#I am liking his character more and more from a writing perspective though

[legalownerofufoemoji]

Wow Laios is actually severely autistic

I am not saying that as an insult, as I read this he isn't even just coded as such, he just is. It's actually really relatable (currently hes being yelled at for not being able to "read between the lines", poor guy)

I'm so fucking excited to see this animated actually, I wonder if they'll keep it true to the source material

[dceasesd]

why juni ba’s the boy wonder has my favorite jason characterization of any contemporary comic run: a needlessly in-depth analysis (pt.1)

oh boy oh boy am i excited for this one buckle up boys it’s gonna be a long one. analysis under the cut (WITH PICTURES!!)

i, like many others, have many thoughts and opinions about juni ba's the boy wonder that i'd like to express. i was having trouble formatting my rant, though, so i decided that it was easiest to just address some of the common complaints i've seen about the comic and jason's characterization and insert my ramblings throughout it. so far i've seen three main complaints:

the typical boiling down of jason's character to "the angry one"

his lack of strategy going into the fight with the demon is out-of-character

the neighbor's kid interaction

to start with the first one-- when introducing jason's character, in both the second and first issue, ba uses the descriptors "coarse", "bitter", "hardened", "brash" and, of course, "rageful".

so, yes-- i understand where people are having issues with this characterization. however, even if it's overplayed, it's still important to remember that jason is angry, and is driven, in part, by his anger at bruce and the joker. and, as ba highlights, he deserved to be! completely erasing jason's anger is just as bad as defining him with it.

i also don't think it's wholly accurate to say that ba is boiling jason down to just his anger. it might seem like that when only considering the dialogue and narration, but jason's behavior in the comic doesn't perfectly align with how the narrator describes him. while the narration describes him as "rageful" and could be an instance of generalization, jason's actions throughout the comic are more aligned with two other emotions/motivators: fear and despair. we never see jason get actually, properly angry; the closest we get is when he's seemingly annoyed by damian (which i believe could be performative) and when he becomes violent, accidentally hurting damian.

even in this instance, though, he is not driven to this violence by rage, but rather fear. so, while ba states in the narration that jason is driven by his anger, he contradicts himself by highlighting how jason's sadness and terror motivates his character. this could be interpreted as lousy writing on ba's part, but i'm not going to attribute the paradox to that inference. to me, it actually represents a critque of the "jason is the angry robin" generalization, because it calls to attention the discrepancies between how one is described versus reality, an issue that jason both faces in the comics (bruce using him as a cautionary tale when dying WASN'T HIS FAULT) and outside of the comics, as mentioned previously.

furthermore, this highlights the difference between what jason believes about bruce's perspective and bruce's actual perspective (according to damian). jason believes himself to be a "failure", but damian refutes this by describing his conversation with bruce concerning jason, a conversation that does not align with jason's belief. if you couldn't tell by now, perception versus reality is a BIG theme in this comic (and for jason's character in general!)

i was really fascinated by ba's take on jason, because it veered pretty far from a lot of contemporary comics, most of which do, unfortunately, play with the angry robin jason generalization. they've been doing a bit with his fear, too, which has either been pretty fun or the most awful thing ever (i'm looking at you zdarsky. gotham war was fucked up), but what makes ba's jason stand out to me is how he grapples with his grief.

this boy is so sad. ba's jason might actually be the saddest rendition of him i've seen in canon content. we've seen jason grapple a little bit with the despair rooted in his death and resurrection, mainly in lost days, where he cries 3 (?) times, fresh out of the pit and very traumatized.

even in this comic, though, he reacts to his grief with anger more prominently than sadness. that obviously doesn't mean the despair isn't there, though-- anger is just an easier outlet for it (which i could really get into the masculinity aspects of that, but then this would be wayyyyyy too long).

ba's jason, though? that motherfucker is so. sad.

christ he's depressing. AND THAT'S SUCH A FRESH PERSPECTIVE!!!!!!! THANK YOU JUNI BA!!!!!!

now i'm pretty sure some people would argue that this rendition in out of character because he's so sad. to me, though, he's still the same jason; he covers up his sadness with anger and pettiness, redirecting his own insecurities onto those around him to mask his true feelings.

ba quite literally illustrates this in the comic. whenever he is being his snide, normal self, he has his red hood mask on; but when he actually opens up to damian and expresses himself truthfully, the mask is off. ba is highlighting how the classic jason anger and bitterness is, in part, a performance and coping mechanism.

this post is already too long, so i'll go over the two other critques in a different post, which i will link below (eventually). if you guys have any thoughts you'd like to share or discuss, my dms and asks are completely open! if you made it this far, i hope you enjoyed my ranting. look out for another post soon! :))

part 2 / part 3

[l4mplight]

Miquella and Trina; A Tragedy

Hey Tumblr. I have a lot of thoughts about Shadow of the Erdtree, and these ones... let's just say I don't think they'd do well on Reddit. It's not often that I feel particularly impacted by a particular fictional character. Usually I connect more with narrative arcs and themes, which is why I think I'm so drawn to the ephemeral, vibes based storytelling of Fromsoft's games. Playing through SOTE, though, I found Miquella (and St Trina) to be extremely emotionally compelling and relatable, and I wasn't sure exactly why. I think I've put my finger on it now though. First of all, know that I am writing from the perspective that Miquella is a sympathetic character. I know that it's not uncommon to read him as a manipulative Machiavellian villain, but I think that's both a misreading of the text as well as just plain boring. Like, he's not a Griffith clone you guys, give From some credit. Anyway, here we go.

"You have no understanding. Of Miquella the Kind. Of St. Trina's Love.

Content Warning: I'll be discussing themes of depression, and the implication of suicidal ideation.

So, a classic Fromsoftware theme is despair, and the ways we cope with a world full of it. It shows up twice in Shadow of the Erdtree; with Midra and the Frenzied Flame, where despair leads to a selfish nihilism that asks us to burn everything down, and with Thiollier and St Trina, who offer sleep as a comfort to the weary. Running a small errand for Thiollier has him say the following.

"If you find yourself… weary of the weight of this life, then just give me the word. Sleep is a balm, and eternal sleep… is an elixir."

Drinking the elixir he offers will, of course, result in an instant death. This is our first encounter with the idea of "Eternal Sleep," a more potent form of the sleep status effect that only appears here in the Shadowlands, after St Trina has been abandoned. The Velvet Sword of St. Trina tells us as much: "Silver sword of St. Trina, now stained the color of velvet. Inflicts eternal sleep. When St. Trina was abandoned, the faint, light-purple mists coalesced into an intoxicating deep-purple cloud." In order to ascend to godhood, Miquella abandons first his physical body, and then the more abstract aspects of himself. As we begin to descend down the fissure where we'll find Trina, a cross marks the spot as the place where Miquella abandoned his love. This connects Trina, "the discarded half" as Thiollier puts it, with Miquella's love. Leda confirms this in her own dialogue:

"St. Trina's love for Kind Miquella is boundless. She is, after all, his other half. Or perhaps her feelings go beyond even that. Even if she was left behind, I doubt her heart would waver."

Keep that in mind, it'll be relevant later.

Near the cross, a spirit offers up some of the most heartbreaking dialogue I've come across so far. The spirit gives us a bigger picture of Miquella's goals:

"Kindly Miquella... I see you've thrown away... something you should not have. Under any circumstances. How will you salvation offer... to those who cannot be saved? When you could not even save your other self?"

I teared up at this. The emotional impacted was aided by the fact that I ran into the spirit right after telling Moore to put his past behind him, leading him to rededicate himself to Miquella. He says:

"Hm. Maybe that’s Kindly Miquella’s love. Love for all the unloved. Love, to banish the pain."

Note here that Moore suggest Miquella's love will "banish the pain." This is also essentially what Trina's sleep does. It's a comfort to those in need. Anyway, between these two instances, we end up with a pretty good picture of the sort of god Miquella wants to become. He was already sympathetic to the outcasts of The Lands Between in the basegame, where he built Elphael and the Haligtree as a haven for those rejected by the Golden Order, such as the Albinaurics and Misbegotten we find there. In the Shadowlands, he has gone a step further. Hornsent tells us that he has committed himself, in essence, to righting Marika's wrongs.

"Miquella has said as much himself – he wishes now to throw it all away. He says the act – though undoubtedly painful – will sear clean the Erdtree’s wanton sin. The truth of his claim can be found at each cross. 'Tis evidence enough to earn my belief."

Of all of Marika's children, Miquella is the only one to see the serious flaws in her empire. Ymir points this out to us as well.

"No matter our efforts, if the roots are rotten, then we have little recourse. Ever-Young Miquella saw things for what they were. He knew his bloodline was tainted, his roots mired in madness. A tragedy if there ever was one. That he would feel compelled to renounce everything when the blame lay squarely with the mother."

My thinking here is aligned with Mother Ymir. You really have to feel for Miquella; he has essentially taken on, alone, the responsibility of making up for centuries of Golden Order imperialism. That's a massive burden to bear, especially for Miquella, cursed with eternal childhood.

(It's easy to miss, but Miquella actually ages up significantly when we see him in god-form. Until he steps back through the Divine Gate, he would have looked and sounded like he does in the introductory art and in ending memory scene. Compare those with how he appears in the boss fight, and it's clear godhood at least helped him reach puberty lol) So we've established that Miquella is the child of Imperial Rome on Steroids, is cursed with eternal childhood, and is an empathetic prodigy with the weight of the world on his shoulders. Surely his mental state is perfectly healthy, right? Right??

Final warning, this is where things get quite sad. Here is where I will try to tie Miquella's arc together with Thiollier and St Trina, and the comforting oblivion and relief from despair that sleep represents for them.

As we search for St Trina, we descend down into the Stone Coffin Fissure. This is a place of death, with massive coffins built into the fissure walls, and Gravebirds, Bloodfiends and Putrescent enemies everywhere. St Trina is found at the deepest possible pit of this fissure, in a swamp of putrescence that has since blossomed into a garden of deep velvet lilies because of her influence. Trina offers us nectar of "eternal sleep," as Thiollier did previously, and as established then, "eternal sleep" is essentially nothing more than a peaceful death. Trina seems to fit in quite well in this place of ancient dead things, with some of the ancient remains even being compelled to fight for her in exchange for eternal rest, becoming the Putrescent Knight.

(Side note for levity because we're about to get sad again; I love this guy. It's a knight made out of the skeleton of a horse, riding on that same horse's decaying flesh goop body. Like, ugh. Beautiful. Plus, it may even have taken that shape because of Trina sharing Miquella's memories of Radahn, who was never far from his horse Leonard...)

We meet St Trina in her garden, and when we imbibe her nectar, we eventually begin to hear her voice in our death-dreams. She seems to pity him. Mourn for him, almost.

"Make Miquella stop... Don't turn the poor thing into a god..."

Trina appears to be in a bad state after her fall. She can only manage to get a few words across to us at once. Just as Leda predicted, her heart hasn't wavered. She is only concerned with Miquella's well-being.

"Godhood would be Miquella's prison. A caged divinity... is beyond saving."

Trina's most pressing concern is that godhood will be a prison for Miquella. Now, this could in theory be because gods are subject to manipulation from the Fingers and the Greater Will or a similar reason, but given that she calls him a "poor thing," I think there is likely a more emotional reason behind Trina's plea. I think that Trina is speaking as the embodiment of Miquella's love, but especially his ability to love and care for himself...

"You must kill Miquella... Grant him forgiveness."

...and she asks us to kill him.

In excising Trina from his being, I think Miquella also expelled the part of himself that was able to recognize how miserable divinity would be for him, and how miserable he was. The part of him that was tired of carrying the responsibilities that his compassion demanded of him. The part of him that was exhausted, despairing and desperate from having failed to cure Malenia, failed to save Godwyn, failed to perfect the Haligtree. St Trina is the part of Miquella that wanted to be stopped, to rest, to sleep, to die. In abandoning her as he does, Miquella is essentially repressing those thoughts and feelings, replacing them with more "selfless" ones; self-sacrifice, suffering on behalf of others, his martyrdom and apotheosis. I don't want to forget about "grant him forgiveness" either. She might mean forgiveness for failing to become a god, for not being good enough to succeed Marika and right her wrings. Maybe forgiveness for failing Malenia and Godwyn, or for leaving the Haligtree behind. Maybe even for abandoning her. But on the road to godhood, Miquella can't afford to indulge in this sort of self-pity. A child craves forgiveness and approval, a god must cast these things out.

"I'm feeling rather lost. Haunted by memories. Of St. Trina. Her visage. Her scent. The lure of velvety sleep. Would Kindly Miquella chasten me? For falling for St. Trina, while knowing that she was the discarded half? The problem is… I simply cannot help it. I would sacrifice everything, just to gaze upon her, one last time."

I want to mention Thiollier one more time here too. His primary visual motif is the long white braids that he wears on his clothes, reminiscent of Miquella and Trina's own signature braids (remember, she looked like an older feminine Miquella before her fall and injury). Thiollier is obsessed with Trina, pursuing her to hear her voice and fade into the comfort of her velvet sleep, though this doesn't kill him like it does us. I don't think Thiollier is connected to Miquella in any textual way, but I think he does serve as a reflection of the sorts of thoughts Miquella may have been surpressing. The self-pity, the need for approval and love, the feelings of weakness and uselessness. These are the things that lead Thiollier to pursue endless slumber.

Thiollier doesn't give in to that despair, however. Though he initially takes St. Trina's words... poorly, he eventually realizes what must be done, and dedicates himself to his new purpose: carrying out her final wish.

"I am here to serve St. Trina evermore. I am deeply sorry. For doubting you. I am here only to grant St. Trina's singular wish. I will stop Miquella the kind. He will never become a god."

This post is already quite long, but I also want to mention the obvious gender stuff going on here. There are a number of moments that make it seem as though St. Trina might actually be more than just "half" of Miquella. Firstly, as she is shown falling in the story trailer, Leda is describing how Miquella abandoned his fate, as if Trina had a vital role to play in Miquella's future. It also seems as though Trina isn't cursed in the same way that Miquella is; her voice and size indicate that she is at least more substantial than his "infant form," and she is depicted in "adult form, somewhat unnervingly" on the Torch of St. Trina. Furthermore, her "adult form" has a third eye in the middle of her forehead. The third eye is a symbol of enlightenment in both Hinduism and Buddhism; it seems that Trina has achieved some level of wholeness in this depiction. Meanwhile, when Miquella achieves godhood, his eyes remain permanently shut. He also appears to have only one physical arm. He holds Radahn with two incorporeal arms while casting with his real right arm, but his left arm appears to fade away to nothing before the elbow, as if unfinished. Miquella's blindness and asymmetry here, I think, reflect how unbalanced and incomplete his divinity is without Trina.

One more hint towards St Trina being a part of Miquella's future lies way back at the Haligtree. In Malenia's bossroom, just above where Miquella's cocoon was once embedded into the tree, the branches and roots appear to form a silhouette. This could be Miquella, Trina, or both, but I do see a certain resemblance to Trina's depiction on the torch in the way the "hair" covers the eyes. Given that Miquella's body appears to have grown a decent amount inside of the cocoon when we see in at Mohg's palace, it's possible that the cocoon situation was his original attempt to cure himself of his own curse, or perhaps become a part of the Haligtree itself. In the Shaman Village, Marika's home, there is a similar scene. A woman's body that resembles Marika seemingly mummified within the hollow of a tree. I honestly have no idea what to make of that just yet, but I thought it worth a mention.

So, with all that in mind, abandoning Trina seems to be even more significant. Not only has Miquella divested himself of his love and his fate, but maybe even his future, too. Being eternally nascent, he is always in a state of potential, after all. Am I suggesting that Miquella is a transfeminine character? That he was meant to grow up to become a goddess in the aspect of St. Trina, or maybe even more like Marika than he already is? Well, maybe. If you find it compelling, then absolutely. Fromsoftware's storytelling is always ambiguous, and is always design to leave us some room to read and interpret, to really play in the space we are given. Personally, I do find it compelling in a horribly tragic sort of way, fitting for the setting. It's also entirely possible that I have rather self-indulgently projected some of my own angst onto these character. I likely have, to be perfectly honest. It's rare that I really connect with a set of characters or a story like I have with this lot, and I hope that maybe some of you reading this will feel similarly. If you have read this far, thanks <3

[thestarfishinjootsoffice]

Old writing especially on Bo's and then Vincent's part. I realised that I was writing as if their s/o showcased their strength during later on into their relationship in the first three slashers, apologies.

A/n: I am no longer writing for Hannibal or any hannibal characters as I myself have forgotten my own perspective of them.

Slashers x reader who's stronger than them but doesn't look like it!

Warnings: blood and death on the ghostface duos part, very slight mentions of nsfw. But mostly fluff.

Slashers in this: Bo sinclair, Vincent sinclair and Thomas Hewitt, Michael Myers, Billy Loomis and Stu Macher (poly)

Relationship: romantic!!

Bo

It clawed at his ego, he's a pretty mean bastard and you know it 🫵.

He first thought of you as the most fragile and weakest person ever (and cutest), I mean, could you even lift a pot half filled with water?

Undoubtedly he used this assumption to 'help you' or more so at times tease you. He loves seeing your reactions and most definitely not because you're so small and kind to him, pfff of course not.

He just absolutely loves lifting you up and over his shoulder and he's definitely an ass guy. He loves ogling and smacking your ass but he won't get to that level until many many months later on. But he's still going to stare.

“Oh Bo, I think there's a rabbit under the truck!” You exclaimed to Bo as you noticed something white and moving below.

"An animal? *sighs* hold on, I'll get rid of that p-" He suddenly loses his ability to formulate words as he witnesses you lift the goddamn fuckin truck with one arm, and indeed there was a rabbit underneath.

“*gasp* it's so cute!” Bo cannot believe what he just saw. Damn, he gotta stop smoking so much it's messing with his brain. He's just staring at you as you pet the timid rabbit with your 'scrawny' arm.

He must admit he does fantasize about you lifting him up and shit, or topping him in bed. Whatever he's feeling that day, and he would rather swallow sand than ever admit that last part.... But y'know if you're up for it-

His cocky and prideful attitude seemingly making an apparent change, he would hold a cup or item you need above your head with a shit eating grin watching you get frustrated with him. Or when he would make jabs about you being too weak to lift three chairs at a time and would offer to help you. (So he could walk beside you.) But now... He still fucking makes jabs at you being weak, just to fuck with you even though he knows it's far from the truth. He loves making you seem like the little helpless princess and him being the asshole shining knight in armor.

You wouldn't mind tho would you? It's a win-win, you get to spend more time with your boyfriend and he gets to spend time with his girlfriend.

Vincent

So gentle and caring with you. He's gentle and caring with whoever he is with but your size just makes him think one wrong move and he's accidentally breaking your arm. And cause of this he can't help but be a worry wart at times and way too protective. Not budging even if you reassure him you're perfectly capable of doing something that requires strength.

During one of the dark evenings you walk with your lover in the forest, the side of the forest where there isn't roadkill so that you can breathe without torturing your nostrils. And finding some fire wood to spend the next dark hours star gazing and ranting to him while the sound of the fire crinkling and burning the wood serves as a nice background music.

Every step you take you hear the crunch of the dead leaves get crushed under your foot, both of you holding your flashlights. You have the warm and slightly calloused hand of your Vincent holding yours affectionately as his thumb brushes against the back of your hand and knuckles, gently tracing over and feeling the ridges and bumps.

You notice some fallen bark and shine your flashlight on it. "Vinny, look there's some firewood over there!" You exclaimed and shined your flashlight elsewhere, looking around more until you had shined it directly on a tree right in front of you that was occupied by a scary looking arachnid, its front limbs moving in a sluggish and relaxed fashion.

You let out a startled yelp and out of instinct your fist went to swing at the spider who somehow successfully managed to not get hit in the nick of time. This also startled your boyfriend who looked worriedly at you, his eyes scanned over to see that you were.. Fine! But the tree you punched wasn't. It has a big dent in it while the flesh of wood was cracked and damaged severely around the impact along with many splinters.

"I'm so sorry Vincent! There was a spider and I got scared!"

He almost let out a breath of relief knowing it wasn't anything serious but he can't get his eyes and mind off the injured tree. Did you... seriously do that? He gently took your hand and examined it, it seemed perfectly fine except for redness, light bleeding and a couple splinters on your knuckles.

He slowly raised one of his hands, pointing towards the punched tree. 'Did you do that?' Is what's probably going through his head. You chuckled sheepishly and nodded in confirmation. He sighed. For now, he'll worry about your fist.

Does this interaction change how he treats you?... Kind of. He isn't too pushy as he was since he now knows how capable you are of handling yourself but there's still that feeling in him, something that gnaws at his inner core for him to help you. He wants to feel useful and to serve you in any way he can, so...please let him dote over you still..? (Of course you will, you can't say no to him.)

If you want to pick him up he'll entertain you, though he'll be extremely flustered and giddy about it. He likes this way more than he should (in his opinion). How comical is it? He's a large 6'1 grown man being carried princess style by his tiny s/o. Despite all this, he still hopes you need him as much as he needs you.

Thomas

Trust me when I saw it really took Thomas by surprise. He's a really big guy and you say this little thing is stronger than him? Oh please, humor him after dinner.

He's a busy man with a lot on his plate, and you seemingly looking like the most harmless person in the world doesn't help, he constantly feels like he has to tend to you and supervise you from a certain officer.

Will usually not allow you to help him when he's working, it depends. He feels guilty letting yourself get caught up with all this but if you insist he'll gladly accept the extra hand with honest gratitude. But generally- 'Back away honey, you might get dirty.' Is what he wishes he could say.

In his eyes you're a saint, an angel. Made perfectly to fit in the space between his thighs he's sitting down and there's no flaw in the way his large hands cups your cheeks with those pretty eyes of yours staring into his – no room for mistake or complain. You're adorable.

The first time he allowed you to help him you admire your handsome behemoth of a lover chopping wood. Appreciating the rolled up sleeved that gave you a good view of his arms, his muscles flexing as he brought the axe down – after he was done with the first small batch of logs you hurried to grab the others.

Tommy watched with amusement and adoration before shifting his weight to help you but stopped as you started walking towards him five logs resting effortlessly in your arms. It didn't even seem to faze you as if it was just you were only a bunch of baby ducks.

Tommy watched in silence as you laid them out on the table, still kind of processing it before nodding his head in gratitude and resuming to chopping them up. He'll bring this up later, maybe. For now he'll focus on getting his work done and spending more with you, and your soft words.

He doesn't really care if you're stronger than him or not, as long as you love him and don't try to run away it's all good. If you want he'll stop trying to do everything for you even though he knows you don't need any assistance – he's so used to working around the house he feels restless not doing anything at all.

If you want to carry him, do it. He's all yours but please do it in private he won't be able to handle the embarrassment if his family sees it. And although he prefers to be the dom he doesn't mind it if you wanna take charge every once in a while and throw him around.

Plus, it creates something pleasantly warm in his stomach.

Michael.

He thinks he's going insane. (He already has.)

He's Michael Myers, the most ruthless killer Illinois has ever seen for the past decades. And you're saying this small creature that he's inhabited has greater strength than him... Yeah, no.

And then he sees you picking up three bodies out of the house with your bare hands while cleaning up the evidence of his the murder he left, quietly observing you. He won't admit it but it kind of irks him. He's supposed to be the one with power in this relationship and quite frankly he doesn't know the true extent to your power.

He warms up to it eventually – although it's more of he doesn't give a fuck anymore. You're not completely weak and helpless? Great, he doesn't have to worry about you as much. Key word: as much. He still does worry a lot when you're out for long hours – he's not worried you're injured or in danger (not anymore) but more as in you're not leaving him, right? Or ratting him out to the police?

Do not ever attempt to pick him up or anything even remotely close to that unless you want a glare from those void, soul-less eye sockets of his mask Or if you want a love tap on the head and cheek. If you give him enough guilty smiles and let go of him he'll let you off the hook. if not, bear the consequences. (They don't even do anything anyways, lmao)

He feels so incredibly annoyed when you start treating him like a child, telling him to go sit down or lie down in bed after he pulled a few all nighters and the fact you successfully manage to pull him back into bed: God dammit, why the hell are you even so strong and you're so small!? Grumpily he does stay put but only if you're with him too.

A man feared by hundreds, if not thousands because of the sheer power and mercilessness he leaves in trails of every step he takes in public... And then there's you, you're half his size and you have more control over him than he'd like. He'd never kill you though, not intentionally, but that will also most likely not happen.

Speaking of killing, don't think he won't murder someone if they attempt to hurt you and gets their ass kicked by you anyways. You attack, he lands the finishing blow. Don't protest, he won't listen.

Billy n' Stu

They're both pretty lean so you can believe it, if not for your given figure. They both adore it, so who cares? Billy and Stu will, eventually.

It was in the heat of the moment, you tell yourself but you remember in vivid detail the day where you saw the bloody escaping victim running towards you – adrenaline pumping in your veins, your mind immediately went into fight mode and swung a fist at their skull. You remember the sickening crunch as blood slowly pooled from their fractured cranium when they lifelessly fell down to the floor.

They first helped you with the lingering guilt first before Stu started annoying you.

''Can you punch me like that next but with a bit less-''

"No!"

Alright, no worries but now he's asking you to lift him up to reach things that he does not need help on. Maybe even just carry him and run around the house. (Don't be fooled, he just wants to be carried around like a child again.) Fluttering his eyelids at you and holding up a jar of pickles. 'Y/n, I can't get this to open!' Yes he can.

Billy, although tries to act neutral but can't help but let his thoughts wander. 'Wow... Strong girl... Can choke me...' He thinks to himself as he watches you and Stu. Not as if he'd ever admit that. He pretends he's disinterested in getting in your arms - no, he just doesn't wanna embarrass himself. But if you persist he'll begrudgingly agree. He indeed liked it.

Stu obviously takes a positive reaction, he loves getting dominated. You can take that however you like. Billy on the other hand feels conflicted, if he's not stronger than you then how will he stop you if you try to leave them or plan to rat them out? Assuming this is during the beginning of your relationship. But overtime the more he takes a good look at your face those thoughts will slowly drown away, there's no way you would, right?

The slashers will probably swoon if you agree to help them place the bodies where they want them to, like hanging them in the trees or something.

Billy keeps it more lowkey. Preferring to keep you in his lap and rest his chin on top of your head. Stu takes your strength to his advantage. When he gets drunk he'll whine and ask you to carry him to bed, and take his socks off. Annoying fuck but you love him either way. And Billy too.

[obsessedwhyyes]

The Learned Observer

Fic Request: Voyeurism

Summary: On a sleepless night, Gale notices the distinct sound of hushed voices outside his tent. It couldn't be you and Astarion… could it? When he decides to take a peek - to satisfy his scholarly curiosity, of course - he gets more than he bargained for.

Rating: Explicit Word Count: 2623 Pairing: Astarion x Fem!Reader, implied Astarion x Gale x Fem!Reader Content: Gale's POV (first person), voyeurism, dry humping, handjob, public sex, male masturbation, a little bit of jealousy.

A/N: Gale, in my humble opinion, would not use the word, “cock.” I cannot express how hard it was to not use the word, "cock" in a smut fic. I frigging love that word. Anyways, writing entirely in Gale’s voice was honestly the most fun mini challenge I’ve set myself so far, and I would gladly do first person BG3 companion POVs again. Thank you, dear anon, for the request!

Another sleepless night.

The orb pulses beneath my skin, each throb a reminder of my predicament.

I implore my mind to wander to the events of our journey, to the challenges that lie ahead, in pursuit of a worthwhile distraction. But the orb’s hunger grows stronger, like a raging maelstrom, each tribute to its insistent pull a mere ripple against the tide of its endless consumption. Perhaps I should consult the others about–

… Voices drift from outside my tent before I can finish my thoughts. Curious.

Hushed laughter and whispered words. Astarion's distinctive timbre and… you.

The sound is soft, subtle - a quiet exchange. Yet, here I am, catching fragments of something private, something perhaps not intended for outside ears.

I shift, the faintest spark of curiosity pulling me from my solitude. It's innocent, surely - a late-night conversation, perhaps a shared joke. And yet, as the moments pass, I can't ignore the intimacy in your laughter, the way Astarion's voice drops to that silken murmur he reserves for his attempts at enticement.

Just a glance, I tell myself. Merely to understand what could be so amusing at this hour.

Slowly, carefully, I draw back a sliver of canvas, just enough to peek through.

My breath catches as my eyes adjust to the firelight outside. There, on the other side of the campfire, resting against a fallen log, you sit beside him, close - very close - your faces inches apart.

Your legs are entwined, and there’s an intensity in the way you look at each other. I’m taken aback by the hunger in the kiss that follows - one neither timid nor restrained. Your hands begin to explore each other with what I can only call fervour - the kind of urgency I hadn't known either of you possessed, let alone with each other. 

The way you move together speaks of raw desire rather than tender affection - this is clearly a new physical relationship.

When did this start? How did I miss the signs? Though perhaps I was too caught up in my own concerns to notice the lingering glances, the way you always seemed to find reasons to be near each other…

I tell myself it’s simple curiosity that keeps me here, observing. A certain academic interest, if you will. After all, Astarion has always been something of a hedonist - a man who indulges in his desires with a recklessness I sometimes envy, though rarely approve. But to see him like this - in action, as it were - offers a unique perspective on his character.

You murmur something I cannot make out, a teasing lilt in your voice, and Astarion laughs in that rakish, honeyed tone of his, as though thrilled to have you so wholly entranced. His hands grip your waist, and with a practised grace, he pulls you into his lap, the hem of your skirt spilling around you both. As his hands settle on your hips, you grind against what I can only assume to be a prominent hardness in his trousers, judging by the satisfied smirk on his face. 

You seem eager, pliant under his touch, responding in ways I confess I hadn’t thought you capable of - no, not like this. Not with him.

My heart hammers in my chest, a tension spreading through me that’s… increasingly difficult to ignore. And yet, I remind myself, this is mere observation, nothing more. A clinical exercise in understanding the intricacies of interpersonal attractions between a vampire and a mortal; the undercurrent of danger that befalls such an arrangement.

He holds you with a blend of confidence and entitlement that borders on decadent, his mouth at your neck, lips brushing against your skin with a maddening leisure that’s somehow indulgent and teasing all at once. His fangs linger there and, for a moment, my heart stops - surely he wouldn’t… Ah, no. No, he’s not feeding. He merely kisses your neck, fangs scraping lightly against your throat - close enough to tempt and tantalise. I see the goosebumps flare on your skin.

He whispers something low and unintelligible, and you let out a soft giggle, yielding in a way that speaks of trust - trust that’s he’s earned, somehow, despite his nature.

And then your hand drifts between you both, touching him through his trousers.

Gosh. I hadn’t thought you so bold.

Astarion’s body arches into your touch, his gaze darkening as he watches you with a hunger that’s both terrifying and… strangely beautiful. I find myself entranced, my breath shallow as I observe the way your fingers trace over him, the way he leans into you. The noise he makes when your fingers flex, squeezing him gently over the fabric… Gracious. 

There’s a strange, reluctant curiosity building within me. I should look away. I should grant you both the privacy you likely assume you have. And yet, my gaze remains fixed, drawn to the details of your encounter: the way his hands tighten on your waist, the way your breaths synchronise, the way he murmurs softly into your ear…

I am aware - painfully so - of the ache low in my body that has built with each passing moment, each glance, each touch. I am no stranger to restraint - I have spent years tempering my desires, sacrificing comforts in the pursuit of knowledge, of power. Yet, here, now, I feel that restraint begin to falter; to dissolve like ink in water, dispersing until it is all but unrecognisable. It has been so long, after all. So, so long.

When your hands move to the waistband of his trousers, my breath catches. Gods above, surely you won't, not out in the open... but yes. Yes, it seems you will.

When you pull him free, well - I’ve always wondered about vampire physiology, purely academically, of course. But the sight of him prompts rather less scholarly thoughts. He’s impressively endowed - perhaps it is wishful thinking to believe that this is but another gift of his condition. It’s fascinating how vampiric transformation affects every part of the body - he’s almost luminescent in the firelight, every inch of him perfect and unmarred. I notice the veins that trace along his length, faintly visible beneath his skin. He is, even now, a study in confidence, exuding a subtle power that one can only achieve when utterly comfortable in one’s own skin.

Your hand wraps around him, sliding up and down his length at a teasing pace, drawing forth a sound I have never heard our pale companion make - a soft, broken gasp, caught somewhere between a moan and a sigh. It sounds almost reluctant, as though he hadn’t meant for such a sound to slip past his lips. He twitches under your ministrations, and his grip on your hips tightens enough that there will surely be bruises tomorrow.

My fingers rest at my thigh, trembling ever so slightly. A small part of me - a remnant of reason, perhaps - tells me to pull back, to look away, to let this moment pass without surrendering to the need that has taken root within me. But my body, the traitorous thing it is, does not heed such commands. Instead, I find my hand drifting lower.

My fingers trace over the fabric of my trousers, over the aching hardness beneath. A gentle palming, barely enough to ease the tension that coils tighter with each passing moment as I watch the scene unfold.

Your hands elicit quiet murmurs from Astarion that grow deeper and more insistent with each passing moment. For a moment, the two of you share a look - one of conspiratorial mischief, perhaps - and then a soft, shared giggle, the sound mingling with the crackling of the fire. 

You're so utterly engrossed in him; so utterly unselfconscious.

You shift, a question in your eyes, and as he nods, giving his assent, you rise just enough to shift, positioning yourself over him. Your skirts drape around you both, providing a veneer of modesty, though there's no mistaking what follows when you sink yourself down on to him. The way your lips part in a gasp as he enters you, the way his head falls back with a victorious grin - it makes the tightness, the great ache between my legs, almost unbearable.

I find my hand slipping beneath my waistband.

Just a little relief, I tell myself. Just enough to ease this maddening tension.

There is a certain poetry to it, I suppose - this surrender to the pleasures of the flesh. I allow myself to imagine, as my hand finds the throbbing heat of my arousal, what it might feel to be in your place, to have someone look at me with that same confidence, to experience touch imbued with the certainty of one who knows precisely how to elicit pleasure - a knowledge gleaned from centuries, no doubt, of indulgence and conquest.

It’s enough to leave me aching for more than mere observation.

The fervour with which you move against him… it’s hypnotic, each roll of your hips drawing forth increasingly wanton sounds from you both. Astarion's carefully crafted demeanour gives way to something more roguish, a playful daring that glints in his eyes as you rise and fall and rise and fall on his length.

I find my hand instinctively matching your rhythm, every shift and motion, as though I, too, am bound to the undulating tempo that you and Astarion have created.

Gods… what must it be like to be him? To have someone so openly, eagerly drawn to you, meeting every touch with matching fervour? To hold someone close and feel their raw desire, the thrill of each laugh, each gasp, offered without hesitation? I wonder what it must be like to inspire such a response, to be desired so freely, without need for pretence or restraint?

With Mystra, I was ever the pursuer, striving tirelessly to earn even the barest hint of her approval, each moment together feeling like an examination I desperately hoped to pass. But Astarion… well. He needn't chase or convince. Despite his vampiric nature - or perhaps, in part, because of it - he is simply desired, freely given all that I once had to beg for. The inequity of it all would be rather poetic, if it weren't so personally vexing.

“A-ah!”

Your gasp cuts through my ruminations, pulling me back into the scene.

Astarion’s hand has slipped between you, guiding you to that final crescendo with a practised touch. The sight of it is utterly spellbinding: his fingers moving with a precision that speaks to centuries of experience, knowing just where to press, where to linger. The control he exercises over you is enviable, each movement of his hand coaxing you closer to that peak, his attention wholly focused on your reaction, even as your hips rock back and forth on his length with an increasingly frantic, unrestrained urgency.

The way your eyes roll back... Gosh.

The expression on your face, one of pure, unfiltered abandon, is a sight to behold.

Your body trembles as you reach your peak, and a sound - a cry, too loud in the stillness of the night - escapes your lips. Astarion’s palm clamps over your mouth, a futile attempt to muffle you in the throes of your climax. Though he hushes you, his expression suggests that he is not in the least bit concerned. In fact, he seems rather pleased - more than pleased, really. 

There’s a thrill in such a public display for him too, no doubt.

I swallow, the sound almost too loud, my heart pounding against my ribs as though it seeks to betray me. Astarion's head tilts slightly, his gaze flickering to the shadows, and for one heart-stopping moment, I think he has sensed me, that his attention has shifted from you to this invisible interloper, the scholar caught red-handed in his quiet act of voyeurism.

Could he... sense me here, lingering on the fringe of his private moment? Could he smell the stir of my own arousal, feel the faint tremor of my breath as I fight for composure? For several heartbeats, my hand freezes. I dare not even breathe.

But then his attentions return to you, and I breathe a sigh of relief. 

He brings his hands to your hips, holding them firmly in place as he drives himself upwards into you, deeper, with mounting desperation. It seems he seeks to chase his own release, content with the pleasure he has wrought you.

You respond eagerly, pressing closer, your own sounds growing louder, heedless of who might hear, and I can see that thrill in his face - the satisfaction of knowing he’s eliciting every reaction from you, drawing out each gasp, each shudder.

My hand glides hastily across my arousal, my own breathing growing ragged as I watch his control begin to slip. Even from here, I can see the tension in his shoulders, the way his head tips back in pure abandon.

In the final throes, he presses himself against you, buried firmly to the hilt. It’s almost animalistic, all thoughts, all calculated movements, making way for one singular goal: to empty himself into you, filling you with all he has to offer with breaths rugged and low. All composure is stripped, replaced with instinct and pure need.

I find my own movements quickening to match his pace, as though some invisible thread binds us all to this moment. My hand tightens as I lose myself in the same tempo, every sound from you both spurring me closer. The sight of his final shudder, the look of utter satisfaction crossing his face as he reaches that height, is enough to tip me over the edge.

For a heartbeat, the night seems to hold us all in perfect suspension - your quiet gasps, his satisfied murmurs, my own silent echo of shared pleasure - all woven together in this clandestine tableau.

Only then, as the euphoria begins to fade, does a most uncomfortable awareness creep in.

Gods above, what have I... A scholar of worldly acclaim, reduced to voyeur, caught up in base desires like some common... No. Best not to dwell on such things. Though I suspect sleep will prove rather elusive tonight, haunted by questions of propriety and... other matters.

With a groan, I roll onto my back, the orb’s steady throb now a minor annoyance compared to the tangled thoughts that flood my mind. Perhaps I can chalk this entire… incident up to fatigue, a wandering mind, even a fevered dream. Yes, that must be it. The product of a restless night and, possibly, a touch of indigestion. After all, who could believe that I, Gale of Waterdeep, would be brought so low as to... well, that.

As morning light spills across camp, I attempt a façade of normalcy, willing my cheeks to cool and my mind to settle. Just as I convince myself the night’s events were nothing more than a peculiar dream, Astarion sidles up, his expression one of leisurely amusement.

"Restless night, Gale?” he murmurs, just loud enough for me to hear. His gaze is as sharp as his tone, a knowing glint in his eyes that makes my stomach twist in the most uncomfortable way. "I thought I heard a... stirring from your tent."

The corner of his mouth quirks up in that infuriatingly smug way of his, and I nearly choke on my response. 

He knew. 

Astarion knew. 

I force a cough, pretending to inspect the morning sky.

"A dream," I reply a bit too quickly. "Perhaps the cheese at dinner was... overly ripe."

But Astarion merely chuckles, a wicked sound, before strolling away with a satisfied air. And as I watch him saunter off, I’m left to question just how much of the night was a dream - and how much, mortifyingly, was very, very real.

Masterlist can be found here!

No Pressure Tags: @roguishcat @davenswitcher @silverfangmarks @sparrowbard @chonkercatto @stokzr @trafalgarussy @asterordinary

[weirdmarioenemies]

Name: Gooigi (again)

Debut: Luigi's Mansion (3DS)

When I was playing Luigi's Mansion 3 for the first time, I was thinking, "I sure love Gooigi. I wish I could write a Weird Mario Enemies post on him, but we already have one..." but I now realize! That post was written before the release of 3! We had no idea! No idea.

Who is the Mario character with the most fleshed-out backstory? Is it Mario, with his monolithic catalogue of media appearances? No, the insight we get into his past is simplistic at most. Is it Rosalina, with her beloved storybook? She comes close, I will admit, but there is someone who comes closer! Can you guess who it is? Can you guess the character I am hyping up in the post with a big image of Gooigi at its forefront? Yes, you can! It's Gooigi.

Indeed, Gooigi has seven entire pages of lore from the official website, written from the perspective of E. Gadd himself, explaining his origins, how he does what he does, WHY he does what he does, everything! You can read it here, and I'm not going to waste time repeating what was already said. I will just paraphrase: Goo is made from coffee mixed with ghost energy. Gooigi is the result of Luigi's digital data being zapped into it for a default form. Gooigi was sent back in time to Luigi's Mansion 1 for training and research purposes, and is now stored in a canister in the Poltergust G-00.

Got it? Good. Here is Baby Gooigi. How precious! Back before he had any Luigi in him at all. This is Goo in a human-shaped mold, and you may notice the mold itself has no face. Baby Gooigi learned how to express agony all on his own! It's no wonder they took a photo of this milestone!

Now with Super Mario Bros. Wonder, we have TWO gelatinous Luigis to choose from. And why not both? Gooigi is a separate entity, so Gooigi and Wubba Luigi can coexist! But not always... when playing Luigi's Mansion 3 single player, Luigi and Gooigi must be controlled separately. Luigi is able to will his consciousness into the doppelgangreener to control its movements, and it's here that it gets extra weird! Weird to the point that this game basically has multiple possible continuities?

Gooigi is NOT scared of ghosts, at all! He is an anomaly to them! This is very much "distinct character" behavior. But how is this the case if Luigi wills his soul into Gooigi? Well, both concepts are kind of true at the same time! As we can see here, cutscenes will actually change depending on if the game is in single-player or co-op play, portraying different events! Really really weird! It's like if Schroedinger's Cat was a pair of funny green men, one with bones and organs, and one translucent. So what is the truth...? (Spoilers for Luigi's Mansion 3 ahead...)

In the ending, even in single-player mode, Gooigi is portrayed as his own sentient character! Even though this contradicts the "consciousness transfer" lore, I think this is the "true" intention for him. It's much more fun and less awkward if he can be active at the same time as Luigi! I also don’t think they care that much about minor gameplay features being lore-compliant, since Polterpup got pupils in the end of the second game, and those were removed in 3 without explanation.

Unfortunately, as the hotel crumbles after King Boo's defeat, Gooigi falls from the top floor and dies.

He even says "bye-bye" before the fall. I can't believe this. How could Nintendo allow something so upsetting? They thought it was okay to let Gooigi say "bye-bye" rather than "goo-dbye"? That has "goo" in it! It would have been perfect. (I am not actually upset by this at all and "bye-bye" is more in character)

After splattering on the pavement he reforms, because duh. He's goo. You can test this for yourself! Scoop a glob of mayonnaise out of the jar with your hand. Next, travel to the top of a skyscraper. Finally, drop the mayonnaise off of the side! When it hits the ground, it will not have died. Science Fact!

As silly it may be, I was a bit worried Gooigi might die for real, even though that wouldn't make any sense to happen. I was just thinking of modern Paper Mario, introducing new buddies only to take them away by the end. But I should have known that Luigi's Mansion is not at all like that! This is the series where they gave Luigi a dog, and that was that. We don't see Polterpup as often as we should, but it cannot be argued! Luigi has a dog. What would stop them from keeping Gooigi around? Nothing, that's what! He stays with E. Gadd, and is not going anywhere!

Just like Polterpup, I would love to see Gooigi more, though. I would love for him to be Luigi's answer to Metal Mario! Gooigi driving a kart! I don't care that he dies in water, and I don't think Nintendo would care too much either. I would like to leave you off with The Big Question. This is a new, distinct character, who is "genetically" similar to Luigi. As such.

[khruschevshoe]

How Behind-the Scenes Issues Affected the Writing of Doctor Who (Both Good and Bad)

Doctor Who is such a fascinating show to look at from a Watsonian v. Doylist perspective. Like, entirely just from an episode writing point of view:

Twice Upon A Time feels so slow and meandering and even boring in places because Chris Chibnall didn't want to start his run as showrunner and Steven Moffat didn't want the show to lose the coveted Christmas timeslot (ironic, I know) so he bumped the Twelfth Doctor's regeneration from the end of The Doctor Falls (where it makes sense) to the end of the Christmas special

Boom Town (my beloved) only exists because originally there was going to be an episode in its spot explaining that Rose had been molded to be the Doctor's perfect companion (by the Doctor, gross) and the writer didn't have the time to commit to the show

The ending of Last Christmas feels like one inside-a-dream too many because originally Jenna Coleman was questioning whether she was going to leave the show or not and the ending was rewritten after the first readthrough when she decided she wanted to stay for another season

The first five episodes of Season 7 feel like each one takes place in a different genre because that's literally how Steven Moffat pitched it to the writers; for example, A Town Called Mercy was literally pitched as "Doctor Who does a Western"

Not so much a weird one but one I find cool: Eleven's first words and Thirteen's first words were literally written by Moffat and Chibnall respectively, as they were brought in to write the first words of the first Doctors of their runs so as to make it cohesive

The reason why Fourteen isn't wearing Thirteen's clothes when he regenerates is because Jodie Whittaker is much shorter than David Tennant and Russell T. Davies didn't want it to look like he was making fun of the genderfluidity of the Doctor (still think he made the wrong decision, but eh)

Wilfred Mott isn't in the Runaway Bride and Donna's father isn't in Partners in Crime because the actor who played Donna's father, Howard Attfield, died after filming several scenes for Partners In Crime, leading to the character of "Stan Mott" from Voyage of the Damned being written into Partners In Crime as Donna's grandfather

Astrid Peth doesn't die in the original drafts of Voyage of the Damned, but Russell T. Davies wrote what is generally considered one of the most emotional deaths in Doctor Who just because he wanted Kylie Minogue to be able to focus on her music career

Originally Oxygen was written as a prequel to Mummy on the Orient Express, where a corporate representative appeared on a monitor. Said representative was fired for his fumbling of the station and would later live on as the company computer, Gus

During Season 11, Chris Chibnall had to do some major rewrites for many of the one-off episodes, therefore The Battle of Ranskoor Av Kolos ended up being a first draft that made it to screen. He later admitted it was his least favorite episode of the series

And this is only a fraction of what I found in terms of major behind-the-scenes writing reasons. Though I am still totally willing to critique the product that made it to our screens, finding out the reasons behind some of the more badly written episodes of the show really made me feel sympathy for every showrunner of the show as well as appreciate a lot of the good episodes that ended up here despite the short production schedule/unexpected problems (once again, Boom Town my beloved AND everyone's favorite companion Wilfred Mott only exist because of unforseen problems). Absolutely bonkers, isn't it?

[eroscomet]

Make it Right

Chapter two- Hauting for Home

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Paring: Astrid Deetz x Fem!Ghost!Reader

Warnings: Mentions death, a bit angsty, bad writing. (Let me know if I missed anything!)

Word count: 3k+

A/N: Hello, lovelies! I'm so sorry that this chapter took a while to make. I was busy on the weekend; however, I found time to finally finish the chapter for you all! I really do hope you guys enjoy this one! I will try to get a specific schedule for updates on certain stories. If you guys are wondering about updates for 'Picking Up Pieces That Aren't Yours,' I will try to update that as soon as possible. I will also be doing a couple drabbles on different characters and or drabbles of characters I've already written for. I would also like to thank you guys so much for all the support you all have been showing me! I am so thankful and grateful for each and every one of you! Thank you so much for every like, reblog, and comment, it means a lot to me!

Not proof read

╰┈➤Series Masterlist

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"You talked to my dad?!" Astrid had exclaimed with an amused smile on her face. There it was, that twinkle in her eye that you had missed so much. She hadn't been very happy recently, with you not around and everything else in her life that had been happening.

"Yeah, when I had first died. I got sent to the immigration office, and what do you know? There he was behind the glass. He's just as kind as you always told me he'd be. Surprisingly, he immediately recognized me. He told me that he had been watching after you and practically watched our love 'blossom,' as he put it." The two of you continued walking outside.

You couldn't help but think about how people must be seeing this. Astrid looked as if she were talking to herself from an outside perspective. Aware of her past, you knew people had a tendency to bully her, so when nearing Miss Shannon's School for Girls, you tried to get her to talk as much so that others wouldn't look at her funny. So, you took up most of the time on the way there, talking as much as she could so that she didn't have time to talk. Which was odd because she was usually the one who'd talk while you'd listen.

"He said he liked me, which is a relief. Sometimes, I feel like your mom is more confused but is trying to be supportive. I mean, remember when I had first come over, and she started talking about how she too 'experimented' as she said. Anyway, that isn't the point. I met your dad, and we actually frequently visited you together. It's funny, sometimes we'd bond over how much we missed you."

Astrid's eyes had furrowed as she had begun to notice that every time she began or wanted to speak, you only spoke faster, almost sputtering out information. A frown tugged at your lips as she had caught on.

"I just don't want people to look at you even more weirder than they already do. If you're talking to yourself, they'll find that an easy target. Try...putting on some headphones and pretending you're on the phone? Or you can just put your phone up to your ear?"

She smiled as she took her phone out of her pocket and brought it up to her ear.

"Thanks, you're right. So, what else did he say about me? Did you see my grandfather? What's the afterlife like?" Astrid felt like she had a million different questions to ask.

"Your dad says he's proud of you and that he sees himself in you all the time. As for your grandpa, no. I mean, I feel as if it's harder to find him since he did lose his head to a shark. The afterlife is a bit weird. I can't tell you much about it since I haven't exactly crossed over. I basically only know what headquarters and a few shops look like. I mean, there's a 'Soul Train' which essentially takes you to the 'Great Beyond,' but I never went because I don't want to risk not being able to watch over you."

You grabbed Astid's shoulders, moving beside her to walk toward the street end of the sidewalk. Even though you were dead, the sidewalk rule never really left you, even while Astrid couldn't even see you.

"Yeah, I figured. I almost can't believe that a shark bite ended his life, I knew my family wasn't normal, but we can't even have a somewhat normal death? The Great Beyond, huh? Soul Train is a clever name though. Does no one know what's on the side?"

"I mean, I've never seen someone leave then come back from the train in the full year, almost two years that I've been here. I'm not taking the risk and crossing anyway, I can't lose you again after we just got back to each other."

"You're right..." Her eyebrows furrowed, her attention on the sidewalk as they continued to walk. She thought to herself for a moment before speaking again.

"So, you don't have any ghost tricks you learned?"

"Of course, you'd ask that, would you be disappointed in me if I said I didn't?"

"I mean, you've been gone for a year almost two, I'd expect you to know at least something to make me feel better for all the time you've been gone."

"Okay, uhhh... I can walk through walls and, I guess, float a bit."

"That sounds like every other ghost."

"Just because i'm a ghost doesn't mean I have super powers, Astrid."

"Just saying."

"I mean, I do have this nasty scar from the accident." You lowered your shirt neckline, showing the scar on the lower part of your neck. Astrid winced at the scar before looking away.

"Right. Weird how all it took was one neck twist for you to die.

"Well, it's more like my neck twisted as if I was a cartoon character that got punched, and my head began spinning-"

"Ew, shut up. Don't talk about it like it's something light."

"I'm sorry, you're right."

It was silent for a bit as you guys walked into the school, Astrid opened one of the doors while you phased right through the other door. Astird put her phone back into her pocket as she walked upstairs and past the other students. You followed after her, your eyebrows furrowing at the other students nearby her dorm. Some of them whispering to each other while giggling.

That's when Astrid opened her dorm room's door, a bedsheet attached to the ceiling by a rope coming straight towards her. The bedsheet makes out a ghost with a 'Boo' sign in its chest area. Astrid stumbled back before turning around and looking at the other girls, who began to burst out into laughter behind her.

"When you're all driving carpool and banging your pilates instructor to fill the empty voids in your life, we'll see who gets the last laugh."

The girls smiles and laughs quickly died as she finished speaking. Astrid turned around as she went into her room, shutting the door behind her. You smiled proudly, a laugh escaping you as you saw the looks on the girls faces as they disburst from Astrid's door.

"Witty as always." You said as you phased through her dorm room's door. The make-shift ghost on the ceiling startling you a bit as you had almost 'ran' into it. Sometimes you forget you're a ghost even if it's been a year.

"They have not toned down with the comments? You had always been careful about this topic, not wanting to bring it up too much with Astrid.

"No." It was a simple and straightforward answer that made you not want to question further. A part of you felt angry that you were helpless to all of it now that you're dead. You had gotten so used to defending her against everyone but now your words would only fall on deaf ears.

You sighed as you plopped yourself onto her dorm room's bed, thinkiing for a moment on how to steer away the conversation of bullying that she obviously did not want to talk about.

"Did you hear that my sister's pregnant? I know that I shouldn't bother looking over them since they're perfectly fine.."

"I'm not surprised."

"She's naming the baby after me."

"God, that's ridiculous! Naming their kid after a relative who isn't even dead yet-" Astrid's voice faltered for a moment. The fact that you were dead and have been for almost two years was still a punch in the gut after all this time.

"That's what I said, baby." You offered her a small smile as you played into the bit that you were still alive for Astrid. She still wanted to make her at least feel a bit better.

'Baby.'

Your words - and your smile, even if it was for her benefit - just made Astrid's heart twist further in her chest.

"You're killing me here."

"Why?" Your head tilted to the side as you looked at her.

"Because you're supposed to be dead." Her voice came out in a strangled whisper as she looked down at the papers scattered on her desk.

You bit your lip, you didn't want to show that what Astrid had said hurt you. Even if you were dead, you still had emotions and feelings. You paused for a moment before deciding to drop the topic.

"So, they're having a baby shower. You should go."

"Oh god, a baby shower? Is it too late to make you disappear again?" Her face had immediately scrunched up with distaste at the idea of being forced to go to a baby shower - especially your self-centered sister's baby shower where she'd name her child after you for her own gain.

"Come on, you couldn't see me for a whole year, and now that you're finally able to, you already want to get rid of me? That's cold, babe, even for you. Even for me who's dead cold. Get it? Huh? Dead cold. Because i'm dead? And i'm cold now because I have no blood. No? Okay."

"Oof, that was horrible." She said as she shook her head and grumbled in response.

"Come on, admit you missed me. I heard all your late-night talks that you thought weren't reaching my ears."

"I did miss you - I've missed you for a whole year." She confessed, sounding a bit surprised by her own confession. The room fell silent, the weight of everything that had happened falling onto the both of them. Neither of them wanted to address it, though, they didn't want to have to deal with it now.

"Did you ever-" She paused for a moment as she thought of the right words to say, "When I'd lay in your bed and mope, were you just...watching me?"

"No, I hated that. I'd still do what I would've done if I were alive. I tried holding you and whispering sweet nothings into your ear that never got to you."

"Sweet nothings, huh?" She teased, which earned an eye roll from you. Again, the room had fell silent as the two were lost in thought before Astrid spoke again, breaking the silence.

"How bad did it hurt?"

"Uh.. Well... I just remember being on the ground one second, then in the air the next. I landed, and well- You know what. It had hurt for that second that I was alive, but it had been an instant death if anything."

Having to talk about your death wasn't an easy topic. It was a reminder of how quick you had lost it all. The blood in your system, the beat of your heart, Astrid. The sight of you nervously fidgeting with your own fingers made Astrid's heart ache.

"I hate that." She muttered, her voice coming in strained, almost as if she was forcing herself to get the words out.

"I'm sorry." Your words were mumbled as she continued to fidget with your fingers, now more anxiously than before. The apology caused Astrid to shut her eyes, trying to hold herself together. She felt that now was not the time to start breaking down.

"Don't. Don't apologize." She had almost snapped at you as she opened her eyes to shoot a glare at you.

"Okay." You were never one to go against her word, you didn't want to start a fight. Especially not now. All you could do was bring up one of your hands, beginning to gently pull on the hairs on the back of your neck as you avoided Astrid's eyes.

"Is that a nervous habit of yours now? Pulling your hair." She asked as she reached her hand out idly to brush your hair out of your eyes.

"I had gotten it when I first reached the afterlife. When you watch the people you love hurting, and all you can do is ghost around them..." Your voice had faltered, forcing yourself to clear your throat and then begin to speak again.

"You feel so helpless. Watching everyone who used to be around you and love you so miserable about your death. It makes you feel guilty but, most of all, useless. There's no way to hold, touch, talk to, comfort them... It's hard."

The room had fallen silent after your words. Astrid's fingertips gently brushed along the back of your head - tracing the place that you usually pulled at. She let her hand rest there, trying to keep you from pulling at your hair again.

"How cold am I?"

Your words made Astrid pause for a moment. Leaning closer to you as she wrapped an arm around her now ghost girlfriend. The chill of your skin made her shiver involuntarily - but Astrid tried not to show the way her body automatically wanted to shy away from the cold.

"Really damn cold. It's like you're an ice cube almost." Her words a mumble as she got closer to you, laying next to you as she rested her head on top of yours.

"I'm sorry that I'm not warm anymore." Your own words come out as a mumble as well, instinctively, your head rests on her shoulder.

"I know you don't much like when it's really cold. I thought I was keeping myself with this sweater but now that someone's actually able to touch me, I realize it's doing nothing for me."

"Gosh, you don't have to apologize for that. At least you're here." She pulled you closer against her, her arms wrapping around your waist - burtying her face into your shoulder, even if your skin was freezing and caused a slight burn against her own warm skin. She ignored the way that her body had involutarily shivered at the contact - focusing instead on the fact that her girlfriend was here.

"Barely." You mumbled quietly as you gently pulled away from your girlfriend, knowing that you were probably burning Astrid's skin with your own cold, dead skin that was now a pale blue hue.

"Don't be like that. You're talking as if you have no more hope."

"Death has a way of doing that."

Astrid let out a quiet huff at your words. Her eyes flickered back and forth from you and her own hands that were now gripped tightly on her bedding - but in the next moment, she let go. Almost as if with a full burst of speed, she darted to you. Her arms wrapping around your body, hauling you into her bed in a tight, crushing embrace.

"Astrid-" You had said in surprise and protest. You knew that you were cold. Dead. The cold would burn Astrid at one point, and you didn't want that. Not when you used to be alive and warm for her. You used to keep her warm and now you can only burn her with your icy dead skin.

"Don't even think about complaining. I don't care if you're cold." Astrid snapped as she held you impossibly close against her. Her body shivered once again as your cold skin was like a bucket of cold water dumped over her body - but she ignored the cold, focusing on the sensation of her girlfriend in her arms.

A frown had tugged at your lips, knowing that eventually, Astrid would get too cold, but after a year of being a lone ghost who watched your loved ones move on or suffer because of you, you couldn't help but be a little selfish. Your arms wrapped around her as tightly as you could.

You missed your girlfriend so much. Watching over her for a year, her suffering for a full year over your death, had done a number on you. You'd cry if you could, but all you felt was this deep internal sadness. You had no heartbeat, you had no blood to warm your body, you had no tears to shed from your dry eyes. Your chest was the most still it had ever been, you had no air to breathe anymore.

It had begun to feel like too much for the both of them. Being this close to each other after a year of thinking they'd never be able to have contact again, feeling each other's skin despite the feeling of a small burning on her own skin from your own. It was almost enough to make Astrid cry.

The cold was beginning to seep into her skin - making her shiver and leaving her skin prickled. But Astrid wouldn't - couldn't - let go of you. Not when it had been a year since she was able to hold you. You had only frowned as you held her tighter. A small hiss escaped Astrid from the cold contact as she tried to get herself impossibly closer to you.

"Damn it, it's getting too cold." She hissed, speaking between clenched teeth as she tried to bury her face into your shoulder further.

"Warm up with the blankets, I'll just lay beside you. I promise I won't disappear." You pulled away, gently moving Astrid off of yourself as you carefully pulled her bedsheets over her body. When you finished tucking her in, you lay beside her, admiring every detail you could land your eyes on.

She only huffed a bit, feeling oddly petulant about the fact that she had to let go of you However, she did as she was told. A small shiver rattled her body as her eyes locked onto yours. She managed to mumble something incohereently as she reached for you, trying to tug you close again.

"Too cold, baby. Just give it a moment. I'm here, you see me." You tried to reassure her as you gently tugged a strand of hair behind her ear.

'Baby.' The soft nickname only made her want to pull you close again, but she knew that you were right. Her boy was cold - skin still pricked and burned from being in contact with her girlfriend. She snuggled further into the bedding, her hand gently reaching out to yours. Linking her own pinky with yours, causing you to smile. Her eyes looked into yours as if asking if it was okay to which you had nodded.

┗━━━���❘༻♡༺❘✦━━━┛

A/N: I don't know why this felt like such a short chapter to me despite it being the most words I've written so far?? I might have some filler chapters for this and 'Picking Up Pieces That Aren't Yours' sometimes. Then again, there is still a lot to write for the storyline themselves. Thank you, lovelies, for all the support on my posts! I hope you guys enjoyed this chapter. I'm so sorry if some days I do not have time to update. Also, if there's anyone that wants to be tagged for updates on this story, leave a comment saying so! Bye, loves!

[moosha-mushroom]

Media I imagine different fiction podcasts in instead of the media of being a podcast.

TMA: A selection of volumes, relating to the fears, each with those removable covers. Those covers has a victim or two, and then underneath the cover is a really detailed cover. The paper is decoratively ripped, with a kind of scraggly font, and each has a foreword and ‘author’s note’ from Jonathan Sims.

Malevolent: A really gritty graphic novel with deadly detail in each panel, and very little color. Maybe a trinket on each important character has a color? Like Arthur’s eyes being yellow or Oscar’s collar having a blue sheen to it. The novels are long, dramatic, and intimate in a visceral way.

Welcome to Night Vale: Local 58 bullshit. A broadcast on television with low quality images and audio, tacky music, and a kind of 80’s aesthetic. Each episode the words WELCOME TO NIGHT VALE zoom onto the screen, the purple eye behind them. And each weather segment is an animated short by a different artist.

The Penumbra(Juno Steel): A webcomic. Hours spent scrolling downward a comic that has so much color and GEOMETRIC design. Juno and his curvy jaw, brown pie slice eyes, a cartoonishly high collar for his investigator jacket. Nureyev and his sharp square jaw, shimmering jewelry, and stick legs. Characters sticking out of the panels, fonts changing constantly, a little blue Juno that does his narration and *guitar theme plays* each time he appears.

Wolf 359: A classic comic. Issues month by month. Different special covers of the characters in extra dramatic poses or scenes. Even MORE panel breaking than Juno Steel. So MUCH onomatopoeia, even for small things like the clink of a panel or the disapproving hiss of Hilbert in the background. Geometric designs like Juno Steel, but less colorful. Like the superhero art style mixed with a more stylized look.

Midnight Burger: You pull up the Midnight Burger website. They have a hidden page that has a sort of script-comic thing going on, where the art is next to the writing. Small coded in notes from Leif sometimes pop up if you hold your arrow over the art. Links are attached to the parts where Effie and Zebulon play music, linking you to the music so you can listen to it while you read.

Desert Skies: An animated show. Indie, something you’d find on YouTube. The animation is bouncy and incorporates 3D animation alongside the 2D. Maybe the Sphere Movers have 3D models and the staff don’t? The credits are short because it was made by one guy. People are complaining about it on Twitter /j. People are making content farms about it. Everyone is pissed at Corson like they’re pissed at Jax.

The Amelia Project: A sort of simulation video game. You play as Arthur. You listen to their stories and draw pieces of the tale to invent their death. Every once in a while the game transitions to a point and click suspense game where you solve puzzles as Cole and Haines. Maybe there should even be an Operation-esque part of it where you work as Kozlowski.

Ghost Wax: A novel with a lot of pictures spliced in it. The stories are all in a single book, though the book is through Luca’s perspective— so he picks up on the ghost’s body language and Voncid’s reactions. The pictures are tarot cards with each victim as a card. Some are repeat cards— Lorem does not have a card at the end of the story. Nor does Our Home or Evening at the Ardent. The pictures are only white with black line art. No color whatsoever.

Kakos Industries: A company newsletter. Not a broadcast. A newspaper that arrives at your door and has big bold letters with the main story and pictures of the events that happen in the story as it goes. And the Sunday Comic page is full of employee shenanigans. Some innocent… some not.

I am losing my mind.

[asgardian--angels]

Izzy Discourse Masterpost

Hey all, given the amount of awful splintering and wank happening in ofmd fandom rn regarding Izzy's death, including the flat-out immature and unacceptable harassment of David Jenkins and Co, I wanted to just make this one all-encompassing post to address the various grievances and complaints I've seen (almost entirely on Twitter). If I've missed anything, please feel free to add on. I'm putting most of this under a read-more for length.

Please be aware, I say all of this as an Izzy fan. I've loved his character since season 1, and while I was sad to see him go, I completely understand and support David & Co's reasons for concluding his arc, and I think it was done respectfully in a way fitting to his character. So let's break down some of the takes I've seen. I am not referencing specific posts or people here, I just want to address the general themes that I keep seeing about why some people are upset.

Izzy's death served no narrative purpose.

Look, this is one that I'm sure fans will debate for the rest of the hiatus. It's completely within your right to disagree with this writing choice, but Izzy's death did serve a narrative purpose in the story that David Jenkins is telling - and he has spoken to this end in several interviews already. I can only summarize here, and fans may find other perspectives in time as well. What we need to remember is that Our Flag Means Death is, at the end of the day, Ed and Stede's love story. That has been made abundantly, explicitly clear. The show has been fantastic at fleshing out the other supporting characters, but that's what they are - supporting characters. They often have their own subplots but ultimately the narrative seeks to move Ed and Stede's story forward and they are tools to spur Ed and Stede's growth or mirror their struggles. Izzy has been a wonderfully complex, multifaceted character but we must remember that all characters are vessels through which stories are told, lessons are imparted, and metaphors are established. He's not a real person who 'deserves' any particular fate. David said he's always intended for Izzy to die at the end of his arc.

Firstly, Izzy (now canonically, through his own dying words) represents part of Blackbeard. He enabled and encouraged Ed's darker side, they were mutually toxic forces to each other. Ed is attempting to cope with and move on from this phase of his life, and like Stede in season 1, set out a free man, unshackled by expectations and loose ends of those he's hurt and been hurt by (though we realize this is an ongoing process that takes time). This lovely gifset sums it up nicely, with Izzy being the Mary parallel, and making s2 mirror s1. Blackbeard is both Ed and Izzy; Ed cannot be free of Blackbeard while Izzy is in his life, and when Izzy is gone he will never truly be Blackbeard again. They are each other's rotting leg!! Yet, they love each other - and David has said that for Ed, this has developed into a mentor and father relationship, and where Ed has previously despised his father figures (his actual father, Hornigold) he does not want to lose Izzy. This time, Izzy brings out Ed, not Blackbeard - and that's where we get the callback to 'there he is', bringing their impact on each other full circle, freeing Ed, getting approval of sorts that he never had, to be soft, to be loved (and there are parallels to Zheng and Auntie here as well that others have made) from that force that drove him to stay in line all this time. David has said in multiple interviews now that he was going for the idea of the mentor/father figure dying and the hero living on and trying to do justice to them.

From Izzy's side, Izzy cannot be free while Edward remains either (Mary cannot find peace while Stede remains). The scar never truly healed, the leg will always be a reminder. At this point the argument becomes 'yes, but why did he have to die? Why not just sail off with the crew of the Revenge?' David has stated that he feels they've done everything they can with, and for, Izzy; he's come leagues from season 1, he's found community, he's found hope, he's found new parts of himself, and he's made good memories. He's found worth outside of what he can be to others. That's more than most pirates could hope for. Where would his character go from there, when the Golden Age of Piracy he belongs to has burned to the ground? Would he stay around and whittle on the Revenge? If he were a real person, yes, that would be lovely, and he'd deserve all the quiet peaceful happiness in the world. But as I explain several points below, he's not interested in being a captain. He's not up for the hard physical labor of regular crew, and he's extremely overqualified for that besides. He has served his narrative purpose, and symbolically, to enter a new age, everything must go. He's connected to the old age of piracy, to the Republic of Pirates, that is now demolished. To him, fighting for what he believes in, for the family he's found, bringing down an army of British twats in the process, is how he should go. It's a pirate's death, and as Izzy's said, he's a pirate - unlike Blackbeard who's succeeding in breaking away from piracy, Izzy never wanted to stop being a pirate, throughout his arc. To me, that's why Izzy remains trapped in the narrative, trapped in history, whereas Ed and Stede will escape history. They leave piracy, and canon, behind, while Izzy was content to remain a pirate and face a pirate's fate.

Burying him on land, right next to Ed and Stede's beach house, shows that his sacrifice was not in vain - they start this new life together, thanks to Izzy's mentorship, his role in their lives that sometimes for worse, sometimes for better, made their love what it was and made their breakaway possible. The new age is built on the foundations of the old age, and is stronger for it.

As we're well aware by now, David tweeted that there's no version of ofmd without Izzy. Whether that's literal or not, symbolically it's true. Izzy's arc of growth affected everyone on the Revenge. Jim fondly remembered fighting for a time when life meant something on that ship; the crew helped give Izzy new meaning in life, and he helped them in return. When he dies, they mourn and have a funeral; that wouldn't have happened under Blackbeard's watch in episode 2. His life meant something to them. He influenced Ed and Stede immensely, and they will take that with them. As David's said, they're all a family, and Izzy was a part of that family, and his loss unites them and brings them closer to continue to fight for that family they've built. It's a tragic, sudden death of someone they've all grown to care for, and that steels their reserve to keep the torch lit. They literally sail off into the sunset to hunt down Ricky to avenge Izzy; he will always be a part of this show. And, of course, with the brief appearance of seagull Buttons, the door is left open for anything.

If this was The Izzy Show, then sure, we'd be content to see him simply engaged in shenanigans every episode. But the plot, and therefore the characters, need to keep moving forward, and Izzy got his growth and development. He got what he needed for his character to have closure, and he served his symbolic narrative purpose in Ed's (and Stede's) story. You may have your own ideas and perspectives, and that's great - that's what fandom is for. But we cannot say his death was pointless when David Jenkins and the writers clearly had a well-defined motive for pushing the narrative in this direction. I actually think the narrative around Ed and Izzy is the most well-developed in the entire show. I for one am so happy we got such an interesting and complex character, and had the brilliant Con O'Neill to portray him.

Izzy's growth & healing arc was rendered pointless by his death.

As this post so eloquently puts it, it's pretty bleak to have the outlook that taking steps to heal and find meaning in life is worthless if it's later lost. Seeking happiness and self-actualization is worthwhile for its own sake; no one knows what's down the road, and we all die eventually. Find meaning in life now. Would you rather have had Izzy not miss with his bullet in ep2? He was given the chance to experience joy, freedom, and hope for the first time in potentially a long time, and when he died he did so with those happy memories. As mentioned, Izzy's death was decided long beforehand given the narrative, and the point of storytelling is to make you feel emotions. We were given impetus to connect and relate to Izzy's character through his process of healing, so when he did die, we felt it keenly. That's how stories work actually! We felt what Ed felt. It moved us. It's not a bad thing that Izzy's arc made him more likeable to fans before his death. It's not a bad thing to lose a beloved character - guess what, it happens constantly in stories - and it's not bad to grieve over it either, but to say that it made his journey pointless is just not true. People saying that Con must be upset that they snatched his character away from him after getting to develop him so much - again I say, would you rather him have died in ep 2 before he had the chance to grow? Or how about in s1, when the crew tried to mutiny? How'd you feel when Stede killed him in his dream, in the very first scene of the season? I think Con's probably glad for the opportunity to have explored this character so much in season 2. Ask him if he thinks it was pointless.

Killing off Izzy was bad for queer rep/burying your gays/"Izzy was the queer heart of the show"

I'm putting 'bury your gays' on the top shelf so people can't use it when it doesn't actually apply. Most of the main cast of characters in this show are queer, and it's a show about pirates with a good amount of violence. Ergo, chances are a queer character will die in the course of Things Happening In Stories. Izzy didn't die because he was queer, and he wasn't the token queer rep. Please turn your attention to the boatloads (literally) of queer characters that are happy and thriving (how about the LuPete wedding immediately afterwards??). As for Izzy being the "queer heart of the show," this is literally the Ed and Stede show. You know, the two queer leads whose queer love the show revolves around, per David Jenkins himself. I'm glad folks connected with and derived joy from Izzy's growth and especially his performance in Calypso's birthday, but he is not the main character of the show. The queer heart of the show is in fact, the entire show, all of their characters and the community & found family they create aboard the Revenge. Not to mention the fan community as well. Izzy was never carrying the show's representation on his back, and frankly that's an absurdly wild take to have (esp when he spent most of s1 actively working against the main queer relationships in the show, attempting to maintain the oppressive status quo of pirate society).

It was bad and irresponsible to have a suicidal character die

Are we forgetting the entire first half of the season where Ed, who was suicidal, kept trying to passively kill himself because he felt he was an unlovable monster, only to be shown that he is in fact loved unconditionally and it gives him the strength to fight for life and triumph against his own self-doubt? The show has spent quite a lot of effort telling viewers that despite feeling damaged or broken you are worthy of love and that you are loved even if it may be hard to see it when you're in a bad place. That you don't need to be fully healed to deserve love and care, and that love and support will help you along your journey. It's incredibly wild to disregard this major plot point and fundamental message of s2 to try and spin this the opposite way for Izzy's character.

Secondly, where are people getting 'Izzy is suicidal' from? Are we going back all the way to episode 2, when he's at his lowest point and fails at his suicide attempt, only to be figuratively reborn after removing the metaphorical rotten leg? By the time of the finale he's shown to be in a good place, thanks to the arc of healing and growth he's gotten, through the support of the Revenge crew and his 'breakup' with Blackbeard allowing him to find his own way in life, realizing he doesn't need a purpose to have value and enjoying his time on the Revenge and the bonds he's made with Stede and the crew. He is, in the words of Ivan, "the most open and available I've ever seen him" by the finale. To take episode 2 as evidence he's suicidal is to erase his whole season of growth, which is an ironic thing to do in the context of these arguments. There's no canon evidence Izzy Hands was suicidal post-'Fun and Games'.

As for 'irresponsible,' once again I say, David Jenkins is not your therapist, he's not 'Dad,' and has no responsibility to tell his story any other way than he intended to tell it. Please find media that gives you what you want or need, and if the death of a fictional character causes you this much distress please seek help. I mean this kindly but seriously.

Killing off Izzy was ableist/bad for disability rep.

I point once again to the rest of the characters, several of which are disabled in varied ways. There are literally multiple other amputee characters specifically. It's not good storytelling to wholly avoid killing off any character that is disabled/queer/poc/female or [insert marginalized group here], especially when a) it makes sense narratively, and b) there's plenty of representation of these groups in the media in question. The answer isn't making such characters invincible and immortal, it's increasing the number of these characters in shows so it's not devastating when some do die in the course of natural storytelling.

OFMD was my comfort show/safe space show, now it's ruined for me

I am not trying to be insensitive here when I say that's a problem that is yours and nobody else's. David Jenkins created this show with a three-season vision and a story in mind, and he is telling that story to the best of his ability the way he wants to. It's already been said that he and the crew did not anticipate the fandom becoming as large and passionate as it has. The plot of the show was never intended to be 'fan service,' and it's ironic that there were people complaining this season that there's been too many fanservice tropes, up until David and the rest of the writers room made a narrative decision they did not like, then the complaints changed to not coddling the fans enough.

We as viewers can derive joy from this show, it can be a comfort to us, it can be important to us. But it was not designed specifically for that purpose, therefore it cannot fail in that respect. We do not have the right to harass writers for not steering the ship in the direction we want - it's their work of art, and we can choose to either come along for the ride or not. It's rare to see creators actually given the chance to tell their story the way they intend (budget cuts aside), so let him do that. He should not cater to fans, or cave and change the story to appease us. Respect his right to create his art, and remember you have the right to create your own. That's what fanfiction is for - write fix-its to your heart's content, but keep these realms separate. David Jenkins and Co hold zero, and I mean zero, responsibility to you. He could not please everyone no matter what he did, it would be fruitless to try, and it would certainly compromise the quality of the story he set out to tell.

You are absolutely allowed to dislike choices made in any show. Curate your media experience. If this show no longer brings you joy, stop watching. But it was never David's purpose nor responsibility to juggle the mental health of millions of fans. Trying to put that on him will only make him less enthusiastic about interacting with fans or continuing to make this show. This isn't rocket science. You're responsible for yourself, not this guy you call 'Dad' that you've developed a parasocial-therapist relationship with.

Izzy should have become captain of the Revenge.

Really?? Firstly, we did actually get that already in s1. He was tyrannical and the crew mutinied. But even if you think 'well after his character arc he'd be better suited to it,' it goes against the point of this arc. He's found value in not having a distinct role or purpose on the ship, decoupling his worth from the job he's expected to perform. He's found his place amongst the crew, not commanding it. There's no narrative reason to put him in charge when he's expressed no further interest in slotting himself back into a role full of pressure and expectations.

Con O'Neill was only told halfway through filming, it's cruel to just kill off the character he loves so much.

Guys, he's an actor. More than that, an actor with a theater background. I think he's used to characters dying. You don't need to look out for him. Con and David spoke one on one about it at length so they were on the same page, and David even said that Con took it well. I'm sure Con had input, just as other members of the cast have influenced their characters' stories, costumes, backstories, etc. Do you really think David Jenkins hurt Con's feelings or something? The writers (remember, it's not just David, it's a whole team of hard-working people coming up with these ideas) gave Con such a chance to shine this season, really developing Izzy beyond what he was given in s1 and letting Con show off his full acting range. Why are you only focusing on the destination rather than the journey? Sure, Con's probably sad to see Izzy go, but please do not project your distress onto him or try and accuse David & Co of being 'cruel' to their cast. That's really ridiculous. It's constantly evident how close they all are.

More importantly, do you actually, seriously think that Con O'Neill would want fans to harass each other or the writers over his character? The man who preaches being kind above all? There is no better way to make an actor uncomfortable about a show and its fanbase than to start treating fictional characters like they're more important than real people. He would not want you to bully people over Izzy Hands, and it's mind-boggling that some of you have convinced yourself otherwise.

Lastly, I just want to talk about the fact that some people are holding OFMD to absurdly high expectations.

Our Flag Means Death has been a pioneer series for its diverse representation, earnest storytelling, and themes of hope, community, and love. It's fine to discuss aspects of the show with a critical eye, but so much of the discourse has truly felt like folks are trying to find fault in a show that is leagues ahead of the average tv series that we still enjoy. How many fan favorites are killed off all the time? How many plotlines are scrapped, or drawn out without closure, or contradicted the very next season? How many shows are indifferent or actively hostile towards their fanbase? How many have any queer characters, or actually do bury them? The bar's so low, and OFMD has risen above to give us so much. Some are holding the show to astronomical expectations, waiting for it to fall from the pedestal it's been placed on. If something you don't like happens in the show, it's not suddenly ruined or demoted to being ~just as bad as those other shows~. Give them some breathing room, have some perspective on how progressive the show is, and that perfection is impossible, especially meeting every single viewer's idea of it. This is basically a repeat of the recent Good Omens drama, with an absurd number of people harassing Neil Gaiman for breaking up Aziraphale and Crowley and leaving the second of three acts on a very predictable cliffhanger. Let stories be told, let them unfold as they may, and you are free to leave anytime. It's so wonderful that more queer love stories are becoming popular and even mainstream, but let's not shoot ourselves in the foot by tearing them down when they don't go exactly the way you want it, which often seems to mean no drama, no character deaths, and therefore no conflict or even plot!

Just, please be civil human beings, and while this seems to be a difficult thing for so many fandoms to do, just keep your fan opinions in the fan space. Never bring your grievances to the writers, never bully them and persecute them for telling a story that you opted into viewing. That's something that goes entirely against everything this show, and this cast and crew, have imparted onto us - the importance of kindness, support, community, and love. I'll say it again because it bears repeating: the fate of a fictional character is never more important than how you treat real people. Just be kind in real life, which includes the internet. Thanks.

Now please, let's work together to ensure we get a season 3. There's so much more story to be told, and if you want to see Izzy back, whether that's as flashbacks, as a ghost haunting the inn, or in the gravy basket, we'll need more episodes! #RenewAsACrew

[lumosatnight]

23 Fic Recs 2023!

This year has definitely been a year. I've devoured so many wonderful fics by so many amazing authors. Thank you @hprecfest for the super fun rec categories and for some fic inspiration! Here are 23 fics that I read and loved in 2023 (although some are quite a few years older) ordered by ship.

🌼 - fluff | 💔 - angst | 🔥 - smut

—

💫 DRARRY 💫

1. A post-canon fic

The Discreet Gentleman's Connection by pluto (gayrights420) [Drarry, E, 80.4k] 🌼🔥 I had the absolute pleasure of beta-ing for this fic, so when I say it is amazing, it truly is just that. Fast burn on the smut via Floo sex, slow burn on the in-person falling in love. Satisfying in all the best possible ways.

2. A fic that made me laugh

AITA for being "obsessed" with my childhood nemesis? by @rainstormradish [Drarry, M, 4.3k] 🌼📲 Draco on a reddit forum is hilarious just on its own, but the banter and formatting really bring this fic to life. Amazingly creative, had me in stitches!

3. A comfort fic

The Eighth Tale by @letteredlettered [Drarry, E, 12.0k] 💔⏳ An oldie but a goodie. I constantly find myself coming back to this fic and having my mind blown every single time. Time travel timey-wimey angst.

4. A fic with art

Dating Draco - A Visual Game by @itsphantasmagoria [Drarry, M, Video Game] 🌼🎮 This is a fic in video game form!! Amazing art and lovely story where YOU get to make the choices for Drarry's happily ever after.

5. A favorite series

The Journal of Dreadful Things by @lilbeanz [Drarry, G, 112k, WIP] 🌼📖 Hilarious, witty, AND COMES WITH ART!! Lilbeanz draws and writes a wonderfully delightful series starting from Draco's First Year. His characterization had me in hysterics. Book 4 is starting soon!

—

💫 COMMON SHIPS 💫

6. Fic with the hottest smut

Moonstruck by @prettyremus [Wolfstar, E, 3.8k] 🔥🐺 Found this gem while scrolling through the werewolf smut tag (don't judge me). I love the switch in dynamic with Sirius taming Remus's wolf through, ahem, rough sex.

7. An unreliable narrator fic

Sea of White by @dividawrites [Harrymort, E, 8.6k] 🔥🤍 Deliciously hot, creepy, and strangely sweet. Love their dynamic here, the unrestrained lust. Harrymort "die" and lose their memories, so, of course, then they bang.

8. A fic that made me cry

Far Apart, Far Away by @unmistakablyoatmeal [Hinny, minor Drarry, T, 1.6k] 💔💍 Infidelity angst has never been this good. I love the layers of emotion in this fic. Quick punchy sections that really pulled me in.

9. A Muggle(?) AU fic

Pleasant Hope by @ac1d6urn, @sinick [Snarry, E, 41.6k] 💔⛪️ Pastor Severus!! The angst, pining, and self-discovery in this fic is superb! I love the interwoven magic and detailed world-building of this little town.

—

💫 RARE PAIRS 💫

10. A fav amongst faves

The Last Trial of Peter Pettigrew by @sleepstxtic [Prongstail, M, 20.8k] 💔 🐀 Holy moly, this fic!!!! Is this my new favorite fic?? Possibly. The concept is brilliant, so creative and nuanced. The Peter character study using outsider perspectives is genius. Seamlessly balances canon and new scenes.

11. A pre-canon fic

Careless by @tax-onomic [Luther, E, 1.5k] 🔥🪞 Lucius/Arthur my beloved rare pair!! I am captain of the Luther ship, and Tax's fic hits all the right spots. The pining, the sniping, the prickly personalities with emotional vulnerability underneath! And all in the middle of a hot smut scene. Perfect.

12. A canon-compliant fic

Scottish by thepadfoots [Chedric, G, 749] 💔🌟 Lovely Cho character study focused around her Asian identity and the boy she loved.

13. A fic rated G (more like T though)

Lion-Hearted Girl by MinnieQuill (odainath) [Minmione, G, 4.5k] 💔🦁 I know the large age gap might scare some, but their relationship feels very organic in this fic. The setting is grim, but there is always hope in the darkness!

14. A fic rated T

You're So Vane by @patriceavril [Romelina, T, 6.8k] 🌼💄Romilda is so delightfully characterized, I was smiling through the entire fic. Angelina is the perfect foil (and love interest) to Romilda's attentions.

15. A rare pair fic (less than 2000 fics on AO3)

Snakeskin by @cntrl15 [Bellastoria, E, 3.7k] 🔥👠 Talk about a rare pair! Astoria/Bellatrix only has 2 tagged fics on AO3: this fic and the drabble I wrote based on it. But read this fic, and you'll see why I felt the need to write more in this universe.

16. A fest fic

Master of None by @nanneramma [Snormac, G, 5.5k] 🌼🧘 Severus is so wonderfully cranky, and Cormac is fine AF. The surprise pairing of 2023 that I never knew I needed and now I'm obsessed with!

17. An under-rated fic

Sun, Shadow, Shade by @naomijameston [Snuna, G, 700] 🌼☀️ Post-war fluff. Sunshine Luna is the perfect match for sullen Snape. A short and sweet fic for this underrated ship.

18. A canon-divergent fic

but somebody's gotta do it by nocturn [Pangulus, T, 920] 😄🧟‍♂️ This fic will make you say WTF but also huh, okay that totally works. The concept is WILD but Lyra executes it wonderfully. Pansy drags Regulus out of the inferi lake and they flirt a little while he gets de-corpsified lol.

—

💫 POLY SHIPS 💫

19. A dark fic

In his embrace by @loneamaryllis [Snarrymort, het!Snarry, E, 48k] ⚡️👀 Dark and dirty but so so good. A Voldemort Wins AU where fem!Harry is taken as prisoner. Snape's mindset as he tries to save her (and is forced to rape her) is so twisted and mesmerizing. Mind the tags!

20. A thought-provoking fic

Icarus by @thistlecatfics [Millvansy, M, 20.0k] 💔🍾 War trauma, addiction, codependency! This fic is messy with emotions but has a strong, beating heart underneath. I am in love with Parvati as she deals with Pansy's addiction and Millicent's denial — three beautiful, imperfect girls.

21. A holiday fic

A Time, Dark and Divine by @moonflower-rose [Dronarry, E, 17.0k] 🔥⛱ HOLY FREAKING FUCK!! The sexual tension in this fic is off the freaking charts. Drarry seducing Ron while on vacation in Portugal. Sign me the fuck up!

—

💫 GEN 💫

22. A favorite fic under 5k

The Scrunchie by @saintsenara [Lightning Era Girls, G, 4.5k] 💖👭 Such a lovely look into some of the female background characters, all following the path of a single scrunchie. Lisa, Padma, Parvati, Hannah, Sally-Anne.

23. A fic with an ending I can't stop thinking about

Through the Middlegame by @sandervansunshine [Astoria & Peter, T, 6.6k] 💔♜ Devastating, heart-wrenching, tragic. 10000% would recommend. Kylee has already heard me screaming in the servers about this fic. If I could get a fic tattooed straight onto my brain, this would be it.

—

💫 BONUS RECS! 💫

A podfic

Plenitude by @wilfriede, written by eldritcher [Amelmione, M, 14 min] 💔🥀 Amazing voices, amazing music, amazing ambience. Wilfriede really brings one of my fav Hermione/Amelia Bones fics to life in this podfic!

A comic

War Prize by @mrviran [Snegulus, Reggiemort, M, Comic, WIP] ☠️🐍 The panels are awe-inspiring. I am HOOKED on this comic. The murder and the TENSION. Ughhhhh so good. I am so invested in Severus's arc!!

A self-rec (completely self-indulgent)

For I Have Found Salvation by @lumosatnight [Snarry, E, 7.1k] 🔥✝ My first time writing Snarry! Priest Kink, church sex, and blasphemous religious imagery. Priest Severus is oh-so-tempted by Teen Harry. So fun to write and even more fun to go back and read as a guilty pleasure.

—

⚡️ Want more fics to read? ⚡️

Try my rec tag: #lumosinthelibrary

Year in Reading, b-day oneshots, WLW Library

[v-a-l]

Hi! I was just thinking about what made Hermione come to the conclusion that Sirius wants to live through them. Now I last read OOTP a month ago, but I can't remember anything from the conversation that suggests that he wants to live through them, he only said that they should know how to defend themselves because of the environment that will come and that is why the DA is a good idea. And even if Hermione was influenced by Molly during the summer what makes her think that the DA is a bad idea after Sirius says it's a good idea? He gave valid reasons why it is a good idea. Hermione is very smart but this scene just felt and she felt ooc here.

I know that sometimes JKR used characters like Hermione and Dumbledore as spokespersons about what she wanted the audience to know that's why we get Hermione saying that but if that's what she wanted us to think, she did a poor job because Sirius actually kind of right and it makes Hermione look biased against Sirius.

Same with Dumbledore in that conversation with Harry after Sirius's death and it sucks. She wanted us to think Sirius saw Kreacher as inferior because of his species but that's not true at all. Now, some scenes with Sirius and Kreacher made me uncomfortable and I am not going to lie about it. But Sirius hated Kreacher because he was a part of his abusive childhood and repeated the same bigoted stuff his family thought and let's not forget Sirius only got violent with him when he called Hermione a slur. So Dumbledore saying that just feels so ooc because usually he is so wise (but once i read a meta about him seeing Sirius as Grindelwald and thinking by that meta it gives us an interesting perspective about this conversation as well).

Sorry this is getting long 😅. Anyways my point is that none of it makes any sense. It is clear that JKR was biased against Sirius and to show that she brought two other characters down (though these moments can be seen as interesting flaws in them)

Have a lovely day! (Sorry about the long ask, I hope it makes sense)

Honestly, while JKR is a brilliant writer, I also find her fairly reactionary in her writing style. Sirius was one of the most popular characters in the story because she wrote him that way, he inadvertently became more popular than a lot of other characters she preferred because again, she WROTE him that way. Perhaps the creation of a character as multi-faceted and dynamic as Sirius is was entirely by accident, as she really seems to double down on the character assassination as the books go by, but regardless, there's little in the way of canonical proof to suggest that Sirius is trying to live a vicarious life through the kids. Especially cause he's the one who seems to understand what they actually need after all they've been through instead of just patronising them.

Sirius is the only one who takes Harry seriously, he is the only one who tries to not just physically be there like the others, but actually also provide emotional support. He's constantly been doing this since he escaped Azkaban, and at this point, both in the case of Harry generally, and the Weasleys specifically when Arthur was injured, he's repeatedly looking after others at his own personal cost. He gets Ron an Owl, almost tells Harry how to beat a dragon (and that's the kind of stuff Sirius Black simply just goes around knowing, how to take down Dragons), gets Harry his firebolt and Hogsmeade slip. Sirius is generally an emotionally intelligent person, and this is after 12 years of forced isolation from civilisation.

The tragedy of Sirius' arc in OOTP is that there's no one around him who can relate to his experiences. This makes it impossible for Sirius to find the kind of empathy and support he needs from the members of the order. By OOTP, Sirius' mental health, whilst constantly deteriorating is also displayed on technicolour before the entire cast. He's not allowed any secrets, his abusive childhood, his unprocessed grief, years of dementor and solitary confinement related trauma, the fact that he lost his entire twenties, his burgeoning alcoholism is all on display and not spared judgement from the self-righteous members of the Order who did not support him at 21 and are not going to support him at 33.

Furthermore, the narrative repeatedly validates him. He insists that Harry should be told the truth, and he's right, he insists that he can do more instead of just being locked up and left alone and he's right, he wants Snape to restart Harry's lessons and he's right, he repeatedly and actively disagrees with Dumbledore's opaque methods and again, he's right. He gives Harry the two way mirror because Harry needs him to be there, and as Godfather, it is Sirius' responsibility to find a safe way to ensure that happens.

Whilst he's not at his best, he's still trying, he's trying so hard to be what everyone needs him to be even when its contrary to his own instincts and emotional needs which are either dismissed entirely by the people around him or mocked with derogatory catchphrases like "fit of the sullens" that its genuinely heartbreaking that despite him going out of his way to help the Order, not only is his devotion not returned it's barely even acknowledged. They never try to acquit him, there's no mission run by the Order to try and recapture Peter or get Sirius a trial or even an opportunity to give a press conference (which, with the political climate in OOTP would actually be a great way to discredit the ministry), Dumbledore pretty much just locked him in and threw away the key, a circumstance not entirely different from the past 12 years of Sirius' unfortunately short life. An acquitted Sirius would mean a discredited justice system and ministry and also a powerful wizard to run missions again, but this prospect is not even brought up let alone addressed. He gets a posthumous consolation through a footnote in the Daily Prophet, like that could compensate for the trauma and the decade he's lost.

I think it's very binary to put people into boxes and go "this person is only these set of traits and that's all they can be." Sirius is more than his grief for the Potters and love for Harry and years of isolation and torture. He's a brilliant detective, one of the order's most powerful duelists, someone who is blatantly not afraid of calling people out, be it Walburga or Crouch or Dumbledore, someone who despite growing up in a cesspit of bigotry and violence fights for people like Lily Potter and Remus Lupin and Hermione Granger. The guy who barely tolerates Kreacher but is distasteful of Crouch's treatment of Winky. Sirius, like most people, comes with facets and is possibly one of JKR's finest creations. Not that she seemed to realise it herself.

Not that that's surprising.

The most interesting thing about Sirius and Dumbledore, and Dumbledore's repeated refusal to trust Sirius is that unlike pretty much everyone else in the order, Sirius knows that Dumbledore and Grindewald used to be friends. Lily wrote it to him and Sirius read it. If Sirius could figure out the GoF plot while being half starved to death and living in a cave, a free healthy Sirius with a very much alive James Potter would probably have put the whole plot together. I wonder how much that influenced their dynamic in OOTP because whilst the others have nothing on Dumbledore, Sirius does. If Sirius can spare Dumbledore his judgement despite knowing the truth, Dumbledore can get over Sirius being a Black.

[mysteryanimator]

Breaking down Castlevania Nocturne Season 01 - Episode 08 "Breakup Scene" shot by shot!

I've been chipping at this for a while and now I can put this out to the world. While this will be a lot more 'clear' and more put together than a lot of my previous writings (I am so sorry, I have looked at those past writings and I look like a madman, I was trying to hold back all of them and therefore it ended up super messy) however, it is still going to be a very casual document—as if a conversation!

To preface, these are just my thoughts, and by no means is the actual indicative end-all-be-all for these shots! These are just observations based on my special interest (and also I did ATAR for this, which in short I suppose is a specialization study ? I'm not sure how to describe it LOL) in media production and analysis, with a heavy passion for visual storytelling in film! It has been a while since I have written something like this so you may have to bear with me here.

I consider myself still an amateur, but shot choices matter, especially when you have only 8 episodes, a deadline, a budget, asset restrictions and so on. It all has to count. Everything matters.

As a side thing, while we can and very much should criticize media for being poor in writing, composition and so, yet, I've noticed people do tend to forget everything is 99% considered. Everything has its place and everything has intention. Passionate creatives care and there is more than "the curtain is blue just because". Like I can and will talk about how every Mizrak and Olrox scene is placed in green/earthy-colored environments (not here though LOL, this is not the time for it). The times when things slip under the radar and are put there just because are mostly due to executive meddling, budget restrictions, and deadlines.

Now that the introduction part is out of the way, let's start!

The establishing shot!

I think you’ll notice this in many many shows in general, but this is often used to establish a new scene. While some may think there’s nothing too special about it symbolic wise, Olrox is seen literally dragging Mizrak up the hill. Begging the question of why does Olrox shift out to his shadow form?

For a writing/story perspective, for the breakup to hit with those emotional beats, it has to be done face to face, ‘human’ to human. It cannot be done in shadow form because the dialogue and facial expressions that need to happen, it has slap you in the face. Like the crying scene. It also means when you deliberately cut out any expressions from the shots due to the camera framing, you get a more emotional reaction from the viewer. This is because you cannot see the emotions that they are clearly having. It is like the characters do not want to show us it or let us in.

Character's perspective, Olrox is given the chance for Mizrak to fight back and probably somewhat hoping that Mizrak would break out of his arms easily so he can prove to Mizrak he isn’t powerful enough. It's much like how he lets Richter live in episode 01. He often gives chances to people and it's probably going to come up again.

Olrox drags Mizrak into this scene, and we’re getting a mid shotttt, (I think technically cowboy shot, since we do get like waist and hands, though its because their height differences but I might be getting too pedantic with this).

This may not seem too special, but it’s a very nice way to show Mizrak struggling and just set the baseline for the action occurring since from the establishing shot we can’t tell too much because it's so far out. It also now brings the audience into the scene, we are now privy to their most private conversation. We can also see Olrox is literally holding him super easily he’s literally not even trying LOL. We can see the dynamic being established and how that dynamic will shift at the end. So we have established the new setting/characters in the first shot, and now we've established what this side story will be about in the second shot.

THE LOW ANGLE 🫣

Low angled shots are used to make a character appear powerful because the camera is looking up, therefore making the presence in the shot seem like a massive force. Olrox is supposed to be powerful. Yet, even though he’s taller, right behind Mizrak holding him back AND directly mentioned- he’s not in shot scene except for his hands. They are SUPER prominent in this shot, they’re practically in the middle of it and stand out because his hand is lit super differently from Mizrak’s face.

Olrox’s power is being used to hold back Mizrak.

Side note, I think this is just me, but this shot feels suffocating WHICH IS A GOOD THING. While there is some empty space around Mizrak, it's still extremely dark like Mizrak's clothes so it kind of blends in and makes this scene suffocating. It is as if we're being held back too.

This camera angle also makes Mizrak look very powerless and powerful at the same time which is I think is just really neat. With each established 'rule' for camera shots/angles, you can break them to subvert audience expectations. Mizrak is yelling and using all his power to convince Olrox to fight. Convince him that he can do it and fight Ezerbet.

Long shottttt, slightly different from an establishing shot since it punches in more closely.

“She’ll kill them!” And we can directly see the Abbey from here, being loomed over by the eclipse, which is really super nice. It’s telling us he’s practically going to watch them die if he stays where he is.

Also visually the 'weights' on the left and right of the screen can be argued that they are even, almost as if both choices are heavy and hold the same power over each other. The choice to go back and fight, or the choice to run.

Close up shot! Close-up shots allow for the audience to read a character's face, or if not their face, their action, to put extreme importance. The small details matter in a close-up and are the main focus.

This is soooo intentional, but we don’t get Mizrak’s initial reaction. IMO we don’t ever get it, we only get his response to Olrox, and I see reaction and response as two separate things. This is a super hard side view of both of them. It's not 3/4, it's not front- it is side profile, used to amp up the dramatics of the scenes. It's a nice contrast to how it's only one side of his face yet he's revealing an inner thought. As if maybe perhaps, there is more to this truth then he lets on, it is perhaps, maybe only one side, of his guarded truth.

Also, people may call this a corn plate moment but his eyes are open for one frame, and then when he tilts his head down, they're closed. Its a very small detail, but it's being used to set up for his crying scene later because this acts to 'reset' his face before we see it again.

This is Mizrak's response. We don’t get to see his face, but he BACKS DOWN, and I don't believe he does it because he think Olrox will release him if he does (which Olrox does anyway), but its also kind of his reaction.

This is a forced perspective shot, I think this is now a high angle. So the camera is looking down on the characters, making them powerless and vulnerable. Opposite to a low angle shot.

THIS IS CALL BACK TO THE BED SCENE. Olrox holds Mizrak from behind

A rehash of this scene from episode 04 but with 10x the angst.

Y'all are free to call me out on this section because my storyboarding experiences are small BUT i am just throwing in additional context.

Storyboarding scenes and shots is a collaborative process (as is the whole animation industry itself). These boards go through multiple iterations, which you namely you have to get it passed off from your storyboard director but also your fellow storyboard artists, your background artists and so on. While you dedicate yourself to this specific scene, you let previous parts of the story influence your work and vice versa, allowing for things to feel more connected and visually tell a story. This is the last moment we see this 'couple' in this show, and with such heavy scene that breaks these two apart, you are going to want to call back other times where they were close so it makes the separation that much more painful. In this case, it was chosen to have Olrox holding Mizrak as a callback. This then means this will be a common thing they will go back to and it will somehow reappear in season 2 and every season after that (pleasepleasepleaseplease season 3, maybe season 4 guys please). When it does reappear, it's going to be an alternate version that builds upon the last, and who knows, it may be way more subtle. It may be flipped. The way they act around each other when standing behind each other is very important. The way Olrox holds Mizrak is very important (and he doesn't just hold him by just sitting or using his hands, but also I can discuss that on a different scene breakdown if you guys want!)

I need to point this out super clearly. We do not see their faces this time around for that shot and that is intentional because then it forces up to think of what it is like. We have to infer from their previous interactions and what should come to mind is episode 04.

I would love to break down this at some point later (and how episode 04 and episode 06 make callbacks to each other, I've mentioned it before in a tweet somewhere I digress though). I'll briefly go through this now- this image is a (extreme) top-down close-up of their expressions, the perspective is pushed here. In episode 08, we get a top-down view where the perspective is also extremely pushed. This has to be a callback, there's no way that wasn't intentional.

This is what I imagined their faces to be when Mizrak stops resisting and drops his arms.

Now we see Mizrak’s face. Trade off is that we don’t see Olrox’s face. Like a reaction to a reaction. It’s to set up for the next shot to make us go “oh my god.”

THIS SHOT IS SO GOOD Y'ALL😭 (Also a close-up)

Olrox is not known to show any extreme emotions, only time he does was when he forced himself to bow to Ezerbet. So to the audience, this is really shocking because THATS TEARS RIGHT THERE.

The forehead creases are telling me he’s holding back really hard. He’s dead still beside the wind flowing. He’s using his power to hold back.

This is a front view too. Olrox is baring himself out. No 3/4, no side angle, front view. Also, the backdrop has the trees beginning to clear out behind him, which subtly alludes to us as an audience to realize how we're getting a slightly clearer picture of Olrox's headspace, of his views, and so on!

Which… is this a call back to when Olrox said “I’m not in love with you” (?) It is a front having shot but its cut closer and his eyes aren't glowing.

Which, I still have no idea what the glowing eyes mean. Unless there are no rules the glowing eyes follow by it besides what suits each scene the best thematically. I will point out that whenever it glows, its supposed to be intimidating, he's supposed to feel supernatural. When he's vulnerable, take for insistence when he talks about his past and talks gently about it, his eyes don't glow, he feels a lot more human in that scenario.

First of all, choice of shot is to mirror Olrox’s shot. Ok that out of the way.

WE GET THIS LINE??? I remember first watching it my jaw dropped because I couldn’t believe he said this.

He gets called an animal. Wild. Insane.

That’s a set up. It has to be there’s NO WAY IY ISN’T. WE’RE GETTING A CALL BACK TO THIS IN SEASON 2. SEASON 3, pls I’d do anything for a s3. Idk when we're getting a call back to this because Mizrak just backhanded him so hard and that language is so specific, especially since we’ve already gotten Ezerbet going “Gods should know where her dragons are”, you know, treating Olrox like a pet. Like an ANIMAL.

I am going to go on the slightest of side tangents- Mizrak has parallels to Drolta, they're both "guard dogs" for their leader. The Abott simply has to put out his hand when Mizrak is growling (it is subtitled as him growling and barking its kinda crazy) for him to stop. The animal line seems so out of nowhere and it is supposed to feel like that but we've had this bread trail from the very start.

Ok going back to the scene at hand. Mizrak ??? Where’s your normal religious quips ??? Why did you use that line ??? What do you know about losing your soul and being animal-like??? Suspicious 🤨 because there are countless bible verses about, bravery, losing your soul, literally self-sacrifice.

Though I will bring up, the idea of having a soul has been brought up before.

Mizrak recognizes Olrox had a soul before. He recognized Olrox used to live. I think Olrox was a lot more... 'puncher' and 'fiery' beforehand, before his previous lover died. I mean, if he wasn't more 'alive' before, why would he turn his previous lover into a vampire. Mizrak said that so it would hurt and to call him out.

(Though I feel like, religion has been thrown out the window for Mizrak, cant wait to see how Mizrak deals with it s2 LOLOLOL)

Ok now talking abt these two long shots together (the irony writes itself)

The placement of the characters is so important to feel that void and it makes the scene feel so much more empty, which is why it also has to be a long shot. It’s like, they’re supposed to fill in that gap, but they’re not. A general note is that shuffling characters off-center makes the scene feel unbalanced. The center line, the abbey, and the eclipse are already established and Mizrak is running off center. For Olrox's shot, there's a clearing to his right.

To Mizrak, Olrox should’ve run alongside him. There’s space for him

To Olrox, Mizrak should’ve stayed back. There’s space for him.

Now I'm done. My final notes is that this whole breakup scene is a massive setup for something for the next season (if not this season, just for something big later on), and my red strings are tying it to that animal line and holding if that makes sense? Everything in episode 8 IS a setting up for bigger things for season 2. We will get callbacks. (I say will, that is a very strong conviction LOL).

Also to wrap up, shot choices matter heavily. You need to connect with the audience immediately. A picture says 1000 words. Something as simple as maybe someone in a diner eating a burger, and its a close up of them talking may seem not that special but it changes a lot just by having a character in the middle or the left of the screen, especially in the greater scheme of a full scene.

Think of that one quote from Prince of Egypt where the priest says "A single thread in a tapestry though its color brightly shines can never see its purpose in the pattern of the grand design." Basically that LOL.

If I have time, I may go and do their other scenes (or even scenes of other characters)! They all build upon each other really nicely and despite their scenes being about 1-3 minutes long. They really pack in a lot of details. Their lives before directly affect what's happening at that very moment on screen and you can see it heavily influences how they interact with the world and each other!

[akajustmerry]

I didn't really like the helmet grab by Michonne in towl. I didn't think it was necessary for them to make her do that even though I know they were trying to show how angry she was. Am I overthinking this?

forgive me but I actually think you're not thinking enough. You're not thinking about what's happened from michonne's perspective. even if you were, you're not extending her any empathy because writing off her as just "angry" does not cut it here

....Michonne had to carry on believing rick was dead for FIVE YEARS, raising their kids despite that grief and then when she was given the smallest hope he was alive she gave up another 2 years with her kids, risking her life in the wastelands, surviving chlorine poisoning, and enduring more fucking trauma with nothing keeping her going but the fact that she loved him and would not give up looking...... AND THEN she finds him against all those odds and rick had the CAUCACITY to try and trick her into ABANDONING HIM and insinuate that she DOESN'T TRULY LOVE HIM UNLESS SHE DOES??? of fucking COURSE she rips that dumb fucking helmet off his head!! she wants him to say that nonsense to her FACE, hear how insane it sounds, and be greeted with the only appropriate response to an assertion so ludicrous: silence.

When my dad and I watched that episode we both agreed rick actually got off easy for trying to pull that shit after what michonne had been through. My dad even left the room when rick was bragging about his stoopid plan to trick michonne into leaving to jadis because my dad is very sensitive to second hand embarrassment and rick was so fucking idiotic for trying to do that to michonne and thinking it would work.

ALSO.....something that I've ranted about before is this idea of an empathy gap between how people see white characters and characters of colour (ESPECIALLY Black characters) because such is the racism of the world that people simply don't empathise or even sympathise with characters of colour because they've been conditioned not to. Years of racist media conditions you to empathise with white characters almost instinctively even when they're wrong. In this case, rick was wrong. Totally wrong, despite his intentions. He was dishonest, condescending, and inconsiderate. Michonne had every right to be angry and every right to show him how angry she was. The fact that you're uncomfortable with that maybe means you haven't really paid mind to what michonne has been through and maybe you haven't done that because she's a Black woman. Personally, I loved that scene so much and I also love all the scenes in ep4 where she's pissed off because michonne isn't just rick's love interest she's a protagonist in her own right and she's NEVER not once accepted less, even from him.

anyway, hope you don't think I'm being mean! I've just seen weird discourse about that scene that is so unnecessary. It simply wouldn't be a thing if people actually cared about michonne as a character, rather than just as one half of a ship.

[night-market-if]

Answering some bulk questions

I am getting the same kind of questions in my inbox and instead of answering them all individually, I thought I would just make one long post. Hopefully that can clear some things up.

Why is m!pen white and f!pen black?

Mostly because the character of Pen is death. They have no form. Not a real one. Much like the MC, the image they are presenting is a construct. So, when I thought about that, I kind of thought it would be fun to play around with two very different aesthetics (I think in the final edit I might even write them a bit different). I did this for two reasons. One, because I haven't really seen this in ifs. And two, I kind of liked the duality of it. Opposites, really. It sat well with me for the character of death.

2. Why does nothing bad ever happen to Milo? Stop playing favorites.

Bad things have happened to Milo. More so than the other characters, I would argue. I have a feeling this is more from people annoyed that a very specific bad thing won't happen to Milo. Because Milo has watched Malcolm and MC die. Was beaten as a child. Orphaned. Didn't know where his real home was or who he was. Has a ghost for a sister. (who he also watched die). Has been responsible for keeping his best friend sane for quite a few years. And got the shittiest job in the world. He has also been stabbed at quite a bit. Betrayed. And used.

I do a lot of bad things to Milo. Favorites would be if nothing bad happened to him. And defending your characters decisions is not playing favorites. It is just knowing your characters as a writer.

3. Who is your favorite RO?

I have said before that Milo is not my favorite to write. So inevitably I get asked who is. I don't answer this question because I don't want the complaints.

4. Why don't you have stats?

Because I don't like them. I come from much more of a storytelling perspective than a game mechanics one. And don't get me wrong. People that do game mechanics are awesome. I admire them a ton and enjoy their games (though my field is more video games). But that's never what I wanted the Night Market to be. I just want people to be immersed.

5. Do you feel you have to have inclusivity as a writer?

I don't know why I've been getting this one a lot. Might be something going on in the community. The honest answer is no, I do not. I have never felt pressured to have a certain representation within the Night Market. That all being said, maybe I don't feel that way because I tend to have an organically more diverse cast of characters? But I can't say I have ever felt like I have to put a certain representation in. And I don't believe writers should feel pressure for that. Because a lot of times, if you are just putting in a token character to do it, it becomes a bit problematic.

6. What are your favorite IF's and do you have recomendations?

I hate to say this, but I don't read IF's. I've dabbled occasionally in the past but I find when I read IF's, it messes with my head and my ability to write. Now, I read a lot of novels. That is my preferred vehicle of reading. But as for IF's, I probably won't read a lot of them until I am officially done with the Night Market. I struggle to enjoy stories when I feel like it is a part of my day to day job.

7. Why don't you ever speak out politically?

Because that is private for me. I don't want to. I want to provide an escape from the world. Not add to discussions that are being had by people far more adept than me. I leave my political feelings and responsibilities at home.

8. Why can't you provide (insert numerous topics) to the route?

Because coding and writing are a bitch. There is a lot of work that goes into this stuff that isn't always fun. And sometimes, as much as I would like to put something in or have a new route, I just can't. I am one person. A person who has a pretty hefty personal life. I am doing what I can.

[majycka]

Megumi stans....we won, I guess? maybe just for now..

JJK 266 THOUGHTS AND SPOILERS AHEAD!

Aight megumi enjoyers, at least one of us has been in the trenches when Megumi was getting SHOVELED PILES OF SHIT ON for losing his will to live when he's a traumatized 15 years old boy having a valid reaction to a death of a loved one (aka who may I repeat, HEAVILY REITERATED in the manga is someone whose his entire desire to live hinges on). As of from the currents chap, I'm considering Yuuji's acknowledgement/understanding to Megumi's actions a W for us or idk maybe that's just me because he gives Megumi the empathy and understanding he needs in his crazy ass suicidal life, and it raises the question of whether this is gonna fully push Megumi for his comeback moment?

More yapping under the cut

In order to explain why the magnitude of this chapter is such an important development for Megumi, his trauma needs to be discuss first and, there's four people we need to go through to reflect his stages of life. Toji, Tsumiki, Gojo, aaaannd Yuuji! :D

TOJI, the dad who left for milk.

Although we barely see any interaction with these two (only one fight scene from them), Toji no doubt kickstarted the trauma of Megumi the moment he decided to left for milk and never return again. He's traumatized by the Zenin's which explains why he acted out in that way and abandoned his child. All he's life he's treated as the outsider for being the odd one out. He lashed out from it as he got stronger, calmed down when meet Meg's mom who then died, and went back to lashing out again, forgetting that he has a tiny son waiting for him at home. Big L for Toji.

I know that Gege reiterated in his interview that he wants to craft a story where there's no right and wrong people, but I'm gonna proceed to be harsher towards Toji here because he's the ADULT situation. Yes, a traumatized adult who's fucked up and not perfect, but I still hold him accountable in perpetuating Megumi's trauma because Toji proceeded to repeat the cycle of trauma that moment he decided to leave, thinking that turning over Megumi to the Zenin is the best option cuz he got The Ten Shadows Technique. From Toji's perspective, it seemed the better option because he was raised knowing his no cursed energy made him an outcast in his family. It's drilled to him that cursed technique was everything for Zenins, so of course, he thought that his son with a valued technique will make the Zenins, olympic gold medal holder of abuse, treat him better. But, heck no! Just look what happened to that Naoya, who despite being raised differently as Toji or Maki and Mai, ended up as a piece of shit. In the end though, I gotta give him the bareeeessst minimum because he kinda pushed Gojo to interfere with Megumi being sold off to the Zenins(which has another set of problems discussed for the later part of discussion).

I try to stay true in including Gege's intention in writing here, and also other nuanced perspective cuz that's the type of series JJK is that yes, Toji DID care for his son in the barest minimum and in his most emotionally stunted way.

However, the damage is done, and Megumi is left with no prime adult caretaker to protect/guide him with only an older sis to have any resemblance of it .

2. TSUMIKI, the manic pixie dream girl sister.

To define the term (as I've stolen from Google) , manic pixie dream girl (MPDG) means "a type of female character depicted as vivacious and appealingly quirky, whose main purpose within the narrative is to inspire a greater appreciation for life in a male protagonist." They are often associated as love interest in movies, BUT I AM NO WAY SHAPE IN FORM ENDORSING MEGUMI SEES HER THAT WAY. Instead, I am using MPDG as a loose term to describe Tsumiki because like most MPDG, we barely know ANYTHING about her actually and we only saw her through the eyes of Megumi which is being pretty and dead.

Not essentially dead and not essentially just pretty because Megumi described her to be the model of a kind person and someone that Megumi wishes to protect, aka his greater purpose of life, which is yah, great, but we are stuck with this perception of Tsumiki. We don't know her, and I think the closest thing we got an unbiased perception of her is when she chucked a cartoon of milk to Megumi (she will call out his BS). This connects back with Megumi's trauma because who else are you gonna hinge your will to live on when the prime adults in your life failed you? He sees her in a brighter light in order to survive. A way of coping mechanism even.

AND YET, despite all his talk appreciating her kind traits and killing people in the culling game to get back to her, you would be surprised that instead of apologizing to her that he was all emo about, he was a dick to her when they reunited. 💀💀

And in fact, the narrative punishes him for this flaw.

To the point that when Sukuna took over his body, he "killed: Tsumiki in his hands which didn't just left Megumi the guilt and shame of being a dick to his sister before she dies but also the impression that Megumi was the one who "killed her." This makes Megumi an active participant to his own tragedy, and it serves a big slap on his face that he's also at fault here.

3. GOJO, the traumatized bro who tried his best.

This is definitely the raging hot debate of the fandom which is their dynamic, and my take breaks this perception of the uwufied Gojo a lot of the fandom seems to like. Yes, I do see Gojo as another perpetrator to Megumi’s trauma, another adult that failed him but not in such of a black and white way thinking of Gojo’s the wholly bad guy here. Believe it or not, he’s still a part of the chain of generational trauma, being a "chain" as in he's a victim AND perpetrator of the system. I called him the traumatized bro who tried his best here because as much as Gojo knows how cruel the jujutsu system is for the kids, he still unintentionally passes over the core mindset of such cruel system to Megumi since Gojo still did grew up in this system normalized in his eyes.

"Jujutsu Sorcerer is an individual sport."

I say "unintentionally passes" because no, Gojo doesn't have the same intention as Zenins/majority of the system who drills "strength is everything" in the most fucked up way possible. Yes, he enjoys Megumi’s company and treats him nicely. Yes, he sticks his neck out for him. Yes, he wants them to be strong so they can change the system. But this isn't about Gojo. It's about Megumi who still undeniably suffered from the accumulation of the few adults in his life failing him which includes Gojo. Gojo offers protection to Megumi. KEYWORD: Offers. It’s in exchange for Megumi working under Gojo as a jujutsu sorcerer. Now, for smol Megumi here, who truly going through the horror show of abandonment from his dad, agrees to it because apparently, according to Gojo, it’s the only way to protect his sister.

"I'll take care of things! But you're gonna have to work extra hard. I'm countin' on ya."

Annnd thus the cycle repeats! Although it wasn’t as bad as Zenin’s abusive environment Toji was raised, Megumi is still pushed in the same cutthroat environment of the jjk world that Gojo believed he can survive just because Megs has a valued powerful technique if only he himself fullfills his potential, like Gojo’s Six Eyes. BUT Gojo, who delights in his power, forgets a crucial part that…..Megumi isn’t like him!

Check out what Megumi has to say. (aka bud doesn't want any of that sorcerers shit and just wants a domestic life)

So the thing is, was Megumi ever asked his input in choosing to be a jujutsu sorcerer? Well, yah….and all it circles back to just protecting his sister and people like her. There’s a set of problems that comes with this mindset though that Gojo was valid to point out and that is Megumi doesn’t think about himself enough. “It’s ok to be selfish!” Gojo said in the context of being a stronger sorcerer.

But at the same time, he also gave Megumi the idea to that if he doesn’t work as sorcerer, then he won’t be able to protect his sister when he was a mere 6-7y/o boy.

You know that circulating meme of Megumi pulling Mahogora for minor inconvenience? Well, guess what that tells his suicidal tendencies in protecting anyone but himself. Kid got no sense of self-preservation because his self esteemed has completely tanked itself due to his abandonment issues, and now that he’s expressing how it emotionally and physically paralyzes him, he has every valid reason to do so.

Why, yes, Gojo was 19/20 at the time he first met Megs, still a kid, doesn't know shit, and has unaddressed issues being treated as The Strongest Weapon(here’s a dedicated gojo-centric meta I wrote previously about Gojo and his issues cuz he's one complicated fool). I describe this whole situation as an unaware traumatized kid taking in another traumatized kid which is not a fun mix to have, and I understand that Gojo ain’t exactly prepared for that kind of job.

HOWEVER, I’m way harsher to point out Gojo’s failure as an adult in Megumi in the later part of the series because at this point, Gojo's a grown adult, he waxes poetry in being responsible for the next gen , and we get to see his priorities throughout the series especially with the Sukuna’s fight, like seriously he had one legitimate fun fighting someone on par with him.

Gojo DELIGHTS in power no doubt, he chooses kids with most potential, he gets excited finding those kids, and this is the type of the closest dependable adult Megumi has in his life.

Yes, financially supported but Gojo isn't around much when he's working and on demand sorcerer almost 24/7. That's why growing up sure do sucked ass for Megumi especially when no one’s really there to guide and to keep an eye on your development AS A PERSON AND NOT JUST A SORCERER which the latter part is what unfortunately Gojo’s more eager to do.

4. YUUJI, the guy who just wants Megumi to know he matters to him as a person.

Yuuji and Megumi were definitely the highlight of this chapter because in the bleak world of JJK where everyone seemed to be succumbing to the repeated fuck ups of the previous gen (like that Yuta-Gojo situation), this chapter actually offers that THERE IS HOPE that the new gen can do better like what Yuuji just did that the adults in Megumi's life are too emotionally stunted to do. Yuuji take the time to listen to Megumi's emotional thoughts, what he feels as a person, and not just listen, but to understand and empathize. It even took lots of attempts for Yuuji to make Megumi open up.

He responds to Megumi's vulnerability with care and love, and Yuuji understands the pain Megumi is going through from losing his sister. With someone in pain like that, Yuuji knows he can't just go around saying "just live" to someone who's practically suicidal.

The treat of this all is when this scene comes next. Yuuji also shows his vulnerability and expresses that Megumi matters to him!

"It's lonely without you..Fushiguro."

This scene clearly parallels Gojo and Megumi's first meeting, so I'm gonna try to throw my two cents here and explain why Gege choose this direction. Remember what I said about Yuuji giving us the hope of the new gen escaping from the shackles of generational trauma? Well, I think this parallel is a way in saying that what Megumi needed when he was so young was someone to see him and his pain who's just a kid abandoned and forced to fend for themselves because the prime adults decided to to dip out. This is Megumi we are talking about here who's unaddressed issues stays hidden beneath all the pressure of him being The Ten Shadows Technique. He's valued for his technique. That's why Gojo showed up to meet him in the first place. That's also what the jujutsu system looked after for their child soldiers. Yuuji tries to break this chain of trauma their mentor unknowingly repeats. He'll show up for Megumi again and again because he's his dear friend even if Megumi's being difficult to be pulled out of Sukuna. And the beautiful thing is Yuuji didn't had some grand inspiring speech or grand offer to convince Megumi, he wasn't even sure Megumi will be up for it. Yuuji simply want to say that he matters to him. That understands him. That he's important to him so much he'll be sad when he dies, and it mattered.

"This is...Fushiguro Megumi's...!!"

And now that Megumi is showing signs in taking his body back, it's now his turn to save himself. Yuuji did his part, and for someone whose future has been controlled by everyone but himself, this time Megumi gets to decide what comes next.