#(especially when like. the jokes are like. the kind of jokes in every single cartoon of that decade)

[ineffable-gallimaufry]

sorry for seeing one negative thing about a thing i like an then being annoyed about it for the rest of my life it's just like that sometimes

[paragonrobits]

there's been some real drama with that Youtuber I Hate and a youtuber whom i have come to greatly respect and honestly its been a delight seeing that youtuber i dont like going full circle on 'fuck around and find out' and apparently rapid-fire switching between constantly crying about being victimized and being a vicious and hateful person to apparently EVERYONE who interacts with her (follower or not) and it's a real case of a kind of internet personality i find exhausting but its made me realize a few things:

one is she apparently considers superhero comics an inherently Bad genre without artistic value (a bold statement coming from someone whose big media opinons are 'the entirety of Japan are man-children who do sex crimes' and 'i'm going to hate on these cartoons for not turning into a murder frenzy at the last second'). i'd say she's clearly never read Magneto's story arc under Claremont, or anything to do with the Morrison run on Doom Patrol (its artistic, demented, filled with coming to terms with horrific trauma, your own depersonalization, and also the primary antagonist is literal nonsense) or the famous story God Loves Man Kills but i ain't holding my breath

the second thing is that apparently she's under the belief that once you have been victimized, it excuses all your actions. This lines up with some common elements i've seen in fandom, especially those who fixate on villlains as the True Heroes, similar to some of my other thoughts on how people seem to tihnk a compelling/tragic origin justifies anything the character does. This is the mentality of completely divorcing a character's moral place in a narrative from their actions, and instead based on their victimhood. It really explains the whole idea i keep seeing there, and its something to address in my story concepts.

Third thing is more important, more profound. Its hard for me to articulate WHY people like this bother me so much; that they're so unrelentingly unpleasant, cruel to everyone around them, and even similar attitudes of people who are just casually rude. Even if there's no harm meant, you can just... not talk like that. You don't have to be mean with every single word you say, and you can resist the urge to turn every exchange or observation into an opportunity to sound like a smart ass; that's how you get stuff after James Earl Jones dies, you post pictures of Mufasa's death and then fail to understand why people are upset by you immediately making a joke about an inoffensive, much beloved voice actor who never did anything to you.

So i think about how to describe this... or perhaps how to AVOID this. How to talk and act in ways that's softer and doesn't hurt people for a quick joke or jibe, or acts like they can't understand why its wrong. And then I remember the game Undertale, where in the Pacifist route (the only route I've ever played), Sans will warmly tell a player who has actively refused to ever kill or hurt a single monster by saying that 'it just means you kept tenderness in your heart', and i think that's a good way to do it.

Just keep some tenderness in your heart. Let yourself be open and be gentle as much as you can. A thing that is tender ache when it hurts something or hits something pretty much at all, so its important to keep that tenderness so you DON'T hurt others too.

The world is sad and unpleasant enough as it is. You don't need to make things worse just so you can feel better about yourself.

[my-gf-is-kazuichi-soda]

Some people in the MLAATR fandom act like Sheldon is irredeemably creepy or gross or manipulative, and then uses examples of behavior that happens with all of the characters because it's an exaggerated children's cartoon.

Exhibit A:

To me, this is the same logic as saying "Jon Arbuckle is an animal abuser" because he lets Garfield drink coffee and sometimes puts him on a diet of a single lettuce leaf (I read the Jon Arbuckle hateblog for a laugh sometimes). Yes, obviously irl this would make someone an animal abuser, but in the silly world of Garfield these are just signifiers that the human reader, who might drink coffee or be on a diet that they hate, is supposed to relate to Garfield. Neither of these actually foods hurt him in the comic. Garfield eats entire trays of lasagna for crying out loud! Jim Davis even describes Garfield as being more like "a person in a cat suit" than a real cat. If we put the actions back in the context of the comic strip, Jon Arbuckle is just a pet owner who sometimes acts as a parent to a child, other times acts as Garfield's friend or roommate, and is kind of a dork but generally a good guy. Garfield and Odie's family.

Likewise, the world of MLAATR operates on cartoon/sitcom logic. Very often the characters will resort to lying, trickery, disguises, being aggressively friendly, etc. as ways to keep the plot and jokes rolling. I'm pretty sure every character has done this at some point, because of the humor potential. These are not meant to be looked at as abusive behaviors. You can usually judge how harsh the actions were based on other characters' reactions and how quick they are to forgive at the end rather than applying real-world relationship logic.

This is not to say that the writing is infallible or unable to be criticized because "it's just a kid's cartoon!" (I hate that argument, it's usually meant to silence people and that's not what I'm trying to do). Yes, cartoons can screw up in their messages, and you might be able to argue that maybe this writing style makes all of the characters bad role models for children. But if this is how you judge Sheldon, it's only fair to hold all the other characters in the same standards, including Jenny herself.

It bothers me that Sheldon gets the bad rep in the fandom because as an autistic person, especially when I was an autistic child, I related to both Jenny and Sheldon and their struggles in communicating/socializing in a world that glorifies popularity and being "normal" and hurts the weirdos to get them to conform. So it hurts on a personal level to see Sheldon get hated to such a high degree, and to hear people say Sheldon and Jenny would be an inherently unhealthy relationship, just because Sheldon can have some boundary issues and lack of social skills. I know people aren't saying this to villainize autistic traits, but that's how it can feel to me.

I could also get into how the show hinted that Jenny was at least a little curious about a relationship with Sheldon and that she might have gone for it if not for her fatal flaw in trying to seek popularity, but I'll save that for another post. This isn't meant to shame those who dont like the Jenny and Sheldon ship, but to give an alternative perspective to the whole "Sheldon is creepy!" thing I keep seeing in the fandom.

[darkstarofchaos]

For the character ask game, I'm not sure how many numbers you're willing to do for a single ask, so you can just do as much as you want from this. For Prowl - 2, 3, 7, 8, 12, 15, 16, 23, 25

I don't mind a bunch of numbers! Gives me an excuse to ramble, lol. And to rant, because Prowl deserves better.

2: Favorite canon thing about this character?

His willingness to look Optimus in the face and tell him he's being stupid, and to do his own thing to mitigate the stupidity if he has to. Mostly applicable to IDW, but Optimus needs a foil so badly in G1 that I've pretty much transplanted it into G1 Prowl when I write him. Not in its entirety, because G1 Prowl isn't IDW Prowl, but I like that he has his own opinions on tactics and morality and doesn't just go with the Autobot collective. His job is not to be a yes-mech; it's to keep people alive and win battles. If his commander is making stupid decisions, what benefit is there in standing back and letting it happen?

3. Least favorite canon thing about this character?

Making the police car an actual cop was the most boring decision anyone could have made. In stories where the Cybertronians choose their alts, especially, there are so many more interesting things you could say about his character by giving him a pre-war job that's completely unrelated to his Earth alt. For example, I like to think he chose it for tactical reasons: it's a common black and white vehicle, thus perfect as a disguise, and the sirens let him "legally" break Earth traffic laws in an emergency. It's far more interesting if his alt is a result of strategy and reasoning instead of, "I guess I'll take the one that matches my old job description."

7. What's something the fandom does when it comes to this character that you like?

I like that people took the little tidbit about Prowl having trouble with the unexpected that has exclusively appeared in two bios (that I'm aware of) and made it reasonably common. Would be really nice if they treated it seriously instead of making it comic relief, but maybe it does get treated more seriously these days. I don't read a lot of Prowl fic.

Let's talk about why.

8. What's something the fandom does when it comes to this character that you despise?

The image compilations of Prowl getting punched. The prick jokes that litter every TF Wiki page for every G1-based Prowl. The fanfics where Prowl is an uncompromising jerk or straight-up hate sink because the author needed a mean Autobot. The conversations and hypotheticals that make Prowl the source of any amoral action the Autobots take. The people who distill him down into Essence of Asshole and strip out every positive or sympathetic quality he has.

"Prowl gets villainized for being sensible" is one of my most hated fanfic tropes. Grab just about any fic where a Decepticon defects or earns the Autobots' sympathy in some way, and Prowl will be the only one who's unhappy with the situation. Which is perfectly reasonable because that is an enemy and he has no reason to trust them, let alone like them. But because we're supposed to sympathize with the Decepticon, that makes Prowl the villain. The other Autobots aren't naive and unreasonably forgiving, Prowl is just a bad person.

And it's not just IDW fics. G1 Prowl didn't get a whole lot of screen time, and thus no chance to develop his own personality, so he gets slapped with the same portrayal. Never mind the fact that when he does show up, he's one of the nicest characters - sure, he gets in on trash talking the Decepticons (though far less than some of the Autobots), but he's always helping out around base, shows concern for others, and pretty much stays out of interpersonal conflict. And yet, in stories based on a cartoon that has Powerglide, Gears, Cliffjumper, and Optimus Prime himself, I am expected to believe Prowl is the Autobots' resident jerk. Not gonna happen.

12. What's a headcanon you have for this character?

As I mentioned earlier, it's kind of quasi-canon that Prowl has trouble dealing with the unexpected. It's never appeared in any actual media, but it does come from official sources, so I wouldn't call it a headcanon. But I do headcanon that he has some pretty severe anxiety in dealing with people because of it. Things like math and physics are reliable; if something doesn't do what you expect it to, it's because you lacked information, and you can remedy that. You can update your calculations based on the results you actually got, or try to find out what you were missing the first time. Given enough data, you can predict just about anything as long as the results are consistent.

People are not consistent. You can make some sweeping generalizations about them based on categories - social groups, behaviors, readily obvious personality traits - but you can never say with certainty that someone will react in a specific way to something. Once you've known them for a while, you start to understand them and can anticipate them with a reasonable degree of accuracy, but that's assuming their behavior is genuine and consistent. If they're messing with you or pretending to be something they aren't, your data is inaccurate, and you can't correct it unless you know it's inaccurate.

People are the only things in the natural world that can deliberately give you false data about what to expect from them. So yes, I think Prowl has social anxiety. And probably some form of people-centric agoraphobia or anthropophobia.

(I also headcanon him as biromantic asexual. It has nothing to do with the above, and actually predates the anxiety headcanon).

15. What's your favorite ship for this character? (Doesn't matter if it's canon or not.)

If I had to pick just one pairing, I guess I would say Jazz/Prowl. Which is ironic, because for a long time, it was one of my least favorite Prowl pairings. Not because it was particularly objectionable; it was just everywhere, and I couldn't see it working. I think of Prowl as the kind of person who needs a steady, reliable partner who will let him have his routines and respect his desire to plan things before doing them, and Jazz's thing is more spontaneity and flexibility. He seemed like one of the worst partners for Prowl, especially with how I developed Prowl's disorders over the years.

In the end, though, that spontaneity is what brought them full circle to a pairing I can support. Because I do think Jazz would be willing to compromise and accommodate for Prowl's needs, and that Prowl could eventually trust that he's not going to suddenly change how he acts around him. It's a rather tenuous case of opposites attract, and requires patience from both parties, but I can see it working now.

16. What's your least favorite ship for this character?

First, an honorable mention goes to my immediate impulse, which was Constructicons/Prowl. I get why people want IDW Prowl to have someone on his side, and I don't think the Constructicons meant any harm. But Prowl was forced into the team through a series of traumatic events, the Constructicons like him for things he hates about himself, and being a part of Devastator seems to have contributed to his psychological decline. It wasn't a good or healthy situation for him, and I feel like the Constructicons having romantic feelings for him actually makes it more uncomfortable for me.

That being said, I'm going to have to go with Optimus/Prowl as my absolute least favorite ship. Optimus is very strongly motivated by morality and will generally take what he perceives to be the most moral action in a given situation. Pair that with someone like Prowl, who is willing to cross lines when he feels he has to, and you already have a relationship on rough ground. The only way things can work between them is either for Optimus to accept Prowl's "moral failings", or for Prowl to change a fundamental part of himself. There is literally no option that doesn't require one of them to compromise their principles or change who they are. And since Optimus isn't the kind of person who will do that, the only hope for a relationship is to "fix" Prowl. And that gets into abusive territory, because Optimus has power over Prowl in both the physical sense and in their professional relationship. He also has social power, because because Prowl is unpopular and Optimus is exactly the kind of person you wouldn't expect to be capable of abuse.

And yes. For the sake of argument, it could be toxic from Prowl's side too. He could try to hurt Optimus by throwing his mistakes in his face, or by blaming him for everything that goes wrong. But Optimus has a great deal of confidence in himself and the support of pretty much everyone, while Prowl is isolated and already isn't proud of things he's done. He is far more vulnerable to abuse than Optimus is, socially and psychologically, and he just doesn't deserve that.

23. Favorite picture of this character?

Mmm. I guess I would have to say this one, since it inspired an entire story that I'm still working on. There's actually another one that I like better (which also spawned an in-progress story), but I'd have to do more digging to find the link for that one. Might do it later.

25. What was your first impression of this character? How about now?

When I started watching G1, the Autobots were just a conglomerate of near-identical personalities to me. Prowl was just one of the generic background bots who got a few minutes of screentime in one episode and was otherwise relegated to a support role. I was mildly interested by some of the fanfic portrayals I saw, but I definitely preferred the Decepticons, so I didn't read much where he was a main character unless there were Decepticon MCs too. And most of those fics were written by a couple authors whose endings were consistently disappointing, so after I stopped reading their stuff, Prowl just dropped off my radar.

Nowadays, Prowl is my favorite Autobot (well, second favorite after Skyfire). Thanks to IDW, I kind of see him as the Autobot version of Starscream (narratively if not in personality), but he's also a fascinating character in his own right. I love that he doesn't conform to the Autobots as a whole, he's fun to write and analyze, and he was the one good thing I got out of the IDW comics. 10/10 character, deserves better.

[brucenorris007]

“Game Sonic doesn’t have it in him to kill Eggman.” -Someone on IG comparing Movie Sonic to Game Sonic per something written in StH 2′s script. Have... have you played or even seen the Sonic games? Especially those prior to Forces and Frontiers?

Okay, maybe that’s somewhat unwarranted. Still.

He doesn’t prioritize killing Eggman the way Shadow occasionally or Omega (always) do, but he’s not exactly opposed to seeing, ah, spilled yolk on any sort of principle, either. Eggman just doesn’t occupy anymore space in Sonic’s mind than he warrants at any given moment; the doctor might be obsessed with crushing this teenager who keeps humiliating him, but the reverse?

Sonic at one point says, when asked in Sonic X where Eggman is on a day he’s not actively destroying things or hurting people:

“I don’t care.”

Newer iterations of the blue blur confuse it a bit–starting around Lost World, I believe–but let’s go down the Games timeline; explore the evolution of Sonic’s general attitude toward killing and by extension, cracking the egg.

Classic Sonic is a younger, less powerful and perhaps more unhinged hedgehog. Like I said in another post, Sonic’s first priority is doing what’s Cool; stomping Eggman’s machines and rescuing his animal friends have fit his personal definition of cool from day one.

Every time Sonic and Eggman clash, Sonic stops attacking once Eggman does; that is, once his contraption of the week gets thrashed. Eggman’s smart enough to flee by that point, and while Sonic would keep fighting if the doctor attacked him again, striking an enemy in the back while they’re running away doesn’t fit his definition of Cool.

Sonic doesn’t go out of his way to kill an enemy who isn’t actively trying to kill him, but neither does he go out of his way to save Eggman from falls that could easily end his life. (Refer to: The conclusion of most fights between Robotnik and Super Sonic pre-Dreamcast era)

A trend that carries through at least Sonic Unleashed; if Sonic had a truly immovable stance against killing Eggman, he wouldn’t just stand by and watch his contraptions fall to pieces around him until the doctor spirals in just a pod or console seat at terminal velocity per Sonic 06. I wouldn’t be surprised if Eggman keeps Heal Units on hand for personal use when cartoon physics aren’t enough to prevent grievous injury.

I predict this is going to get longer than I expected; have a cut.

And Eggman knows this. After so many years as arch-enemies, how could he not recognize the pattern? Factor it into his schemes and calculations, his fail safes, however much he loathes the idea of losing again?

There are two Mobians in the franchise who consistently hold back and put a check on themselves out of consideration for others. Two Mobians who, should either snap, are capable several times over of wreaking untold havoc across the planet and ending the doctor’s career in evil permanently.

Knuckles, and Sonic.

This echidna is strong enough to trigger a fault line that can sever an entire zone off of Angel Island with a single blow; who, coupled with his familiarity with chaos energy and channeling the merest fraction of the M.E., can sucker punch someone out of their Super state. Destined Child’s self-control of his strength is a more significant act of kindness than just about anything else he could do.

And Sonic’s maximum speed, in his normal state, cannot be accurately measured even by Eggman’s machines. Oh, he can work out medians and means for the hedgehog’s typical velocity, enough that his robots can put up a decent fight and track/predict the blue blur’s movements.

But Sonic pulls stunts that should not be possible even in the fantastic world of Mobius on the daily; he’s fast enough that he can and has joked about light speed being casual for him, and at one point in his career he outran a black hole for upwards of half a minute. Again, without the aid of his Super state.

Sonic’s reasons for holding back coincide with Knuckles’ somewhat, but they don’t match one to one. A) He holds back for others’ sake and safety: pulling a friend along when he pours on a speed boost, pacing himself when he’s carrying someone (often, though not limited to, princesses...) and, one can infer, limiting himself to just fast enough to break the sound barrier most of the time so he doesn’t constantly destroy/reshape the terrain he’s running on. Sonic’s a rebel, and he enjoys breaking stuff, but only when he’s making a point through the stuff he’s breaking. Aimless destruction isn’t quite his wheelhouse.

And B) he holds back for the sake of having more fun. There are a lot of reasons Sonic’s persisted as a character for three decades now, and one of them, setting him apart from a lot of other ‘cool’ stoic characters I could name, is that Having Fun falls under his definition of Cool.

This is the only way Sonic’s approach to things in the Riders games, his rivalry with Jet in particular, makes any kind of sense; he chooses to race using Extreme Gear because the sport, the banter, the push toward the finish line alongside his best friends are fun, he enjoys all those things. If beating Jet or proving that he’s faster was truly the highest priority for him, he’d ditch the board and just break a half dozen laws of physics on foot like he always does.

Like I mentioned, Eggman’s aware of that; of the fact that Destined Child and Some Guy are, 99% of the time, exercising self-restraint. And factors it into his schemes. He doesn’t quite fear Knuckles snapping as much, since there are years of evidence proving that taking advantage of the echidna’s naivete isn’t enough to make him lose it, and because he understands that Knuckles sees himself as a Guardian on and off of Angel Island. Born to protect; only harming in service to that role, and certainly not to kill.

Compared to Knuckles, Sonic’s conditions for losing it, for going berserk are much more apparent; namely excessive, grievous harm to his friends. In particular, his best friend Tails.

There’s a reason why Eggman ejected Sonic from the ARK in a time bomb space pod in SA2 before facing off with the fox, and it wasn’t simply because he was outnumbered. He was holding Amy hostage with Tails in the room well before Sonic arrived. He could have demanded Tails exit the Cyclone and killed the fox. He didn’t need two hostages.

But he knew better than to think he could predict how Sonic would react to seeing his sidekick (in Eggman’s mind) motionless on the floor of the ARK. Worse case scenario, four bodies end up careening in free fall towards the Earth’s atmosphere.

Eggman knows Sonic has it in him to kill; are other Mobians more likely to try killing him? Yes, but the possibility still figures into Eggman’s plans and is one of the reasons the blue hedgehog occupies most of the doctor’s attention, second to his obsession with returning all the humiliation Sonic’s visited on him over the years.

All that being said, there is a moment in Sonic’s career that marks the beginning of a shift in his attitude toward killing.

Emerl.

Gemerl’s predecessor and the focal point/main character of Sonic Battle, for the uninformed.

Sonic found this battered robot, abandoned by Eggman in a fit of impatience and frustration; this machine designed to be the ultimate combat weapon, capable of observing and evolving based on those it interacts with like a whole-ass person would. In the penultimate chapter of the game, Emerl acquires the seventh chaos emerald and achieves a perilous state where the right words might make or break the world, and Shadow picks the right ones that allow Emerl to function autonomously without posing a danger to the planet.

Obviously, in the ultimate chapter, Eggman has to come and fuck that up.

With Emerl out of control and beyond the reach of words or reason and only minutes between him and the planet’s destruction, Sonic has no choice but to destroy–to kill–this robot he practically raised like a child of his own to save the world.

Sonic doesn’t hesitate in doing so, though it’s clear he doesn’t want to. And of course, it affects him.

It’s that moment that begins to change his attitude from “I don’t kill in cold blood/don’t kill anyone with their back to me or running away” to “I don’t kill if I can help it.”

Make no mistake, though: Sonic wouldn’t shed a single tear for Eggman’s funeral. At most, he’d consider life marginally more boring without an arch nemesis and then get over it.

Sonic is capable of cracking the egg; he prefers avoiding it, but under the right circumstances, avoiding it falls way down his list of priorities.

To this day in the games, Eggman doesn’t go after the hedgehog’s friends in earnest until he believes the blue blur has been dealt with first.

That is very, very intentional on his part.

@generic-sonic-fan

[dirtreally]

playing through every fuckinggg vvideo game with gay bitches in it to try and salvage the last 2 weeks of my break. effortpost incoming

potionomics:

kind of insane how high effort the presentation is. the past ten years have been leading up to a kind of cultural dominance of Matte 3D (spiderverse, borderlands, arcane, and every work trying to cop the vibe of any of these three things) so even though this is literally the thing that Matte 3D was supposed to be a break from it still feels refreshing to see an incredibly high effort well-arted-out Shiny 3D thing that splits the difference between "looks like anime" and "looks like a western thingy tryna be anime" really well. of course with shit like The Super Dope And Viral Digital Circus becoming skibidi level popular i can only assume that we're gonna get ten years of Shiny 3D coming up and the ouroboros devours its own tail but right now it still feels fresh in the moment

that being said mannnnnnnnnnn fuck all the stupid ass characters in this game. the writing in this game has the unenviable task of like. trying to sound Whoalsome (cuz it has to market itself that way) while being not as annoying as like when cartoons and games and shit do le quirky dialogue (cuz if you do that now people yell at you on twitter) and for the most part it succeeds but it kind of doesnt matter when every single fuckinggggggg social link conversation is about like your adventurer friend telling you how they feel imposter syndrome about being in a fantasy rpg guild before asking you Okay But Really Though How Can I Contribute To Woke Capitalism While Prompting Reform As A Budding Small Business Owner In Dragontown❓ Awful. you can be gay and have one of several epic girlfriends in this but even after all that they only talk about how they are choosing to work with small clients with their marketing firm (not a joke) fuuuuuuuuuuuuuuuuuuuuuc kkkkkk. they dont even show up when you win the fucking potionomics tournament so who cares.

half the steam reviews are bitching about the day limit thing which is fucking insane to me. the game is extremely generous with your time and the day limit at least sets your ass on fire a little bit which is the only uncomplicated positive emotion thsi game gave me. you might fuck up the first 10-day cycle once or twice but if you can clear that you can do the whole game. i maxed out all the social links and ccleared everything and It Was Fine. also there's a really scary egyptian stereotype character.

summon night swordcraft story:

i played this shit because i saw hazel talk about it being surprisingly gay ina video then i play it and if you do the personality quiz at the start of the game good your summonable creature is just straight up a woman who wants to fuck you. so then i watch the hazel video again and she didnt even get or mention that character. crazy.

anyway the summonable woman thing is kind of fucking epic especially with how played straight it is b ut also really funny to think about. every single other character summons like a cute stage 1 digimon type creature to help them out in battle and the creatures all fuck off when they're not fighting but your thing is a human woman with her tits out who just walks around with you all the time who wants you to fuck her (ESPECIALLY IF YOURE A WOMAN!!!!!!) all the time. i want to imagine that all the other ccharacters are like either incredibly mad or uncomfortable about this but just choose not to say anything about it.

i played this shit on a gba emulator on my phone while chilling on my bed and straight up if i got a steam deck and could play video games on my bed or while lying down it would bef ucking over for me. i would never get up. i think at this point its kind of essential for me that video games require the suck ass task of sitting on an ikea chair to be able to be played. either way its incredibly mechanically and textually light so its kind of perefect to be played while dicking around On Da Phone. the story is extremely standard jrpg but it is a little sweet that for the protagonist, becoming stronger is directly conflated with becoming kinder to other people and learning more about her world. again not the craziest thing in the world but its sweet

apparently da sequel is also gay but i kind of cannot be bothered to wwant to play it because the protag isn't as sauced up as this fucking girl. complete perfect harmony of artstyle and character design and the gba making all the art crunchy

ITS FUCKING PRATTY!!!!!!!!!!!!!!!!! i usually do the thing of naming every rpg protag with my name whenever i play these things b ut this bitch has so much personality just thru her portrait and vibes alone that i stuck w the default name. idk i am extremely charmed by her shapes

crymachina

this shit looks soooo fucking good what the fuckkkkkk. i posted before about how it looks like the renders they used to have on the boxes of graphics cards but it really is Like That. most of it is still filtered through the lens of extremely NIS-america/JAST japanese enthusiast B-game jank but still. the prerendered cutscenes in this are straight up my favourite part of the game they are straight up gorgeous. god tier anime girl 3d artism

the aesthetic and story are both kind of insane hi-concept sci-fi bullshit to the point where i kind of have to salute it no matter what just for swinging that hard and high. extremely weird pacing and it feels like it got truncated at some point and a bunch of the stuff that was meant to be in the game got put inside some of the stupid ass nier-weapon-story-type things this game has. for the record i hate when any video game does thiis cuz eevery single weapon story is like. okay i spent 10 minutes looking for it but there's a meme with a nier weapon story screen and its like

Weapon story 1:

Girl:I am having heart surgery

Boy: I know... I love you

Weapon story 2:

After surgery when the girl woke up, with only her father next to her

Weapon Story 3:

Girl: Where is he???

Weapon story 4:

Father: who do you think gave you the heart?????

it's completely fucking insane to me that people will make fun of fallout skeletons and skyrim journals and shit like that as if this isn't on the exact same level

anyway its pretty good and like. blatantly about being a gay bitch on e very thematic level its kind of crazy. really fun game to think about. i don't like one of the artistic decisions made regarding one of the late-game twists but whatever. The way you unlock the final ending is one of the most fun ways to do it ive ever seen and i was incredibly pleased when i figured it out. the gameplay in every other aspect is extremely perfunctory but the way you unlock the final ending is kidn of just incredibly pog-worthy in a way that you can't really feel if you just watch a video or read a description of it, especially if you figure it out yourself.

THATTTTTTTTTTT BEING SAIDDDDDDDDDDDDD i think the ending is just Fine. I think i have a built in brain immunity or something to like. specifically sci fi video games cuz i saw this had the same thing as nier automata where a lot of people were going on about Auuuuuuu Fuckkkk I Cried At The Endddd So Crazyyyy but when i hit the final end i was just like Hruh That's It??? and spent like 10 minutes making sure if that was the final final for realsies ending. idunno man.

but also overall i still really liked this game and i still think it is extremely bold for what it does so if youve read this far and have 60-ish dollars to throw around you should absolutely buy it at its stupid ass japanesegameonsteam price cuz i wanna see more crap in the Cry_____ vein (crymachina was made after crystar which like. shares loose Vibe Associations but as far as i can tell is otherwise completely unrelated) and just more games that make as many crazy ass aesthetic decisions as this one. either way im definitely gonna keep an eye on what furyu puts out after this

ok thats it. im gonna try mary skelter 2 now hopefully i dont die

[heartshapedcreaturefromcriptoon]

Uh, yeah....

Like, Viv...?

Babe?

My precious Baby Girl?

I love you, and while I can look past a little bit of jokey tackiness in the announcement trailer (even though it's still a major eye roll ...🙄)

If that little, um ...typo? Was in anyway meant to be an intentional pun, or if the entire last part of that paragraph and wording about "visuals" with *that* spelling was meant to invoke some sort of unneeded innuendo and complete tonal whiplash in the minds of your audience after just releasing such an emotional song for this kind of character with your brand new voice actor that you supposedly handpicked debuting for him, I'll be the first to admit that this wasn't it and this is not how you promote the new material, especially after Roman just proved himself more than capable of providing Angel Dust as a character with more respect, dignity, and pathos than I honestly believe Kovach had ever intended to or could. And this tweet shows a lack of respect for both Roman and Angel Dust as a character, which was already there, at in the fanon and fandom, mind you, but should've been dealt with and forgotten once... certain people involved in the original pilot moved on.

Like, everyone's talking about how Blake's voice braking immediately gave them chills and how beautifully serious he seems to be taking this character when it counts, in the way I still believe Kovach never could and wasn't prepared for. And then you go back to social media and where are we? Right back to making jokes about cum.

Which I'm certainly no prude and don't mind when the mood calls for it, but right now it very obviously didn't and I love this series but I'm sick of how it's constantly killing it's own vibe and and mood through it's own marketing by caving to it's "cringe" reputation every. single time. something actually good happens for it. 💀

I'm aware that they were never gonna hire a sensitivity consultant for writing Angel Dust specifically because it's a cartoon, but maybe the people involved could let their only Sex Working character have the same amount dignity from his shows (outside of all the cringe ass marketing) that he's allowed to have within the actual canon? For five seconds?! 💀

I don't like using the term "brainrot" at the best of times, but the leftover hunicast brainrot feels so real right now and I can't believe that little mouth covering emoji ether. Like she's aware of exactly how she's making things sound, she has to be, and in this case it's the sheer tonal dissonance of it all that's really quite tactless of her and actually unfunny. It's in poor taste, even. This shows marketing is constantly eating itself and ruined everything for everyone trying to promote this show to any actual adults outside of fandom spaces and I'm starting to agree about our little emo girlypop needing a social media manager. This is legit the most cringe, most unprofessional thing I've ever seen her do now regarding her own staff remembers outside of expecting her own fans and supporters to act as her personal therapists on her patreon and tumblr, which is something she should've especially kept nuked and never reopened, considering she (rightfully so) doesn't seem to particularly care for it, since she hasn't actually updated it, as far as aesthetically speaking, in years.

And again, if any Antis or ~"criticals"~ attempt interaction with this post, I will shoot you in the foot, just like this shows shitty marketing keeps doing to poor Angel outside of his actual canon. So no wonder why he doesn't like his feet then, l o l! 🤭

[h0n3yk1tt3n]

5 22 27?

5. What techniques do you use to create believable dialogue?

I don't know who said not to include stuttering in their dialogue because the simple fact of the matter is that humans trip over their words all the time. Especially when they're caught off guard or frustrated.

—Left 2 Chill // Chapter 26

Like I'm sure they meant "w-w-when a c-character talks l-like this" in casual situations (ie not shivering/overwhelmed) but doesn't have like, A "Real"(?) Stutter (ie Bill from IT), but like... humans say um, and like, and take pauses to think over their words, and say things like "how do I phrase this."

—Left 2 Chill // Chapter 4

We bail out on sentences partway through because we realize we wanna say something else.

Humans don't know how to talk!! Maybe they'll phrase something in a way that isn't technically grammatically correct, but feels smoother to say. ("Weird's not" instead of "weird isn't")

We elongate words

—What a Waste (of a Lovely Night)

We (sometimes) drop the g in -ing words. We speak in a series of small sentences instead of stringing them into one, either for emphasis or because we realize that we have more to say.

We interrupt ourselves to give further context

—Left 2 Chill // Chapter 4

Be serious. Do you actually say "wouldn't have" as two separate words in casual conversation, or do you slur it into "wouldn't've" because that's smoother than taking that slight pause between "wouldn't" and "have?" We'll more often say "dunno" or "wanna" instead of "don't know" or "want to," because we're lazy and just wanna (ha) get the words out. Unless we really want to emphasize that we "do not want to do this." Things like that ya know? Just like. Write the words as we actually say them and not how they're "meant" to be said.

22. What role does humor play in your writing? Do you enjoy adding comedic elements to your fics?

Sometimes it serves as a break from angst and tension so that things don't get stale. (See, the reason ppl think the original Teen Titans cartoon was more serious than it was was BECAUSE of all the comedy to make the more serious moments hit harder.) The first (non prologue) chapter of L2C starts very.. almost parody-ish? Where characters are very self aware of "wow zombie apocalypse, who would've thought" before suckerpunching you with character death in Chapter 3 to remind you that "yeah this isn't gonna be fun."

But without graffiti spread about locations and characters messing around with each other and contributing to The Human Condition, the dreariness and misery gets old and you need some kind of respite.

—Left 2 Chill // Chapter 26

Other times it's to show/strengthen the relationship between characters. This particular ✨️flashback✨️ also serves to emphasize that Jeremy 1. hasn't been the same since before Michael kicked it, and 2. really isn't trying to bond with his team in the way he did with Michael.

—Left 2 Chill // Chapter 26

With Jake in particular, a common catalyst for humor for me, it shows how he uses humor both to distract from the horrors that come with living in the apocalypse and to seek out approval from those around him. I mean, what better way to get someone to like you than to make them laugh?

—Left 2 Chill // Chapter 17

(Note: the braille remark was made by Jared, but like the drinking joke, the "error" of associating braille with Deaf people and drinking with pregnancy shows that the person making the joke that has to know that what they're saying isn't accurate or absolutely is not advice that should be followed. Jake isn't actually dumb. You have to know the correct answers on a test in order to get every single true/false question wrong. Hi spiderverse reference.)

So short answer. Love incorporating humor for a multitude of reasons.

27. What two (or more) fandoms would you like to see a crossover for? Would you ever write it?

I mean there are about a million different BMC/DEH crossovers under the sun, and I'm a firm believer in Heathers taking place on the same timeline (1989 vs. 2010s, putting Heathers teens in their 40s). And I've already made the L4D au that consumed my mind in the infancy of the pandemic, sooo...

I don't know!! I don't really know what other characters I want to have meet each other. (Sure the L2C crew didn't meet any Survivors from the source material, but they sure as hell met their specific brand of Infected.)

[piko-power]

This sucks.

First animators and the animation industry, and now this.

The writers and the writing community are getting pushed aside all for some phoney baloney next generation of mankind.

The animators and animation were treated like a joke for so long all because some Oscar winning bitches thought it was for kids, even though it really isn't. It's for everyone. And it's been like that since literally forever.

Hell, even some movies and shows made for a younger audience like My Little Pony have huge praise, love and support from human beings of all ages.

Don't pretend shows like Futurama, Primal, Bob's Burgers, Inside Job, ect. don't exist because their animated. If done right, an animated show for adults can be outstanding. Sadly, there are some that are kind of try-hards (Swearing and sexual jokes every ten seconds or whatever) that is just becomes a mediocre, or worse, terrible show, that it might just prove someone's dumbass theory that animation is for kids and kids only.

Again, not fucking true.

My two favorite animated shows, both targeted at different audiences, are DuckTales and Futurama. I love their characters, the stories, the comedy, the drama, the music, but I especially love the animation.

DuckTales may have been made for a TV-Y7 audience, but the people who worked on it made it for anyone to enjoy, wether it's kids, adults, or fans of the original DuckTales show. It was made for ANYONE.

Just like every other "kids" show, anyone is allowed to enjoy it and scream their heads off over the coolest and craziest thing they ever seen on Gravity Falls or cry tears of joy when Luz and Amity are together in The Owl House.

Also, animators are fucking awesome and talented and even though it is hard work, it's what they love doing and it's what brings our favorite shows and movies to life.

Every day I think about any movie or show that has 3D animation, 2D animation, stop-motion, ect. and just go "Damn, that was the coolest thing I've ever seen in my life." Even though it was only, like, five seconds of animation of Sonic blinking and smiling.

Animation and animators deserve lots of support and love every day because of these great shows and movies.

But do you know who else made these shows and movies happen? Another group of talented humans that made them to begin with? That no media can live without?

Writers.

If you're gonna make something come to life in the wonderful world of animation, you gotta write and story.

Figure out the characters and what should happen in the third act.

Keep track of the story as the show goes on and write down the funniest one-liners Dewey had ever said.

You can't have literally any animated media without writers. No. Not just animated media. EVERY. SINGLE. MOVIE, OR, OR VIDEO GAME, THAT HAS EVER EXISTED.

These guys? Right here? Mean the whole world to me.

Even if it's fanfic writers, they are so goddamn amazing.

They are responsible for your favorite franchises. I can tell you right now that the world would be gone to shit without writers.

I write stories as well and let me tell you, it's also hard work, but dammnit I love it.

Writers and the writing community are one of a kind and they are extremely important. And just like animators, they are talented and love what they do.

But despite all of that, H*llywood has other ideas.

Ideas that should never light up even the cheapest of light bulbs.

Mother. Fucking. AI.

AI, also known as Artificial Intelligence (Doubt they have any tho) are the scum of the earth. For some time it was used for art, writing and even used for cartoon voices.

By the way, that's fucking theft.

There are literally real human beings who can draw for you, write for you, voice act for you, (By the way voice actors are also my whole world and I would be nothing without them) but you'd rather choose AI to do all of that for you??

I AM APPALLED.

Why would we even use AI at all when human beings, with a mouth, a brain and hands are RIGHT HERE?!?!

I DON'T CARE IF IT'S QUICK AND EASY THAT IS THEFT AND YOU KNOW IT!

YOU ARE TAKING AWAY A HUMAN'S TALENT'S OPPORTUNITY TO SHINE JUST FOR A STUPID ROBOT!

AND REPLACING REAL ARISTS AND WRITERS AND ACTORS TOO!

Also, some AI voice memes (Sonic btw) almost got an voice actor in trouble for something THEY HAVE NEVER SAID. Yeah. A robot almost got someone in trouble. That is really bad.

AI art and writing and theft and straight up plagiarism. And AI voices are theft as well. Imagine using an AI voice of someone who passed?

Do you know how fucking awful that sounds??

Yet today, people are still using this trash and worst of all, Hollywood is in on it too.

That is absolutely insulting and hateful towards artists and writers of all kinds.

I thought we were done treating talented humans with a heart like shit.

I thought we were done.

I thought we were fucking done.

I am tired of amazing artists and writers, especially writers, being pushed to the ground and being replaced with AI. I wish artists and writers don't have to suffer like this. They deserve better.

They deserve so much love right now.

These awesome people have no right to be treated like this. They are people too. They have feelings, and you are hurting them. Saying your using AI to write is literally saying that the writers are useless and you don't need them anymore.

You made them believe that.

That's why their on fucking strike.

Writers want justice. Writers want goddamn justice and you're not giving them that, all because you think AI is the short cut.

You can't even do anything now that their on strike, but the worst part? I have a feeling you're gonna keep using it anyway after this is all over.

Is that right? Do you still wanna be a piece of shit to these real talented creators, after all these messages we kept shoving down your throats?

I know I sound harsh but sometimes raising my voice is the only way for you to listen. But I know damn well your gonna keep ignoring me, ignoring us, so we're gonna raise our voices higher.

I wish AI never existed so that way these wonderful artists, animators, writers and voice actors would never be forgotten. I don't want them to be forgotten.

I mean it when I say they changed my life.

When I was a kid, I watched all of the bonus material from the movies I've seen. All of the movies. Something about watching all these behind the scene footages from artists and actor just makes me so happy.

All these people made all of our favorite movies and shows, even though it took them a long time to make, but they were having a blast making them. They wanted to make something special for the audiences, and they never stopped.

Especially when I watch interviews and I just have this fuzzy feeling that working on a movie or show in any role is such an amazing feeling. It inspires me to write to begin with.

I love hearing people's thoughts on the media they worked on and how it made them feel to see audiences loving the thing they were involved in. Makes me emotional every time.

In fact, there's one person who I absolutely adored for a few years and loved his works from beginning to end.

His name is Ben Schwartz.

Not only he's an actor but he's also a writer. He is so funny and sweet and just an amazing person. He is incredible and talented and always got that smile on his face.

He's the spirit of optimism in my opinion. He inspired me the most. To keep going.

And also? He's on strike too!

He is a writer so of course he's on strike and I am forever proud of him.

I am also proud of everyone who is on strike right now.

To the animators, writers and actors everywhere: Never stop fighting.

Even when the strike is over, for the love of God don't stop fighting.

You guys are kicking ass right now and you are making your voice heard, loud and proud.

I am so, so proud of all of you!

You deserve all the support, respect and love for the rest of your life for what you are doing!

Never stop doing what you love and keep going!

You got this!

To all the writers, animators and voice actors out there fighting for their voice: You are not alone and we love you!

✊NEVER STOP FIGHTING!! ✊

[lunarsilkscreen]

Talking Shit about Dave Chappelle

[It's like if the news said "man shot in face by large rabbit" and NOBODY thought to say it was a "Bugs Bunny" cartoon.]

This was gonna be short, but this is the Crux of nearly all discourse today. Chapelle says it like: understanding deep and nuanced pop culture references about an ancient cartoon is just common sense these days.

That's kind of a problem with virtually every news outlet too. The jokes and the news aren't clear cut. Even on the mainstream news outlets! And it's incredibly hard to remember every single pop culture references about every single movie, cartoon, or Tik Tok meme you've ever seen, AND keep them separate from the ones referencing real life!

Dave speaks a lotta depth, but what truth he does speak is one that is hard to grasp without his perspective. He's an artist, talking explicitly about his art, and how none of it is serious. [Even the serious parts and commentary he's trying to make]

And his frustrations about how the students don't grade him on his art instead of what they think he means. Which, if you meet enough parents that understand the world the way those kids do, you'd understand their fears and frustrations.

I think, there's a proper middle path there of misunderstanding. The naivety of those kids, but the naivety of Dave Chappelle too. He's used to a lot of people raining down...

Well, actually, I dunno what Dave Chappelle is used to. He hasn't said it in any of his works. That core piece that frames how he is presenting his infotainment. Much of which, I don't have the same social culture to understand. But neither do those kids.

I understand a bit, older comedians I've never been able to see do their work, but I've heard bits of old tapes. Cartoons. That punch drunk clown stance he does.

People in the digital age, we can look up almost any kind of modern art, stand-up, shows, and connect the references and layers. But what's missing here, and this isn't Chapelle's fault. It's a failure to adapt old and lost content online.

Those old shows he's referencing and layering.

Like the missing Dr. Whomst episodes that were destroyed in a flood, not a lotta people will get the references going forward.

But the things that survive on line, that are allowed to be redundant. Those things will live a long long time. Unlike those things being held in Copyright prison, things that never made it online, or behind a non-redundant paywall.

How I see it; and how most millennials do:

It's part of the larger, overarching communication that happens between groups and cultures. Especially across language barriers. And the ability to continue that conversation is starting to be locked behind a paywall.

That which gets lost when we're not allowed to move our public libraries to the new format. The places where everybody can access them. And the worry about what happens when nobody can.

[etakeh]

After listening to this two-parter on Dr Dobson, I realize that I, and my kid, kind of dodged some bullets.

I'm at a particular age where I was a small child in the early Dobson years, and had a small child in the late 90s, when things got really rolling for him.

This is going to be long, but I'm feeling some things. Feel free to skip my commentary and go listen to the podcast, I won't be offended. I do think it's worth listening to, especially since Garrison Davis is the guest, who has a personal connection to the "gay conversion" stuff from the second episode.

If you want my personal feelings on the thing, read on.

My dad was religious, after a lapse of two wives between his religious parents and his current wife. They were the type of Christians where...well like this.

I grew up with my mom, visiting dad on holidays. The one time I spent actual Christmas day with his new family, he sat me down and asked me if I knew what "the true meaning of Christmas is".

I was maybe 12. Not exactly the age where I could have avoided this knowledge, but he (I'm sure at the prompting of his new wife) assumed I didn't know. That I hadn't been exposed to that information, somehow.

If he'd been a better father, he'd know that I went to church with my great-grandparents, that I'd gone to Sunday school and Christian day camps. I mean not because my mom was particularly religious, but it was a free babysitter for a woman raising three kids with, you know, no father. In fact, when she talked about god, she was angry. "Why does god let babies die" etc.

anyway. They assumed it was ignorance that kept me from being a full-blown Christian. There's no way I could have heard The Word and not want to be actively Jesusing.

So, I have anecdotal evidence that I was a "strong-willed child". I have recently found letters from my mom, to my dad, detailing how "out of control" I was. Begging him to play a more active roll in my upbringing. or maybe just visiting every now and then.

I was kindygarden/1st grade when this book came out.

Not having had my dad take an active part in my childhood, I didn't have this "parenting advice" visited upon me. Thanks? I guess?

Fast-forward to the late 90s, and I am a single parent with a "strong-willed child" of the kindygarden/1st grade age. I now lived, by a long string of situations, not far from my dad and his not-so-new wife. It's nice, they are remarkably good grandparents. She did all the grandma things, baking and crafts and reading to my kid. My dad let my kid tromp around with him around the property, played video games with them, and built a pretty badass playhouse for the two grandkids.

But they kept trying to sneak in religion. He'd get them a new video game that was cartoon Christian history, she'd read a fun illustrated book of bible stories. That kind of thing.

And they both started suggesting I took these parenting classes that were being given at a local gathering place. I wasn't super smart about it, but when they gave me a flyer and it mentioned "Focus on the Family" I absolutely struck it down. I didn't say that was why, I just let it slide til they stopped asking me. They didn't want to push and stop letting them see my kid, and I didn't want my kid to lose the legitimately good time she had with them.

And now I'm listening to this podcast.

I sent my kid this message after the first part

I was fully joking. My kid is not neurotypical, so the kinds of "discipline" they were promoting would absolutely not have worked. And if it had, it would have fucked my kid up. like it probably did to a lot of kids.

Then I listen to the second part. that gets heavily into gay conversion therapy.

And send my kid this

cause you know what? my kid is queer. It wasn't a recognized thing when they were kindygarden aged, and I'd like to think I wouldn't have gotten overly influenced by this program, but I'm sitting here thinking, What if I had?

What if I'd decided to run with it. How fucked up would that be.

There's a chance my kid would have gotten sucked in as well. and/or that we ended up having a falling out because of it. and/or that my kid could have ended up dead.

It's honestly kind of terrifying.

So I guess thanks mom for being so angry at god, and thanks to dad for being so annoying about god. Between the two of you, it worked out.

and to my kid, You're welcome . Where's my prize.

[ask-salty]

In the year 1999, William Afton, a bright and cheery man who loves to tinker, and Henry Emily, a more quiet and reserved man who specializes in planning, meet as both are working at a pizzeria, the name of which escapes me (Chuck Cheese or something?). Joking about the quality of the restaurant with the performers wearing big heavy suits, the duo come up with the idea of their own pizzeria, run by animatronics which would blow any other family diner out of the water. The two would go on to spend the next 20 years coming up with concepts, investing, and designing a type of animatronic suit with springlock technology, allowing a performer to use the suit while simultaneously having an option to switch to an automated animatronic mode to perform. In 2019, Fredbear’s Family Diner opens, becoming a massive success. And with this, our story begins.

Business is now booming! It was so genius! How had no one ever thought of something like this before? The diner stars two characters, Springbonnie and Fredbear, which would be occupied by William and Henry respectively, when not performing automatically. William and Henry make plenty of money, choosing to save for future endeavors and ideas, hoping to expand the company into a truly special business. Using a small portion of the money, the two work together with William’s wife, Daisy, hiring a team of artists and animators to create their own cartoon to play inside of the diner. Freddy and Friends, which premiered in 2022 was, of course, a massive hit. And with plans for new characters, new locations, new projects, the future couldn’t be brighter for Afton and Emily.

A few months after the business has grown, William hides away in his workshop after a stage performance, attempting to fix an issue with his Springbonnie suit. A broken air conditioning system leads to water leaking into the workshop and dripping onto the suit while William wears it. This causes the suit’s gears to slip out of place, and spring shut upon him, viciously trapping Afton inside. With most of the customers already cleared out for the day, William’s screams of pain go mostly unheard. Mostly. His son, Ryan (Crying Child), hears his dad’s fearful plea from a nearby room, a genuine cry for help he’s never heard before. Ryan flees the restaurant, tears in his eyes and echoing screams in his mind. When Henry comes to clock in for his nightshift, he opens the door to William’s workshop. A bloody mutilated mess is on the floor, stuffed inside the Springbonnie suit.

He couldn’t call the police, as the springlock technology was kept under cover for its potential harmful nature, and the company could be destroyed if it were to go public that someone died at Fredbear’s. Especially with experimental technology being used in the vicinity of children. Henry consults the advisors of Fazbear Entertainment, to which they respond with intent to cover up William’s death. They planned to avoid discussion about Afton’s disappearance, distracting the public with the opening of a new location they called Freddy Fazbear’s Pizza. Fredbear’s Family Diner would close down, sealing William deep inside to prevent anyone ever knowing his true fate. If Henry decided to go public with any sort of information on William, the company would make sure he would find himself in so much legal trouble, he’d wish he was the one who got springlocked.

Days pass. Then weeks. Then months. In early 2023, Afton finally arises from his grave, like a zombie ready to take on the night. William was forced to listen to every single plan to cover up his demise made right in front of him, yet unable to barely mutter even a single groan. The constant buildup of rage, spite, revenge and even a strong sense of frustration bubbling up inside of him gives him the strength to reawaken in his mechanical tomb. Betrayal has changed this once kind and gentle man to a torchbearer of fury, ready to spread the flames of his wrath on the man that wronged him: Henry.

He slowly makes his way around the ruins of his life’s work, wandering the remains of Fredbear’s Family Diner night after night. After initially emerging from his resting place, William notices a night guard hired to watch over this place. Fazbear Entertainment had done so to ensure no one would learn anything about Afton’s fate as Freddy Fazbear’s Pizza was being built. After about a week of escape attempts, William finally makes his way out of the rubble, ready to find Henry and get his revenge. For fear of losing his own job, the night guard decides to remain silent about William, since the job was easy and paid well; he'd be crazy to give that up. Regardless, William Afton may have survived the springlock slip, but that man was dead. Springtrap was now born, wandering the town to hunt Henry down. Henry is told about the Springbonnie suit appearing in an old friend's garage, meaning William was still alive and out there, most likely looking for him, so he goes into isolation in hopes to never confront his greatest mistake.

Around the Fall of 2023, Freddy Fazbear’s Pizza is getting ready to open. Just a few more weeks and the new location is ready to go! Something is stirring late at night, however. Ryan is awoken in the dead of the night, to a midnight blue figure with short bear-like ears: Shadow Freddy, a manifestation of Henry’s regret and sorrow. It guides him through the forest, away from his home. He can hear Henry’s whispers coming from the shadow, a somewhat comforting voice as Henry did his best to help Daisy after William’s disappearance, before he himself disappeared as well. The colors shift and turn, leading him to what remains of Fredbear’s. Ryan finds his father’s workshop, a mix of blood and rubble across the floor as it trails away into the depths of the forest. His dad may still be out there.

Ryan rushes home to confide in his older brother Micheal, telling him what he found. Micheal then tells Ryan about his own suspicions of his father being alive, with reports of a crazed man mentioning a yellow bunny-like monster lurking around town. With Ryan’s discovery, Micheal decides to begin his search for his father, starting at the new Freddy Fazbear’s Pizza location just about to open up. He starts his work there as a night guard, making repairs, organizing supplies, and getting everything ready for the grand opening of the location. Staying up late and working tirelessly takes its toll on Micheal mentally, yet he still manages to record any findings and notes in a notebook he always kept by his side.

By the end of the week, after not finding a single lead to where his father may be, one of the new animatronics, the puppet, appears to start malfunctioning. It jumps at Micheal, delivering a swift headbutt to his face that knocks him clean out. After waking up, he’s fired for allegedly “tampering with the animatronics” before being sent to the hospital to recover. Micheal would make one last entry in his notebook, explaining what happened to him before the next day, entering a deep comatose state with his head injury.

Years pass as Micheal remains hospitalized. He’s forced to have nightmares of what he saw working so late to open Freddy’s. Vicious and twisted versions of the animatronics he worked with tormenting him each night from his own bedroom, trying his best to keep them at bay. His sister, Elizabeth, made an effort to stay with Micheal as much as she could during his stay. Between her own job and watching over Micheal, she would do her own research to find more about their father. Elizabeth learns about Henry’s lack of public appearance since Freddy’s opened up to the public, as his daughter, Charlotte, asks for her to find him as well. To everyone involved, the mystery behind their father’s disappearances as the Fazbear name continues to grow does nothing but wrought concern amidst the families.

Elizabeth reads through Micheal’s notes, taking particular interest in the puppet’s apparent attack on him. In 2027, Micheal finally wakes up from his coma, barely able to move or speak, but this sparked something in Elizabeth. She needed to learn more. She needed to ask Henry everything. She needed to find her father. Micheal, Charlotte, Ryan, and her mother were all counting on her. With Fazbear Entertainment’s success, business horizons expand and a new Fazbear branded location opens up based on the characters of the Freddy and Friends show, dubbed Freddy and Friends’ Toony Treats. Hoping to find more information, Elizabeth decides to start her investigation here.

Slowly making her way through files and databases each night as the animatronics come to life somehow, Elizabeth discovers blueprints for a security system based on a criminal database implemented in location’s animatronics. The puppet of Freddy Fazbear’s Pizza also seemed to have a prototype version of said security system. However, something caught her eye. Amidst the other criminals registered in the database were each of the members of the Afton family, for some odd reason. Someone wanted to keep the Aftons away from Fazbear Entertainment. This would explain why the animatronics came to life to chase Elizabeth, yet no one else seemed to ever experience something like it. It would also explain why Micheal was attacked by the puppet in his initial attempt to search Freddy’s.

But of course, this wasn’t enough. Elizabeth poked around for a few days more after her first week, learning of yet another location branded by Fazbear Entertainment, an arcade, named Freddy’s Fun Zone. Peering into the blueprints for this new location revealed more advanced security systems within the animatronics and a facility stretching deep within the Earth. Higher security than any previous location combined piqued Elizabeth’s interests, figuring they must be hiding something that could aid in her search. The next day, the higher ups of Freddy and Friend’s Toony Treats look back on the security cam footage to see the animatronics moving around at night, suspecting Elizabeth had tampered with the animatronics to get them to do so, and she was promptly fired.

2028 rolls in, and Henry locks himself deep within the reaches of Freddy’s Fun Zone, in hopes to continue isolating himself from as many people as possible. He refuses to meet with any of the Afton family, and has done so for years now with barely any human interaction. Using his descent into madness from isolation, the manifestation of William’s rage and anger, Shadow Bonnie takes form to torment Henry, with visions of his creations coming after him night after night. When the location is finally complete, Elizabeth begins her work as a technician at Freddy’s Fun Zone.

Each night, she travels deeper and deeper into the facility’s depths, the animatronics getting more determined to detain her with each passing night of the week. With the final day, Elizabeth makes it to Henry’s office, knocking on his door. Suddenly, metallic arms reach from behind her, restraining Elizabeth as the animatronics force her out of the Fun Zone as she screams and struggles for Henry. Her plea rang out in Henry’s head, knowing he had to do something and stop running, lest he wanted to lead a life of torment for the rest of his days. It was time for Henry to take a stand.

Elizabeth keeps attempting to make contact with Henry but with her name and face registered in the Fazbear no-hire list, she couldn’t come anywhere near him. By 2029, Henry announces a celebration of Fredbear’s, 10 years after the original diner opened. He decides to rebuild the original location to celebrate and create Freddy’s Pizza Palace, with all of the previous themes of other locations being combined into one. Henry, of course, asks for help with this in terms of designing and constructing, in hopes to get Micheal and Elizabeth to work here. Additionally, he mentions a grand public appearance for the event after so long of being hidden from the public eye, knowing this will certainly get the attention of William as well. With Micheal finally fully recovered, both him and Elizabeth choose to work here to finally meet with Henry and ask him everything they can about their father. Henry would secretly remove Elizabeth off the no-hire list beforehand so she could be there for Henry’s final plan. Micheal would spend the day shifts planning the construction of the Pizza Palace and Elizabeth would watch over the location at night, ordering supplies and organizing materials for Micheal to use while the animatronics, still equipped with the security systems, attempted to hunt her down.

A remnant of Fazbear past is found by one of the Fazbear Entertainment higher ups, as the original Springbonnie suit was found to be salvaged and set on display in the Pizza Palace. With this, Springtrap is let into the developing Pizza Palace, viciously scouring the insides to find Henry. On Friday, just as Elizabeth ends her shift and Micheal would begin his, a voice can be heard on the intercom: Henry’s. He first apologizes to William, explaining how he was forced to keep quiet about the demise of his closest friend and his right hand man. He didn’t want to lose everything the two of them worked so hard to build. He tried to cling so hard to the Fazbear company since he couldn’t face William’s family after what he did. The company was all he had left of William. But of course, this wasn’t enough. Henry was sorry, but he didn’t expect forgiveness from William. He announces to everyone listening to his plan to end Freddy’s, mentioning he fed Elizabeth false information about the conditions of the boiler so she would unknowingly ready it to explode after Henry’s final words. It was time for William to rest his soul and it was time for Henry to get what he deserved. He leaves Micheal and Elizabeth the chance to either die with the two founders or go on to live the rest of their lives. The two say their final goodbye to their father and to Henry, leaving the burning shambles and escaping to safety. With the smell of burning ash and final resolutions, Freddy Fazbear’s Pizza has come to an end.

Mack do u have any idea what any of this means

As you spoke, Mack quickly took out a notebook and jotted down every single word.

���Why, of course I know what it all means! It’s most of the Five Nights at Freddy’s lore in one clear, concise document! I wonder who wrote it all? Where did you find this?”

[jupitermelichios]

8, 9, and 10 if you want to! :)

8) a character you think did nothing wrong but fandom demonizes?

I know exactly enough about homestuck to know saying vriska here would be a funny joke, but not enough to actually know who she is or what she did or didn't do wrong, lmoa

Memes aside though, Scott McCall is innocent and I am prepared to defend him in court if necessary.

I do get why fandom didn't latch onto him the way they did other teen wolf characters, he's the platonic ideal of a highschool boyfriend and that's not the kind of character that usually appeals to people Doing A Fandom, but people hate him So Much, and I don't get it. He's just a little guy, he's a little birthday boy. Why are you hitting him when it's his birthday?

I especially don't get the 'Scott is a bad friend' take that's so common it has a canon AO3 tag. Him and Stiles have a pretty unhealthy co-dependant friendship, absolutely, but it's very much mutual, and Scott is just as ride or die for Stiles as Stiles is for him. They're just a couple of weird little guys who have had no one else to talk to but one another for years, and have ended up with a freaky psychosexual mess of a friendship, we've all been there.

(also 90% of all female characters from kids cartoons, but that's a wider issue than just fandom taking a dislike to a character. the fact that there are people who think mable pines committed any crime worse than 'having the emotional maturity of a 12 year old while being literally 12 years old' is baffling and terrifying in equal measure)

9) a character that did a lot of things wrong in canon that you think fandom woobifies?

Loki, obviously. I've done my time in the MCU fic trenches, and oh boy some of the Loki takes I've seen...

Stiles Stilinski, the counterpart to the demonisation of Scott. They are basically the exact same level of problematic in a very believable teenage way in canon, but in fanon Scott becomes a monster and Stiles becomes a woobie.

Every single member of the Batfamily, but most of all, Alfred Pennyworth. He's a fun character and an excellent valet, and he loves Bruce and the kids, but my god was he a shit parent. How does anyone look at Bruce Wayne and conclude Alfred was a good parent? It baffles me. 'I raised master bruce'. you ruined a perfectly good orphan is what you did. look at it. it's got anxiety.

(There is one exception to this, and that is the Alfred from the Gotham TV show, who has done nothing wrong in his life ever, and does stuff like hug Bruce, and tell him that he loves him, and actually talk to him about his trauma. 100/10, best Alfred, don't @ me)

But the big one, the one that will result in me just blocking people so I don't have to see their takes on my dash, is John Constantine. And this isn't fully fandom's fault, recent DC TV and animated movies absolutely also do this, but the result is just this horrible oroborous of bad takes as TV writers who think they're too smart for comics inform the opinions of fans who don't want to engage with moral ambiguity, and then the writers respond to what those fans enjoy by making him even more toothless, and around and around it goes until you get this character who is utterly unrecognisable as John, and cruicially, feels fictional, which is the absolute worst thing a version of John can be. If the fact that multiple Hellblazer writers have reported meeting him irl doesn't feel at least a little bit plausible, that's not John.

(and if this is your first time hearing about that, yes multiple otherwise apparently sane writers of a vertigo comic book have claimed to have met the character they created in real life, and the fandom just accepts that as a canon part of his mythos. comics are wild.)

10) what is your favorite “problematic” fandom?

I guess it depends how you define problematic.

I made the decision not to engage with it anymore when jkr lost her mind, and also because I just lost interest and moved on to other fandoms as I got older, but I'm not going to pretend I didn't have a lot of fun in the harry potter fandom when I was a teenager. It was my first real fandom, and I'll always have some nostalgia for it for being my gateway drug into this community, despite everything.

The Fannibals are some of the most talented and creative people in fandom, the art and fic for Hannibal is absolutely incredible, definitely the highest average standard of fic I've encountered in a fandom. Plus it's nice to have a fandom where you know people are capable of engaging critically with dark content. I won't say there are no antis in the fandom, they seem to turn up everywhere these days, but they're easily drowned out by the people who actually remember stuff like SLS and YKINMKATO

I have a weird soft spot for Twilight, something about it just hits the so bad it's good groove in my brain just right, and the recent twilight renaisance has been very fun to watch, but I haven't really engaged with the fandom all that much beyond reblogging some memes (and writing an 8,000 word not!fic about how much better twilight would be if bella swan was polyamorous that one time)

And despite the whole ackles tapes conspiracy theory, and the prevelance of tinhatting, and the dumb shipwars, I'll always have a special place in my heart for the supernatural fandom. it's a fucked up place to live, but I had a lot of fun there, and i still visit on occaision.

[optimisticsaladalpaca]

"if Helluva Boss didn't have swear words and sex jokes it wouldn't be an 'adult cartoon'" you do realize you can make a western project without including profanity and sex jokes, right? If you honestly think that if you don't put literal sex jokes and swears into an adult show, then it wouldn't be one...? For fucks sake, you can make a western cartoon without that stuff literally. I don't mind a little bit of sex jokes and cursing in adult shows, but when it's in every scene, every episode, especially emotional moments that ruin the impact, then you know something is up. This show is trying way too hard to act like it's for adults and that it's so called 'mature', when honestly it's middle school humor. Honestly, the kids would laugh at this show than adults would. Let's just be real. Blitzo sounds like a kid from middle school who just learned how to cuss after overhearing his mommy say it. It's got that edgy humor and I'm sitting in my chair thinking about how this kind of shit is even for adults in the first place. Not every western project needs SEX JOKES just to prove it's not for kids, people. Get that through your thick skull.

"I refuse to believe real adults don't find swear words and dick jokes funny, more than a teen-" trust me, babe. They don't. Middle school kids would understand helluva boss more than adults themselves. When the sex jokes are repeated over and over and over and over again, it could really get tiring. I wouldn't even blame a single adult if they were to watch helluva boss and find it shit and unfunny. Because it is.

HB crew/fans: HELLUVA BOSS IS FOR MATURE AUDIENCES, ITS AN ADULT SHOW AND ITS DEEP, IF YOU DON’T GET IT THEN YOU’RE JUST A DUMB PERSON WHO CAN’T CONSUME MATURE MEDIA! 😡

Helluva Boss:

[stagemanagerssaygo]

Heaven and Hell: or my experience being a person of color in Disney’s Hyperion Theater

by Cooper Howell

Heaven and Hell: or my experience being a person of color in Disney's Hyperion Theater. #holdingtheateraccountable Im just gonna go ahead and be straight up. This is pretty scary to share. HEAVEN: Once upon a time Liesl Tommy cast me as Prince Hans in Frozen: Live at the Hyperion. And I was gooped. GOOPED. There was nothing in my prior history that gave any indication this was possible. Up until then every role I played had to do with my race. Every. Single. One. And even ones where it didn’t (Shakespeare or classical pieces mostly) I was always made aware that the novelty of me being a poc in that role that gave me the part. So much did I not expect to get this part that when I got the callback I rolled my eyes and didn’t take the actual callback seriously. I mean, there was a zero percent chance that Disney would ever let me play a Prince, especially when the dude in the movie is a ginger. But then I got it. And immediately everything I thought was possible about my career changed. My whole life I’ve never inwardly felt black. I’ve never inwardly felt white. I’ve always felt like I was Cooper, you know, on the inside. But whether it was every single white human in Utah reminding me that I was “the whitest person they ever knew/saw” (which DIDNT mean how white my skin was. It was how white I ACTED) or Mr. Johnson, my 7th grade drama teacher, telling me that he “wanted to put Velcro on the ceiling to see if I’d stick” or Mr. Smith, my high school drama teacher, saying “finally we can do black shows” as soon as I entered high school and then not casting me in roles because of the "optics" of it, or even my best friend in high school Tanner Harmon who called me "blackie", I was always reminded that I was an other. So imagine getting paid good money to put on that $10,000 costume and waltzing out to 4000 people a day to play a really amazing part. A fantastic, evil, complicated, person who sings a killer duet and then grabs the show by the throat with a vicious about-face monologue... and not once was my race ever mentioned cuz it didnt matter. What was being prized was Cooper, my talent, not my skin color that I never asked for. Heaven. Liesl MADE SURE, almost overly sure, that the poc’s in the cast felt equal. The kingdom of Arendelle, after all, is a make believe place. It can be whatever. From having Disney executives come and tell us that they were happy to have us there, to side conversations with John Lasseter, we were made to feel overly welcome playing the parts we were playing. She encouraged us to dive deeper into the script of a cartoon that I didnt really think much of until I was in it. We were encouraged to ask why. We felt seen as talent and not commodities. There were, of course, detractors. Gosh, I remember people at a party of cast members from "Mickey and the Magical Map" another show at Disneyland which features a princess and the frog number and many of those casts mates angrily claiming that “if that black girl Tiana Okoye can play Elsa than I should be able to play Princess Tiana” and then looking at me to confirm that was okay to say, not realizing that a) she’s one of my best friends, b) that I’m in the show with her also playing a role that wasn't created to be a poc, c) how racist that sounded, and d) why there's a difference there and why that wouldn't make sense. On Liesls final night I came up to her and said “I don’t know why you did it but thank you so much for casting ME in this part” to which she replied “you mean why would I cast a handsome, talented person in this role?” And I stuttered something like “well, I mean, I’m black. You know...” to which she tilted her head to her side and said “no. I don’t know why. Tell me why that matters.” And I had no answer. Seeing that I had no answer she smiled. That was the answer. There was no reason. On the spot my outlook about myself changed. Windows into what I thought was possible for me opened. -------------------------------------- HELL: And then Liesl went back to NYC and she was replaced by a man named Roger Castellano as show director. Rogers task, he told us on the first day, was to "change the show". We were not told what needed to be changed or even why, but that changes were on the horizon. You've got to understand: to a full cast of actors who had just spent more than three months dissecting a 60 page Disney script with a Tony nominated director like it was Shakespeare, we were initially emotionally/mentally/spiritually resistant to changes. But then it became clear that the spirit of collaboration was over, and the show changes were to be given without the same care, consideration, and thematic explanation of why they were being made. Everyones initial reaction was to push back, but when people who questioned their notes or their changes started getting days removed their schedule or being replaced entirely by a new actor, the Hyperion theater became a place where no one was allowed to speak out. Injustices were happening left and right and no one felt they could do anything for fear of losing their livelihood. And that's when the Frozen: Live at the Hyperion became a living hell. In my first note session with Roger he pulled me into a room with Domonique Paton, my best friend and incredible costar who played princess Anna in the show I was in. She just so happens to also be black. Almost all of Prince Hans’s scenes in the show are with her character and so most of my notes would be primarily based on those interactions with her. Earlier in the day I performed with a different (white) actress but it was the show with Domonique that I had a note session about. Imagine my surprise and dismay when, with how Liesl set up the show experience, we were told this: “WHEN THE TWO OF YOU PERFORM THE SHOW TOGETHER ITS TOO… URBAN.” Urban. What else could that have meant, do you think? He could have said maybe “too contemporary” emphasizing that we were maybe too modern in our speech patterns or movements. We weren’t. He could have said “too lax” or “too loose” meaning that maybe we were being unprofessional and goofy up there because we’re really good friends. We were not. The best me and Ms. Paton could think of was a 8 count moment of improv dance that me and Domonique decided to use as a synchronized moment of unity. It happened to fall on the line “our mental synchronization can have but one explanation” and thought, with the freedom that Christopher (the original choreographer) had given us, was appropriate, especially considering everyone behind us was doing the robot. As in the 80s robot. But he didnt clarify. He just said “WHEN THE TWO OF YOU PERFORM THE SHOW TOGETHER IT’S TOO… URBAN” And when asked what he meant he smiled with a little shrug and said "you can figure that out. You're smart." And thats how I became Black Hans and Domonique became Black Anna. My every moment onstage afterwards became about the optics of being a poc in that show. It was if I was suddenly made aware that I was LUCKY enough to be there and under any normal circumstances, or this new directors circumstances, me getting this part would have never happened. But the message was clear. It was especially clear when me and Domonique Paton shows together durastically decreased and made even more clear when the vast majority of the new hires were not people of color. But no one said anything. And made even MORE clear when, over the next few weeks, both Domonique and I got COPIOUS notes, ten times that of our coworkers that played the same parts. It was almost a game. In fact we did turn it into a game, seeing who would get the least amount of notes from him in a day. Our costars would even joke about it onstage with us, during the ballroom scene, and jokingly whisper "The shows been up 15 minutes. How many do you think you got today?" But no one said anything. And the notes were about all kinds of things. How we held our hand. If our inflections went up or down on a word. Which side of a couch we leaned on… which was fine! When you're an actor, thats the gig... until we started comparing our notes with the actors that played our same parts and none of them, NONE, would get the same notes. Our notes would be outrageously longer, the note sessions sometimes lasting 10/15 minutes. Others would get the “Oh hey, try doing this or that next time, okay bye” walk-by notes. Sometimes I would sneak into the audience and watch as some of the other Han's, some of whom changed lines, changed entire intentions of scenes, some of whom adding in all types of vocalizations and cackles and dance moves and what have you, and would receive ZERO notes. But I was watching them to see what was wrong with me. What was my performance missing? What am I actually doing to feel this singled out. And then I realized that the thing that was wrong with me was that I was a different color than the 5 other white Hans's they cast. And then I started getting notes about my penis. Most of the time these “penis sessions”, as I called them, were given in private rooms without another stage manager present. It was incredibly unpleasant and unprofessional. In fairness, those Prince Hans pants are TIGHT! And yes, Mr. Howell is indeed a party in the front and a party in the back, but so were a lot of those fellas. And thats where I put my foot down. If Disney was going to provide me with a costume it is not my responsibility to fix their problem, especially when other of my (white) costars had been given a dance belt for the same thing. But they never got penis notes. Private session notes about what their penis looked like in that show. Over and over again I was told to fix it, to not make it (my dick) so apparent, and that “if my daughter were younger I wouldn’t want her to come to a show you were performing at" all the more insulting considering his daughter, a cast member in the show, was a friend of mine and the loveliest person. He started demanding that I buy a dance belt. It was “my fault”, “my responsibility” …and thats where I took my stand. And then it really became hell. Penis sessions were now done out in the open. Once, he screamed at me, in the green room in front of all of my costars during lunch, about how incredible unprofessional I was, about how he was tired of seeing my dick, and that if I didnt go buy myself one I didnt deserve to be there anymore. Followed by a huge litany of notes. That doesnt compare to some of what Domonique went through and I invite her to share them if she’s willing. During this time I went to every stage manager in the building and told them about being singling out and about my penis. They all told me to write a complaint report and it would go to some place called "HR". Which I did. Numerously. More months passed. Nothing from "HR". Multiple cast members who witnessed my note sessions encouraged me to go to the HR themselves. I didnt honestly know what an HR was. As soon as it was explained to me by my allies even what an HR was I went to the head of HR at Disneyland herself and waited outside of her door. I asked her if she got any of my HR reports and she told me that she had received no HR reports from the Hyperion. Ever. And then asked me to fill out a HR form. As we went over it, she asked me some questions, and then set up a second meeting. On the second meeting she said that in order for my report to be given credence I would need witnesses to give their testimony. The witnesses, in fact the very people that told me to go to HR in the first place, said no. They didnt want to lose their jobs. In retrospect that might be the thing that hurt the most but, whatever... anyway, I was told "“well… without testimonies we’ll do an investigation and we’ll call you when we’ve completed it.” I never received a phone call. With absolutely zero protection from the stage managers from both the sexual harassment or my obvious racial targeting I (and others) were experiencing, not to mention that HR reports were doing nothing, aka not being forwarded, I thought about quitting. And when a white stage manager made a show mistake and laughed it off to the cast by saying an entirely offensive lynching joke, I quit. I didnt matter to Disney. How I felt and what I was being put through didnt matter. I was a commodity. My departure was unceremonious. Bizarre. 100% un-magical. I hung up my costume one last time and it was given to a new Hans, one who looked very much like me oddly, and stepped out of the theater. The park was playing “every wish your heart desires will come to you” and I remember laughing at how dead that song felt. The director has since moved on but still works as a musical theater director in Southern California. This one time 4 years ago I got to feel something other than my color for the first and only time in my professional career. It lasted from about March 2016 to July 2016 and never again since. I will never forget in those early days looking at all the beautiful princesses I got to woo and thinking “wow. I’m a prince right now.” Im sure that sounds stupid. But it didn't feel stupid. And a Disney prince! Yeah, a shitty prince kinda... I mean, he's a sociopath... BUT still a Prince! Especially special was being able to look in Dominique’s eyes and I could see the same glimmer of “can you believe we get to do this right now” reflected back. We never knew it was in the cards for us. My race always has and will always be part of my career equation and a determining factor of its projection. It will always be a determining factor in how im treated, by creatives, by people, by the those in authority over me, including the government and the police. #wasitmyskin

Copied in its entirety here from Cooper Howell’s public Facebook post: https://www.facebook.com/photo.php?fbid=10163696376095054&set=a.10151302685610054&type=3&theater

[hajimine]

Hey hey can i request for iwaizumi, kenma, akaashi and any other character you want to add that has s/o that love to do things for them? (I always see ppl writting the boys doing so much for s/o but i always love doing special things for mine like writting daily love letter, giving them flowers, present, e.t.c just showering them with love. I would love to see the boys reaction to them)

Btw I really love your posts it make me go ❤🦋❤🦋❤🦋❤🦋❤🦋❤🦋❤

➵ HAIKYUU BOYS WITH A S/O WHO LOVES DOING CUTE THINGS FOR THEM

characters: iwaizumi hajime, kozume kenma, akaashi keiji

type/genre: headcanons; fluff, again :>

a/n: hi babes! sorry this took me a while, i had lots of uni stuff going on but i hope you enjoyed this nonetheless! and tysm for your kind words it means so much aaaa <33 requesting rules

PLEASE REBLOG IF YOU ENJOYED! <3

IWAIZUMI HAJIME ➞ in his previous relationships, iwaizumi is usually the one who does cute things for his s/o. one might assume that he has absolutely no romantic bone in his body, but he actually is very affectionate, just in a different way than what’s deemed as conventional. when you come bearing a small bouquet of red roses for him on your 6-month anniversary, his face immediately matches the shade of the flowers. stupid, i’m supposed to be the one giving you roses, he’d grumble, cheeks still burning. but he would take the bouquet from your grasp and admire it for a little bit, before pulling you into a tight hug and kissing the crown of your head while murmuring a small thank you, babe, i love it. throughout the whole date, you can see his lips twitching into a smile as he glances over to the bouquet sitting beside him. never in a million years would he expect to be on the receiving end of this, and he’s so grateful for you because you were the first one to even bother doing this for him.

KOZUME KENMA ➞ you like leaving little post it notes around the house for him to find whenever he takes a break from gaming. the notes range from silly inside jokes you have with him, to sappy mini-love letters about the little things he does that made you fall in love with him. kenma would sometimes find one on the fridge door, one by his pillow, and another one on the back of his gaming chair. he wouldn’t outwardly show it, but he appreciates them so so much, especially after the fatigue of staring at a computer screen for hours sets in. it gives him a small boost of energy, in a way, and a small smile would grace his lips whenever he finds another one of your signature pink post-its around his apartment. he wouldn’t admit this (over my dead body, he says) but he keeps every single one of your notes in a shoebox under his desk. one of his favorite one, the one he keeps looking back to, is the one where you drew you and him as cartoon kittens.

AKAASHI KEIJI ➞ akaashi never really liked receiving gifts; he usually prefers to be the one giving them instead. he’s a simple guy, he doesn’t have a lot of things on his wish list, and he doesn’t want people to feel obligated to give him anything. so when you hand him a neatly wrapped box with a beige-colored ribbon around it, he refused to take it at first. but you insisted, and the glimmer in your eyes and the excited curl of your lips made him give in—after all, he has always found it hard to say no to you. he carefully unwrapped the gift and almost gasped when he saw what was inside. it was the limited hardcover copy of the book he’s been wanting to get his hand hands on (signed by the author, too!). he didn’t think you would even remember, as he only mentioned it to you once during your coffee date with him last month. there was a tender smile on his lips as he murmured a quiet thank you, my love and pressed a soft kiss on your forehead.

© HAJIMINE — all rights reserved. please do not repost, copy, translate, or claim any of my works as your own.