#General and Pop Culture Tags:

[freshthoughts2020]

[c1trvswurld]

STOP babying and objectifying Daisuke

STOP making anya a perpetual forever doting victim

STOP making swansea this hotheaded gaurd dog

STOP babying and objectifying and being ableist to curly and removing autonomy

STOP ignoring the complex themes of jimmys character just to mischaracterize and to dunk on your idea of him and, therefore, ignoring the themes of the story

Stop ignoring the complexities of their characters please and thank you

[theconjurervfx]

[rustbeltjessie]

You Might Be An Xennial If...

you don't even (whatever whatever what-ever) care that you'll never recover from the recession

Empire Records was your favorite film & like, who needs a job with a decent paycheck & benefits when you can be a tattooed gum-chewing freak forever?

damn the man!

you remember dial-up modems, AOL chat rooms, web page guestbooks

you ever made mix tapes (& later made the transition to mix CDs but some long nights you long for those days spent pressing record & play.)

you grew up playing Oregon Trail & part of you can't help but think your demise will arrive like death did in that game, driving an 8bit Conestoga, telling you: you have died of cholera, you have died of dysentery.

you have died of exhaustion.

no one wants to claim you once you were a Gen-Xer but they kicked you out & you know you're not a Millenial cuz, like, you still use soap & napkins & drink beer, & go to Applebee's once or twice a year.

New Kids on the Block was your boy band & you came of age during the heyday of third-wave ska, learned to skank at summer camp after a few sweaty rounds of spin-the-bottle & from them on got sorta turned on every time you heard

pick it up! pick it up! pick it up!

you wonder at the ways of the younger generations, so many of them eschew sex & cars, but back in your day, there was no greater insult than you're a virgin who can't drive

you heard a lot of whispered innuendo when Clinton was prez, adults snickering about what happened under that table when they thought you weren't listening like you didn't know what a blowjob was? like you'd never been asked

spit or swallow?

you gave your first blowjob at twelve bestowed the back of your throat to an older boy hoping he'd splatter his coolness back onto you; twelve was the age you developed a taste for several oral fixations—cocks & tongues, joints & cigarettes

you had a lot of firsts at twelve, like, that was the year you wrote your first zine, the year you first tried suicide, yeah there were enough things making you feel so shitty you wanted to die, even when you were twelve

the year punk broke (your heart)

you were too young to see most of the cool '90s bands live, but old enough to be devastated when their lead singers killed themselves or o.d.'d—you had your first cigarette the day Kurt died, stood huddled in mourning

outside your school with all the other weirdos with their black clothes & nicotine haloes, someone passed a cigarette to you & you smoked it while a boy you knew bloodied his knuckles on the brick wall while muttering fuck you fuck you fuck you & the world was ending

Y2K was your armageddon, you were eighteen, so full of whitehot fury you wanted to see the world all burning skies & shattering glass, but nothing happened so you shot up & passed out in your boyfriend's bed

the world has been ending ever since you were born, & you spent so many years trying to end your life in both direct & oblique ways, you never thought you'd live past twenty-one, & maybe what really defines your generation

is that self-destructive impulse, cuz your heroes were suicidal rockstars & you grew up aware of chemical warfare & species extinction & your own downward mobility & your older siblings raised you on the gospel of Gen X slackerdom, so, like, whenever an adult asked what you were going to do with your lives you responded in unison

planning for the future? ugh, as if!

—Jessie Lynn McMains, from forget the fuck away from me (Bone & Ink Press, 2019)

[heliotrope-heathen]

<•> kinda WWanna fuck around and MMake a little guy of soMMe kind, play gog and give it a soul <•>

<•> let MMi knoWW WWhat y'all think ig <•>

[britneyshakespeare]

i have so much nostalgia for femme fatale era because that was probably the first time i realized i was a britney FAN whether i wanted to be one or not. it came out when i was 12, around the time i was first able to make my own music-listening choices off of whatever was marketed to solely a preteen demographic. i had only heard of britney spears as someone immensely popular yet embarrassing to like, even though i knew a ton of her biggest hits from her whole career since i was a baby and pretty much liked-to-love all of them. so when i would hear brand new songs like hold it against me and i wanna go on the radio i was like oh shit, i'm old enough to listen to big kid music on my own now, and these are amazing?

and i couldn't help but follow the rest of the singles as they came out, and go back and listen to all of her older songs (the ones i knew and the ones i didn't) on my own and be like HOLY goddamn. like my mind just exploded. it's one thing to hear all her songs in passing because they're megapopular and you are alive, but it's another thing to binge her discography for the first time and really put together that she put out dozens and dozens of the great pop songs you've ever heard, one after another, constantly, for (at that point) over a decade, my entire life! just being shocked and in awe at the evolution of such a pop goddess. i was just so fascinated and in awe. i was like no one on this earth can ever touch the career and accomplishments of the legendary miss britney spears. no one ever will.

also, criminal. such an underrated song, it wasn't even that popular at the time. i still remember the first time i heard it when the lyric video dropped and i decided from that instant on that i was going to be a terrible person.

[bishonenspit]

international eroica fans are some of the most ungrateful fans of anything i have ever encountered i stg

[gods-perfect-idiots]

Okay bear with me folks, I have some ~thoughts~ about the Vanessa/Wade relationship (or frankly lack thereof) in Deadpool & Wolverine. I should start by saying that I am analyzing this with the (likely erroneous) assumption that everything on screen is 100% intentional and mindfully written to deepen the characters and inform their arcs. For the record, I don't necessarily believe that's true - there is certainly room for mistakes, lazy writing, confusing plot elements, or in this case, sidelining a potentially strong and important character for nebulous reasons (I'm guessing scheduling conflicts + run time concerns + actor's strike complications but idk for sure). (Also thanks to @gossippool and @kendyroy for encouraging me to post my thoughts instead of just rambling in the tags in the first place, y'all are the realest)

Long rambly post below the cut fyi

Now, granted, it has been a while since I watched the original Deadpool so I am not as well-versed in their early relationship as I am in the handful of scenes Morena Baccarin has in dp3, but I do think it is pretty canon that Wade generally struggles to express his deeper worries and feelings (without filtering it heavily through crude humor, sex, and pop culture references of course), especially after the events of dp1 and the physical and mental damage he sustains, and Vanessa is frankly no exception despite how much he cares for her. The entire first movie hinges on the fact that he doesn't really believe she could love him in his post-Francis mangled state, which is pretty contrived imo given that the film has established already how bonded they are, and she doesn't strike me as being written to be so shallow as to reject him based on a physical deformity. I mean iirc she wanted to stick around through chemo despite him being literally riddled with inoperable cancer, so she clearly is in it for the long haul (at least in dp1), messiness and all.

Now, in dp2, obviously she is shot and killed early in the film, and Wade spends much of the rest of the film wallowing in his very profound grief, trauma, and guilt over losing her due directly to his violent lifestyle. He goes to prison, he basically gives up on life and seems very resigned to dying once he has the power suppressant collar on, even excited to do so so he can be reunited with her. She is mostly sidelined as a Fuzzy Dead Wife trope basically, but the important thing here is that he spends weeks if not months in the throes of despair over losing the love of his life just as they were trying to start a family, and trying to reach across the boundaries of death to be with her.

Now, my first couple times watching dp3 I was frustrated by the trite narrative presented in the interview scene towards the beginning - specifically Wade's whole "my girl is getting tired of my shtick and I need to show her I matter". It felt contrived and disingenuous, and I just brushed it off as iffy writing, a means to an end, but the more I reflect upon it the more I think it is based in an emotional reality that is just handled with a very light touch by the film in favor of fanservice and Poolverine content (NOT that I'm complaining in the slightest - I think this movie is a masterpiece in many ways, albeit a flawed one but that's beside the point here), which for the record I am not against because I think it lends it an air of realism. This is Wade's story after all, Vanessa is a part of it but it is ultimately about him and his journey.

Basically, I think the combination of what happened to him in dp1 (the brain damage, the trauma, the awareness of the fourth wall, etc) followed by the events of dp2 (Vanessa's death, his grief and the associated guilt and trauma of being the direct cause of her death) led to an unbridgeable emotional gap between the two of them that ultimately leads to their breakup.

It's important to note that I don't think Vanessa has any recollection of her own death, given that Wade goes back and saves her before she can take the bullet, and so of course she can never fully fathom what Wade went through grieving her and their life together and their potential family, for however long he spent between her death and bringing her back with Cable's device. She can try (and she clearly does in the one scene I'll talk about next) but I fear she accepts, maybe even in that scene, that she can never succeed. He is beyond her reach by this point, and vice versa, his experiences having fundamentally changed him.

The one scene we really see from their relationship between dp2 and dp3 is the one where Cassandra mind-gropes Wade in the Void and we see Vanessa struggling to reach Wade across this aforementioned gap - she wants him to open up, she wants him to share what he's going through, she wants him to be the person she initially fell in love with (not even selfishly - to her nothing has changed really, because to her no time has passed). But not only does he not understand what she's really asking for but he responds in such a way that makes me think he has unprocessed issues that are only tangentially related to what she's saying - ie the stuff about mattering, about asking her if she even wants to be with him, etc. And he's not the Wade Wilson she met back in dp1 anymore. He watched her die and grieved her and brought her back, believing it would make everything go back to normal and they could resume their life together as if nothing had changed, but he has been fundamentally changed in a way that she can't grasp, even if he WAS good at externally processing his trauma openly without the artifice of wry jokes. She didn't "come back wrong" - instead, she came back exactly the same as before, but HE'S different now. Not wrong, per se. But changed.

It's an interesting scene because it's obviously a memory, and a crucial one at that, but you can see how Wade is misunderstanding what she's saying, viewing it through the prism of his own lack of self-worth and his own hopelessness - he takes away that she thinks he doesn't matter (even though like he says she didn't actually say that, but I don't think Cassandra invented that wholecloth - I think she pulled it out of his psyche because that's what he believes deep down, hence why his fixation on mattering even though she never said those words exactly), he takes away that she doesn't want to be with him, that she thinks he's nothing. Which would be frustrating as an audience member to witness as a pretty simple misunderstanding which could potentially be solved with one conversation, but it feels believable to me that these two people who have shared a great love would be fundamentally separated by unimaginable, cosmic trauma, and the on conversation they would need to have to rectify the misunderstanding is one that is impossible for Wade to verbalize and equally impossible for Vanessa to conceive of. It was one thing when they had shared trauma like violence and SA in dp1, but what Wade has gone through in dp1 and dp2, humor aside, is unfathomably traumatic, brain-breakingly so even, and that's not even factoring in the possible mental illnesses he now struggles with (I've seen folks suggest schizophrenia, DID, depression, etc. but I won't get into armchair diagnosing a fictional character here - suffice it to say he is canonically unwell as a result of what has happened to him, and yes it manifests as quirky fourth wall breaks and cheeky one-liners, but within the universe of the movies he is undeniably profoundly mentally ill, and that includes this humorous alter ego he created to cope with his trauma).

I think off-screen Vanessa probably really tried to reach him, maybe for years (the six year gap implies to me that they didn't break up immediately, that they tried for a while to stay together), trying to get her Wade back, but that Wade is gone. He struggled to express that to her until eventually he started to feel rejected because he couldn't express his trauma or how much he has changed, because even he can't fully conceive of the gulf that has formed between them. The truth is, he WANTS to be that Wade again, for her and for himself, but that Wade died when she died. Or maybe he had already started dying when Francis got a hold of him in dp1.

Anyway, all this is to say, I think Morena Baccarin WAS criminally underutilized in dp2 and dp3, but I think there is a strong argument to be made for the believability of their breakup regardless. I think even relationships built on enormous love can crumble due to trauma, and what Wade suffers over these movies is mind-bogglingly enormous trauma. It's especially heartbreaking that he blames himself for their relationship ending, talks like she just got tired of him, thought he didn't matter, whatever. But it is a credit to him that he never seems to feel anger towards her about it. He doesn't seem to feel entitled to her, though he longs for her and what they had and what she represented (hope, love, a future, a family), but ultimately she becomes more of a symbol of what he lost when he gained his powers, because let's be super fr right now - even if they had succeeded in having a baby, not only would they have lived in fear of her or the kid getting killed, but ultimately Wade would likely outlive both of them even if they managed to die natural deaths. The moment he gained his powers he was already destined to lose her, which is heartbreaking because she was the only reason he opted for the treatment in the first place - so he could stay with her.

I think a big part of Deadpool & Wolverine is watching Wade continue to process his own motivations (vis-a-vis Vanessa but also his other friends) and how he does eventually let go of the idea of "mattering" in favor of just saving the people he cares about (*cough* and being saved right back *cough* by Wolvie, as the final line and shot implies). And in the process he finds someone new who cares about him, who thinks he matters, who tries to sacrifice himself for him and his friends after mere days of knowing him, who comes home with him at the end of the story, who breaks his own centuries-old patterns, who has also experienced unimaginable grief and trauma, who has struggled with wanting to die and being unable to, who not only matches his crazy but matches his FREAK and also not only won't die on him but CAN'T die on him - and more importantly cannot be randomly killed by a stray bullet.

Idk if any of this makes much sense but I do think if you read between the lines and consider the potency of trauma and grief, guilt and emotional damage at play here, Vanessa and Wade's off-screen breakup is actually pretty realistic, and really heart-breaking to boot.

You can tell she still cares about him in so many ways - she shows up for his birthday party, she shows up to his welcome home party at the end, she finds excuses for physical contact multiple times, her eyes get soft when she looks at him, but there is a distance there that Morena Baccarin does an incredible job of portraying. She cares about him deeply, she has mourned the loss of their potential life together, she has let him go and accepted that the Wade she fell in love with is gone, but she wants him in her life even though she's moving on because she realizes he's gone somewhere she can't follow (literally and figuratively). And she wants him to be happy which is why I fully believe she would immediately clock the Poolverine of it all and not-so-subtly encourage them to make it official.

Anyway. Poolverine forever. Nothing against Vanessa at all - I think she delivers a nuanced and beautiful performance, I think their relationship is sweet and heart-wrenching in large part due to her acting chops, especially given how little she is given to work with - but I think their relationship was sadly doomed from almost the very start, because Wade becomes this traumatized superhuman and Vanessa would always be at risk in his orbit, but also would always on the outside of his multiverse superhero experiences. I think it's weirdly beautiful, even if I am filling in a lot of gaps and giving the writers maybe undue credit.

Anyway... thoughts? Please DM me or write in the tags, I am feral about this movie and just want to talk about it with anyone haha. If you have further insight into these characters too I'd love to hear it - I am by no means an expert in these movies or characters!

[freshthoughts2020]

[mostlysignssomeportents]

AI art has no anti-cooption immune system

TONIGHT (July 20), I'm appearing in CHICAGO at Exile in Bookville.

One thing Myspace had going for it: it was exuberantly ugly. The decision to let users with no design training loose on a highly customizable user-interface led to a proliferation of Myspace pages that vibrated with personality.

The ugliness of Myspace wasn't just exciting in a kind of outsider/folk-art way (though it was that). Myspace's ugliness was an anti-cooption force-field, because corporate designers and art-directors would, by and large, rather break their fingers and gouge out their eyes than produce pages that looked like that.

In this regard, Myspace was the heir to successive generations of "design democratization" that gave amateur communities, especially countercultural ones, a space to operate in where authentic community members could be easily distinguished between parasitic commercializers.

The immediate predecessors to Myspace's ugliness-as-a-feature were the web, and desktop publishing. Between the img tag, imagemaps, the blink tag, animated GIFs, and the million ways that you could weird a page with tables and padding, the early web was positively bursting with individual personality. The early web balanced in an equilibrium between the plunder-friendliness of "view source" and the topsy-turvy design imperatives of web-based layout, which confounded both print designers (no fixed fonts! RGB colorspaces! dithering!) and even multimedia designers who'd cut their teeth on Hypercard and CD ROMs (no fixed layout!).

Before the web came desktop publishing, the million tractor-feed ransom notes combining Broderbund Print Shop fonts, joystick-edited pixel-art, and a cohort of enthusiasts ranging from punk zinesters to community newsletter publishers. As this work proliferated on coffee-shop counters and telephone poles, it was visibly, obviously distinct from the work produced by "real" designers – that is, designers who'd been a) trained and b) paid by a corporation to employ that training.

All of this matters, and not just for aesthetic reasons. Communities – especially countercultural ones – are where our society's creative ferment starts. Getting your start in the trenches of the counterculture wars is no proof against being co-opted later (indeed, many of the designers who cut their teeth desktop publishing weird zines went on to pull their hair and roll their eyes at the incredible fuggliness of the web). But without that zone of noncommercial, antiestablishment, communitarian low weirdness, design and culture would stagnate.

I started thinking about this 25 years ago, the first time I met William Gibson. I'd been assigned by the Globe and Mail to interview him for the launch of All Tomorrow's Parties:

https://craphound.com/nonfic/transcript.html

One of the questions I asked was about his famous aphorism, "The street finds its own use for things." Given how quickly each post-punk tendency had been absorbed by commercial culture, couldn't we say that "Madison Avenue finds its own use for the street"? His answer started me down a quarter-century of thinking and writing about this subject:

I worry about what we'll do in the future, [about the instantaneous co-opting of pop culture]. Where is our new stuff going to come from? What we're doing pop culturally is like burning the rain forest. The biodiversity of pop culture is really, really in danger. I didn't see it coming until a few years ago, but looking back it's very apparent.

I watch a sort of primitive form of the recommodification machine around my friends and myself in sixties, and it took about two years for this clumsy mechanism to get and try to sell us The Monkees.

In 1977, it took about eight months for a slightly faster more refined mechanism to put punk in the window of Holt Renfrew. It's gotten faster ever since. The scene in Seattle that Nirvana came from: as soon as it had a label, it was on the runways of Paris.

Ugliness, transgressiveness and shock all represent an incoherent, grasping attempt to keep the world out of your demimonde – not just normies and squares, but also and especially enthusiastic marketers who want to figure out how to sell stuff to you, and use you to sell stuff to normies and squares.

I think this is what drove a lot of people to 4chan (remember, before 4chan was famous for incubating neofascism, it was the birthplace of Anonymous): its shock culture, combined with a strong cultural norm of anonymity, made for a difficult-to-digest, thoroughly spiky morsel that resisted recommodification (for a while).

All of this brings me to AI art (or AI "art"). In his essay on the "eerieness" of AI art, Henry Farrell quotes Mark Fisher's "The Weird and the Eerie":

https://www.programmablemutter.com/p/large-language-models-are-uncanny

"Eeriness" here is defined as "when there is something present where there should be nothing, or is there is nothing present when there should be something." AI is eerie because it produces the seeming of intent, without any intender:

https://pluralistic.net/2024/05/13/spooky-action-at-a-close-up/#invisible-hand

When we contemplate "authentic" countercultural work – ransom-note DTP, the weird old web, seizure-inducing Myspace GIFs – it is arresting because the personality of the human entity responsible for it shines through. We might be able to recognize where that person ganked their source-viewed HTML or pixel-optimized GIF, but we can also make inferences about the emotional meaning of those choices. To see that work is to connect to a mind. That mind might not necessarily belong to someone you want to be friends with or ever meet in person, but it is unmistakably another person, and you can't help but learn something about yourself from the way that their work makes you feel.

This is why corporate work is so often called "soulless." The point of corporate art is to dress the artificial person of the corporation in the stolen skins of the humans it uses as its substrate. Corporations are potentially immortal, artificial colony organisms. They maintain the pretense of personality, but they have no mind, only action that is the crescendo of an orchestra of improvised instruments played by hundreds or thousands of employees and a handful of executives who are often working directly against one another:

https://locusmag.com/2022/03/cory-doctorow-vertically-challenged/

The corporation is – as Charlie Stross has it – the "slow AI" that is slowly converting our planet to the long-prophesied grey goo (or, more prosaically, wildfire ashes and boiled oceans). The real thing that is signified by CEOs' professed fears of runaway AI is runaway corporations. As Ted Chiang says, the experience of being nominally in charge of a corporation that refuses to do what you tell it to is the kind of thing that will give you nightmares about autonomous AI turning on its masters:

https://pluralistic.net/2023/03/09/autocomplete-worshippers/#the-real-ai-was-the-corporations-that-we-fought-along-the-way

The job of corporate designers is to find the signifiers of authenticity and dress up the corporate entity's robotic imperatives in this stolen flesh. Everything about AI is done in service to this goal: the chatbots that replace customer service reps are meant to both perfectly mimic a real, competent corporate representative while also hewing perfectly to corporate policy, without ever betraying the real human frailties that none of us can escape.

In the same way, the shillbots that pretend to be corporate superfans online are supposed to perfectly amplify the corporate message, the slow AI's conception of its own virtues, without injecting their own off-script, potentially cringey enthusiasms.

The Hollywood writers' strike was, at root, about the studio execs' dream that they could convert the "insights" of focus groups and audience research into a perfect script, without having to go through a phalanx of lippy screenwriters who insisted on explaining why they think your idea is stupid. "Hey, nerd, make me another ET, except make the hero a dog, and set it on Mars" is exactly how you prompt an AI:

https://pluralistic.net/2023/08/20/everything-made-by-an-ai-is-in-the-public-domain/

Corporate design's job is to produce the seeming of intention without any intender. The "personality" we're meant to sense when we encounter corporate design isn't the designer's, nor the art director's, nor even the CEO's. The "personality" is meant to be the slow AI's, but a corporation doesn't have a personality.

In his 2018 short story "Noon in the antilibrary," Karl Schroeder describes an "antilibrary" as an endlessly deep anaerobic lagoon of generative botshit:

https://www.technologyreview.com/2018/08/18/104097/noon-in-the-antilibrary/

The antilibrary is a generative AI system that can produce entire librarys’-worth of fake books with fake authors, fake citations by other fake experts with their own fake books and biographies and fake social media accounts, on-demand and instantly. It was speculation in 2018; it’s possible now. Creating an antilibrary is just a matter of investing in a sufficient number of graphics cards and electricity.

https://kschroeder.substack.com/p/after-the-internet

Reading Karl's reflections on the antilibrary crystallized something for me that I've been thinking about for a quarter-century, since I interviewed Gibson at the Penguin offices in north Toronto. It snapped something into place that I've trying to fit since encountering Henry's thoughts on the "eeriness" of AI work and the intent without an intender.

It made me realize why I dislike AI art so much, on a deep, aesthetic level. The point of an image generator is to buffer the intention of the prompter (which might be genuinely creative and bursting with personality) in layers of automated decision-making that flense the final product of any hint of the mind that caused its creation.

The most febrile, deeply weird and authentic prompts of the most excluded outsiders produce images that feel the same as the corporate AI illustrations that project the illusion of personality from the immortal, transhuman colony organism that is the limited liability corporation.

AI art is born coopted. Even the 4chan equivalent of AI – the deeply transgressive and immoral nonconsensual pornography – feels no different from the "official" AI porn churned out by "real" pornographers. "Shrimp Jesus" and other SEO-optimized Facebook slop is so uncanny because it is simultaneously "weird" ("that which does not belong") and yet it belongs in the same aesthetic bucket of the most anodyne Corporate Memphis ephemera:

https://en.wikipedia.org/wiki/Corporate_Memphis

We call it "generative" but AI art can't generate the kind of turnover that aerates the aesthetic soil. An artform that can't be transgressive is sterile, stillborn, a dead end.

Support me this summer on the Clarion Write-A-Thon and help raise money for the Clarion Science Fiction and Fantasy Writers' Workshop!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/07/20/ransom-note-force-field/#antilibraries

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

--

Jake (modified) https://commons.wikimedia.org/wiki/File:1970s_fanzines_(21224199545).jpg

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/deed.en

[dollishmehrayan]

# BATBOYS WITH A AUSTRALIAN!READER ── .✦ ( how batboys deal with a Australian s/o )

a/n: I myself have a aussie accent so this is like so cool for someone to request so tysm (here) and anyways this is one where I don’t have to research for because I know a lott of Australian ppl and culture too, tags: (batboys x Australian!reader)

DICK GRAYSON ── .✦

Loves Your accent: “Say something else! No, wait—say ‘mate’ again.” He’s absolutely smitten with how you talk and tries poorly to mimic your accent, often sounding more British than Australian.

Constantly Curious About Australia: He’ll bombard you with questions. “Are kangaroos really that common? Have you ever seen a cassowary? Do you guys actually barbecue everything?”

Terrible at Slang: If you say something like, “It’s looking a bit dodgy,” he’ll need you to explain what you mean. When he tries to use Australian slang, it’s endearing but cringe-worthy.

“What’s up, uh…sheila?”

“Dick. Never say that again.”

Adventure Buddy: He’s already planning a trip to Australia with you, wanting to see the Great Barrier Reef, Sydney Opera House, and every wildlife sanctuary possible.

JASON TODD ── .✦

Loves Your Humor: Your sarcastic and no-nonsense sense of humor is right up his alley. If you roast him, he’ll laugh and roast you back.

Protective Over Your Wildlife Stories: The second you casually mention seeing a venomous snake or massive spider, Jason is horrified.

“Why are you so casual about almost dying?!”

“It’s just a huntsman spider, Jason. Chill.”

Impressed by Your Toughness: He secretly loves how you’re unfazed by things that would make others panic. He brags about it to others: “My partner grew up surrounded by things that can kill you. I think they can handle Gotham.”

Tries Vegemite Once: Spoiler: he hates it. “Why does this taste like salty tar?” But he’ll eat it if it makes you happy (and won’t admit that he kinda likes it on toast with butter).

TIM DRAKE ── .✦

Fascinated by Your Culture: Tim immediately researches everything he can about Australia, from Indigenous history to pop culture. “Did you know that there are more kangaroos than people in Australia?”

Amazed by Your Time Zone: He’s constantly confused by the time difference when you visit home. “Wait, it’s tomorrow for you?!”

Loves Learning Slang: You’ll catch him Googling Aussie slang to impress you. He’ll casually drop phrases like, “I’m knackered” or “Fair dinkum,” but his delivery is hilariously awkward.

Animal Discussions: He’s convinced that every Australian animal is deadly, and you have to constantly debunk his fears. “Not every spider is trying to kill me, Tim.”

DAMIAN WAYNE ── .✦

Quietly Intrigued: Damian pretends not to care much about your background, but you’ll catch him reading about Australia or asking subtle questions.

Loves Your Stories: He’s genuinely fascinated by your tales of outback adventures or the unique Australian wildlife. “You’ve seen a platypus in person? Fascinating.”

Tolerates Your Nicknames: If you call him something like “mate” or “love,” he’ll act annoyed but secretly enjoys it.

Protective Over the Wildlife: He’s horrified by the idea of culling kangaroos or other animals. “You allow such barbaric practices?” He might actually start a campaign to protect them.

BRUCE WAYNE ── .✦

Respectful and Curious: Bruce asks thoughtful questions about your culture and experiences, genuinely interested in learning more about your upbringing.

Loves Your Practicality: He admires how grounded and resourceful you are, especially when you deal with things in a calm, no-fuss Australian way.

Subtle Humor: If you tease him about being too “posh” for Australia, he’ll play along. “So, you’re saying I wouldn’t survive a day in the outback?”

Surprises You with Aussie Treats: He somehow manages to get Tim Tams, Caramello Koalas, or Milo shipped to Gotham, just to make you feel at home.

GENERAL TRAITS ── .✦

The Spiders Are a Problem: You casually mention a massive spider in your house, and all of them (except Damian) are horrified. “How are you not freaking out right now?!”

Vegemite Debates: None of them can handle Vegemite except Damian, who eats it with no complaints just to prove he can.

Drop Bears: You convince at least one of them that drop bears are real. (Spoiler: It’s Tim.) (Ngl the google animation they made for them is fucking cute😭💗💕)

Aussie Slang Confusion: If you say, “I’m going to chuck a sickie,” they all think you’re throwing something. Explaining Aussie slang to them becomes a full-time job.

[tizeline]

I'm guessing that after season finale, Leo sneaking out to see Donnie is in secret. Is there a moment where Leo's other brothers find out? Do they feel betrayed, or do they assume it's part of Leo's master plan to have Donnie switch over?

Is there moments Leo stays the night at the lair cuz of tensions at home, or just because he wants to hang out with Donnie more?

Love your AU!!

Okay so here's the thing. Before the season one finale, Leo would always worry so much about living up to expectations, about what his family would think of him. This led to him keeping many secrets, his interest in Lou Jitsu plus human media and pop-culture in general, his frequenting NYC and Run Of The Mill, all of that he would spend years keeping closely hidden from his father and brothers. Then later he'd also have to hide his tense but slowly improving relationship with Donnie and his doubts about Draxum's world domination plan. When the season one finale happens and Leo teams up with Donnie, the cover is blown and essentially all of those closely guarded secrets are exposed.

So after that, Leo is done with secrets, he's tired of putting on an act all the time. His family already knows that he's befriended Donnie at this point, and not in the way they wanted. They know that he interacts with human society, and so what? Instead of hiding this part of himself, Leo does the opposite and brags about it, shoving in their face. Basically any time Leo leaves to go hang out with Donnie he will let everyone know and then teleport away in front of their faces lol. (Jokes on Leo, he is still very much putting on an act, this time it's just an act of indifference. He is very much bothered by the tension between him and his family, especially between him and his dad, but he doesn't want to admit to anyone else or himself that that's the case)

But Leo does absolutely sometimes stay overnight at Donnie's place, both as an act of rebellion but also because Draxum's displeasure with Leo really gets to him and he just doesn't wanna deal with that sometimes.

Both Draxum and Mikey are, uh, a bit salty over the whole Dark Armor fiasco, including Leo's kinda-sorta-not-really-but-also-technically-betrayal. So they have a pretty pissy attitude during this part of the story XD and Leo running yelling about HOW MUCH FUN he's having with HIS TWIN BROTHER and also how Leo was TOTALLY RIGHT ABOUT EVERYTHING just makes them more annoyed (and they're not even twins??? where did leo get that idea from, what is he on about???).

Meanwhile, Raph does agree with Leo when it comes the fact that destroying humanity is not a very cool thing to do, but he still doesn't exactly vibe with humans. Needless to say, he's a bit conflicted about everything which causes him to usually get caught in the middle of Leo's and Draxum + Mikey's beef where he's stuck trying to play mediator. He's not super happy with Leo running off on his own all the time to hang out with Donnie considering it means interacting with April and Splinter, which he still doesn't trust. It's not until Raph starts tagging along (partly to make sure Splinter isn't gonna kidnap Leo too haha) that he starts agreeing more with Leo's stance on things and realizes that April and Splinter are pretty cool actually.

[3liza]

the main thing the general public does not understand about cryogenics (beyond it being a scam when done commercially) is that you can't freeze a dead person and then somehow the freezing process makes them resurrectable later. you have to freeze someone while they're still alive. cryogenics "works" in the sense that we can freeze and revitalize living animals somewhat successfully, but when you freeze a dead one it will still be dead with you thaw it out. like many public superstitions i think people understand this if you remind them that "freezing Disney's head" doesn't make any sense, they'll be like "oh of course" but the level 1, casual awareness of cryogenics as a thing is firmly on the "if we freeze dead people they will be alive later" level. the people who get suckered into buying cryogenics storage have been sold a bunch of bullshit about how curing death itself will be part of the package deal though, usually when they're already experiencing cognitive decline

it's kind of like how the pop culture understanding of time travel also assumes the time machine is a teleporter

the current way cryogenics operates in practice is equivalent to saving your game on 0 health and soft locking yourself. in 100 years they will (hypothetically because no they won't) look at the tag on your pickled head and go "oh this one died of death, still no cure for that, oh well" and charge another year to your estate.

if you really want a chance of "being reborn in the future" you're going to have to voluntarily walk into the freezer the minute you're diagnosed with stage 1 cancer and even then it's probably going to be too late

[sisterlucifergraphics]

Is it possible for you to make some some dividers themed after wendigos? The deer-wolf like monsters

🦌Spooky Deer + Wolf Dividers🐺

A/N: I didn’t feel comfortable making Wendigo dividers as a non native (especially since the bastardization of native culture is so rampant, + I’m pretty sure the animal like features of the Wendigo aren’t in the original folklore, that’s a pop culture addition:( ) so I went for a general spooky animal vibe instead. I hope these still work for your purpose!

please like, reblog, & credit if you use!

(PT: Please like, reblog, & credit if you use!)

[DIVIDER REQUESTS ARE CLOSED!]

(PT: Divider requests are closed!)

DNI: TERFS, endo, proship, pro ana, nazi, MAPs, zoophiles

tag list: @ghostboneswrites2 @savanaclaw1996 @bloodythornsandskulls @humancorps3 @imachaoticghost

@und3ad-mutt @ribbed-scythe @idkwhatto-namethis @nothers @yourlocaltrasheater

@ang3l-d1nn3r @faggotron-3000 @orisaspirin @bunnyb0yy @blindweb

@wardenofbanland @weirdest-worlds @king-of-dumbasses @webmush

[if you’d like added or removed from the tag list for dividers, please leave a message in my inbox]

(PT: if you’d like to be added or removed from the tag list for dividers, please leave a message in my inbox)

[oralmisery]

Stiff by Day, Stiffer at Night

written for @steddiesmuttyseptember

[ complete fic on ao3 ]

Rating: E | WC: 7,007 | Tags: Smut, Humor, Lingerie, Blow jobs, Hand jobs, Brat Steve Harrington, Bathing/Washing, Light Dom/Sub undertones

Week three prompt: Lingerie

Steve is a mannequin that comes alive at night. 

Eddie occasionally dumpster dives at Starcourt Mall. 

The corroded coffin boys break in Eddie’s new find like teenage boys do–with mischief and vandalism. The not so lifeless Steve holds Eddie accountable and makes him clean up the mess he and his friends made.

Eddie knew Starcourt Mall was a corporate parasite draining the economic and cultural vitality of Hawkins; practically stealing customers from local businesses–the mom and pop stores that are generational legacies. However, being that the local businesses’ version of economy and culture consist of sneering at Eddie's crumpled single bills and following him around their stores like he was going to walk away with their entire inventory in his pockets, he wasn't remorseful in the least for being a patron of the new mall. Besides, there was a record store Eddie could browse while Jeff dared Gareth to steal panties from Victoria's secret. It had an actual metal section, small but existent.

The mall also had some of the most unique dumpster finds, not that Eddie made it a habit, he just looked from time to time.

“Why did you-mphf , even take this thing?”, Gareth said. He and Eddie were finding it difficult to maneuver Eddie's latest find through the trailer's small doorway.

“Same reason-push man-you and Jeff stole frilly underwear-oof ”, Eddie said, knocking his elbow into the wall and almost losing his footing. “I saw something, I wanted it, and no one stopped me, besides my acquisition was free”.

“Can't believe you went dumpster diving for a mannequin” Gareth said, finally angling the mannequin's legs right so they could get inside the trailer. They started down the hallway to Eddie's room.

The mannequin was a masculine one, tall and fit with defined musculature that was somehow supposed to represent the average man. It was bare when Eddie found it and the smooth white plastic body proved slippery to hold. The sculpted hair on the head pressed into Eddie's stomach when Gareth gave an impatient push.

“Slander , I didn't go into the dumpster, it was just right outside of it, mint condition” Eddie said, hands grappling with the mannequins shoulders as they tipped it up to stand in the middle of his room. “Ya know this thing will actually get use, which is more than I can say for the lingerie y’all pilfered. Who are you going to give it to? I don't think I’ve even seen you talk to a girl”.

Gareth's face scrunched up and he opened his mouth to argue but was cut off by Jeff, “we can give them to Gareth's mom”. Gareth’s outrage turned to a new target and he swiped one of Eddie's pillows to whack a laughing Jeff.

Jeff dodged, “What are you going to use the mannequin for?” he asked Eddie, holding a swinging Gareth back with his superior arm length.

Eddie turned the mannequin a couple inches to the right, looking over its plastic figure with roving eyes, “So many applications Jeff, imagine! a prop for our sessions, a corroded coffin mascot, a model for new t-shirts”. Eddie turned and smiled, wide and mischievous, “also I'm gonna scare the shit out of Wayne with it”.

Eddie wiggled his fingers at the others, "now get comfy, we are not parting ways until we get our setlist right, I'm going to roll a joint and grab some beer” he bounded from the room.

Eddie plopped down at the small kitchen table and opened his lunchbox to roll a joint. He twisted the filter paper with ease and sealed it with a quick swipe of tongue. With the joint tucked behind an ear, he grabbed a six pack from the fridge and headed back to his room.

“Okay boys, so I think we- what the fuck ?”.

The mannequin was now wearing a pale baby-blue, lace lingerie set. 

“I think he looks really good, right Eddie?” Gareth said as Jeff cackled.

Eddie bit his tongue. It did look good. The light blue bra stretched tight around perfectly sculpted pecs. The cups of the bra were completely transparent, the only opaque elements were delicately embroidered flowers and petals. Eddie could easily imagine pink nipples, bruising the sheer blue purple between the floral adornments. The same sheer fabric curtained around the bottom of the bra, creating an hourglass figure on a chiseled torso. Dainty straps enhanced broad shoulders. The whole piece stretched into a shape vastly different from the curves expected of it on a feminine figure. The paradox had Eddie's mouth watering. 

The most modest part of the ensemble was the front of the panties. There was a wide triangle of opaque blue cloth, then the rest was just as sheer and flower adorned as the bra. Even though the mannequin’s groin was smooth and flat, the square muscular cut of the hips sparked the image of blue cloth pulling obscenely over a bulge. Eddie swallowed thickly. Unlike Jeff and Gareth, humor wasn't at all the emotion Eddie was experiencing right now. He didn't want them to know what he was actually feeling, lest they stop being his friends.

Eddie laughed, loud and performative “I'd prefer if the top was more filled out” he said. He might as well have spoken absolute gibberish for how meaningless those words were, but he wasn't going to expose himself. He was a goddamn dungeon master and he knows how to put on an act, how to control a room–reveal information only when he's ready to. 

When players are a little too close to unraveling the mystery you give them a distraction, a side quest.

A misdirection.

Eddie swirled around and grabbed a marker from his desk, he uncapped it and flourished it in the air. He grinned at Gareth and Jeff, then nodded at the scantily clad mannequin.

“I think it needs some ink”

—----

Eddie woke up to something jabbing his ribs. He shifted with growing annoyance, wondering what was digging into his side. Then he recalled, not long before Gareth and Jeff left, that Jeff had pulled off the mannequin's arm and they took turns brandishing it like a sword. Eddie dimly remembered the arm next to him in bed when he passed out in a tipsy haze. He rolled over and started to sink back into sleep.

Something wiggled along his spine.

Eddie jerked upright and to the side with a strangled gasp. He moved so fast that his spine made an odd popping noise and by some miracle he didn't end up on the floor. Something was alive in his bed.

“Is that my fucking arm?”.

Eddie screeched and whirled towards the voice that just spoke. There was a man in his fucking room. It was too dark to see anything more than a silhouette, backlit with meager moonlight from the small window.

“W-what th- H-holy shit , I don't have any money man!”, Eddie said, frantic and garbled. He felt light headed; his heartbeat a rapid pulse in his ears. So at odds with the sluggish ebb of his thoughts and the sleep still encumbering his limbs. 

“I dont want fucking money, give me my arm asshole”, the voice said. 

“Wha -I don't know what that means, l-look just take whatever and go”.

The voice groaned like the home invader was the one inconvenienced.

“Like I want to be here? You're the one that kidnapped me from the mall, then stole my arm! now give it back”, the man said, a slight whine edging into his vexed tone. 

Eddie wasn't convinced they were having the same conversation. His body moved on autopilot, trying to appease the man’s commands as he mentally debated if this was all a vivid dream. He patted his person as if he had anything on him besides a worn t-shirt and boxers.

“Next to you, Jesus”

Eddie blinked, still processing, “Kidnap ? The fuck-I never, how ev-, I-I took a mannequ-” he said, dazed, his hands reaching out blindly on the bed sheet next to him. His left hand bumped into something warm and smooth.

There was a click. The darkness was cut through with the bright glow of his bedside lamp. 

Eddie noticed first that the man in his room wasn't wearing clothes. Mostly. He looked around Eddie’s age and was just miles of smooth tan skin and toned lines that were not at all hindered by a pale blue lingerie set. Indecent was not a word Eddie used often, the term usually directed at him, but the current display had him clutching his metaphorical pearls. Also, there were crude scrawlings of black marker all over the man’s face, like the first person to fall asleep at a truly vicious sleepover. He had uneven sketchy glasses, a stupid french villain mustache and a crooked goatee. 

The second thing Eddie noticed was his searching hand was resting on a hairy forearm. There was a severed arm in his bed.

“WHAT THE FUC-” Eddie leaped up and away, tripping over the blankets wrapped around his legs and falling straight into the almost naked burglar. The man grabbed Eddie (third thing Eddie noticed is the guy only had one arm) trying to keep vertical but they both went down in a tangle of limbs.

“Ow! fuck, Dude ”, the stranger groaned.

“Oh my god, what the fuck, there’s a fucking arm in my be-,” Eddie’s words muffled into incomprehensible noises when the other rolled them sideways, pinning Eddie under him as he sat up. The man didn't respond to Eddie's alarmed yelp. Instead, he reached over to grab the arm on the bed spread.

“Ew , don't touch i-”

The man ignored him and Eddie noticed that for all the separation of limbs going on there was remarkably little blood. None. No gore, exposed bones or flaps of skin. The place where the mans’ shoulder ended was fuzzy–like TV static. The end of the arm was the same way, like Eddie couldn't focus properly on what he was seeing.

The man hoisted up the arm and with a quick motion, snapped it back into place. He shook it out and started moving both shoulders in circles. Like a seasoned athlete warming up for a game.

Eddie watched speechless, mouth hung open. He wanted drugs to be the explanation, but he was unfortunately familiar enough with being high that he knew what stone cold sober felt like. Eddie's eyes lowered. There were more doodles and words scrawled on the man's chest and stomach. Eddie paused on a hand-drawn devil face, horns and everything–Hellfire’s club logo, right above the man’s belly button. Eddie remembered drawing it, and cursing when he made the second horn too big cause the marker skidded across a plastic ab.

With a dread thick in his gut, Eddie turned his head slowly and glanced at the corner of the room where they had left the defaced, barely-clothed mannequin.

The corner was empty.

“Where am I? This is not the GAP”

Eddie looked back at the man still sitting on him, now with two arms, crossed across his chest. His handsome face was carved with a scowl, bordering a pout. Eddie absentmindedly observed that the guy was hot . Like, probably the hottest man Eddie had seen in real life. And it wasn't the sexy underwear–the same pale blue combo that Gareth had stolen. The man was so attractive, he made a dying marker look good. He had brown swoopy hair, expressive eyebrows, pink lips and moles everywhere .

“You-you're the mannequin ?” Eddie asked. The question feels stupid–obvious but also absurd. Like asking if the moon was real and if it was made of cheese in the same breath.  

“Yes, duh ” the man rolled his eyes, “also it’s Steve, now why am I here? Did you rob the GAP or something?”, Steve said, eyeing Eddie's room like it was tainted.

Eddie blinked, dazed. The mannequin had a name. And it was rude as hell.

“Hellooo, do you have ears? Why did you rob the GAP and take me? Where's the new summer collection, huh? I was in The All-american Polo with a contrast collar, slim fit and the #5 khakis, size 32", Steve said. His chin tilted up as he stared at Eddie down his nose.

“I didn't rob anywhere, are you talking about the GAP in the mall ? Starcourt mall?" Eddie asked.

The annoyance disappeared from Steve's face, leaving it cold and intimidating–anger sunk under the surface to fester. His eyes narrowed, “are you always this slow?” he asked, voice tight. 

Eddie opened and closed his mouth. The manne- Steve’s glare was making his skin feel hot and itchy. He’s had unrealistic dreams start like this before, unfortunately the way those usually end is not a likely outcome in this situation.

“I didn’t know you're from the GAP, you were out by the dumpsters, man”

“The dumpster?!” Steve looked affronted. He jumped up and off Eddie to start pacing the room ranting. 

“The fucking dumpster ? They were going to throw me away? I'm supposed to be displaying hot new summer looks at reasonable prices. I’m the frontline of fashion, dammit! I don’t deserve to-to model a fucking trash bag ”. He abruptly stopped and whirled around on Eddie who was sitting up, trying to drag himself back on the bed.

“Why am I in this ”, Steve asked, plucking at the lacy bra on his chest, “also fucking marker? Are you serious, you guys 8 years old or something?”. Steve waved an angry hand from his face to down his body. He planted his other hand on a jutted hip.

Eddie's eyes followed Steve’s wave as if it was an invitation. His eyes slid down Steve's figure, marker and all. Eddie swallowed, the bulge wrapped in baby-blue was bigger than the one he had imagined.

“Are you going to answer any of my questions or just keep staring at my crotch?” Steve asked. Both hands on his hips now, unashamed, almost presenting in contrast to his sharp words.

Eddie's eyes flew up, his cheeks hot. 

“Uh yeah, or…no, I’m 20 not 8 years old”, Eddie said. Steve’s glare was volatile. Eddie put up his hands in surrender, “sorry , we were being stupid, just messing around. I'm so sorry, we didn't know you were, uh, alive …do, ah, all mannequins come to life?”

“As far as I know, Just me” Steve answered, preoccupied, looking off into the distance. He ran a hand through his hair and pursed his lips, “Ugh , can't believe they threw me out, I'm the best male sport model they have, I'm the only one that does the athletic stance”. He demonstrates with a pose that Eddie assumed was flawless but he's a little distracted with how the lingerie stretched around Steve’s spread thighs, leaving a little less of his crotch to imagination.

“Uh, well that's great…I mean the pose not the being… fired ? not sure why they threw you out but, um, I can drive you back-" Eddie hiccupped when he was roughly pulled up by the front of his T-shirt. Steve leaned in close and snarled.

“Absolutely not, you're gonna clean up what you did” Steve said. His face inches from Eddie’s.

“What?” Eddie asked, wrong-footed. They were so close, he could see flashes of the inside of Steve's mouth.

Steve furrowed his brow and shook Eddie, “all the marker, you're gonna wash it off”.

[ continue reading ]

[jovieinramshackle]

𝕁𝕠𝕧𝕖𝕝𝕚𝕟𝕒 𝔼𝕟𝕤𝕡𝕖𝕝𝕝𝕚𝕜𝕒 🎀 - ℂ𝕙𝕒𝕣𝕒𝕔𝕥𝕖𝕣 𝕀𝕟𝕥𝕣𝕠

Dividers | Template by: @/ai-kan

Tag: #jovelina enspellika | Main Inspos | Playlist (needs organisation) | Pinboard | Moodbaord (ft. Azul)

A girl who stands out compared to the rest of the students. She plays the part of a childish, heedless airhead. However, there are moments of them showing her true scope of power and intelligence, catching others off guard.

Jovie came to NRC as a national student with the goal of gaining new experiences and knowledge by enrolling in a school vastly different from what she knows. After numerous attempts to convince her mother to study abroad, she eventually gave in and allowed her to go to the school she was more familiar with: Night Raven College. Jovie was never properly put in a dorm from the dark mirror but was eventually placed in Octavinelle before moving to Ramshackle after book 3.

(More undercut)

Grade/Class: Somophrone/Class C (No. 34) Birthday: March 1 (Pisces) Age: 17 Height: 158cm (164cm w/ heels) Dominant Hand: Right Homeland: Wicked Grove Club: Pop Music Club Best Subject: Practical Magic Hobbies: Roller Skating Pet Peeves: Mornings Favourite Food: Stew (any kind of it) Least Favourite Food: Sugary Sweets (prefers homemade baked goods) Talent: Singing

🎀 Non-Binary (she/they) and Bisexual. Enjoys alternative feminine gender expressions and terms, but is surprisingly good at passing as a guy.

🎀 Prefers being called "Jovie" rather than her full name, mainly because her mother uses her full name to scold her.

🎀 Has a mother (Aethelfred "Aethel" Enspellika) and a younger sister (Thalia Enspellika), her father (Babis Enspellika) passed away when she was young.

🎀 Her sister doesn't like the idea of Jovie having a boy/girlfriend due to having a bad ex.

🎀 Has a black cat as a pet in the hometown named Minx. He's quite skrunkly and scaredy, as he was found on the streets as a baby.

🎀 Instead of a regular school, Jovie's hometown has teams/covens of students/witches separated by skills instead of age. They focus way more on the practical side of magic and traditional witchcraft (note: "witch" is gender-neutral, there are plenty of male/masc witches in her homeland, and there is a lack of gender hierarchy in their culture.)

🎀 Jovie was the youngest (the only minor) in her team, making her an exceptional witch but troublesome to work with.

🎀 Has been taking singing lessons from a young age, mainly to help her control her Signature Spell. Although she has developed a genuine love for singing and song-making.

🎀 In her town Jovie had a drastically different sleeping schedule, going to sleep earlier in the morning and waking up in the evening (this is because they practice most of their magic during the night) so the transition from that to waking up early in the morning was a struggle.

🎀 Owns a trusty book given to her by her mother, which has been in their family's possession for generations. She got it for help when they moved to Night Raven College. They're bad at memorising, so she makes sure they always carry it with her.

🎀 She used to help with looking after the children in the town, so they have decent experience with babysitting.

🎀 Has a soft spot for the Ramshackle Prefect, regardless of their dynamic/universe. Even bigger soft spot for Grim because he reminds them of her cat.

🎀 Far stronger than what they look. Once they provoked Flody and wrestled with him (ended in a tie). Similarly, they fight like a beast if angered, despite coming off as charming and ditzy most of the time (classmates swear they've heard her hiss before).

General Relationships:

Notable relationships:

Pop Music Club (Cater/Kalim/Lilia): Her club members are the ones she considers her first genuine friends in NRC. Originally joined so she could work on her singing, the 4 quickly hit it off with their band dynamic, particularly her and Lilia for their love for Metal. Jovie is the main songwriter and duets with Cater.

Diasomnia: Unlike other groups of humans, Witches historically have had a good relationship with the Fae (helping them fight against the Silver Owl), Jovie's family is specifically well known in the Briar Valley's history. Upon finding out she's an Espellika, Malleus instructed Silver and Sebek to treat her with respect (especially after Sebek treated her like how he treats other humans). Lilia was acquainted with her great-great stm-stm grandparents.

Riddle: An overly strict guy who follows every rule and a girl who couldn't care less about authority...not exactly a match made in heaven. They tend to bicker a lot, and Jovie has gotten the collar from him on a few occasions. As Jovie got used to the new environment and learned she has to follow the rules sometimes, their relationship improved and became one of mutual respect (they still argue).

Vil: An unexpected friendship, but Jovie quickly started seeing Vil as an old brother figure. They have an interest in fashion and clothing, so she often went to him for advice/tips/etc. They eventually grow closer, and she seeks advice often from him.

Staff members: Most of the staff tends to have frustrations with Jovie due to her not being willing to listen to authority. Although, Vargas seemed to like her free spirit (and the fact she's an expert with the broom). Crewel and Trein recognise her talents but wish she would stop being so troublesome in class. In contrast, she and Sam hit it off pretty quickly with both having interests in "darker" forms of magic. He sometimes even hires her to perform readings for the students in his shop. On the other hand, Crowley tries his best to not commit violence against a student (jk). He's acquainted with her mother, and whenever something bad happens involving Jovie, he has to notify her mother which...often results in his getting an earful.

♡ Azul: I have another post that goes in-depth about her relationship with Azul (here). But to keep it simple, childhood friends who got reunited once they enrolled into NRC and are trying to manage their new relationship after the amount of changes they both had through their years apart.

Ramshackle Members (Rollo/Fellow/Giddle/Prefect/Grim): Jovie considers Ramshackle her "coven" (despite the one she supposedly is a part of back home) and is protective of it. She makes sure Giddle is taken care of, Fellow is catching up with his education, Rollo is adapting to the new environment etc. They are especially close to the Prefect and Grim, as they have been together in the same dorm post-book 3 (Jovie even joins the Prefect in book 6 to rescue Grim). Ramshackle helped Jovie realise that power without companionship is ultimately pointless.

(Will update with adding Skully once I finish reading the event)

Reference Sheet:

Design notes:

☆ Wanted her design to give more witchy vibes, so I gave her a dress that was inspired by the ones the Sanderson sisters wore (like...a modern version of them)

☆ Stockings and boots similar to the ones Winifred Sanderson wears. Also wears heels to feel less short LMAO.

☆ A mole on the left side of her mouth, it references the mole Sarah Sanderson has (she also jokes about matching with Azul).

☆ Her bob haircut was inspired by how I used to make my hair a few years ago. She also paints her own nails.

☆ Fishnets, a small reference to the ones the Sister wore, but also because I find them cool.

☆ The bow she wears is enchanted and can transform into a hat and cape (for flying), a gift from her father. Not inspired by anything, I just like the idea of her having a shape-shifting bow (and I just like bows).

☆ The ✨ feeling ✨ is just when butterflies hit her stomach (we blame Azul for that).

☆ Her name "Jovelina" (jove-leen-a) is (I think) made up, I modelled it after "Jovie". "Enspell" means to cast a spell, I just added the Greek suffix "-ika" at the end.

☆ Fun fact: Due to being my ex-persona (made her an oc after I realised I'm transmasc) she and I share the same birthday and height. That's also why we share some similar traits in personality (cute aggression say hello).

Author's note: Something possessed me and forced me to make this post in a day while sick hi hey hello. Finally introducing my problem child to yall isn't she awful/j (I love my daughter I swear). Also please forgive any misspellings or awkward wording I'm severely illiterate/j (dyslexic).

Note that if you wanna ask questions about Jovie my inbox is ALWAYS open (unless said otherwise) for anything!

("Will you do one for your sona or Jess-" shhh let me find another unknown being to possess me again first)

tag list: @ramshacklerumble @thehollowwriter @summerspook @scint1llat3 @skriblee-ksk

@cyanide-latte @twistedwonderlandshenanigans @oya-oya-okay @viperbunnies (lmk/dm if you wanna be added)