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rubra-wav · 7 months

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May I Request a part 2 to Dealbreaker!Reader (same characters) but it’s the characters reactions to the reader surprisingly breaking their deal? I loved what you wrote!

Angel, Husk and Alastor with a dealbreaker S/O pt. 2

[ Part 1 ] < > [ More lore on DBs ]

A/N Thank you so much, I'm glad you liked it, I loved writing this and the last one. Dealbreaker lore brainrot fr.

With how dealbreaking usually goes, it's not instantly a happy ending, unfortunately. These are all pretty happy endings, though.

Fairly long reads for all of these, but it's worth it, I promise 🙏

!(MY REQUESTS ARE NOT OPEN RN. THIS IS JUST LEFT OVER FROM WHEN THEY LAST WERE.)!

Cw: SFW, depictions of violence, mentions of murder, Husk and Angel's is romantic, Alastor's is platonic, gn reader, male reader in mind for Angel's (forgot to add this aaaages back omg)

**Alastor's is written under the assumption that the Lilith owning his soul theory is real + is making a great big assumptions about Lilith + the nature of her deal that will likely be disproven.

She's a great big mystery, I'm just heavily leaning into pure theory in that one.

Angel

- When you break his contract, Angel is overwhelmed with a potent mixture of relief and gratitude.

- The path this far had been fairly easy as far as the process of actually breaking the contract goes.

- The chains on him were poorly crafted and the format was extremely simple with a lot of loopholes to bust the contract wide open.

- It was honestly much harder to fully knock Angel out of the all-encompassing fear-rooted belief that he was doing something incredibly wrong after years of Val's manipulation and control over every part of him.

- It didn't take long to make the counter-contract, just a few minutes referencing the draft as you quickly wrote everything down upon the page pressed against the filthy bench you were sitting at. Angel hovered over you anxiously wringing his hands as he watched you work.

- The lock on his prison cell was quickly broken, along with the actual collar around his neck.

- You cheered as you threw your arms around the disbelieving man next to you. Angel cracked a smile, giddy as he realised that you had done it.

- This peace was short-lived, however.

- You now had to deal with the consequences of actually breaking Angel's deal. Valentino does not take kindly to people taking his toys away from him, especially not one of his top money-makers and favourite souls.

- You had, of course, crafted the counter-contract that was now clutched in your palm in some random location far away from the hotel so Val wouldn't be knocking at the front door knowing it was done then and there.

- However, you two still needed to run.

- Hand in hand, you run away from the approaching sound of distant but loudly approaching cars with the sound of gunshots echoing, legs and lungs burning with exertion.

- As a contrast to your very evident worry, Angel is laughing joyously and more boisterously then he thinks he ever has as the feeling of the heavy sensation of the collar that has been weighing on him is lifts alongside the inability to speak his real name without choking on it.

- The feeling of his newfound freedom and adrenaline mixes in his body, making his blood sing out in his veins like a symphony. An indescribably rich sensation of being alive that he thought he'd never be able to feel again while sober.

- "So long, you overly tall rat bastard! I've found something that's better then anything you could ever fucking give me!" Angel yells out into the warm air of the night as he flips off the general direction of the sound of the gunshots, laughing all the way as you get to the getaway car.

- You're panting as you crank the car into gear, speeding away and putting the glowing counter-contract on the back seat.

- As the distant sounds of gunshots fades into the distance behind you, you turn to the passenger side of the car to make absolutely sure Angel is really okay as he calms down from the high of the chase.

- Your boyfriend is absolutely beaming next to you, glowing with a sense of natural light you'd never before seen in your time being together. It's a beautiful contrast to the artificial sense of life you are so used to seeing broadcast within the studio and his films.

- He looks so different, and not only due to the disguise he had decided upon to lay low until shit calmed down a bit.

- As you make it to your destination - a small house youd been allowed to stay at courtesy of Charlie - you put the car into park and sit there for a for a few seconds.

- "Holy shit. I did it. I actually freed you. And we're not dead." You said, stunned.

- Angel snickered, unbuckling his seat belt and leaning over to you to kiss you on the cheek. "Never doubted you for a second, baby."

- You laugh, relieved, turning to him and gently pull his face close to yours, kissing him deeply. You chuckle at the feeling of the giant smile on Angel's face.

- As you move to settle in to live in the small house for a couple of weeks, you regret turning on the television.

- Angel's face flashes across the screen with text quickly scrolling past a smiling but seemingly close to tweaking Vox on the screen, the man looking like he's about to absolutely lose his shit if one more mild inconvenience happens. The Video Star's eye twitches sightly as if hearing something irritating as he speaks.

- "There is a hefty reward for anyone who can find Angel Dust and the dealbreaker who has interfered with his contract. Any useful information will be welcome. To give us tips, go to the website listed below or call-" You switch the TV off, unplugging it as well just in case.

- If Vox got well and truly involved in this situation to attempt to placate Valentino as soon as possible, this would be even more difficult of a situation. You hadn't much considered the rest of the vees getting involved, assuming they would stsy in their own lanes while Valentino stopped being pissy.

- You shake your head, and move to go to the room where Angel is unpacking. The outside world could wait until later. All that shit could wait until later.

- Angel smiles at you as you walk into the room, such a lightness in it that makes your heart burn.

- You hug him tightly and then fall down on your side into the bed, both of you laughing joyously and filling the empty house with life.

- The road ahead would not be easy, but you were finally on the road to starting your life with him.

- Your life with him as Anothony, not Angel Dust.

Husk

- The road to forming a counter-contract was hard as all hell.

- Alastor's deals are absolutely air tight, crafted with the uptmost skill and attention to detail, so you finding a vague clause to dig your claws into to get it rolling after weeks of arduously reviewing it again and again was a goddamn miracle.

- When he saw that you had made progress, he's shocked as can be. Has a 'well I'll be' moment as you point it out to him after another sleepless night as he wanders up to you.

- Feels bad for fully doubting you after that. He's still pessimistic about your chances of actually succeeding in the counter-contract, but the flame of hope inside of him sparks to embers as you manage to do what nobody has managed to even remotely succeed to do in centuries.

- When you make further progress, he becomes deeply afraid for your safety. If Alastor ever found out you'd been able to get this far, you'd be toast.

- Never in a million years would Alastor allow someone who's managed to undermine his skills to this degree to live. When you say that you've got it covered when he brings it up, he's incredibly skeptical and is even more concerned when you say you can't tell him 'just in case'.

- Is in utter disbelief when you insist you just stay in the hotel as you actually write the counter-contract to break the deal while Alastor is out doing some shenanigans.

- When you say that you don't, in fact, have a death wish, he's extremely stressed and sweating bullets as you begin to write what you'd been drafting for weeks.

- The lights flash and then go out as you're about halfway through writing the contract. Unnatural green light fills the room and Alastor casts a great big shadow on the wall as he materialises out of nowhere.

- Husk feels dread sink into every part of himself.

- The ground shakes as Alastor physically shows up, much larger then usual and snarling. "What do you think you're doing."

- His voice is dripping with malice and static which hurts your ears greatly, but the movement of your pen on the page doesn't stop even though you can feel your heart thudding in terror and your vision is becoming blurry.

- Husk feels nauseous as Alastor looks down at you, growing all the more aggressive the more he feels his hold on Husk slipping.

- Husk fights a panicked yell as Alastor's neck snaps to the side loudly, now looking directly at him with an absolutely vile grin on his face. He cannot make it in time as Alastor's hand moves to crush you, and he fears the absolute worst as you are no longer in his sights.

- His deep despair is interrupted however, as from underneath Alastor's palm great big rose briers grow from underneath and pry it backwards, revealing you still writing - albeit looking extremely stressed - and the figure of Rosie who looks rather angry at Al.

- Alastor's eyes widen in shock and disbelief that one of his oldest friends are currently blocking him from destroying the one trying to take his property.

- Husk hardly hears the back and forth and stalling that goes on between the two overlords as he's running to you to try and pull you the hell out of here.

- He stops in place as he feels it, and hears Alastor let out a terrifying frustrated growling noise. The green collar and chain around his throat appears, and then it breaks with a loud snapping sound. You've succeeded.

- You actually fucking did it.

- The next few moment are a blur as Husk is rendered motionless and speechless, eyes wide and tears pricking at the corners of his eyes as if he's about to wake up from this moment.

- He slowly walks towards you, looking to the side blankly as Alastor shrinks back to his normal size and is escorted out of the hotel with a look of pure bewilderment on his face by a now smiling and laughing Rosie. The leader of the cannibals winks at you and gives you a thumbs up as she leaves.

- You turn to Husk and grin at him wearily, still sweating nervously with clear relief on your face. You literally could have just died.

- Husk sinks to his knees beside you from where you sit on the ground, having fallen from your chair as Alastor tried to crush you.

- Husk grips your face in his shaking hands as he looks up at you. He can now see that one of your eyes is black with a deal you've made yourself but for now he doesn't address it.

- "Thank you." His voice is hoarse, low. Tears stream down his face for the first time in a long long time.

- Your face crumples as you allow your brave face to fall to bits. Your heart is still racing and you are still getting over the fear you felt.

- Husk pulls your crying face to his, leaning his forehead against yours as he wraps his arms tightly around you. "Thank you so much." Husk says, closing his eyes and causing more tears to roll down his cheeks.

- "If you ever do something that fucking stupid again, I'll not be humouring you." He added after the wonderful moment stretched out for a couple of seconds.

- You laugh softly, and nuzzle into his cheek as you kiss it. "You're welcome, Husker my love."

- Husk hums in fake annoyance, but he cannot even hide how much lighter he feels.

- The bonds which had kept him trapped for decades had been broken down all at once, leaving him free.

- He had no idea what kind of deal you made with Rosie, but he sure hoped it kept Alastor the fuck away from you and him for the rest of your lives.

- And, for your sake, he desperately hopes it is not the type of deal you will regret making later.

Alastor

- The path to dealbreaking Alastor's is bar fucking none with difficulty, mostly because he doesn't want your help.

- Hurts his his ego so much to see that even though his consistent efforts to tell you to get lost have failed. He's opted to scaring you off multiple times and yet you're still relentless.

- After yet another time of him growing into that massive form and snarling down at you, you snap.

- "Maybe I'm 'overestimating my abilities', but what if I'm not? What if a fresh pair of eyes are what you need rather than you just pissing off to your radio tower and staring at everything until you have a mental breakdown over it!" You yell at him weakly as he turns his back to leave. Blood is dripping from the corner of your mouth, and you're only just regaining your vision from the former static, which blacked it out.

- Alastor stops in his tracks, startled that you know about that too.

- "Maybe I don't have as much experience as you, but I have a different mind and way of looking at things! What if that's exactly why you can't break it? What if whoever it is knows how you think so they've designed this thing so you can't do this alone?"

- You can't see Alastor's face, but he's standing there still not saying anything. One of his ears is pointed backwards in your direction. He's actually listening.

- You gulp, and stand up shakily. "What if they knew that you would never seek assistance, so they've done things which won't be visible to you and only you. If you just give me a chance." You're no longer shouting, rather speaking in a tone you're trying to keep even despite how afraid you are.

- Alastor grits his teeth, ears twitching as he considers it. He's pissed off because you're actually making a good point.

- It goes against every instinct in his body, but suddenly, he's right in front of you, holding out his hand to you as he glares menacingly at you. "A week, and if you find nothing, you will never fucking approach this with me again, or share what you have seen and heard about my deal with anybody."

- You gulp audibly. It's a ridiculously slim deadline for this kind of business, but it's more than nothing. As you accept the deal, he utters a single word you're shocked to hear.

- "Lilith."

- Without any further words, he disappears, leaving a glowing copy of the contract at your feet.

- The week of reviewing the contract was utter fucking hell.

- it's not just that the contract was super air tight, it's just that it was so ridiculously complicated and hard to understand that you could hardly fucking comprehend what you were reading most of the time. It was utterly maddening.

- Your breakthrough, however, came not through solely just reading the words, but from actually talking to Lucifer himself about Lilith when he came to visit the hotel while Alastor left.

- As per the deal, you didn't share anything about the contract, but you did ask about her in private with him and he was actually surprisingly happy to discuss her.

- So that's, how on the last day of the deadline, you cracked the contract wide open with a counter-contract draft you had written in a few hours.

- Alastor almost screams out in pure unadulterated fury when he sees what you've written and hears the explanation behind it.

- Lilith wasn't some skilled dealmaker hellbent on controlling demons. She was a broken down dreamer who had no idea what she was actually doing in the contract, but being Lilith, her words held so much weight that they'd chained him despite that.

- It actually takes every bone in your body to not burst out laughing with how utterly humiliated he looks.

- His ears are pressed forward on his head, and he's making an odd high-pitched audio feedback kind of sound as his face is hidden in his hands.

- He'd been stressing over this thing for years as a skilled dealmaker looking at it, and yet that was exactly why he couldn't do it.

- Couldn't do what you did in a fucking week.

- "So, do you want me to undo this thing now or-?"

- You startle as suddenly he's in front of you, both hands on either one of your shoulders.

- you try so hard to not snicker as you see his expression finally, but fail. He's pressing his still ever-smiling mouth into a crooked line, eyes squeezed shut and brow furrowed. Dark flush covers his cheeks and neck.

- "Yes. Please." He says those words as if they are poison in his mouth. "I'm.. Sorry. That I underestimated you." Alastor opens his eyes to look at you as he begins to regain his composure a bit more, the hard part of this interaction being over with.

- Fortunately, and also infuriatingly, Alastor had not had his soul contract used once. Lilith simply had him in her back pocket and didn't lift a finger whenever she felt him try to break it again and again. It's like she didn't even give a fuck that she literally owned him.

- This fact burnt hot embarrassment and frustration into him as it destroyed his ego, but now it was a relief as she would most likely not try and come after him. Or you for that matter.

- His claws grip painfully into your shoulders as you fail to stop snickering loudly in disbelief that he actually apologised. Admitted losing essentially.

- "S-sorry! I just can't believe I'm seeing you like this." You apologised.

- Alastor gritted his teeth. "Don't get used to it." He growls before his mask slips right back on like it never happened. "I'm simply admitting my mistake in assuming you could not do this, darling! It turns out you truly can't teach an old dog new tricks. Or deer, in this case." He clears his throat, straightening up.

- You smile up at him, heavy bags under your eyes from where you've barely slept for the past week pouring over this.

- "If it makes you feel any better, it makes sense why you couldn't solve this thing. It's utter bullshit nonsense." You shake your head at the contract.

- The deal was undone embarrassingly quickly after that using the draft you had written. No pushback at all on it.

- Alastor feels his collar slacken and break to bits as you write the counter-contract and sighs with extreme relief as he watches the other contract disintegrate, feeling the power which had been stolen coming back as it turns to dust. It doesn't cure the utter humiliation that still sits heavy upon his shoulders however.

- After everything, he would threaten to kill you if you tell anyone about what went on or how he had fallen apart. Though, it would be a lie to say you two don't grow significantly closer.

- Alastor is still hesitant to fully let his guard down around you, however the massive wake that existed between you two even as fairly good friends has now significantly closed.

- He's still a lying, scheming asshole, but he'll be much more inclined to not be so much with you considering you've kept multiple giant blows to his ego fully secret.

This was a lot longer than what I usually write for requests holy moly, but I absolutely loved writing these. I hope I fulfilled your vision anon 🙏

You get through Angel's and Husk's, which are really emotional and sweet, then you get to Alastor's 💀

Masterlist

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evertomorrowart · 8 months

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Best of YouTube 2023

Yes, I did spend the first week and change of January on this. I wish I could have had it done for New Years, but too many people came out with incredible work in December, so waiting turned out for the best.

What these creators do are a huge influence on my life, I would honestly have difficulty doing what I do without them. That isn't to say that my favorites of the year are *only* on this image--It was almost impossible to narrow down my favorites. Many creators I wanted to include couldn't fit on a single page, and too many of them made more than one video I wished I could draw too!

But, to all of you, thank you for what you do. You're an inspiration.

For those who don't know, further is an explanation.

At the bottom center is an artistic masterpiece by Defunctland: "Journey to EPCOT Center: A Symphonic History." Over the last several years, Defunctland has risen from delightfully-entertaining commentary on decommissioned theme park attractions to occasionally dropping profound statements on the creation of art itself. "Journey to EPCOT Center: A Symphonic History" is worth treating like the cinematic experience it is: No second screen, you sit your ass down in front of a TV, set down the phone, and then you *watch it.* Any Disney, theme park, or independent film fan needs to pay attention to this one.

Bottom left is Caelan Conrad with their piece "Drop the T - The Deadly Consequences of Gay Respectability Politics." While I do think they've done more visually or artistically-daring pieces before, "Drop the T" is one of the most important videos released on YouTube in today's current climate of hate. We as queer folk (and our allies) need to understand how integral every identity of the queer experience has been since the start of the Civil Rights movement (and before!). While we are not identical, we *are* inseparable, and we deserve having our real history easily accessible.

TERFs and other conservative mouthpieces need not reply. Your opinions are trash. 😘

I cannot stop watching and rewatching this video by @patricia-taxxon, "On the Ethics of Boinking Animal People." It's not just a defense of furry fandom and its eccentricities, it's a thoughtful and passionate analysis of what the artform achieves that purely human representation can't. Patricia goes outside of her usual essay format to directly speak to the viewer about the elements that define furry media (the most succinct definition I've ever heard) and just how *human* an act loving animal cartoons really is.

As an artist who can draw furry characters, but never really got into erotic furry art, this video is a treasure. Why did I choose to have her drawn as a Ghibli character, hanging out with one of the tanukis from "Pom Poko?" Guess you'll have to watch, bruh.

Philosophy Tube continuously puts out videos that I would put on this list--I'm not even sure that "A Man Plagiarised my Work: Women, Money, and the Nation" is the best work she released in 2023. However, this video got many conversations going between myself and my partner, and the twist on the tail end of the video shocked us both to such a degree that I had no choice.

At the very tail end of the year, Big Joel released "Fear of Death." On his Little Joel channel, he described it as the singularly best video he's ever done, and I'm inclined to agree. However, for this illustration, I ended up repeatedly going back to a mini-series he did earlier in the year: "Three Stories at the End of the World." All three videos are deeply moving and haunting, and I was brought to tears by "We Must Destroy What the Bomb Cannot." While it may be relatively-common knowledge that the original Gojira (Godzilla) film is horror grappling with the devastation America's rush to atomic dominance inflicted on Japan, Big Joel still manages to bring new words to the discussion. Please watch all three of the videos, but if, for some reason, you must have only one, let it be "We Must Destroy What the Bomb Cannot."

Y'all. Let me confess something. I hate football. I hate watching it, I associate seeing it from the stadiums with some of my worst childhood experiences, I despise collegiate and professional football (as institutions that destroy bodies and offer up children at the feet of its alter as a pillar of American culture)--

I. L o a t h e. Football.

But.

F.D. Signifier could get me to watch an entire hour-plus essay on why I should at least give a passing care. AND HE DID IT. I might think "F*ck the Police," the two-parter on Black conservatism, or his essay on Black men's connection to anime might be "better" videos, but this writer did the impossible and held my limited attention span towards football long enough to make a sincere case for NFL players--and reminds us that millionaires can *in fact* be workers. That alone is testament to his skill.

Sit down and watch "The REAL Reason NFL Running Backs Aren't Getting Paid." Any good anti-capitalist owes it to themselves.

CJ the X continuously puts out stunning, emotional videos, and can do it with the most seemingly-inconsequential starting points. A 30 second song? An incestuous commercial? Five minutes of Tangled? Sure, why not. Go destroy yourself emotionally by watching them. I'm serious. Do it.

Their video Stranger Things and the Meaning of Life manages to to remind us all why the way we react to media does, in fact, matter. Yes, even nostalgia-driven, mass-media schlock. Yes, how we interact with media matters, what it says about us matters, and we all deserve to seek out the whys.

Folding Ideas has spent the last few years articulating exactly why so much of our modern world feels broken, and because of that his voice continuously lives rent-free in my brain. While the tricks that scam artists and grifters use to try to swindle us are never new, the advancement of technology changes the aesthetics of their performances. Portions of Folding Ideas' explanations might seem dry when going into detail of how stocks work in This is Financial Advice, but every bit of it is necessary to peel back the layers of techno-babble and jargon and make sense of the results of "Meme Stocks."

Jessie Gender puts out nothing but bangers, her absolute unit of a video about Star Wars might be my new favorite thing ever, but none of her work hit so profoundly in 2023 than the two-parter "The Myth of 'Male Socialization'" and "The Trauma of Masculinity." There's so much about modern life that isolates and traumatizes us, and so much of it is just shrugged off as "normal." We owe it to ourselves to see the world in more vivid a color palette than we're initially given.

Panels drawn after Kate Beaton and "Ducks: Two Years in the Oil Sands."

"This is Not a Video Essay" is one of the most intense and beautiful pieces of art I've ever put into my eyeballs. Why do we create? What drives us to connect?

I don't even know what else to say about the Leftist Cooks' work, it repeatedly transcends the medium and platform. Watch every single one of their videos, but especially this one.

The likelihood you are terminally online and yet haven't heard of Hbomberguy's yearly forrays into destroying the careers of awful people is pretty slim. Just because it has millions of views doesn't mean that Hbomberguy's "Plagiarism and You(Tube)" isn't worth the hype. Too long? Shut up, it has chapters and YouTube holds your place, anyway. You think a deep dive into a handful of creators is only meaningless drama? Well, you're wrong, you wrong-opinion-haver. Plagiarism is an *everyone* problem because of the actual harm it creates--the history it erases, the labor it devalues, the art it marginalizes--which you would know if you watched "Plagiarism and You(Tube)".

Watch. The damn. Video.

In fact, watch all of them!

Thanks for reading this if you did.

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seungbinbin · 1 year

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meet ugly - hyung line ver.

not every couple has a fairytale start !!

a/n: first headcanons ! idk if i like this format but i thought i could try <3 lmk what u think ! i was also sleep deprived and delirious writing this but i think it’s a little funny heh

warnings: curse words, very ridiculous writing, mentions of food, gn reader ! (lmk if i missed anything!!)

bang chan

you found out there was a new neighbor on your floor

and you were just so excited to make a new friend

plus you heard the lady from the leasing office saying he was really cute 🫣

so you decided to be nice and bake him some muffins for breakfast <33333

what you didn’t know was that your neighbor stayed up until 4am producing a new song

so when you knocked on his door at 8am, bright and early, interrupting his much needed sleep…yeah, he wasn’t very happy

“what do you want? 😒”

oh 😟

you just hand him the muffins, mumble a quick sorry and RUN

he only realizes how rude he was after he wakes up a second time, hours later, seeing the HOMEMADE muffins sitting on his counter with a little note

“welcome neighbor !!!! :)))”

oh my fucking god 😭 he just HAS to apologize

when he finds you (literally knocks on every door on your floor) he says he’s so very sorry and he’s speaking so fast it makes you giggle

“it’s okay, breathe!”

and he decides right then and there that he’ll make it up to you by taking you out for coffee 😋

lee know

studying at a coffee shop was the best thing ever for you

it made it easier to concentrate on your work, it smelled delicious, and the baristas knew you so they always gave you a little cake pop for free <3

you had been hard at work for hours :( poor baby, midterm season is ROUGH

deciding to take a break to rest your eyes from looking at your screen, and your hands from writing, you took a look around and spotted the most beautiful man you had ever seen in your entire life: lee minho !

his hands were full and he looked very annoyed and you thought "woah that's so much coffee!"

what you didn't know is that he had lost the rock, paper, scissors game for coffee duty <///3

and now he was a little (very) irritated carrying 8 cups of coffee

trying to balance 8 large iced americanos was kind of hard, especially in a crowded coffee shop in the middle of lunch rush

but he had everything under control !

until someone bumped into him while he walked past your table

suddenly there was coffee everywhere; on his shirt, on his face and hair, on your face and hair...and all over your table

thankfully, you had managed to pull your laptop away from the disaster before any coffee got on it

however...your review was all wet and messed up

your 6 page, hand-written review you had been working on for the past 4 hours

"holy shit, i'm so sorry-"

and then you were crying 🧍🏻‍♀️ he didn't know what to do

when you explained everything, he offered to rewrite the review for you 🥹

he took the soggy papers with him, then asked for your number (just to ask what he should write and give you the review, totally not because you were the cutest ever! )

changbin

changbin was having an off-day at the gym

he had been trying to beat his last pr but something felt…off

maybe he pulled a muscle while practicing choreography, or his new pre-workout never kicked in

whatever it was, his mind-muscle connection was off and it was beginning to frustrate him

he was so stiff and crampy and ready to go home after his barely-successful arm day >:(

he was angrily typing on his phone with one hand, complaining about his day to chan and holding a 40 pound dumbbell on the other

definitely not watching where he was going !

he walked right into a bench and hit his shin very hard ! ouchie !

which made him lose his grip on the dumbbell and he dropped it

…right on your foot 🥴

“OW, FUCK!”

“oh NO, ARE YOU HURT!?”

“OF COURSE I AM, YOU ASSHOLE, WHAT IS WRONG WITH YOU!”

please don’t yell at him he didn’t mean to ! he tears up when he sees you start to cry in pain :(

so he apologizes (and keeps doing so as he carries you to his car so he can drive you to the hospital)

when you told him your roommates were out of town and you weren’t from the area, he offered to stay with you :(

and also offered to pay for any medical expenses

oh he just felt so bad 😞

but it’s okay! the doctor said it was a minor fracture that should heal up in no time !

and like…changbin made you laugh the entire time and he’s so kind and nice and pretty and buff…

perhaps you could forgive him for shattering your big toe! but just this once !

hyunjin

you just wanted a nice, peaceful day at the park

the weather was perfect for a picnic and a book and you just had to take the opportunity

a lot of other people had the same idea to visit the local park

hyunjin included! he wanted kkami to get some fresh air and to stretch his legs from being holed up in his art studio all day

everything was going perfectly fine

and then kkami managed to get out of his leash

chaos ensued; everyone could hear his dramatic ass screaming and chasing his little dog 😭

surprise! kkami ended up at your picnic bc he wanted to eat your snacks

“hello, sweet boy!”

he was so friendly, everything was going so well! you even offered him a strawberry

and then he peed on your book

and bit your finger 🧍🏻‍♀️

hyunjin gets there 30 seconds too late and now he has to apologize for kkami and his chihuahua-ness

“oh my fucking god, i’m so sorry, i don’t know why he would do that! are you okay!?”

yes you are…there’s a beautiful man right in front of you holding your hand and checking on you ‼️

there’s still dog pee on your book tho

“there’s a bookstore near by, can i buy you another copy?”

so cute <3 thank u kkami

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thewebcomicsreview · 1 year

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You know, it's always struck me as a little odd how little most webcomics actually attempt to adapt to their medium. There's basic strips, the old 2k era 4-square, the endless scroll of Webtoons, and a few weird experimental things like Homestuck, but most webcomics I run into tend to stubbornly stick to conventional portrait-oriented page layouts.

It's… readable, I guess, but that format doesn't seem to work very well for either desktop or mobile viewing. It wastes a lot of screen-space, and usually makes it impossible to actually view the full page without making the text too small to read.

Have you encountered any interesting webcomics that experiment with more landscape-oriented layouts? I'm kinda curious about how well that would work.

So, there's this dude Scott McCloud who wrote about comics in the 90s. His first book, Understanding Comics, is literally the book on comics, it's the one schools make kids read. This third book, Making Comics, is a pretty good practical advice guide I'd recommend, even if it's not his groundbreaking seminal work. In between those two books was one called Reinventing Comics

Reinventing Comics, written in 1993, was basically a book of predictions about how this newfangled Interweb was going to revolutionize the art of comics creation. Like a lot of early-90s stuff "Wow the internet!" stuff, it has a lot of inaccurate predictions, and thus isn't super well remembered (though, unlike a lot of early-90s predictions of the internet, it at least vaguely resembled reality).

Anyway, one of the big things from that book was the idea of the "infinite canvas".

Which was basically the idea that a comic didn't have to be constrained by the size of the screen because you could scroll it. And this was a big idea in early webcomics, you heard this phrase a lot. And you'd see infinite canvas techniques like "What if the characters are falling and the comic is really tall to sell that?"

(Read Narbonic)

Which is basically the one and only example that actually took off, because it turns out that scrolling horizontally sucks and no one really wants to do it except as a one-of gimmick (as Homestuck does). The much bigger impact of the internet was that a webcomic could be infinitely long and still reasonably expect it's readership to have read it all, but I think McCloud missed that one. So while there were a bunch of "landscape" webcomics where you scrolled horizontally, none of them took off, and even the ones that were well received are long gone.

Adams himself would make Zot!, which is a vertical scroll comic that had a bit of a gimmick with parallel story beats being literally parallel. I think he even did some branching paths, and experimented with comics that you could read in different directions or that looped back on themselves.

But then Homestuck just did that better because, as I mentioned, infinite depth ended up being a lot more impactful than infinite width. It turns out that making a comic really wide calls a lot of attention to itself and makes the comic annoying to read. And it doesn't mean you can't do it (Homestuck did it!), but it does mean it can't be the gimmick you hang your comic up on unless you've got a really good reason for doing it.

#Scott McCloud #Homestuck #“Webcomic creators should be more creative”#“What if we made the comic WIDE?”#“Wide is not a creative color”

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daisywords · 1 year

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I personally know there are multiple types of editing but I've never seen anyone explain it in a way that actually made me understand what the types of editing actually were (yeah cool that you say {}editing is different from []editing but *how*). So if you wanna explain, feel free to.

Your handy-dandy guide to different types of editing

disclaimer: writers, you can literally edit however works for you. these distinction can be useful to your process, or just if you're looking to hire an editor. Not all editors make distinctions in this way; there are various ways of dividing. But no matter what vocabulary you use, it's best practice to start with broad, big-picture stuff and move towards narrower issues. Some editors do all levels of editing, while some specialize.

Developmental Editing (Is it a good story?)

Developmental editing has to do with the content. For a novel, that means working on the bones of the story. The plot. The pacing. The characters. Do their motivations make sense? Can the reader understand why things are happening? Does the story drag in places, or seem to brush past important elements? Do all of the subplots get resolved? etc. etc. (At this stage an editor is mostly going to be offering suggestions, pointing out issues, and throwing out potential solutions. Beta readers can also be very helpful at this stage to get a reader's perspective on the story beats and characters.)

Line Editing (is it well written?)

Sometimes called substantive editing, line editing is zooming in a little bit more to focus on scenes, paragraphs and sentences. Once we've decided that a scene is going to stay, lets look at the mechanics of how it plays out. Does the scene start to early or too late? Does the writing style communicate the emotions we want the reader to feel? Does the dialogue match the characters' voices? do any of the sentences sound awkward or ugly? Is the movement being bogged down by too much purple prose anywhere, or is there not enough detail? (This can get pretty subjective, so it's important that the writer and the editor are on the same page with taste, style goals, etc.)

Copy Editing (is is correct?)

Copy editing is all about the details. Think grammar and punctuation. Do the sentences make sense? are they grammatically correct? Is the dialogue punctuated correctly? Any misspellings? Should this be hyphenated? Should this be capitalized? Should we use a numeral, or write out the number? etc etc. A significant part of copy editing is matching everything to a style manual (like Chicago or AP) a house style guide (individualized preferences from a publisher, for example), and a project's own internal style sheet (are the character's names spelled the same every time? if we used "leaped" in chapter 4, we shouldn't use "leapt" in chapter 7) Copy editing is still subjective, but less so than the earlier levels, so a copyeditor will be more likely to just go in and make a bunch of (tracked!) changes without consulting the author for everything.

Bonus: Proofreading (did the copyeditor catch everything? are there typos? formatting issues? have any errors been introduced?)

Lots of people say editing when they really mean proofreading. Proofreading is the absolute last thing to get done. It's the one last pass just before something is published. It's important, but as you can see, there's a whole lot more to editing than just checking for typos.

#editing #writeblr #editing process #writing process #editors or writers who have worked with editors feel free to chime in! we are not a monolith lol this is just they way I've learned

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kosmicdream · 2 months

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Hello. After drawing webcomics for 10 years and making about 10,000 pages of comics, here are some things i have learned/observed in that experience..

1) making comics does not get easier.. Not really

Making comics is a tedious and slow process and with so many different facets of the experience to learn - you’ll never run out of stuff to learn or weaknesses to work on. I’m not saying this to discourage but to just give the frank reality that it really takes a lifetime to understand. Be patient with yourself and try to set healthy expectations.

2) Read your own comics after making them.

I don’t know if this is as important to other people as it is to me, but I do think that sometimes its easy to not re-read your own work and just go from your own memory of it, or maybe you’re tired of looking at it because of all the flaws. I don’t personally get sucked into the “rewrite/remake” cycle that I know is common with comics, as I sort of just accept things as they are, but re-reading my work does help me see where I have come from and where I need to go to next. I personally don’t like to lose sight of that, and I think re-reading helps ground me in the planning process of my work and gives me a better perspective on all aspects.

3) A lot of comic advice should be taken with a grain of salt, because its the person talking to themselves. (including this)

I see a lot of advice that never would have worked for me, or just simply wasn’t something I was ever going to follow. “Dont start with your big epic long stories”! Is a common one. I don’t think that’s bad advice exactly, but how many young artists are going to listen, especially if they’ve never told a story in the first place? Yes, the advice to start small and build yourself up with experience sounds great, I’m sure people do it, but if you’re an artist you’re probably not gonna be that responsible. And for me, when i tried to do this with eggshells, my house burnt down and i kinda gave up comics for a while because i lost a lot of work.

Writing short stories is still something I struggle with, its just not easy for me. I have gotten better at it but i don’t think that makes me less of a comic artist because I haven’t gotten good at that particular format, or that I jump around on my projects. Is it more impressive to have more completed work under your belt, sure. But I also think that.. Idk.. what is the advice actually saying, because with that one it sort of feels (often times) as a warning that you’re setting yourself up for failure/embarrassment by attempting a comic like that. I don’t know how to tell you this, but comics are gonna be embarrassing no matter what you do and there’s no guarantee you’ll be more successful/not experience failure by avoiding your passions. Something to think about anyway.

4) Don’t draw every leaf. Unless you really want to.

I’m the kind of comic artist that kind of doesn’t care about the art as much as the whole package of the comic. When i see a very impressively drawn panel/page, with laborious detail that is well drawn and maybe even colored ect.. That usually is kind of, I guess, a turn off for me as part of the reading experience. The thing is, when i encounter that, it usually signals to me that someone has poor planning skills for comics. It says to me that comic is probably not going to see its end or that artist is overworking themselves in an unnecessary way, that ends up concerning me about how they’re doing. Because i know how hard it is to draw comics. When an artist phones things in a bit, or has a limit on how much they work on a page, its a relief for me to see! because I understand they have healthier boundaries and expectations, and the art itself usually is less stiff too. This is all an overgeneralization, but I think with a lot of webcomic artists we are usually drawing a comic for the first time ever, so it makes sense we want to do our best and try as hard as possible - that just usually isn’t the smartest plan to put all the stock in the visual department. This also kinda frustrates me to see because most comics (professional or not) will also (generally) not reel the art in ever or make a more simple style. Generally I see it always trying to outdo itself, which leads to burn out. I personally only work about 1hr on each page i draw, that hasn’t changed in the 10 years I have been drawing comics, but i used to spend hundreds of hours drawing detailed lineart for eggshells and it didn’t even read well and i’d be disappointed with the results, feeling more lost with my goals than ever. PLEASe.. Just draw worse, its usually better looking in the end too. (because you wont have the experience to judge visual clarity until you’ve been drawing comics for a while imo..)

5) Don’t draw ahead, draw those inbetweenies.

“Inbetweenies” are the pages for the “boring” ones. They are also usually the most common KIND of page. Its the pages that are necessary, but “inbetween” the action. The impact moments in a scene, ect. You gotta draw them. They’re always gonna be there. They’re the pages where maybe, the character is walking somewhere, thinking, ect. The after impact from an action.. There’s a million examples, but hopefully you’ll understand what I mean when I say they’re both necessary pages/panels, sometimes so mundane/redundant, but also required for telling the story.. As a comic is a sequence of images. This is why, the previous advice is also important IMO- because if you really want to “draw every leaf” - maybe you should save that energy and effort for those impact moments that you want to impress the reader with.. And not for the inbetweenies, which are the foundational support, but also not the most important moments. If you conserve your energy a bit, the contrast OF that effort will also pop more. I personally find it funny when I put more effort into a page and end up tricking my readers into thinking I got better at drawing, when really i just have been able to draw better and only save it for moments like this instead of always.

Also, when I say don’t draw ahead.. I mean I draw each page at a time before going to the next one. I have no idea if this is an unusual practice or not, and I know a lot of people will draw their chapters/episodes/whatever in sections like sketch/ink/color/ect.. But I personally draw and finish page by page, unless its the thumb/sketch stage. Even then, i don’t go ahead much. I think that you can control flow/pacing better by doing chapters all at once of course, I see that as a benefit. But i also think that makes things very overwhelming and can also result in a lack of flexibility if something isn’t working. No matter HOW much planning you do- comics are always going to have an aspect of IMPROVISATION with the result you get in the end. There are way too many factors in play to be in complete control of all of them and always know the result of the reading experience. SO for me, this technique is easier and has been something that continues to get me to working effectively. Plus, rumiko takahashi said that’s what she does. And i think she has some of the best visual flow/compositions in comics. So that’s what I do.

I could write more personal advice or rules that i follow..but I think those are the ones I find are the most important to me anyway. Of course, comics are a strange medium and not everything that works for me will work for you. That’s all for now.. Bye bye…!

Oh by the way, my comics are here: feastforaking.com nastyreddogs.com https://kosmic.itch.io/ Support me on patreon! https://www.patreon.com/kosmic

#webcomics #webcomic #webcomic advice #comic #comics

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neil-gaiman · 1 year

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Hi Mr. Gaiman,

As an accomplished author with several books under his belt, how do you know that a story is a dud for lack of a better word? I have a million ideas bouncing around inside my head at all times, and while I consider them good ideas worth pursuing, how am I sure they will make a good story?

I ask this because I have been dwelling on something one of my professors said last semester. He held a seminar on poetry and got to the topic of fiction writing, where he stated that he had just recently finished a story he had rewritten several times over the course of multiple years. Now I myself write as a hobby with a faint imagining that someone might see it in the future, and I have written a dud or two, where the plot was poorly formed and the ideas behind it just had a flaw somewhere in the base concept. Perhaps this is my youth and amateurity speaking, but I was under the impression that given enough time and care, any story could recover from that stage so long as it had not been completed yet. Ideas would need to be reworked, concepts retooled, characters redrawn, but the very basic idea could still survive in a different format.

My professor disagreed, stating that he has destroyed 400-500 page novels that he has written before upon realizing said fatal flaw. He stated that the story was in a state that it could not recover from, and that many authors encounter ideas that seem good at the time, but stink later on to such a degree that the basic premise must be thrown out. This seems like a tremendous loss of work to me. As writing is an art form, it feels somewhat similar to destroying practice sketches and 'meh' oil paintings that showcase the artist's progress. An idea that stinks today might be able to work from a different angle later on in my opinion.

I suppose after rambling my question is now this: are some ideas and concepts just not worth pursuing? Are some story concepts flawed from the get-go and impossible to save, and is there a way to tell that before writing the whole thing? Is it even possible to waste that time as you're getting in practice for the next tale?This isn't something I ever really thought about before being told in sure tones that this is how things work by someone with a degree is this, so I figured I'd ask the professional author for a second opinion. Apologies for the length of the message, especially if this is one you've received before.

I have things that have stalled and a few stories that, when they were done, went to the box in the attic rather than to anyone who could publish them (there's a whole novel there I wrote when I was 21). But mostly because I was writing serial comics, failure was not an option, and if something did fail it had done it in public for everyone to see. And I learned that some things I thought were failures had actually worked really well.

Some people are afraid of failure. Some people are afraid of success, which can also be a good reason for junking books and never showing them to anyone. As long as you pronounce them irretrievably flawed and show them to nobody, you will never be judged for them or have to deal with either success or failure.

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frenchgremlim1808 · 7 months

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Why Midori is such a breath of fresh air or how to actually write a Villain.

So the awaited essay, the winner of the FrenchGremlin polls of laziness finally has come! It took some time but it’s finally over. If your choice didn’t get chosen that’s okay! I’ll repost a new poll with old and newer options. Please reblog this one i put a lot of time in it, it's like, five pages long over a silly goose. Also sorry for the grammar i sucks and i'm not native. So let’s begin:

(also here is the link to the video format)

So first let’s make things clear, What IS a villain?

“A villain is a character whose evil actions or motives are important to the plot.” That is why I do want to make a difference between a villain and an antagonist, an antagonist is a character who are a plot devices that creates obstruction to the protagonist. That means that a villain is forced to be an antagonist while an antagonist is not forced to be a villain. For example shin is an antagonist but not a villain, he is driven by selfish desires which are themselves fueled by fear anger and loss, he is the protagonist of his own story and is a sympathetic character despite it all, and Midori is just a bitch. Midori falls under multiple stereotypes of villains. Such as “the mastermind”, “evil incarnate” (lmao),”related to the protagonist” etc. Midori is evil, there is no denying in this, he is purely evil, and he doesn’t have a sad weepy backstory, he doesn’t feel empathy towards other, he is a despicable piece of shit who ruined so many lives. I won’t list everything but here is a list of his crimes, murder, assault, domestic abuse, grooming, verbal abuse, and torture, crimes against humanity lmao, stalking, violent crimes, and participation in a cult. And his worst crime is being a pussy bitch of course. So now that we have put the bases up let’s really begin.

Hollywood has a hate boner against villains and I hate them for that.

Recently Hollywood decided that pure evil bad guys is actually a bad thing, so now they decided to do stupid side story with them, to give them ”””depth””” since I guess how could we like those villains since they are bad. A great example of this is the Disney remakes which I loathe so much oh god I hate them. So first they did a maleficient it was okay honestly, then they did a freaking cruella movie where her mom gets killed by Dalmatians, that’s not a joke, in the peter and wendy movie that nobody saw they decided to have made the captain hook be a lost boy who was abandoned by the lost boys and peter, oh also they decided that PETER CUT HIS HANDS OFF AND LEFT HIM TO DIE BECAUSE HOOK WANTED TO SEE HIS FAMILY. They are going to do a freaking mufasa movie, in no time I can’t wait to have a Ursula movie where it’s discovered that ariel killed all of her family in cold blood or something’s. So you might say what’s the problem? I mean isn’t that supposed to make the story more interesting. No, no it doesn’t, because first they take all of the character personality traits and throw them in the bin, second they are supposed to be the vilain in a musical animated movies, I am not against complex villain, I love them, but by doing this, the original character doesn’t exist anymore. Just create original content with new interesting characters instead of doing stuff like this. Also it’s kind of funny than in all of those interpretation they take all the fun and sucks it out, what do I mean by fun, the gayness, Disney vilain are fun because they are camp, they are fabulous extravagant extra in all the ways possible, and that’s the reason we liked them. Not every character needs something super deep, like “my family was burned down at the stake and my dog was eaten by my ex”, sometimes we just like bad fun people, they are the story, and Hollywood hating them so bad just bothers me a lot. Also now the new thing is to not have a villain at all which can works in some narrative but not all of them, it gets boring after a while. In the past people were angry that villains are bland, but now I kind of miss it. While I will critique villains who have no purpose outside of being evil that’s dumb, like for example Voldemort is bland like white bread because his only motivation is being evil, but evil people do exist compared to what some Hollywood writers think, they should know. So that’s why I will put a difference between evil villains and villains whose only purpose is being evil; we loved Disney villains but they still had motivations, goals, reasons that to them a least were worth everything. World domination isn’t enough, why do you want world domination, what is the true reason deep in your heart, is it an inferiority complex, is it a savior complex fuelled by xenophobic beliefs.

That is how to write a pure evil villain, evil people exist all over the world, but I have never seen one who doesn’t have they own reasons to be so bad, it doesn’t excuse their actions nor really explains them. We do not want justifications we want explanations. If you are justifying evil behavior then do it, but don’t claim that it is a pure evil character. A pure evil character can be fun, can be interesting, he can be deep, it’s all about balancing all of their traits to truly make them greats. Which is why midori succeeds while current villains fail. Current stupid remake/spin off try to justify the behavior because they feel like this is what the audience wants, but it’s not what we need. So I will defend to the grave evil villains.

Creating an evil villain doesn’t make them boring guys.

Why the heck does big budget movies have either the blandest protagonist or the blandest villains sometimes both, like I said evil people do exist but comically evil character only works in satire not in a serious multiple millions of dollar movie. Example that boring ass avatar movie, the one with blue people, none of the characters are interesting the villain is one note. The lords of the rings also suffers from that, but I don’t care because the protagonist are so awesome that sauron being personality less doesn’t matter. Also sauron is more of a force of nature villains so it’s not the same. The recent kingsman movie has a bland one note villain, there is nothing entertaining, funny, about him he’s just evil, borrrrring. Every Disney remakes depiction of the characters are boring. I just feel bored out of my mind. Atla one of my favorite shows of all time has a main villain that’s kinda one note, Ozai, but he is actually intimidating guy, azula is the superior character, but I wouldn’t consider her a villain she is an antagonist though. I honestly don’t get why Hollywood thinks that just creating a character with no personality and whose only goals is to be evil is good.

So back to midori for a second, here is my question, when midori was on screen did you ever feel bored? Never right! Because despite midori being an evil character he has an actual personality, he’s fun, you want to punch him in the balls. Because midori has other personality traits than evil, midori is petty, childish, extremely intelligent, controlling, a natural manipulator, he is a trickster, he doesn’t seem to get some social norms, he is narcissistic, easily angry, and fears death etc See how I counted a lot of traits, traits that in other character would works, midori has positive traits, and I think that is the best thing nankidai could have ever done, midori has traits that a regular person could have. Which is why if I put midori in any settings his character would work.

Example, instead of a death game the cast is under the sea to discover the insane wildlife and supernatural stuff happening, what would midori do in this situation? Well he would very passionate about finding all of what’s happening, he’ll do anything to find out, even sometime sacrificing others, not only will he try to find what’s happening, but he is also going to try to find a way to make this discovery favour him in the end. Or let’s imagine it’s a vampire situation, where a vampire attacks the city, midori would try to stop it, not because he cares, but to experiment on them to get their biology and finds the real secret of immortality since he fears death.

Here is my second advice, after creating your character try to imagine them in another completely different situation, like normal life, or a fantasy world, ask yourself the question what would they do in that environment? If you can find a real complete explanation of their actions then yes your character has multiples dimensions if not try thinking about it again. Some example of questions I do want to point out are some like “if my character had all the power in the world what would they do first or”, “if my character had only a day left to live what would they do”

Why is Current media incapable of creating good threats like bruhhhh.

Okay so first of all let’s talk about stakes in a story, let’s say you are watching a slasher movie, slowly the cast gets slimmed down and people die in horrible ways, that should set stakes right ? Well if the villain is an absolute buffoon who makes the stupidest actions and decisions in the world, you wouldn’t feel intimidated at all because despite what the filmmaker might try to say the plot armor will NEVER make a character intimidating. It’s just like a detective character who just seems to know everything without a thought, well you won’t really fear the character failing. Worse is the the final girl, who is for some reason always escaping the slasher guy by pure luck every time, she is shown as incompetent but still she survives, which make the villain seem completely incapable so now you feel nothing.

To avoid this filmmaker often use techniques such has unpredictability, I mean good I mean good ones, for example instead of immediately seeing whose going to survive because the black guys always dies first and the virgin white woman is the last survivor, change the status quo, make us think that this character is obviously safe while they actually aren’t at all. Or actually make them menacing by SHOWING to the audience how horrible dangerous they can be. Which is why SHOW DON’T TELL is so important, telling us how dangerous someone can be only to see them get beaten to death at the end of the movie makes us feel nothing.

Midori felt like a impossible person to beat, he is smart, had twenty plans in advance, even in situation where the cast felt like they might have a chance he was always armed, just like the gun he promised to use or the rocket punch. When they felt like they were finally advancing, he put obstacle in their ways, such as the collar game or the moment he put the collar on explode mode for ranmaru. The entire point in the murder game was to make time pass, it took a long time for the cast top realize that this whole time they were losing precious time not realizing that the dummies were the real problem. The characters that made you feel the most hopeless were the dummies, if you won by killing midori they would die, but if you lost you might lose people you love (keiji or gin). It felt hopeless because they were no solutions in the end. That creates tension so that creates stakes. If we were told how dangerous unpredictable sou was then it wouldn’t hit the same, we are shown that he is that terrible. There is a scene ingame where bbg shin ai tells us that midori tortured and like to destroy people. That’s exposition so TELL, but do you why it works, because we are SHOWN before his behavior. Midori felt unbeatable, so the fact that we were shown his weakness such has his petty behavior, hatred of minors, and fear of death, for the first time it feels like there is a chance that we might survive this. And still after he isn’t shown has an incompetent buffoon, he is one, but the narrative doesn’t show us that he is.

What is also consider is good to make the audience feel actual stakes is to first really develop well the main characters, how can we feel worry for a character if we don’t know them, the audience need to feels emotional connection to the main cast to actually care. You can use things such has moments where there is nothing special happening just character talking getting to know them. Make us feel why we need to care about them possibly losing, instead of being indifferent. Or I don’t know maybe make an entire spin off game where we get to have the cast talk to each other and seeing dynamics between character that died early to get them a chance to shine and make their death even more tragic, or even make mini episodes of characters who only got a single chapter to show off their characteristic, to get us to know them better? But that’s just a silly idea of course, wink, and wink.

My favorite thing about Midori is that he is actually pathetic, like really pathetic, but weirdly realistic?

Midori is the most pathetic character in the cast, yes more than shin, shin is leagues less pathetic. No I’m not saying that midori is not intimidating or scary, I would piss myself if I saw him. He’s a scary guy. But if you look at him more closely you can see that he is a baby brat in a big boy suit.

So let’s start by something clear, Sou Hiyori clearly displays antisocial behavior, or in common terms he is a psychopath/sociopath, this illness is very badly seen in medias, I am not saying that people who lacks empathy like him are inherently bad, he is, a lot of people with antisocial behavior actually suffers a lot and have a difficult life. Sou real issues is not his antisocial behavior, it’s his narcissism and god complex. Sou feels the need to HAVE CONTROL over others, he like the feeling of being in power, he sees the rest of the world has beneath him, toys for his pleasure. He says that he “really like humans” because despite it all he seems to put himself in a different categories than regular people, they are beneath him. When he loses control his calm and cool behavior disappears and we see his true face, a grown man who has throws a tantrum like a baby. One of the best representation of this is midori views on the cast:

Midori hates kanna, like no jokes he has beef with her, a fourteen years old, actually he has beef with a lot of people in the cast. Midori views emotional people has weak, people who are loving optimistic as beneath him and useless. He preferred when sara was cruel and horrible, that’s what he loved about her, he liked seeing her scary emotionless side. But Kanna, kanna is everything he hates. A crybaby who not only puts the group in harmony, is a source of hope in general, is the reason he near got to have closure with shin (killing him), he views kanna as “not fun shin”. We have many proofs for this, if you type the word kanna kizuchi he says this: “Poor Kanna'd weep! I think a more worthless name would be better for someone like me” He mocks her, but also himself (I’lll come back on this later), he calls her worthless. Also in the electric charge minigame, when he can choose who to shocks he chooses two people in particular, kanna who he hates and hinako who ruined his fun by giving the cast a chance in saving ranmaru. But he does also says mean spirited stuff to other people, qtaro and gin. He also says some sarcastic comments about nao and joe, saying that it’s such a shame that they died so young. But you might say why kanna especially? Because he is a petty baby who is jealous of kanna, Yes jealous, of kanna, a fourteen years old. Because he feels like she stole his hubby wubby shin away from him…. God I hate him. And you know what that make him a pathetic idiot, after the scene where kanna beats his ass, he’s all mad and like “uhh I’m going to pout I wanted you to cry like a lot, now I’m gonna cry”. An that’s actually god, because it humanize him, he wants need thoughts, he isn’t one note, and that’s the most important!

Sou is a villain but before that he is a character, a fully developed character, and THAT’S WHAT MAKE HIM GREAT, Sou works because he works realistically, I mean if you forget the robot part, it’s easy to imagine a narcissist man child who needs to feel in power towards other, so his main prey are young vulnerable people.Which leads me to my next point:

Sou is a failure like really, and we aren’t sad for him.

Sou failed everything he worked on, he failed to get the paper from alice, he failed whith shin since he had to leave earlier than he thought he would leave, because of his mistake he lost his position in the death game, then he failed to kill gin or keiji, and then he died like an idiot losing his cool and acting like a toddler. And he knows it that why he is a bit self-hating (he should be). And yet none of us feel any sympathy towards him, why? Because sou is one of the most despicable guy in existence. He is a disgusting pervert, sadistic asshole, and abusive narcissistic cunt who thinks he is better than everyone. From the bottom of my heart I hate him sooooo much he is literally the character I hate the most in existence. He abused shin, ruined keiji’s life, traumatized the entire cast, literally assaulted sara like he physically assaulted her. He mocked nao and joe and kugie life as useless. He is an obsessive jerk AND I HATE HIM. And you know what…… It’s good. Like I actually feel a lot of emotions when I think about him, he fuels me with anger and disgust, and if your characters can make me feel that much rage then you did it, you created an actual perfect character. Hiyori is such a shit person that I think about him a lot, writers shouldn’t be scared to make a character such hittable assholes, example bojack horseman in bojack horseman is the vilest man on earth and I love it, because I genuinely hate him. Just like I genuinely love kanna, like really I really love her, I in the same time despise midori so bad. We hate him because he is horrible to good people that WE KNOW AND CARE ABOUT, not random npcs. There is a lot of… disgusting implications in his story with shin that I will not talk about it makes me really uncomfortable right now. SO HERE IS A VERY TACKY TRANSITION TO TALK ABOUT WHY I HATE JUNKO FROM DANGANRONPA.

Junko is boring, that’s it, she is boring, not funny not interesting, she is a fetish, she is the biggest Mary sue on earth, she is a gross character made to make fun of people with disabilities and queer people. Her only traits is being crazy, that’s it. I wouldn’t call midori that crazy actually, he’s methodical calculated, and precise. Crazyness is a term for people who aren’t in control of their actions and delusional about reality, sou is not crazy, he knows what he is doing, he is in full control, while characters like shin should actually be consider crazy, like shin is actually crazy but sou isn’t.

Conclusion:

Sou is a breath of fresh air, because nankidai had the balls to write an actually interesting deep and threatening character AND make him a villain. He didn’t fall into the trap of making him have a sad backstory or good motives, sou is just selfish, that’s all he is. He make him a fun entertaining guy who you absolutely hates, he made him threatening and at the same time a complete doofus. He made him humane and pathetic.

But the thing that make me love nankidai the most is this

The fact that he actually killed him that takes courage as a writer to just end a character THAT WAY, which is why midori will never come back alive he is forever dead. And that take a lot of talents as a writer to just take one of the most important characters and just get him drilled to death in the anus, like dammn nankidai you are a savage. That fact alone makes him one of the best characters in game, I hate him as a person, but has a character he is a masterpiece.

Though Kanna could solo him

this was posted as a video on my blog this is mainly so people who don't want to stay there reading a 24 minute video of my stuttering can have a bit of quiet

#yttd #your turn to die #kimi ga shine #shin tsukimi #kanna kizuchi #sou hiyori #midori yttd #cna you tell i have no life #i spend a part of my short existence writing about fucking midori #yttd analysis #frenchgremlim polls of laziness

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beaniegaebie · 7 months

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i don't really have any solid conclusions about this yet but i noticed A Thing in a rewatch and i haven't found it mentioned elsewhere yet so here we go

(apologies for the appalling image quality you're about to see, i can't screenshot easily rn pls bear with)

OKAY so in the scene where crowley confronts gabriel about "shut up and die", something about the arrangement of book stacks caught my eye a little

the majority of the books are angled so that we mostly just see the page edges and not the spines clearly, EXCEPT for a particularly shiny and familiar colour combo right here-

but nothing too weird going on there, i thought, crowley coloured books in a bookshop so what? right up until i registered crowley's line when we get a closer look-

hhhhmmmmMMmmmm yes yes "everything just the way you wanted" huh, very interesting considering that we know how much thought goes into props huh

and for most of the shots we get of crowley in this position those freaking books are just quietly nestled right there in the corner-

look at that god damn framing i fuckin see you, you glorious bastards

so i paused to see if i could figure out what the hell was up with those fuckers and this is when i absolutely lost my mind, your honour

A and C you say?? in crowley colours???? framed like this?????? localised entirely within your kitchen???

anyway long story short they're two books from an Agatha Christie Crime Collection set (24 volumes, three stories per volume) and guess whats on the mfing front covers I'm-

(its a rant for another post but when paired with this other set of initials spotted in s2 i want to scream actually)

ANYWAY back to the books, through an absolutely unhinged comparison of the formatting of gold text blobs i reckon the two we have here are:

(on top) The Pale Horse; The Big Four, The Secret Adversary

(on bottom) 4:50 From Paddington, Lord Edgeware Dies, Murder in Mesopotamia

(I'm fairly confident but if anyone has a better image to confirm/correct this pls do)

now here is where I'll need a bunch of help from some Christie-heads out there bc I haven't read any of these and I've only seen the tv adaptation of one of them, so i dont know for sure if these are like A Clue, or A Cool Thing, or if I've just fully brainrotted myself into a fun lil corner here? wa-hoo

but here's some initial stuff that jumped out at me after skimming the basics:

(some of) the titles: Pale Horse/Big Four - death's horse ofc, the four horsemen mayb? the them+adam?? ; Mesopotamia is a very biblical choice bbz ; 4:50 From Paddington- azi likes trains i guess? idk that one's tenuous lmao ; honestly no idea with the other two but Secret Adversary feels a tad ominous

iirc Big Four just has kind of an unusual history, it was initially twelve short stories that she later compiled into one, and it was published fairly soon after christie's mysterious disappearance/reappearance

in Big Four, poirot fakes his death at one point and doesnt even let hastings in on it and I'm hoping sure its totally irrelevant to the ineffable bois

part of the Pale Horse story is a group of assassins that basically try to pass off all their murders as being actually caused by like ✨satanic powers✨ which is interesting

christie knew a fUCkton about poisonings thats why she wrote so many into her work and, while i don't believe the poison coffee theory myself, it sure is an interesting link with how cyanide is associated with almond smell/flavour and that metatron chooses almond syrup in particular

(ALSO random side note that is mostly meaningless but I've worked in a good few uk coffee shops and have never worked anywhere that stocks almond syrup; almond milk yes, hazelnut syrup yes, but never almond syrup...? prob just the places i worked though lmao)

EDIT forgotten point: I've seen some speculation that the bently's plate reading "CURTAIN" could be a reference to poirot's last story, along side that alternate scene of crowley ordering the sherry for "miss marple", its just one too many agatha christie references for my melted brain to handle and I'm SUS

so this is where i run out of idea steam and hand it over to you lot because i have no clue what this could mean, if it even means anything other than a cool set feature

is there something here actually or am i yelling into the void just for fun?

who knows, who cares!

#good omens #good omens 2 #good omens spoilers #good omens 2 spoilers #good omens meta #ineffable husbands #ineffable idiots #agatha christie #hercule poirot #miss marple #can't wait to hear y'alls thoughts #SO WHY IS THERE A KNIFE THROUGH THE 'A' HUH #AND WHY IS THE 'C' ON THE CHALKBOARD SO FADED HMMM #GAIMAN EXPLAIN #things that make me go ngkk

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