#ANYWAY. sorry that is just my thoughts and i thought that was the intention in the show but who knows

[no-144444]

wingman paul- c.leclerc

summary: charles leclerc takes a liking to you at your brothers movie premiere... paul makes it happen!

pairing: charles leclerc x fem! mescal! reader

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Did you want to go to the Gladiator 2 premiere? No, not really. Was Paul forcing you to anyways? Yes, very much so. 

Being his sister (and emotional support person), he always brought you on set, to premieres, and anywhere else. That was usually fine. The rest of his projects' premieres had either been in the Lighthouse (your favourite cinema in Dublin), or small enough that you wouldn’t get too overwhelmed. You were famous in your own right, following after your sister and writing music. You didn’t go on stage, but you’d garnered over 10 million listeners, and your album had just been nominated for a grammy, though you had no intention of going. It’s not that you were scared or shy, you were just entirely uninterested in going out in public as a ‘public figure’. It stressed you out, having people know who you are in such detail, so you just kept to yourself. You had no public social media accounts, you didn’t allow your label to post about you unless it was about the music, and you only let Paul or Nell drag you out in public for one of their events. You liked it that way, it was comfortable. 

“I’m going to go say hi to some people, you just wait here, yeah?” Paul explained as you two entered the theatre. It was huge, and every celebrity or influencer in the world must’ve been there. You nodded as he walked off and allowed yourself to fade into the background, people-watching as time passed. You noticed the beautiful architecture of the building, the way the celebrities around you mingled, the way-

“Hello.”

You whipped your head around, startled, only to be met with a face you knew quite well. “Jesus, Charles, you scared me,” you chuckled. He blushed slightly as you turned around properly to greet him. “Hi.”

“How are you?” he asked, joining you in your secluded corner. 

“I’m fine, thank you. How are you?” 

“I am very good,” he smiled, showing off his dimples. “I thought you didn’t like events.”

“I don’t, Paul just asked me to come,” you explained. “My mam would’ve killed me if I didn’t go, so here I am.” 

He nodded, understanding. “I tried to find you online, but… you are not a fan of that either?”

You chuckled. “No, not really. Sorry.” 

He shook his head. “No, it is ok. I just… wanted to talk more. You are very interesting to me,” he smiled. 

“Well, thank you for the glowing review,” you chuckled. “Are you enjoying the evening so far?”

“I am enjoying it a lot more with you here,” he smiled. “But yes, I only watched the first one a few days ago and I thought it was very good, so I am excited to see how this one compares.”

“You’re sure a charmer,” you chuckled. “I hope you enjoy the film. Where are you sitting?”

“Beside Carlos?” he shrugged, an awkward smile on his face. “Carlos knows, but I don’t know where Carlos is.”

You laughed. “Are you always this disorganised?”

“Only when I’m nervous,” he winked at you and the lights started going down, you just offered him to sit next to you, hoping that Nell wouldn’t mind. 

You two sat together, enjoying the movie as the night went on, and after you found yourselves at the bar, still chatting. He walked off to find Carlos at one point, looking back with a smile as he waved, promising to come back soon. 

“When are you going to realise he’s trying to flirt with you?” Paul laughed. Your face was bright red and your jaw dropped. 

You gently (roughly) hit his chest and scoffed. “Shut the fuck up. He is not.” 

Paul laughed. “He’s totally into you! Come on, go out with him, please! I want free tickets to Grand Prixs!” 

You rolled your eyes as he giggled, and then startled when you bumped straight back into Charles. “Fuck, sorry-” you started apologising but he just shook his head. 

“All good,” he smiled. 

Paul silently slipped away with a wink, and you were faced with Charles, once again. 

“Hi,” you breathed out. 

“Hi,” he chuckled, his dimples on full show. “He was right, you know.” 

“About what?” you questioned. 

“I am flirting with you-or, at least trying to,” he blushed slightly. 

“Oh,” you nodded, unsure what to do in a situation where someone was as brazen and blunt. “Right.”

He laughed. “Can I take you out sometime?”

You stared at him, total deer in headlights, then nodded. “Yeah, yeah, sounds grand. Thank you.”

You internally smacked yourself in the face for that. But he just laughed, unfazed by your awkward demeanour. 

“Great!” he smiled bashfully. “When are you free?”

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navigation for my blog :) (masterlist)

[stinkrat-aleks]

Only if you want to! but would love to hear your thoughts about telepaths/psionics bias within the in-universe mutant community. I've always liked seeing Erik's particular dilemma explored in fanworks since in the movies we got to see his relationship with different telepaths, but I always like seeing it explored more generally too. so I guess I was wondering if you'd explored/thought about these bits of canon too, and of course, no worries if not!

Hello!! Sorry it took me so long to reply to this, I was thinking my answer over and all the stuff I wanted to say (/overthinker).

I think a LOT about psionphobia (or whatever the term would be called) in-universe. Especially because to me, mutations are symbolic for disabilities and different neurotypes. The term “neurodivergent” describes people whose brain differences affect how their brain works…and to me, that means all telepaths are inherently neurodivergent.

Now I see Charles as autistic, but even if he WASN'T autistic, that means his psychic powers affect the way he perceives social situations, information, etc.

And so, when I see in-universe characters (like XMFC Raven) tell Charles to stay out of their minds—while I understand the desire for privacy—it feels ableist to me. I'd understand if Raven asked Charles to keep out of her more private thoughts, but to keep out of her mind in general feels almost like asking an autistic person to stop stimming when they're around you.

Like, that's just the way Charles is. He probably overhears people's thoughts and feelings at a surface level at all times, without the intention of delving deeper.

This artist does a REALLY pretty comic depicting this and it's 1000% how I headcanon Charles' telepathy now, please go read and reblog the full thing if you haven't already:

Artist: yancant on tumblr

I also think just because Charles CAN intrude on people's innermost secrets, doesn't mean he necessarily WILL. Like, lots of people drive a car. Anyone could technically plow that car into a crowd of people. But most other people assume they won't. So we don't freak out when we see cars. Ya know.

With that logic it feels unfair to assume Charles is going to do bad things with his telepathy simply because he can. ALL humans are capable of bad things! Why is he being singled out for the way he thinks.

Re:Erik, he is the only one who seems to understand this. Him inviting Charles to be in his head (in fanworks but also XMFC) shows that he is not only tolerating Charles' mutation but EMBRACING it. (We all know he has a telepathy kink but that's something different okay.) To use the neurodivergent metaphor, he's telling Charles it's okay to unmask around him.

Like obviously this scene is very emotional for Erik, and Charles is definitely too caught up in his savior complex to take notice of his own emotions, but imagine!! Feeling that welcomed in someone else's mind for the first time!! And them not pushing you out or getting angry for touching a sensitive memory!

I have no idea any of that makes sense or if I'm grasping for straws but that's my overall take on it.

ANYWAYS…so that's my overall take on it. In terms of the soccer AU I'm currently working on..I have other thoughts and some of it will be addressed in futuer chapters (I'm gonna try to upload today). So we'll see. Sorry if this completely didn't answer your question LMFAO.

[bunnieswithknives]

How much can you fit under your skin?

For @warning-heckboop's AU :3

[egophiliac]

I was wanting to try doing an art piece in the style of the signature spell poster art pieces you create. But I’m not really the best at coming up with a composition for such a thing.

Do you have a process for how you come up with the compositions for them?

oh, awesome! it is an INCREDIBLY enjoyable style to work in; I hope you have fun with it! :D

I'm not great at putting my thought/art process into words, so my apologies if this doesn't make a lot of sense, but I'll try! my first step is always to do a LOT of thumbnails to figure out both the idea and how I want to show it; not trying to do a real sketch or anything, just little doodles to figure out what exactly I'm trying to portray. (I also call these "garbage passes" because they're not meant to be any good, they're just there to throw things out. aha. ha. ...anyway.) I think it's important during that first stage to really focus on the idea and the layout and not to get too bogged down in the actual drawing yet!

I tend to save my final thumbnails, so I'll use 'em as examples (I posted the ones up through episode 5 here if you're interested!) (and, uhhh, spoilers through episode 5 also in this post, hopefully that won't be an issue!)

the main thing I try to think about in composition is balance -- not necessarily in terms of symmetry, but in where each element is placed and how much space it's taking up. remember, empty space is still space! it's also really important to think about the parts that don't have anything in them, as much as the parts that do!

personally, I like to divide things up roughly by both halves and by thirds -- there's a lot more in-depth info out there on why the "rule of thirds" in particular works well visually, but in short, our brains tend to focus on things that are placed closer to imaginary division lines, instead of in the exact center of an image. so even when I'm doing something that is very centered and symmetrical, I try to keep that in mind and generally aim around those for landmarks like faces/eyes (or...where they would be, anyway) and other focal points.

it's not a formula of "the character's face should be in this division of this grid" or anything, more like "our minds like to focus on these areas, let's think about how to use that", if that makes sense! and of course rules are made to be broken, art is lawless anarchy, and so on. but it can be a good starting place for deciding where you want to put things!

(blue - thirds, red - half)

and against the finished versions, because they do usually end up changing a lot (including the empty space of the border):

(...these actually lined up a lot better than I thought they would. :') it makes me look like I do things way more intentionally than I do.)

other stuff I just try to keep in mind is that our eyes like following arcs and paths, which can be a good way to guide the eye:

and frame and control the focus:

honestly, composition is one of those things I feel like I struggle with a lot, so I'm not sure how much of this is helpful or actually makes sense outside of my head. but hopefully it helps a little! it's all just stuff to think about while drawing and not anything hard-and-fast, so don't, like, stress out about making sure things are lining up exactly on the thirds or anything. again, it's more "our brains think these are the dopest parts of the rectangle" than anything else! take advantage of the cool parts of the rectangle!

NOW GO HAVE FUN DRAWING seriously though, it is always super cool that other people like this idea and style enough to want to do it themselves and for other/their own characters! thank you! ❤️❤️❤️

[dreamsy990]

some more aa wof au stuff for cringetober day 3 (fandom au!!). ive been messing with my apollo for this au for way too long trying to come up with a design i liked so uh!! his design might change in the future if i end up doing more with this au idk.

bonus: young thalassa

[rawliverandgoronspice]

Game designers/visual artists going "yeah we'll minimize the narrative noise" while having literally zero expertise in storytelling/narration <33333

[comikadraws]

Hello. I really like your analysis of the political stuff in naruto, and I just read your latest one in regard to Hashirama's odd neutrality towards 'the curse of hatred™'. But I kind of want to know now: could you say the same about Kishimoto himself? Does he agree with the 'curse' in a simular vein as H.? Or is H. a deliberately flawed character rather than something that the narrative primarily sides with? (because that's the impression I've got but it's been a while, so idk, I didn't really get the nuance of the plot in the way that you explore when I first watched it)

Authorial Intent and the Curse of Hatred

Okay, so I've got like ten other Naruto asks in my inbox but I will prioritize this one real quick because it is actually very central to a lot of my posts. I already went a little bit into this mess when I analyzed the "Curse of Hatred", but I feel like this topic deserves a post of its own.

This particular part of the discussion leaves the confines of Naruto as a fictional universe entirely and instead delves into the realms of authorial intent analysis and criticism.

My TL;DR is Kishimoto very much intended for the "Curse of Hatred" to be real and the narrative sides with Hashirama and Tobirama (and that is problematic). In the longer version, I am particularly focusing on Tobirama as he is the founder of the Uchiha Clan Genetic Theories™.

I also apologize in advance because pointing out Kishimoto's shortsighted writing is something I have gotten harassed over in the past. Hence I believe some theoretic knowledge is needed.

<Analysis under the cut>

Note: As always, blue links are external links or other people's posts. Red links are my own posts that add context to my thought process.

The problem with Kishimoto's intent is that the guy almost never explains the intention of his writing. This is why discussions like "Was Itachi retconned" or "Does Kishimoto hate Sakura" persist to this day. The only thing we are left with is to instead infer the meaning from other sources (such as the manga itself or minor remarks from interviews).

My conclusion is influenced mainly by four things: The social and political context behind Naruto, Kishimoto's usual treatment of sensitive topics, the narrative of the manga itself, and fantasy genre conventions.

But before all that, here's a little info dump.

Death of the Author

In opposition to the idea that the "Curse of Hatred" is real in canon stands the idea that it was just Tobirama's racist propaganda piece - and this is actually a fairly widespread thought. Not necessarily a misconception, however, as it depends on your school of thought when it comes to engaging with fictional text - Extreme intentionalism (full submission to the author's intent), Anti-intentionalism (complete disregard of the author's intent), or anything in between. While extreme intentionalism can probably be considered the "truest to canon" (as opposed to anti-intentionalism, which is more like a subjective interpretation or "headcanon") it is also incredibly limiting to our fandom experience.

Before I continue this, I need people to understand that both approaches are valid. Especially in instances in which the author's intent translates very poorly into our contemporary understanding of the world, as is the case with the "Curse of Hatred". Both authorial intent and the audience's interpretation are vital puzzle pieces when engaging with a piece of media critically.

To clarify, I do not support Kishimoto's writing decisions in this. I am not pushing an anti-Uchiha clan agenda. What I am going for is analyzing Kishimoto's intended canon. As I have already pointed out, it is a canon that is problematic and nobody should be forced to submit to.

With that out of the way, back to the main topic.

Social and Political Context of Naruto

Personally, I believe it is possible that Kishimoto intended to portray themes of prejudice in his story. Mostly in the sense in which people get defined for their worst character traits (as we can see when comparing Tobirama's and Hashirama's characterization of the Uchiha Clan) or for their affiliations (as is also the case with Jinchuriki). I do not believe, however, that he was aiming for racism specifically - and definitely not for scientific racism, let alone eugenic ideologies. And this has a lot to do with Japan's lack of sensitivity when it comes to racism.

For starters, Japan has a very ethnically homogenous society with about 98% of its population being ethnically Japanese and therefore having one of the lowest diversity scores in the world. On top of that, Japan has no national human rights institutions or laws against racial discrimination. The Japanese population is rather unsensitized to themes of racism.

To not turn this into a fallacy of composition, a different user pointed out that Naruto (as a story) was possibly influenced by Japan's reactionary right-wing movement (possibly revealing Kishimoto's own political standing). The movement responded to an increase in anti-Japanese sentiment across Asia. Said sentiment was sparked by a controversy in which Japan omitted its war crimes (which is a well-known pattern in Japanese politics).

At the very least, it is correct that Naruto is very pro-state in its way of protecting the state's reputation by hiding its crimes from the public consciousness. Kishimoto himself demonstrates an incomplete understanding of Japan's war history by unintentionally paralleling WW2 crimes in his story or claiming that the war was the result of mere grudges when, in reality, it was racism and imperialist ideologies.

While this is just my hypothesis, Kishimoto's lack of political and social awareness could easily influence his perception of social injustices, such as racism. Insensitivity, meanwhile, might reduce any motivation to engage with such themes.

Inadequate Realization of Sensitive Storylines

So about insensitivity... This might actually be less of a hypothesis when we look at Kishimoto's repeated failure to address sensitive topics in his writing with dignity and/or a critical lens. I've also ranted about this in an older post.

We are talking about child soldiers and death matches between children (Chunin Exams), slavery (Hyuga Clan), human experimentation (Orochimaru), human trafficking (Kushina and maybe Mito) genocide (Uchiha Massacre), and the invasion of neutral territory (Amegakure). In all of these cases, crimes are not further acknowledged than a brief admittance of "damage was done" before the plot forgets about them entirely.

Chunin exams? Never talked about again.

Slavery? Naruto promised to change the Hyuga clan but never mentions it again.

Human experimentation? Orochimaru is welcomed back after his exile.

Human trafficking? The Jinchurikis got stockholmed, so everything's good!

Genocide? Addressing that might tarnish the Uchiha Clan's reputation. So we don't.

Invasion of neutral territory? We never see Amegakure again after Konan's passing.

It is a larger pattern in which social injustice is primarily introduced to add flavor in the form of "tragic backstories" but not actually to resolve it. We are supposed to condemn those tragedies, to feel sympathetic - but we are not supposed to criticize Konoha as a main perpetrator, enabler, or apologist.

To me, it doesn't seem like Kishimoto ever truly cared about those social issues. He knows they are bad, yes, but they were never the focus of the story and Kishimoto barely even stops to consider the implications.

The Manga's Narrative

The story does not engage critically with itself. And frankly, it also does not demand such critical thinking from its readers either.

In the manga, we are often presented with incorrect or incomplete exposition from unreliable narrators. Obito lies all the time, Madara gets the wrong story from Zetsu, Itachi gets the wrong story from who-knows-where, and Sasuke doesn't know what's going on half the time. The interesting part is how the truth behind those lies is usually uncovered.

Usually, we do not know that any of them are perpetuating a lie until said lie gets corrected by another character. Said character is usually a "source" in the sense that they have personally experienced the (until then) falsified events.

It is very rare that the audience gets to pick up on little clues to realize that a character is lying. One such instance is when Obito directly contradicts Itachi in his rendition of the story. But even then, the conflict between their two renditions gets resolved by a "source" character in the form of Kushina retelling the events from sixteen years ago.

Now, let's compare this to the "Curse of Hatred".

I have already mentioned this in another post (where I analyzed the curse and its contents), but the "Curse of Hatred" is first officially introduced by Obito. He focuses on the Uchiha's war-torn history and how that influenced its members. Tobirama more or less builds on that, adding his hypothesis about the Uchiha Clan's Sharingan and its effect on the user. Then Hagoromo adds some things about the reincarnation cycle that might play into this. In the end, Zetsu wraps it all up by revealing that he manipulated the Uchiha Clan for centuries.

The problem is that not one of these puzzle pieces directly contradicts the other and instead, they appear to complement each other. Therefore, no lie gets officially "disproven" in the story itself. Tobirama's Theories are treated as though they were perfectly fine fact that does not require revision.

We can further infer Tobirama's credibility on the matter by judging the present characters' reactions.

Hashirama, as explained in my previous post, tolerates if not accepts Tobirama's ideas. Orochimaru shows himself hostile toward Tobirama but does not take the chance to contradict him. Sasuke, who is an Uchiha and has personal experience with the Sharingan, shows no signs of protest. Skepticism, yes, but it slowly fades away until he seemingly accepts Tobirama's words as truth. He does not even attempt to argue against it.

Add to that that Tobirama is generally presented as a truthful character, described as "rational" and "principled" in the databook. He regularly criticizes or insults other characters without the bat of an eye, seemingly having no problem with tarnishing his own reputation, unconcerned with keeping up false appearances. He is not the type of character to lie.

Yes, Tobirama comes off as a bigot regardless, but that's because he's essentially an asshole and not because he is actually intended to be racist. Even in the event that what he says is non-factual, he fully believes it is. But also, the possibility that Tobirama is talking nonsense is not even hinted at (again, he is described as "rational" and no character seems to disapprove of the Uchiha Clan Genetic Theory TM).

Fantasy Fiction Conventions

In fantasy writing, none of what Tobirama says is actually uncommon. In fact, if anything, his theories concerning the Sharingan resemble popular fantasy tropes.

In Anime, many powers are awakened through trauma. This is called "Traumatic Superpower Awakening". The Sharingan is just one of many offenders, even in the story of Naruto. This reflects Tobirama's idea that the Sharingan is triggered through great emotional pain.

It is also a common trope that characters who gain too much power eventually go insane. This is called the "With Great Power Comes Great Insanity" trope and reflects the Uchihas' to essentially take away psychic damage alongside each newly awakened Sharingan power. Kishimoto just specifically linked that insanity or pain to the Sharingan (which represents the power of the Uchiha).

Yet another trope is the "Personality Powers" trope. This one can be seen in the Uchiha Clan's tendency to feel deep love and hate - at least one of which is essential for the awakening of a Mangekyo Sharingan (and, depending on the circumstances, a regular Sharingan). Hence Tobirama calls it "the eyes that reflect the heart". In other words, the personality facilitates the power.

Last but not least, we've got the fantasy races trope. The author invents a race and then assigns it distinct characteristics (both physiology and behavior-wise).

In its most extreme cases, this can be used to create an "enemy race" (such as orcs, vampires, demons, etc.) for the good guys to fight. It usually removes complexity from the story by dumbing down the enemy to simply just being "born evil".

Now, notice how the Uchiha Clan's Hatred could be considered a personification of Kishimoto's idea that wars are caused by grudges? Furthermore, Kishimoto makes that comment at a point in time (February 2012) when all three main antagonists of the story are Uchihas (Madara is revived in chapter 559, which was released October 2011), and then releases Tobirama's theory a year later (February 2013).

This one, unlike the other three, is particularly controversial as fantasy races often get conflated with real-life ethnicities. This is not always the intention of the author, however, as they often never intended to portray racial stereotypes. For two particularly popular examples, take a look at Tolkien's "Lord of the Rings" or Itagaki's "Beastars".

On one hand of this debate, you have that fantasy races are unlike human ethnicities and do not necessarily reflect reality, simply because the author decides what is real in canon or not and because fantasy is always a lie from a real-world perspective. Hence the Curse of Hatred, or rather, Tobirama's Theory is canon.

On the other, fiction does not exist in a vacuum and it is impossible not to apply our contemporary understanding of racism and ignore what are otherwise screaming red flags of racist ideology. Hence we recognize Tobirama's explanation as racism and wish to reject the Curse of Hatred as a concept.

But these two ideas can coexist.

The problem is just that Kishimoto likely only accounted for one thing and not the other. His intention translated very poorly into our contemporary understanding of the world, making Tobirama (and therefore, Hashirama as well) the victims of short-sighted writing.

Who cares anyway?

In the beginning, I explained that regardless of what Kishimoto intended for his story, any interpretation is valid. So why should we care about what the author thinks?

In my analyses (which are separate from my headcanons), I will usually take an "Extreme Intentionalism" approach in which I prioritize the author's intent over the reader's interpretation. Not because I am opposed to the idea that the reader's interpretation is relevant to the meaning of a text but because readers' interpretations are unique to the individual. Focusing on such an individual interpretation can easily alienate those who don't share it. Hence I like to focus on something that is more informative, almost objective in nature, such as the author's likely intended canon - which people can then mould into whatever suits their headcanon best.

I have also noticed that, sometimes, anti-intentionalist takes will devolve into full-blown lies (sometimes with the purposeful intention of omitting canon). This lie can then be upheld in an attempt to condemn or rather bully those with intentionalist interpretations. This unwittingly protects the writer (as well as problematic writing conventions) from criticism.

This is why I think even Anti-Intentionalists should inform themselves of an author's intention. This is, more or less, an aspect of media literacy as it allows us to identify biased or manipulative narratives and take purposeful action. In our case, this involves questioning and criticizing Kishimoto as an individual, raising awareness about his writing's shortcomings, and learning from his mistakes.

[recallback-art]

You know that joke, about how dogs can't recognize themselves in the mirror, and see a different dog entirely when it's really been them the whole time?

[heyitsmemel]

hi hello gals and gays. Here is a rare wav from me struggling with the flu. The virus has mainly been in my chest but my entire body is so wrecked I was able to induce super easily. No talking bc I’m literally unable to 😭 Do not listen if you can't stand harsh coughing because it gets a bit rough. If it sounds a bit weird the first half of the recording is from yesterday and the second half is from today, bc the coughing is so much worse in the second half lmao. Ok that's it thankkk you for feeding me so good lately tumblr love u all <3

also personal rant about ableism and intentional contagion in the comments :///

[parkitaco]

maybe i am dumb maybe i’m smarter than everyone but i thought it was common knowledge that mike did not initially intend for the ‘it’s not my fault you don’t like girls’ comment to have gay implications

[themyscirah]

This is how this went right?

Parallax!Hal: I miss being a hero... wish I had my ring back

Kyle: oh well you can have mine then! That way you can have a second chance : )

Parallax!Hal: YES!!! A SECOND CHANCE TO PLAY GOD AND RESHAPE THE WORLD AS I WILL IT MWAHAHAHAHAHAHA

Kyle, now ringless: .................huh. im gonna be honest here I really didn't see that coming

[deus-ex-mona]

i miss her…

[vt-scribbles]

Something seriously lacking in my art is the ability to tell a story in a single illustration.

I've gotten so used to drawing my characters standing around doing random things that I've never practiced telling a full tale/putting implications into my pieces that require more thinking/looking.

It also comes from a lower amount of details in my works by default [since I like to get pieces done fast], but I'm tired of using that as an excuse.

[johndonneswife]

[fireboos99]

I don't do textposts much, but

BITES BITES BITES

while I don't like all of the lore we've gotten of Little Nightmares since III was announced (I will die on the hill that is my AU, and dream realm called Nowhere does not work with said AU, so I ignore that) I am excited to see how the game goes, I look forward to finding out which parts I can adapt into my AU. (definitely adopting Low and Alone)

I was, admittedly, along with the joke of "Reanimal is just LN" but, I understand that that's just Tarsier's style, and think that comparing the two games so much is stupid (or picking one over the other)

like, c'mon guys, we get two co-op horror games with young kids running from monsters in the style of Little Nightmares (one is actually part of the series, the other being created by the og creators. and really, I'm glad they're making another game like that<3)

anyway, I'm excited for both games, and think people should stop arguing over which one will be better. WE EATIN' GOOD, FOLKS!

[digyoman]

I will listen to any and all Lloyd headcannons!!

What's something you always wanted to get out there? Something interesting you think gets overlooked? Something that deserves clarification? Or anything really! AUs, ideas, random thoughts that hang in your brain.... Please go off!!

(I'm always here for more Stand time!!)

mouse!! thank you for the ask, you are my greatest enabler and i love you for it. <3

honestly this SO hard to answer because i have so much to say. probably too much. i looked through some of my old notes in preparation for this post and all i can say is. jesus christ. there is a lot to unpack and i can’t fit it all into one post so i’m just going to stick with the basics!

so, here are digyoman’s lloyd headcanons 101 (based on the book and mostly vegas-centric!):

he doesn’t like to be alone. super brilliant observation, i know! 👍 he can be left on his own, it’s not that big of a deal, but generally i think he tends to feel cornered when he’s isolated for too long. so, he ends up lurking around the casino a lot, just to be near other people. and sometimes he falls asleep there. if you catch him snoozing at a crap table leave him ALONE it’s none of your business!

he has extremely questionably probably disordered eating habits. i don’t think this needs much explanation. he eats a lot, refuses to “waste” food, and occasionally hoards shit in case of an emergency. it gets better after a while, but never fully goes away.

he probably has some form of ocd. yes this means compulsive showering. it also means he has weird thought loops and tends to draw connections where there are none. he doesn’t think of himself as superstitious, but he’s also out here assuming that he can survive almost any situation by thinking “i don’t want to die,” over and over and that is not a normal train of thought. it is, however, the only way he can make sense of how he’s survived this long, and it gives him an illusion of control in situations where he really doesn’t have any say over his own life.

he dissociates during the executions. anyone who says “pretend like you don’t know him,” while trying to kill someone is not checked into reality you can’t fool me. he disconnects from himself throughout the whole show and probably for a while after, so he has little to no memory of actually crucifying anyone, but he sure knows it happened! it gets a lot worse when the crucifixions happen more often—the frequent dissociation combined with his intense stress over trying to keep vegas from falling apart builds towards a total break from reality near the end. i think glen’s death is a tipping point for him, and even if the bomb hadn’t gone off shortly after that, he would not have survived much longer.

when he first arrived in vegas, he got a kick out of dressing in sharp clothes and strutting around the casinos like a big shot. but after a while of this, he realized they weren’t really genuinely him, so he defaults back to casual clothes. but he still has those outfits and he will break them out again if he ever wants to make an impression!