Ganondorf next to TOTK Ganondorf…. 🙃 Waste of an excellent design imo.

Heyyy sorry for being a billion years late with this ask!! I was busy finishing the game!!! among other things!!! Thank you so much for your kind words, I'm super happy it resonated with you in that way!

I mean, the whole draconification plot beat doesn't really work for me. Like yeah, sure it's sad that Zelda is now a giant dragon and it's cool to have her soaring above your head while you have no idea where she actually is (a situation that isn't nearly tapped into enough in the narrative imo, like it gets obvious way too fast if you happen upon the wrong memory, etc), and I actually think the whole sequence of you removing the Master Sword from her head was the best scene in the entire game in terms of mood and emotions --even THOUGH it would have been so much better with a stronger story and stronger stakes-- BUT. How does that build up thematically?

I think what doesn't work for the Zelda side of this plot point (I'll get to Ganon next) is that... she doesn't make that choice. It's not like she's being tempted by an easy way out and decides to sacrifice herself for the sake of Hyrule or Link or whoever: she has no choice in the matter. Her powers activate (?? somehow? once and never again also, talk about dropped plot threads), she finds herself in the past, is the passive witness to a bunch of shit that only tangientially relates to her --it's like she's visiting estranged family in a foreign country and watch their drama awkwardly before being dragged into it against her will even though she was just trying to renew her passport and get back home (if there had been any callback to her relationship with her father it would have landed better, but it's just completely ignored so vOv). Then her relatives all die or corrupt or something, and she still can't get back home. What is she meant to do besides draconify? Grow old and die in the past? What would that accomplish?? Her adventures in the past are just basically about solving a shrine puzzle with a particularly weird solution --but the game treats it like a huge sacrifice when it's basically her only way out, and she lost absolutely nothing making that sacrifice (and then she... cries about the weird family drama? sure. Honestly I think it would have worked better if the tears were Rauru's, it's his bullshit everyone is dealing with right? He's the one who feels broken and aggrieved by the whole thing.)

So, if we ignore the draconification precedent builds up to zero thing thematically beyond cheap drama that reveals nothing about neither the characters nor the world, I think Ganondorf's case is a little more compelling because he does make a choice here: dying as he tries to achieve his weird lofty goals (and fail), or postpone his victory eternally by sacrificing his objectives but reject death and defeat --while also barring himself from victory. In a better crafted story, this could be utterly excellent and it feels very Ganondorf to me. BUT, my beef with that plot beat isn't that he chooses the second option, making him kinda active for the first time in the entire game (and makes an appropriate hideous smile: *loved* this second one, the first one didn't land for me but this one really captures the ecstatic insanity and transcendance and desperate madness of the act --I have nothing against Ganondorf offputting smiles and cackles when they feel earned, and the Sonia one just... doesn't to me, it just feels like weird rigging and mesh deformation choices getting out of control).

My problem is that his existence as a dragon contradicts everything we knew about dragons before --both for him and for Zelda. I thought the big issue with draconification was that you'd lose yourself to the act entirely, and would become this sort of organic landmark of infinite power and eternal life but without will to act on your precedent goals and understanding of yourself. But the second the big man becomes an evil dragon, suddenly Zelda zips in to the rescue (apparently remembering who you are? understanding she's meant to fight Ganondorf? I mean, this kind of works emotionally as a climactic ending and the power of love or whatever, again it would have worked better in a better story), and Ganondorf is still very much into destroying the world as well as you and Zelda.

Also, he's very definitively mortal (and he has the stone on his head again? And so if you destroy it you destroy his immortality? why???)

So... What I dislike here is the suggestion that he was somehow so evil and rotten and bad that all of these rare moments of interesting worldbuilding and ambivalence gets completely swallowed in the bossfight logic, making his choice (and Zelda's) completely meaningless in retrospect.

also: let Zelda remain a dragon you cowards, that way Hyrule gets any sort of chance to escape and reimagine its horrying eternal monarchy instead of re-establishing it even harder than before!!!

#totk #totk spoilers #totk critical #asks #tloz #zelda #ganondorf #any change to the statut quo emotionally is so unbearable to this game's writing it's so weird #the dragon thing is a cool idea but I'm not sure it should have involved zelda tbh #if it had been rauru's thing while mineru held ganondorf in place it would have worked better in my opinion #I feel like this leads to much better character arcs and make mineru more of a character #and someone we could connect to much more than rauru #something

[lallouette]

I saw The Outsiders musical last week and I’ve listened to the cast album a few times since it came out on Wednesday, and it’s so interesting how I’m still chewing on it. I’ve had the privilege of seeing a bunch of Broadway shows recently. One was just kind of bad and I forgot about it immediately. One was perfect, luminous, no notes, I gushed about it to everyone I know (Merry We Roll Along). This is the one I have the most thoughts about. It emotionally devastated me and a lot of aspects of it were really well done. Other aspects of it. . . I have thoughts about? Here are my not-entirely-sober, rambly thoughts about this show, beneath the cut bc this is gonna get long and no one asked for this (also spoiler warning just in case): 

-I was able to buy into it, but it took me some time to get there. The first little bit had me skeptical. By the time they were at the drive in (fourth song) I was like, okay, I’m definitely down with this. The book also has a lot of exposition up front, but it’s a LOT of exposition in the show.

-I was wondering how they were going to handle profanity, given that the book has a lot of “he swore” and the movie is very tame on that front. They say fuck multiple times, which is. Very much warranted given the situations that they’re in but it did surprise me a little!!! Also somebody makes a reference to eating pussy in like the second song which was WILD

-I think they did really well with the character of Johnny, acting, directing, and writing wise. My greatest fear is that they would Tiny Tim or Beth Littlewomen him, given that he is quite literally Too Good For This Sinful World. But I actually think he felt more like a fully realized person than in the movie. Sky-Lakota Lynch did a great job of looking haunted not just with his face but with his whole body. He was always pacing or fidgeting or something, and that nervous energy worked for me. And then of course he’s very, very still. And the contrast is very upsetting. Also they put him in sunrise colors 🥲

-Speaking of Johnny and Ponyboy, they’re very gay in this. I never really got that vibe in the book or movie (probably because I was 11 and didn’t even know I was gay yet), but here they’re close in a particular way that reminds me of certain friendships I had before I came out. Fantasizing about running away and making a home with your Extra Special Best Friend is the gayest thing I can possibly imagine. There’s a DIFFERENT song that I have dubbed 2 bros chilling in a hot tub because they are gazing into each other’s eyes singing about how they’ll never leave each other, HANDS CLASPED OVER THE KNIFE THAT JOHNNY USED TO KILL SOMEONE TO SAVE PONY, but they are sitting as far apart as physically possible. If the intent was to make it look less like they were going to kiss then they failed. 

-I went in knowing what they did with Dally’s death. And it works bc Dally in this is a completely different character. He feels much older, closer to Darry’s age, and he’s less loose-cannon-dangerous and more paternal toward Johnny and Pony. While book!Dally’s death is a final fuck-you to the world, this Dally is much more calculated about it. Thematically, do I think they should have changed the manner of his death? No. I think they should have engaged with the source material head-on, even if that scene is bound to take on different connotations now. Also Ponyboy has a monologue after Dally’s death that should have been cut down if not cut, make us sit with that 

-Joshua Boone, who plays Dally, is FANTASTIC. His performance of “Little Brother” (breakdown song after Johnny dies) is so much more intense than what’s on the cast album. I want to see him in les mis, which is high praise from me. Beautiful voice, wonderful ability to sustain notes while also sounding like his world has just been ripped out from under him. 

-they did cool stuff with lights and projections every time Ponyboy gets concussed! (Which is alarmingly often). The whole using lights/sound/projections to make the audience feel what the character is feeling reminded me of Curious Incident of the Dog In the Nighttime, as did the framing device at times. 

-the choreography/staging is amazing. The church fire! The rain! The whole thing taking place in the lot!!! I could have watched 10 more minutes of the rumble. 

-some of the lyrics are a little questionable. Love the book scenes! Love the music (I’m always here for a guitar-y folk ballad). But like. There is a scene where they dip into this almost recitative thing to describe how they just killed someone and I’m like ??? There’s so much dialogue in this musical, why is this not just dialogue. The songs are definitely strongest when they’re expressing inner thoughts/emotions instead of trying to advance plot. 

-The Stay Gold song WORKS. Musical theater is truly the best visual medium for letters bc you can have the person who wrote it come out and harmonize with the person reading it and UGH. Now that I’ve seen it staged it makes me so much more emotional 

-the way I’m tempted to go rush it so I can see it again. The brainworms are so real 

#the outsiders musical #i genuinely cannot believe my level of emotional investment in this show. I listen to the stay gold song and my heart HURTS

[benoitblanc]

hey arwen, long time no see!! hope you're doing well! 💜

i know nothing about txf besides what i've gleaned from this hellsite which is a) mulder is a lovable idiot, b) scully both loves him (almost against her will??), and c) they literally invented shipping BUT tell me about your top 5 txf episodes!!!

hi mitali i have been EXTREMELY patchy on here lately haven't i lol. local woman appears on tumblr to write ten meta posts about the x files and then disappears again! i'm doing okay; my real life has been kind of chaotic (had to last-minute cancel a trip i have been desperate to go on for years so :/ but! on the bright side it means i get to see my flatmates sooner than i thought and i miss them even though i've been gone from my flat for like a week and a half lol). how have you been???

those are very accurate txf vibes but i will say that scully is a very active and willing participant in being in love with mulder even though he can be very very stupid at times lol. i hope you watch it someday- i think it would be right up your alley! kind of similar doctor who ecological niche of being weird, heartfelt, politically relevant sci-fi with no consistent quality or tone.

ANYWAY. top 5 txf episodes, bearing in mind that i've technically only watched up until the end of the fourth season so far; i'm just a ho for spoilers:

pusher (3.17)... what can i say about pusher that i haven't said already. a lot, probably, because every single day i log on here and i see someone's written new meta about pusher that makes the entire show make more sense. it's just... it's txf distilled to its barest elements. it's about trust and codependency and a supernatural force that is made all the more unsettling by the fact that at its core it is just some guy. it's funny and terrifying and heartfelt all at once. the russian roulette scene changed television

clyde bruckman's final repose (3.04) is also just so txf. darin morgan (the writer) tended to write episodes that were so absurdist they wrapped back around to satirical, but this is far and away my favorite of his because it's not too bonkers. i love coprophages and from outer space especially, but clyde bruckman is a little more grounded, and it manages to be sarcastic and sincere in equal measure. and i love when scully gets to solve the mystery

irresistible (2.13), which is famous for being pretty much the only txf episode where there isn't actually an x-file. and it's SO fucked up. it is hands-down the most fucked up episode of the entire sh- well. besides the episode that they banned from reruns for like a decade for being so fucked up, it's hands-down the most fucked up episode of the entire show

beyond the sea (1.13) and paper hearts (4.10) are thematic sisters so i'm keeping them together. they're both about choosing to move past grief instead of wallowing in it and choosing the future over the past. so what if a criminal says they can give you the answers you've spent your whole life chasing? what matters is that you're at your partner's hospital bedside when he wakes up from an injury, or that you save a little girl's life

right now? probably ice (1.08), because i just rewatched it with my flatmate (who is going through s1 for the first time and is almost as obsessed as i am). it's like if midnight doctor who and the thing had a baby. normally i think this slot would go to duane barry/ascension/one breath (2.05/2.06/2.08) or nisei/731 (3.09/3.10), which are the tightest, tensest episodes relating to the show's overarching mythology

honorable mention goes to elegy (4.22) because the a-plot is a very 90s depiction of neurodivergence and it's not the best-handled thing i've ever seen, but the character showcase of scully in the b-plot gave me fucking brain worms. i cannot stop thinking about it. it's haunting.

also, memento mori (4.14). vince gilligan and gillian anderson you're splitting my therapy bill

ask my top 5/10 anything!!!

#THAT WAS A RAMBLE AND A HALF #anyway as i move forward i think redux ii monday triangle and probably bad blood will be battling it out for some of these slots #but i'm not officially there yet! #thanks so much for asking!!! #answered #*mutuals #*mitali #the x files

[secretmellowblog]

Hijo for the characterask game

Javert and #8

(A little late but for this ask game!!! Thank you again!)

#8: a thing the fandom does with this character that you despise!

Despise is a strong word! I'll say "confuses me" instead. I talked a little bit about it in my post about fandom Valjean things I dislike-- with the caveat that I don't think any of this is really a big deal, because this small huddle of fandom stuff is a very tiny niche that doesn't have a wide impact, and also it's very normal/natural for people's opinions on characters to change over time, and I know that my *own* opinions have changed over time-- but---

I am confused by all the pro-police stuff in the Javert fandom? XD

I think the main thing that confuses me is why Post-Seine stuff where Javert is "redeemed" usually has Javert returning to his job.

It just makes more sense, thematically and on a character level, for him to resign? The common idea that "redeemed Javert" would go back to arresting people and that this would be a Good Thing always throws me off. Because 'the entire criminal justice system is fundamentally broken, there is a gulf on high, it is immoral to do this' was his whole dramatic realization and all. Plus, even putting aside the anti-police politics of the book, being a cop was clearly not good for Javert's mental health. XD It was making him feel very bad!

I remember once reading a mildly popular fic where a post-seine Javert talks about how he thinks the prison system is fundamentally broken and violent and unjust, and he can never return to his job. And I was like "Wow, this author gets it!" Then I kept reading and it turns out Javert was supposed to be *wrong* in that paragraph, that paragraph was supposed to represent an incorrect pessimistic wrong way of thinking, and the fic was about Javert regaining his faith in the police. It's just very funky! Kinda just like, realizing people view this story in such a radically different way you can't ever vibe with their versions of the characters. People sometimes walk back everything Javert realizes in Derailed as if they're mistakes, instead of positive character development, which feels odd to me. People act as if Jean Valjean is the rare exception to the general rule that Prison Is Awesome And Cool, and that Javert just needs to realize he was wrong about Jean Valjean specifically and nothing else.

I think people often miss that the police are the villains of Javert's story, in the way they're the villains of Jean Valjean's. His family was ripped apart by the criminal justice system before he was even born, he was born in a cage like an animal, and he became an agent of the system that destroyed his childhood because he internalized that institutional abuse as something that he and his family must have deserved. "Is a system that leads to children being born in jails in desperate poverty actually just?" "well of course it is. the baby is a crime baby made of crime. >:("

He's spent his whole life either living in prison or serving as an agent of the prison system; he has no framework for what living outside of serving the carceral system actually looks like. My take is, that poor horrible creature has had enough policework for several lifetimes. If there is a way to be a "good cop," he would've found it by now. Let him rest. Let him find some funky new job.

Also, one or two people have implied in the distant past that I must hate Valvert, but from a Valvert perspective-- I think it's easier to have post-seine Valvert if Javert quits his job. First, it's a dramatic shift in their dynamic and the power level between them; it's a clear sign that Javert has permanently changed. Second: Javert searching for a new job after spending his entire life serving the prison system is just rife for bonding hijinks. You could easily write a scenario where Jean Valjean helps pull strings to find him work as a gardener for Petit-Picpus, but has to help train him for the position or something along those lines, giving them an excuse to interact. Third: I don't think Javert needs to be a cop to be nosy. If you want to write a "casefic"-ish mystery plotline he could be an Angela Lansbury Murder-She-Wrote old lady retiree character solving a mystery out of pure nosiness, without even arresting anyone. Because it would be very funny.

...This has just turned into a ramble about possible Post-Seine hijinks. Anyway the moral is: there isn't really a moral, this is just my petty fandom opinions. But "Javert fics where police are bad" and "Javert fics where police are flawed but ultimately good" are two completely different genres, is my take.

#les mis #ask meme #thanks again! #this is just a funky little ramble #and i dont like positioning myself as an authority over characters

[notwantedonthemoon]

Apparently I have entered a phase in which I cannot draw anything except these two. I love Lucy and her funny best friend. Every time I think about them the chorus of The Boys Are Back from High School Musical 3 starts playing in my head.

Design stuff (and birds) below:

LUCY

Lucy is so tall. To this day I run into the issue of having no clue how to draw her next to any other character without having to imagine the other character standing on a stepstool just to be in frame. The solution to this, I gathered, is to get really used to drawing Lucy carrying people.

I very much intend for Lucy to have a frog vibe since she's thematically associated with transformation and being a part of two worlds at once- but at this point, the frog associations are running on pure vibes alone. I'm leaning more heavily on the extravagant bird associations.

Lucy decides to turn into a cormorant sometimes, so those were a pretty obvious place to turn for inspiration.

Because of their lighter feathers, I thought I'd give Lucy a lighter patch of hair, too. But then I stumbled upon this absolute majesty of a bird:

Look at these birds. I know nothing about them, except that they're called ruffs and they look fabulous, and I love them with my whole heart.

So I had to make that hair fluffy. I don't know how to adapt hair into a feathery neck-ruffle/mane but I will figure it out one day.

I don't know how to keep the ruffles for when Lucy eventually gets a Joan-of-Arc haircut, but I was thinking of picking another bird to accompany her wardrobe change: the loggerhead shrike! I'm considering somehow giving her that cool black mask patterning over their eyes that they have:

But then she might end up looking like a raccoon, or perhaps Batman. Further consideration is needed.

HAM

I had a brief phase in which my perception of Ham's appearance veered wildly off his canon description and I spent that entire phase squinting with increased agitation at Google images of medieval queen portraits.

I figured it would make sense for him to look rather intimidating and unapproachable; he's very intense, and lonely- he’s not good at making friends despite clearly wanting them. This eventually slid into me picturing him with a very regal, queenly vibe... that I absolutely failed to capture here lol he looks so friendly

He doesn't even look like a Ham, he looks more like a Penelope

Like how Hamlet was constantly pestered by his father's ghost badgering him for vengeance, I was badgered by my own thoughts constantly reminding me that Ham makes dad jokes, so my entire focus turned towards making sure that my Ham looks like a guy who makes dad jokes.

But my time spent scouring Google images has not gone completely to waste. It helped me come up with a new colour palette for him and I like it very much. Unfortunately implementing it does mean I have to give up on the walking Valentine's day card colour palette but alas. At least there are the shoes. The shoes can still look like a Valentine's day chocolate box.

#not wanted on the voyage #timothy findley #digital art #small artist #character illustration #character design #high school musical 3 #cormorant #loggerhead shrike #ruff