hi!! you said it'd be okay to request oc/canon fankids, so i thought i'd toss one of mine into the mix! her name's salt lick cookie, and she's a farmhand on a ranch. she mostly helps with the horses (hence 'salt lick'), and is a HUGE Horse Girl™. she has that THICK southern drawl, and is pretty laid-back in general. her pet would be a little living hobby-horse toy, y'know, the kind on a stick that you'd stand over and run around pretending to ride as a kid.
i think it'd be REALLY cute to pair her with potato cookie, since they both work closely with animals, and potatoes and salt tend to work well together lmao!
i do wanna apologize for a couple things regarding the reference image: since i can't draw, i used a mobile dollmaker app, so the colors aren't 100% accurate… salt licks run the gamut from pure white to a deep, pinky red, but nothing's as dark as the red on her overshirt, so that red should be lighter and more pinkish. (her bandana is supposed to be white and pink, too, not. yellow.) and the website i used to make the background transparent decided to also make her pigtails, shirt, and half of one boot transparent… hopefully that won't make a difference if the canvas is white?
ah, sorry, one more thing, if you ever decide to draw this, i'd prefer if you tagged energy-drink-cookie, since that's my cookie run sideblog!! even if you pass on this, i think it's really cool that you're open to ocs and i hope you're having a good day!
Here you are, this is Potato Chip Cookie
You said to tag @energy-drink-cookie so here you go
Oh and by the way if you’re wondering why the oc looks different in my ref than the one given, it’s because I redrew it myself and afterwards I was told I could use that version if I wanted
Anyways on to the show, so I named him Potato Chip simply because they’re potatoes and they’re usually salty. I mean one’s salt and the other potatoes, what else was I gonna do if not some form of salty potatoes?
Potato chips:
Funny enough when making the initial rough sketch, I thought he looked a bit too much like Salt Lick, but around the time I was finishing up, I thought he looked a bit too much like Potato. I’m willing to say now he’s probably more of an even balance
I do admit that I kind of just gave him Salt Lick’s top hair, just with some more rounded ends to resemble Potato more. I was always planning on making his hair blonde with white streaks since he’s still a potato, but I also made the blonde slightly more orange, though I don’t think it’s very noticeable
I also gave him those dark brown flecks in his hair just because the potato chips I was looking at had some pepper in them. And it tied in with the eyebrow color
I gave him pink eyes because it was supposed to represent the salt, but also I realize that if I didn’t give him pink eyes, he’d definitely look too much like Potato
So with his outfit, initially he was going to be a farmer, but I ended up think “what if he was a chef instead?” and went with that for everything below his scarf (since that was what I had drawn first). But also I didn’t change the initial look, mostly because I really liked it, so I think his top part and his bottom part may not entirely coincide with his theme
When trying to finalize the colors, I wasn’t sure about giving Potato Chip his yellow shirt, since I thought it looked off, but my friend told me to make it flannel and make his scarf red, so I did. I think I’ve gotten flannel mostly down, but truthfully I’m not sure
But yeah overall I quite like his design
Now onto his character
So I said before he’s a chef. Well he still lives on the potato farm with his family, but he also acts as their cook, since he’s got aspirations of one day being a famous chef (though he’s currently a bit too young to pursue these dreams, he’s still a teenager). His dishes mainly consist of various things made of potatoes like potato salad, potato chips, potato pancakes, loaded potatoes, you get the picture. Also if they have a mill for potato flour/starch, I imagine he mans it as his main role on the farm
Other than that, he’s a sweet guy. A bit shy and sometimes easily startled, but he doesn’t have an ounce of malice in his dough. He just likes to make food for the people he cares about
And yeah I think that’s about it for Potato Chip, I hope you like him!
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looks up. i regret to inform you all that i’ve seen another post today. the faunus woman who led vacuo during the great war was not a queen and almost certainly not of royal descent as the asturias family claims to be: it is stated repeatedly in the CFVY novels that the last time vacuo had any kings or queens was centuries ago and that very little of the historical record has been preserved (with 9.11 reiterating the novels’ point that this is a consequence of colonial occupation in the intervening centuries).
and from the world of remnant episodes pertaining to vacuo and the great war, we know that modern-day vacuo did not have a formal government until after the great war; it was not a state, it was an occupied territory under mistrali control. the faunus woman who led vacuo’s forces was the leader of the vacuan movement for independent statehood and likely became a member of the ruling council established after the war—which is now defunct and has been de facto replaced by shade academy.
please. BLEASE. the great war began about ninety years ago it has not even been a century. the vacuan monarchy is “ancient history.” finn talks about his mother—who would have been a contemporary of nicholas schnee, who was born right after the great war—and her mother, who would have lived through the great war, and his grandmother’s father, and his grandmother’s grandfather, and his grandmother’s grandfather’s mother. rumpole—who is an actual historian—flat out states that it was so long ago, and war and colonization so thoroughly degraded the historical record, that all that remains is legends and uncertain guesswork.
the asturiases having no blood relation to the faunus woman who led vacuo in the great war doesn’t prove or disprove anything because even if she did style herself a queen and claim royal descent the vacuan monarchy ended so long ago that her claim would have been unverifiable mythmaking too.
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@raventhekittycat
hi okay so I've been mulling this one over for the past day or two and I think I have the answer. not to be using hamburger to explain anything to an american but you're my detco mutual so I'm going to try and explain it in detco terms
There's a post going around recently about how if you've read detco and only detco, the first time hakuba shows up you're going to be totally flummoxed, because damn this guy is clearly important, he gets to be even cooler than Shinichi, he's got a half-page shot of him (in such a panel-dense series such as Detective Conan, no less!!) and he's got a fucking hawk. he's CLEARLY important. everything about the narrative is indicating that you need to PAY ATTENTION to hakuba and that he's the coolest guy and he's important!!!! and then he dies in the case lol (not for real. but still.)!! and you're like huh??? what was that. why did aoyama do that.
But with the context of magic kaito this totally makes sense. He's a beloved character that people have been waiting decades to see again. Of course Aoyama is going to hype him up!! It's his big moment after years of being locked in the backrooms!!!
Anyways reading birdmen for me was kind of like that. The author's previous series, Kekkaishi, was pretty one-dimensional at the beginning, and even after the main plot started picking up at around volume 6, it still felt quite understandable. I knew what she was trying to get at, and the spectacular job she did with the anthropocene and climate change metaphor towards the end of that series really made me interested in the rest of her works. That and the way she writes familial relationships is absolutely DEVASTATING. (I mean this with the highest of praise)
But when I read BIRDMEN for the first time, I was probably in... middle school, maybe? And I read it, sure, but I didn't get it. I could see what was literally happening on the page but the narrative choices were absolutely baffling at times. Why skip over the entire part of the plot where they figure out who the birdman that saved them was? She blatantly doesn't care about that. What does she care about then?? I knew I didn't get it, I knew there were parts of it that were important and I couldn't figure out why and THAT'S how it dug its pretty little claws into me. Even after I finished catching up it nagged at me a little bit, not often at all, but enough that every once in a while I go, huh, right, that was a thing, let me go read it again.
For the record this type of story haunting has happened to me twice. First time was the Heart of Thomas, second time was BIRDMEN. I think the thing is that these are both stories which are not what other people say they are and I think I came into both of these stories with a misconception, trying to look too hard for things that weren't important and therefore missing the things that were.
Because sure, BIRDMEN is about mental illness. Yeah, it's about an evil scientific organization growing mutants in a lab. Yeah, it's about what it means to leave your humanity behind. That's all technically correct, on a surface level, and the fandom at large likely agrees with these takes for the most part, but in my opinion none of that really delves into what the thematic messaging of the story is about.
There are cryptic conversations about authority and human extinction and peculiar outfit and ability choices. You can tell these choices weren't made to serve the purpose of "writing exciting shonen manga" because that was what she did for the most part in Kekkaishi and you can tell she wasn't putting her whole pussy into doing that here. So what was she doing? What's like. All of this. Waves my hands at this.
The short answer is that it's really about the interplay between capitalism (represented by humanity) and communism (represented by birdmen), and explores the role institutional white supremacy (EDEN) plays in enforcing capitalism. It is ALSO about queer liberation and the importance of community, but hey, that double-stacks conveniently with the communism metaphor.
But also take this opinion of mine with a grain of salt. As far as I know I'm the only one who really truly deeply believes that it is not only AN interpretation of the work, but one that was fully intended by the author.
So basically, I like it, because I think it says something true and beautiful that I also believe in, even if I didn't have the words for it the first time I read it. But I don't really think that's what people really look for in a media recommendation.
Do I like it? Yes, I love it. Will I recommend it to others? Yeah, sure. But do I think it's deeply flawed? Yeah, absolutely. It's flawed in the same ways as The Witch from Mercury— a rushed ending, too many threads that were opened and never tied together. The pacing and characterization is perfect in the beginning, and too rushed at the end. There are prerequisites you basically HAVE to read in order to understand the story (tempest for G-Witch and the communist manifesto for birdmen). I think a truly good story wouldn't have any of these things so if people don't like it I never blame them.
It's my personal experiences that make birdmen so profound to me. If you are not queer I just don't think Eishi coming out as a birdman to his mom will hit the same, just as an example. Sorry that I wasn't the kid you wanted me to be. I know you love me and you just want the best for me and that's why you're so controlling, because you think I can be saved by conforming to societal expectations. But I can't live like that. I can't be like that. And that's why I must go. etc.
Aesthetically I do love birdmen a lot. If I had to describe it in a few words it would probably be "chilling", "beautiful", and "powerful", which nicely coincides with the type of things I personally like to draw. It's also silly to a small degree but it's so serious and I know Tanabe can be way way way funnier (read kekkaishi for this. kekkaishi and hanazakari no kimitachi he were foundational to my sense of sequential art humor) so that's not really the standout trait of this series.
I can't let it go because I'm chewing this series like a bone. And it's taking me years but I am getting that sweet sweet marrow. By god. We are on year 3 of this shit and I am GOING to understand this series. and I'm going to make 3 video essays about it
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Hi. I'm the ghost that likes to read your stuff. I just read Made For Me, and it was quite the fun ride. I unfortunately cannot leave you a quality review, as I am no wordsmith, but you did inspire me to dust off this fic I was working on:
Like I said, writing isn't my forte. In theory, I can discern what divides quality smut from an attempt that has room for growth. In practice it's a bit harder to demonstrate (laughs). My writing reeks of amateur, but just maybe, you can have an iota of fun like I did reading your stuff.
ashdksuds YELLING
thank you!! I’m so pleased you enjoyed tailor nines, but not only that, you brought me a SNIPPET? you have my curiosity and my attention. I LOVE the vibe of this. The tension! The immediacy! His commanding presence 😏 sounds to me like someone’s caused a little trouble and is about to find out the consequences ✨
thank you, again, bc it’s lovely to receive this sort of thing. it always means a lot to have a work enjoyed, but to inspire another writer is even better. no such thing as too many filthy hot fics 😌
just one thing: I think you’re selling yourself pretty short, honestly. being an amateur isn’t the same as being a Bad Writer™, and besides “good” writing is so subjective (especially within fandom) that it’s not the most useful label. I think what we as part of a fandom look for is the heart you find in fic, and that comes from an author pouring part of themselves into it in a way you don’t always get with the source material. write what you want, what you enjoy, and it’ll reach other people who’ll enjoy it too.
you should count me among them 👀
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i think a lot about exactly 1 thing from the roman empire: the concept of bread and circus. the idea was that if your population was fed and entertained, they wouldn't revolt. you are asking us to give up our one small life, is the thing - for under 15 dollars an hour.
what would that buy, even. i am trading weekends and late nights and my back health. i am trading slow mornings and long walks and cortisol levels. i am trading sleep and silence and peace. for ... this. for what barely-covers-rent.
life really is more expensive right now. you aren't making that up. i make almost 3 times what i did 5 years ago, and despite an incredibly equal series of bills - i am still struggling. the most expensive line item i added was to own a dog. the money is just evaporating.
we were okay with it because it's a cost-benefit analysis. i could handle the customer harassment and standing all day and the manager's constantly changing temperament - i was coming home to hope, and my life planned in a blue envelope. three hours would buy me my dog's food for a month. i can give up three hours for him, for his shiny coat and wide, happy mouth. three days could be a new mattress, if i was thrifty. if i really scrimped and saved, we could maybe afford a trip into the city.
recently i cried in the car about the price of groceries.
business majors will be mad at me, but my most inflammatory opinion is that people should never be valued at the same place as products. your staff should not be a series of numbers in an excel sheet that you can just "replace" whenever you need something at that moment. your staff should be people, end of sentence.
it feels like someone somewhere is playing a very bad video game. like my life is a toy. like someone opened an app on their phone and hired me in diner dash ultra. they don't need to pay me well or treat me alright - they can always just show me the door. there is always someone more desperate, always someone more willing.
but i go to work and know i could save for years and not afford housing. i am never going to own my own home, most likely. i have no idea how to afford her ring, much less the wedding. my dog doesn't have his own yard. everything i love is on subscription. if i lose my job, i have no "nest egg" to catch my falling.
this thin life - they want me to give up summer for it. to open my mouth and throat and swallow the horrible hours and counted keystrokes. they want me to give up mountains and any non-federal holiday. to give up snow days. to give up talking to my mom whenever i want. to give up visiting the ocean and hearing the waves.
bread and circus worked for a while, actually. it was the kind of plan that would probably now be denounced by republicans as socialist commie liberal pronoun bullshit.
but sometimes i wonder if we should point them to the part of the history book that says: it worked until it didn't.
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