#Idea validation

[marketxcel]

Idea Screening in New Product Development- Navigating Innovation with Precision

In this insightful guide, we’ll delve into the world of idea screening, explore its nuances, and unveil the Bridges framework—a powerful tool to guide your ideation efforts towards success.

[my-autism-adhd-blog]

Why self-diagnosed autistics are valid

medical diagnosis can be expensive

humans are the experts on their own minds

family may prevent assessment

diagnosis criteria is a poor checklist of stereotypes

diagnosis criteria ignores gender, race, sexuality, culture & more

medical diagnosis confirms autism, but doesn't create it

discrimination within the medical profession may prevent diagnosis.

Assessment waiting lists often long

medical trauma may make assessment unfeasible

Neurodiverse Journeys

[exastriscass]

Re: people being confused/upset about Vi becoming an enforcer (even though that has always been a main point of the show - how a kid from the lanes becomes an enforcer)

I saw someone say something along the lines of “Ekko is the character y’all think Vi is” and I think that hit the nail right on the head.

Ekko has been fighting for his home for years. He has a strong sense of justice and ideals for a better Zaun. I’m actually really excited to see him interacting more with Heimerdinger because I think their conversations will be interesting.

Vi on the other hand is a horribly broken character. She went from having a home and a family - a place of belonging - to experiencing a huge trauma and loss. Then right as the loss happened he was kidnapped and sent to a prison where she was isolated. By the time she is freed she no longer recognizes her home, her friends, or her own sister. And as she tries to re-find her place in her old life she realizes that that place doesn’t exist anymore. So of course she is going to follow the path of the person that cared about her (Caitlyn healing her) and made space for her (Caitlyn standing up for her to her family and to the council).

And the thing about Vi is that she isn’t idealistic in the way Ekko and even Caitlyn is. She has never indicated she wants things to be different for the better - only that she wants things to go back to how they were. She doesn’t want Jinx, she wants Powder. She doesn’t want the Zaun Silco has made, but she talks about how it was better under Vander (which still wasn’t ideal). She doesn’t have an idea for the future because she’s still stuck trying to regain the past - that is the broken aspect of her character and at the end of S1 she fully realizes there is no going back. That it is all truly gone. The one thing she has left to fall back on is her role of protector, which Caitlyn now needs.

What is going to be interesting in S2 is more the reactions to Vi’s involvement as an enforcer - from all sides. But they have done a great job of setting everything up and if it’s coming as a surprise to you then maybe you’ve been idealizing Vi as a character she’s not. Ekko is right there, is fucking phenomenal, and will never join the enforcers.

[anghraine]

It's interesting (if often frustrating) to see the renewed Orc Discourse after the last few episodes of ROP. I've seen arguments that orcs have to be personifications of evil rather than people as such or else the ethics of our heroes' approach to them becomes much more fraught. Tolkien's work, as written, seems an odd choice to me for not wrangling with difficult questions, and of course, more diehard fans are going to immediately bring up Shagrat and Gorbag.

If you haven't read LOTR recently, Shagrat and Gorbag are two orcs who briefly have a conversation about how they're being screwed over by Sauron but have no other real options, about their opinions of mistakes that have been made, that they think Sauron himself has made one, but it's not safe to discuss because Sauron has spies in their own ranks. They reminisce about better times when they had more freedom and fantasize about a future when they can go elsewhere and set up a small-scale banditry operation rather than being involved in this huge-scale war. Eventually, however, they end up turning on each other.

Basically any time that someone brings up the "humanity" of this conversation, someone else will point out that they're still bad people. They're not at all guilty about what they're part of. They just resent the dangers to themselves, the pressure from above, failures of competence, the surveillance they're under, and their lack of realistic alternative options. The dream of another life mentioned in the conversation is still one of preying on innocent people, just on a much smaller and more immediate scale, etc.

I think this misses the reason it keeps getting brought up, though. The point is not that Shagrat and Gorbag are good people. The point is that they are people.

There's something very normal and recognizable about their resentment of their superiors, their fears of reprisal and betrayal that ultimately are realized, their dislike of this kind of industrial war machine that erases their individual work and contributions, the tinge of wistfulness in their hope of escape into a different kind of life. Their dialect is deliberately "common"—and there's a lot more to say about that and the fact that it's another commoner, Sam, who outwits them—but one of the main effects is to make them sound familiar and ordinary. And it's interesting that one of the points they specifically raise is that they're not going to get better treatment from "the good guys" so they can't defect, either.

This is self-interested, yes, but it's not the self-interest of some mystical being or spirit or whatnot, but of people.

Tolkien's later remarks tend to back this up. He said that female orcs do exist, but are rarely seen in the story because the characters only interact with the all-male warrior class of orcs. Whatever female orcs "do," it isn't going to war. Maybe they do a lot of the agricultural work that is apparently happening in distant parts of Mordor, maybe they are chiefly responsible for young orcs, maybe both and/or something else, we don't know. But we know they're out there and we know that they reproduce sexually and we know that they're not part of the orcish warrior class.

Regardless of all the problems with this, the idea that orcs have a gender-restricted warrior class at all and we're just not seeing any of their other classes because of where the story is set doesn't sound like automatons of evil. It sounds like an actual culture of people that we only see along the fringes.

And this whole matter of "but if they're people, we have to think about ethics, so they can't be people" is a weird circular argument that cannot account for what's in LOTR or for much of what Tolkien said afterwards. Yes, he struggled with The Problem of Orcs and how to reconcile it with his world building and his ethical system, but "maybe they're not people" is ultimately not a workable solution as far as LOTR goes and can't even account for much of the later evolution of his ideas, including explicit statements in his letters.

And in the end, the real response that comes to mind to that circular argument is "maybe you should think about ethics more."

[ofswordsandpens]

I also mentally edit that weird part in TLO where Luke asks Annabeth on his deathbed if she loved him however I do find it funny how prevalent the notion seems to be in the fandom that Luke canonically was not asking Annabeth this in a romantic sense... like RR (unfortunately) could not have made it more clear that Luke was referring to a romantic love because Annabeth's response would not need to clarify to him that he was like a brother to her and that she didn't love him... like don't get me wrong, I too do NOT want to believe that a 20-something Luke had suddenly developed romantic feelings for a 16 year old girl and in MY canon he doesn't!!! but in RR's canon... 😬

[needanaccount2readarcaneposts]

like you guys know warwick is supposed to be a metaphor, right?

and by 'you guys' I am talking to the writers of Arcane S2 (2024), who appear to have forgotten this.

like warwick, in a strictly plot sense, is something that is done to vander. but warwick, in a narrative sense, is supposed to be a metaphor. you understand that, right?

it's a metaphor for the monster within the man?

the hound of the underground?

the way suffering breeds cruelty breeds monsters - the uncaged wrath of zaun?

the sins of his past come back to haunt him?

the violence he tried to leave behind, but never could?

"i knew you still had it in you."?

Sometimes, as he fed in dark alleys on stray gangers, the flash of knives would remind him of an old blade covered in blood. Blood passing from the blade to his hands. From his hands, to everything he touched. Sometimes, he remembered the girl again. And still there was blood. It had always been there, he realized, his entire life, and nothing he did could wash it off. He'd left so many scars that even if he didn't remember his past, the city would. When he peered into the eyes of Zaun's criminals - the gang bosses, murderers, and thieves - he saw himself.

that's the warwick we should have gotten in S2. vander the grey, not vander the unproblematically whitewashed. vander the revolutionary who brought his gauntlets to that bridge to fight for a future; the base violence necessary for change. vander with blood on his hands, just as much as the partner he scapegoated for it; tried to bury in the pilt along with his own guilt; not just vander who felt aw shucks real sorry about the attempted murder that one time. vander the complex. vander who sold out zaun's resistance to ease his own shame. vander the reckoning with his own complicity; his own violence; his own original sin. vander whose murkiness helps vi unpack her black and white worldview, and let go of the rose-tinted past to which she clings; understand jinx, even understand silco; understand that it's not just about Individual Bad People doing Individual Bad Things to Individual Good People, and Individual Good People who have to defeat the Individual Bad People, but that this is something far bigger and far older than any of them, a whole rotten system of misery and oppression that turns people into monsters. that the thing that turned vander into a monster, METAPHORICALLY, happened long before he met singed.

vander the monster, as well as vander the man.

instead, we got whatever this shit is:

[cozylittleartblog]

scribbling ultrakill at da fucking Air Port ✈

[starry-bi-sky]

Unpleasant Revelations - DPxDC Ficlet Idea for the Stillborn Au

"Have you met my youngest, Damian, Mr. Masters?"

Its only from twenty years of long, hard experience and practice that Vlad doesn't increase the room temperature from 'borderline uncomfortably cool' to 'unbearably hot' the moment Bruce Wayne pulls his youngest and "only" biological son out in front of him.

He puts only in quotations because twelve year old Damian Wayne looks scarily, uncannily like one Daniel Brown. Jack and Maddie's foster son, second victim of their foolishness, and only other halfa in existence. Second only to him.

It's nauseating how similar they look. From the scowl and terrible glare on the young boy's face, to his brown skin -- which was only a few shades lighter than Daniel's, the shape of his nose, and even the strange winged edge of his eyebrow. Something that Vlad has long since come to find endearing on the child he considered a son of his own. The only difference was that Damian had dark, sharp green eyes.

Daniel's eyes were blue. The same glacier shade as his father's, who stood behind Damian with a proud, oafish smile on his visage.

It was infuriating how similar they look. Vlad might not have rapidly swung the room temperature from one extreme to the other, but he can't stop himself from letting the fury burning within his core from slipping out and raising the temperature up a few degrees.

Because it really only meant one thing.

Damian Wayne and Daniel Brown were related.

Damian Wayne and Daniel Brown were brothers.

Standing in front of him, it was clear as day. He can already picture a phantom image of Daniel standing beside Damian, the same scowl written on his face, the same glare carved into his eyes. The only difference being the dark, exhausted circles beneath them that seemed to be permanently painted onto his skin. The only thing missing being the permanent loneliness and vigilance permeating his being like a scar.

This, if revealed, would be enough to ruin Bruce Wayne's reputation. Or, at the very least, darken it quite a bit. The great philanthropist Bruce Wayne with another secret blood child? One related to his youngest? One that had been put into foster care? Seemingly thrown away?

It would be a firestorm.

One that Vlad is not keen on starting.

It would ruin Bruce Wayne's reputation, yes. But it would hurt Daniel in the process -- the harassment he would face alone might just be enough to break that fragile child completely. That was just not something he could allow. Or, even worse, bring him into his biological father's care and custody -- something Vlad was even less willing to allow.

It's not out of kindness to Wayne that Vlad will keep mum about this.

His grip on his champagne flute tightens, just a bit. He's still aware enough of the world around him to not let it shatter in his hands. His plastered, pleasant smile tightens around the corners, and he forces his focus to slide from Damian to Wayne.

"The resemblance is uncanny, Mister Wayne." He says, slanting his smile to the side slyly. Although he's not talking about the resemblance between Wayne and his son. Rage simmers beneath his skin, burning coal and embers in the core of his chest, nestled between his lungs, as he meets the man's eyes.

Wayne swaggles his head proudly, his ditzy smile widening as he squeezes his son's shoulder affectionately. Bastard, Vlad wants to spit.

He breathes in through his nose, and exhales out through his mouth. The champagne in his hand cools, and stops its unusual bubbling.

The Damian boy scoffs under his breath, his mouth still coiled upward into a scowl. With the revelation of his blood relation to Daniel evident, Vlad's not sure if he should find it endearing or not.

He is not Daniel, so he decides that it's just simply irritating. He decides to ignore it.

"And you said he was your only biological son?" He asks, voice lilting and head tilting. He knows its a suspicious question at worst, insulting at best. But considering Wayne's past proclivities, he can hardly call it an unexpected question.

Damian puffs in great offense, face twisting angrily. It reminds him of Daniel when Vlad insisted that he was wrong about something or other, and for a moment his heart swells, fond.

But this is not his child, and so the feeling quickly crashes and burns, simmering back into rage. This was not Daniel -- this was his replacement. A replacement that Wayne was free to keep.

Wayne chuckles, idiotically, as if he'd said some funny joke. Vlad's other hand, the one gripping his cane -- something he's required ever since he was dispatched from the hospital all those lonely years ago -- tightens instead. He grinds his teeth -- him and Jack Fenton would get along like a house on fire, he hates it.

"I can understand why you'd ask that, Mister Masters," Wayne says, squeezing Damian's shoulder again, "but yes, Damian is my only biological son. Although that doesn't mean I don't love my other children any less."

Bastard.

For all his posturing and flouncing about caring for his city and his children, Vlad never would have thought the Prince of Gotham capable of abandoning one of them.

But, well.

They all have their dark secrets.

And what one man throws away, another man picks up. If Bruce Wayne didn't want the treasure child that was Daniel Brown, then Vlad Masters was more than happy to take him instead.

"I see."

[artuurle]

Congrats to Huzzlemug on becoming a single mother !

[marshmallowpuffcat]

Caine knows that sharing is caring 🫶

Meme reference!

[falmerbrook]

Falmer appearance and attire headcanons

(click on drawings for more details and notes!)

Hair

In Skyrim, we pretty much only see two hair styles to go off of: completely bald and the hair the "shaman" have (which are also the only females we see (a post for another day)).

In concept art, particularly Adam Adamowicz's, we see more potential hairstyles. He draws it as wispy and messy, as well as containing braids and the ties we see in the shaman in the game. This art is largely what defines my own interpretation of their hair.

I picture the typical Falmer hair as wavy, thin, wispy, and looking frizzy. Given the high number of hairless Falmer we see, I imagine baldness is common, particularly among males, and sometimes among females. Their hair can be commonly styled into braids or knots to keep it under control.

The ability to grow long, thick hair is less common, but those who can tend to style it in other unique ways. Especially among females, long hair is commonly styled into large dense locs (akin to a Polish plait) and held into shapes using ropes or leather ties.

(While I think the intention with the way their hair is drawn and modelled in the game models and concept art was that it was braided and held up with those ties, before looking at it closely I always sorta interpreted it as too stiff to just be braided. As a result, I developed the locs headcanon and have become kinda attached to it even though I have 0 in game or lore support for it)

Materials

The material used in their clothing is obviously dependent on what is accessible to them, and given their unique situation that makes the materials they use and value unique as well. In Skyrim, we see that almost all of their armor (which is mostly what we see them wearing) and homes are made of chaurus chitin (and potentially shellbug chitin), so this is likely the most common resource available to them for non-combative coverings as well. Other materials from their arthropods companions could include their cocoons, unhatched eggs, etc.

Bones from other creatures (draugr, skeevers, trolls, adventurers, bandits, etc.) underground or from aboveground raids could also be used fairly often. These could also provide a source of leather or fur, albeit not a lot of it.

Falmer groups and subcultures inside or in close proximity to Dwemer ruins probably make regular use of the materials present in those ruins as well. With all the metal and machinery present in Dwemer ruins, metal probably makes regular appearances in their clothing (and general decorations) even if they can't manipulate it themselves. Falmer more separated from Dwemer ruins would make much lesser use of these materials, however. Additionally, We see implications of Falmer preparing, cooking, and potentially cultivating fungus in-game, but see nothing indicating they have any plants in their diet, and therefore it is unlikely they regularly make or use textiles or fabrics in their clothing, and if they do they likely come form Dwemer ruins or raided adventurers/bandits/settlements from the surface.

On that note, we know that there have supposedly been incidents of Falmer coming to the surface to attack its inhabitants and travelers, as well as instances of them killing bandits, adventurers, and researchers who venture below, so it's not far fetched to believe that they have access to some materials from the surface. This could give them some access to furs from surface animals, beads, glass, jewelry, textiles, metal objects, etc. they might not otherwise have access to. The rarity of these material among the Falmer would depend on the amount of access any given group of Falmer have to the surface, but among many of them these materials could be seen as more valuable for their rarity and the difficulty to gain them.

While gemstones and ore might be accessible from both natural deposits and underground ruins, unless they had some kind of auditory function or unique texture, they might not have much value to Falmer.

General Attire/Accessories

I like to imagine that the Snow Elves, and by extension the Falmer, have an innate cold resistance in the same way Nords do, and therefore don't require clothes for the purpose of warmth even in the chilly caves of Skyrim. Additionally, their blindness likely means that wouldn't dress for visual aesthetic either. My thoughts are that they are then left with the sense of sound and touch to communicate with each other, and their clothing and accessories could reflect that.

Falmer clothing, decoration, and society in general is very heavily based on touch and texture and little on appearances. They touch each other very often for both communication, movement, and just general day-to-day interactions, and their clothes isn’t very modest, but the tactile patterns and materials used can communicate certain things such as position in society, “wealth”/power, whether they are taken, single, pregnant, with a child, etc., their roles, their age, notable achievements/skills, who is who, etc. on both their clothes and buildings. The more noise one makes, the more attention they draw and the more they drown out other noises, and the more noise making things they can “afford” to have, so the amount of noise one makes in a Falmer settlement is a status symbol. Certain types of noises or noise makers are more coveted than others (chitin beads are common, while furs are less common, and materials only gained from raiding the surface are rare and coveted).

Some noise making accessories could include:

Dangling metal, bones, beads, chitin, etc. that hangs off of their clothing or ears and jingle/clank against each other (in my drawing I show them as pretty uniform in shape and size, but they would probably be much more irregular than I depicted them)

Bells (metal or other materials) that are affixed to or dangle off of their clothing or as earrings.

Hollow bracelets, anklets, necklaces, or other accessories that are filled with rocks or beads.

Rattles tied to the body (made of chitin, dried hollow chaurus eggs, dried chaurus cocoons, beads, etc.) with leather or rope.

Flute or whistle like tubes made of metal, chitin, or dried and treated tube-like fungus that makes a woodwind-esque noise when air passes through it in a certain way. They have been designed to make noise easily from even the slightest movements.

Dried grasses (more temporary) tied to the body that make a swishy noise. More permanently, a similar thing can be achieved with hair. The hair can be sourced from Falmer (either through just cutting hair or through taking it from fallen enemies) or killed humans/mer/draugr. That sort of thing can also act as a kind of trophy.

Necklaces with various materials dangling close together that jingle against each other.

Various materials can be tied into braids or the leather ties in their hair as well.

Some textural accessories could include:

Beads. Since they wouldn't have the ability to tell the color of the beads, the patterning of beadwork would be based on the roughness, material, size, or shape of the beads. (I'm sorry I suck as drawing beads)

Furs. This wouldn't be as common since the Falmer likely don't have too much interaction with furry mammals, but some they may have access to that are big enough to make clothing/accessories out of include skeevers or trolls (and potentially rarely animals from the surface). A potential meaning of wearing furs could be as hunting trophies, but it could have other meanings as well.

Chaurus chitin would like be the most common material in Falmer attire, and depending on the part of the chaurus body, the size of the chaurus, or the life stage of the chaurus it was sourced from it could have different textures. Some chitin parts could include large spikes and deep groves, while other parts could be smoother and less rough. The use of this chitin in clothing could take advantage of this contrast in textures. Additionally, chitin or shells from shell bugs might be a different texture from the chaurus chitin. (it's unclear to me whether shell bugs are exclusive to the caves around the Forgotten Vale or if we should consider them distributed throughout Skyrim's underground)

The placement of textured components on the body could have their own meaning to it alongside what accessories or textures are being used.

Specific Falmer Subcultures

While most Falmer settlements we see in Skyrim are just a small-ish collection of huts and chaurus corrals, there are two distinctive settlements that are larger, seemingly more organized, and I like to think have their own distinct subcultures worth mentioning: Blackreach and the Forgotten Vale. The unique scope and environment of these Falmer cities (as I like to think of them) could lend to unique clothing cultures as well.

The Falmer of Blackreach have access to a vast Dwemer settlement and have has the space to spread out throughout it more fully since it seems to be more in tact than other Dwemer ruins we see. These guys would likely have a clothing culture much more heavily based on what the can access from these Dwemer ruins (metal scraps, leftover fabrics, etc.)

The Falmer of the Forgotten Vale would also have access to unique resources, such as Vale deer, Vale sabre cats, and frost giants for fur and leather. Additionally, materials accessed from the Chantry of Auri-El such as textiles from clothing, bedding, tapestries, etc. could give them a greater access to fabrics than other Falmer groups. We don't see many close Dwemer settlements to the Vale, so they would have less Dwemeri influence in their clothing than other Falmer groups.

I like to think that the Falmer's evolution exclusively underground has made them poorly equipped to handle the outdoors during the day and has made them particularly susceptible to sunburn, necessitating the need for covering for those in the Forgotten Vale who have significant settlements outdoors. With greater access to textiles and leather, they could use them as coverings when outdoors.

Armor

I actually have very few notes on armor, for two reasons. 1) I hate designing and drawing armor. It is the bane of my existence. 2) I really like the armor they have in game! I think they look awesome aesthetically, and I like how clearly they are made from chaurus chitin. Per usual, Adam Adamowicz's designs seem to have been the major inspiration for the Falmer armor, and he did a great jobs (even if it isn't the most functional looking armor ever).

(off topic but I also just want to add that he draws them with little hairs and tufts on their ears and I love it. ok that is all)

I do have a few thoughts about armor though.

Even attire made of textiles make noise when someone moves in them, and I can imagine moving around in armor, especially armor made of hard, insect shells would make a lot of noise when someone moves around in it. When you're relying on sound to navigate your environment and pinpoint potential threats or targets, wearing something making a lot of noise would not be ideal. On the other hand, getting into a fight unarmored would be a problem.

So here's my solution: heavy armor (see below) would only be worm within the camps/settlements where noise was already high and space is more cramped (and therefore more risky in a fight) as a sort of guard in case they were attacked. Those guarding the settlements along the outside might still wear armor as well, but less of it. Those going out to scout or hunt (if they do hunt) would wear as little armor as possible, and try to wear it strategically so that it wouldn't rub against itself and make noise. This is why most Falmer we encounter in the game are wearing little except for loin cloths and kneepads.

One more idea I have for armor is a specific armor piece. On the note of guarding or protecting a camp or settlement, I imagine the noises of it all (especially with the noise based headcanons I've laid out here) would make it hard to actually catch any potential threats when you can't see. A large slightly concave piece of armor worn behind the head could block out noises from behind the wearer, as well as a help focus sounds ahead of them.

That is all! Thank you for reading! A lot of these concepts around the culture of sound I think could also be applied to their buildings and even a culture of music, but those are posts for another time.

All of the concept art I used was taken from here and all of the Skyrim screenshots are from UESP.

[electricb00]

bad habits

[magicpiano]

I have seen multiple Demon Twins AUs where Damian sees Danny, assumes he is a clone and tries to kill him. Then after the truth is revealed, Danny is just like, "oh okay no big deal! He just thought I was a clone." Then they hug or something. But I disagree?

Yes, Danny is very forgiving of harm done to him, he is friendly with a lot of ghosts who have attacked him. But how friendly is he with people who hurt those he cares about? Even more so, those who aren't even sorry about their actions? I can see Danny forgiving Damian for trying to kill him. I am more skeptical about him forgiving if it was done purely because he was believed to be a clone.

Danny, who has a clone he actually cares about, would be more pissed by this explanation, not less. I can see him thinking something like, "Oh you thought murder was okay because they were a clone? You don't think their life has value?" This explanation would do the opposite of reassure Danny. I can even see him feeling a kinship, a brotherhood, with Damian's dead clones. I can see him, a dead teen himself, mourning them.

This isn't really fair to Damian for sure. He has a lot of legitimate trauma around cloning. Even more so if we use the idea that he (and Danny in this AU) were test tube babies. And he has worked so hard to grow and change and leave his more violent upbringing behind him. His long lost twin believing him to be nothing more than a violent murderer would hurt a lot.

But even so... No matter what their relationship was like before, Danny would not trust Damian after this. How could he trust someone who would have killed Dani?

Idk, I just haven't seen a single demon twins AU where Danny is defensive of clones and I think it is a huge missed opportunity for angst and drama.

[vacz]

I present to you my idea of a alternative bad ending for Wirt...

THE HUNTER

Instead of Beast!Wirt is Woodsman!wirt

After accepting the deal with the Beast, Wirt became the new lantern barer in hopes to keep Greg alive. He took the job to cut down the ellewoods and make them oil to feed the lantern so Greg's soul would never turn off, exactly what the woodsman used to do with his daughter. But as different from the woodsman, Wirt does know where the ellewoods truly came from, so the Beast has decided to take advantage of it and included him a little bit more into his chase for new victims. Now having Wirt helping the Beast to guide lost souls to the wrong path, it has become so much easier for the Beast to trap new souls

Wirt's role was this for a time: Becoming the new woodsman and finding lost kids to give them wrong directions or ideas. Despise how much he refused in the beginning, soon the Beast made him understand that this was the price for his mistakes, unless he wanted to Greg pay the price instead...

Until one night, Wirt had to confront a travel soul. A boy like him, wanting to save his little brother from the cruel breaches of the tree growing on his helpless body, and finally leave the woods with him, like Wirt himself once did. However, the Beast pressured and demanded him to take action himself, but unlike the old woodsman, Wirt did cut the boy down.

And since that incident, Wirt now has a new task to commit every time a new soul enters into the unknown.

He could barely sleep at night before, now he can't sleep at all. Wirt has stopped taking care of himself, at least he washes his hair and clothes once in a time but time itself seems so uselessly long for him until the point that things don't seem to matter anymore, nothing matters for Wirt, not even himself and his feelings... except keeping the lantern lit

The Beast knows better than anyone that Wirt's mind has become so weak until the point that he can't even survive by himself. He had succeeded in destroying this boy whole identity, only leaving a white paper to work on, so now he tries mold Wirt according his own twisted needs. Ironically, thanks to the Beast's influence, Wirt remembers the reason why he has to keep going with this but also he slowly starts to see people in a similar way that the beast's twisted perception does; trees to feed the lantern, not ready to burn yet but they must be prepared.

It's not surprising how much he has given up to the Beast. But unlike him, Wirt doesn't like to "play" or manipulate their victims, because he doesn't want to know them at all. Wirt already knows how these people will end, and he doesn't want to feel worse than he feels now, so he mostly tries to make his interactions shorter or cut them down directly, the quicker the easier it is for him to adopt this 'human dissociation' mentally

Of course, when he chooses violence, people tend to run rather than do what he plead, so he has to chase after them. Running after someone is exhausting for Wirt because he isn't that athletic in that aspect, and it's frustrating when he can't reach them. There are times when they manage to escape and some others that they don't

Wirt hates running after them, because it makes the situation more torturous and he gets exhausted. But if they don't start running, he is the one who tells them to do so. He doesn't understand very well why he does this but he likes to think that is a way to give them a chance to escape so he doesn't have to be the one to end with them, after all Wirt wants to believe that he is not evil

And yet, at the same time Wirt finds some kind of satisfaction on it... He is scared of what he is becoming.

Of course, he has this little duality inside his brain. The Beast has done a good job to keep Wirt in his role but still that doesn't make Wirt's guilt disappear at all

At least, his guilt has been manifested into a voice, represented by the rock fact. Even if the rock fact was meant for Greg to make silly but un-true facts, Wirt's interpretation of his own rock facts are the cruelest truths he refuses to believe. The rock fact represents that honest and logical part of him that is still there, under the tone of the self hate Wirt has grown on himself.

Of course, when he is around people for a longer period than he feels he should, Wirt stops trying to act normal and let himself to act a little... dramatic, in hopes to scare them or "prepare" himself mentally to go and chase them down with the axe

For this, he likes to use the rock fact. He always keeps it in his hair and uses it to try to re-create a rock fact like the ones Greg used to make, but instead of charming or adorable he looks insane, and he already knows that. Of course, he tries to re-create them seriously when he is alone but still fails miserably

Wirt does this in a poor intent to feel in touch with Greg, even tho they usually talk a lot with each other

Jason Funderberker has been gone for a long time by now, so the Beast is the only company Wirt has left, but most of the time he is alone.

He doesn't devout that his brother is there anymore, after all, Now Wirt can hear Greg's voice coming out of the lantern so what would be a better proof than that?. Greg is the only person left who seems to not hate him or is scared of him, the little ray of sunshine in his poor cruel life. If you tell him otherwise, Wirt won't want to believe you, even if deep down somehow, someway no matter how delusional he may be... He knows is true

Of course, I wouldn't recommend saying this because after having a nervous breakdown he will absolutely go after you with all pure rage.

Now here are some questions and its explanations:

Where does this idea come from?

Where does the name "The Hunter' come from?

What's Wirt and The Beast's relationship?

Wirt, The Woodsman, The Hunter and The Beast

Where does this idea come from?

It's no surprise that it comes from the idea of a bad ending for Wirt, one that is more fitting with the logic of the series. Because let's be real;

If he accepted the deal he wouldn't turn into the new beast because The Beast's motivation was to survive, he doesn't seem to want a replacement or transpass the role to anyone. In that case he would have already done it with The Woodsman.

The unknown was completely fine with the Beast gone so is not that he is THAT important for the forest to need a replacement.

Also, remember this little scene? it's from chapter 1: The Old Grist Mill. When Wirt and Greg just entered the unknown and suddenly heard the Woodsman cutting wood, before talking to him, Wirt said:

"Do you think it's some kind of deranged lunatic with an axe waiting out there in the darkness for innocent victims?"

So I thought; What if in the bad ending... He became that deranged lunatic?

Where does the name "The Hunter" come from"?

In the concept:

Since there are times when Wirt's victims escape, those who survived spread the word of a maniac who is wandering around the woods, looking for new victims, and once he finds them he will chase them until he can cut them down to the bone with his axe

They named him "The Hunter"

Wirt knows about his new reputation, since the travelers call him that once he reveals his real intentions, but he isn't really aware of all the rumors and stories people of the unknown had made about him, he knows that he will not like them but at the same time he is very curious about it. Some of them are true and others are just exaggerating. But at this point, Wirt Hunter had accepted that now he is one of the particular characters of the unknown.

In technical explanation:

In Over The Garden Wall we saw that most of the characters are named by "the what" for example: The Beast and The woodsman, they had no name by their own outside of their archetype. So I thought that in Wirt's case he would have a name like that, losing his own as a representation of how he has lost his own original identity. Wirt is no longer "the worthy one" anymore because he is more lost than the woodsman ever was, and there is no chance to bring him back, so he became "The Hunter" for the unique faction that makes himself distinguish from The Woodsman: The killing

The woodsman is just a man who lives in the woods and cuts trees, it just happens that the Beast used one to keep the lantern on. However.... The Hunter is someone that hunts, the whole point of a hunter is that he chases living beings and strap them, mostly for need. That is something The Beast himself does in his own way, which makes Wirt and The Beast more similar and unionite than the previous dynamic with The Woodsman, or even I dare say they are just alike; The Creature and The Man who hunts for surviving

Also, more into Bad End Friend's territory; Every evil alternate version has their own unique name, for example the icon trio, Bipper and Ice Finn (Also officially named "The Snowman") but then we have just "Beast Wirt" and until now NOBODY has come up with an actual name that fits him. I remember that someone already suggested the name "The Hunter" for Beast Wirt but it didn't make much sense (At least to me). However, in a woodsman context I think it could work better.

What's Wirt and Beast's relationship?

In Wirt's perspective

Basically a case of Stockholm Syndrome: At first he felt more like a prisoner, The Beast was a figure who he should follow if he wants to keep Greg alive, he is more than Wirt and his power overcomes his young self. However as the time passed, Wirt realized that the Beast can also be very merciful and at the same time rightfully ruthless as his monstrous nature allows him, as he has 'shown' him acts of trust. For Wirt, The Beast is a dark but fair being, not as evil as everyone told. The Beast acts similarly like a father would do towards Wirt, but without that human openly caring love. He is strict and cold, but is for Wirt and Greg's own good

In Beast's perspective:

Wirt is nothing but an interesting experiment. The Beast has been manipulating every little detail of Wirt's surroundings, so he decides to obey him by own choice, which worked out way better than expected. He has seen Wirt changing to fit into his needs, becoming more useful and useful than last time. Anytime the Beast has thought he reached the limit, Wirt proves him wrong and finds a way to pass it and go on anyway. His determination is so fascinating to the Beast that he continues to see how far he could go

Their dynamic:

Naive teen being manipulated by his father figure to be useful for his plans or desires (but even more mess up)

Examples of this kind of dynamic are Rapunzel and Mother Gothel from Tangled (2010) or Hunter and Belos from The Owl House (2020)

Wirt has been alone for so long to the point that he holds tightly to anything that could give him a minimum sign of love, and The Beast knows that more than anyone

He has taken advantage of this, so by convincing Wirt to isolate himself and showing barely love, Hunter would listen and obey him without any doubt. It doesn't matter if The Beast is the main responsible for his situation, things have been twisted so much to that point that Wirt fully believes that this is all his fault. He must do the right thing at any cost, after all, he would do anything for the ones he loves right Gregory?

Wirt, The Woodsman, The Hunter and The Beast

These are the four identities Wirt adopts in the time on the unknown, like states of his sanity slowly decaying

Wirt

The anxious teen we all know and love, the guy he has been during his journey until the point where he faced the Beast face to face

The Woodsman

Wirt post-deal

At first:

He doubts that Greg may be in the lantern, and now he regrets his decision. However he doesn't know what to do now because the guilt for Greg will not leave him in peace, and so Wirt feels like he doesn't deserve to go home, he can't go back, no without Greg. So he still lives in the forest, feeding the lantern and hearing the Beast's words, however The Beast insists that Greg is indeed in the lantern, but Wirt isn't sure whether to believe him or not

Even if Wirt knows he needs the ellewood, like the woodsman, he tries to help and warns about the Beast to those who came into the unknown

The Beast warned him about helping people, but he didn't listen to him until one night. There was an incident where he almost lost Greg's light forever for the lack of ellewood. Since then, Wirt finally cooperates with the Beast

At last:

Wirt knows what he must do. He misguides those who pass through the way in forms to get enough ellewood for Greg, always making sure to keep himself distance and not get too close with them. However there are times where he can't NOT sympathize with the travelers and so he offers his genuine help

The Beast wasn't comfortable knowing that Wirt still kept helping people.

The Hunter

Wirt post-murder

At first:

After his first kill, Wirt felt so guilty that he stopped taking care of his health (He stopped eating, bathing, and stuff) and encaged himself inside the house with all the bottles of oil, fearing that he would hurt someone again

At this time Wirt started to hear the voices of Greg, the rock and the crying of the lost souls, and talk to them until he ran out of oil

When he finally went outside, his body was too weak to even walk and he fell on the grass unconsciously. At that moment the Beast thought Wirt died and so he was about to take off the lantern, but the boy's hands wouldn't stop grabbing it with all the fury. The Beast kept trying until suddenly Wirt woke up and said to him that as long as his brother needs him he would be still here. For his stupid unbreakable determination, the beast didn't see any other option but to take care of the kid

As he recovered, The Beast started to convince him of the idea of taking people as nothing but ellewoods he needs. Wirt didn't like it at first, but the Beast's kind act and the poor health state he put himself into finally made him accept the new task.

At last (actual state):

Most of the time he is alone, searching around the forest for more ellewood to feed Greg with, day and night. He doesn't fully sleep, he takes naps in the afternoon so he can be wake up all night as he wants. To eat he hunts animals, fish, rabbits and some other birds or frogs, whatever living being he finds. To entertain himself he recites poetry and sings songs that the Beast has taught him, all loud like someone would listen to him. At home he writes his poems and composes his own music, mostly for clarinet.

At times the voices are louder and other times they are quiet. If it's Greg then it would be a nice time, if it's the rock fact it's a guarantee he would be at least pissed off, and if it is the distant crying of the lost souls then paranoid it is.

When someone crosses his way, it depends on how things are going to see how things will end. When he just indicates the direction you'll better leave as soon as you can, because the longer you stay and talk to him Wirt will act weirder in hopes for you to leave him alone, otherwise, if you cross the line with your words, he probably will run out of patience and starts to prepare the axe

But it also depends on how likeable he finds you. He could not care and warned you before he attacks you as usual, he could hate you so much to the point that he attacks you with no warning, he could like you and give you five seconds of advantage, and if he likes you a little bit more he would become obsessed with you and will maintain you inside his house so the Beast will not know about your existence as long you don't go outside

The Beast

The Beast (According to the Woodsman's words) is the death of all hope. How low would you have to go so you lost your whole humanity to become the living embodiment of one of the darkness concepts in human kind?

If Wirt ever became the Beast, he should have been falling in grace until the lowest point a person could go. So in my idea of The Hunter, I like to imagine that the differences between The Beast and Wirt would slowly fade away until they are one in the same

Inside The Hunter, Wirt has not only become lost in life but he has also lost his identity, his spirit, his desires and his home. The one thing left to lose is his humanity... His soul

The only thing that separates him from The Beast, is him holding on to the last piece of humanity he has left; Greg

Day after day his sanity is drifting away, but it's because of Greg's existence that he is connected with his humanity, because his actions are meant for Greg's surviving, not his

If Wirt descends to absolute madness and forgets completely about Greg but also openly enjoys his cruelest actions, to the Unknown's eyes, he would no longer be worthy of humanity, and as a punishment he would be cursed to be the successor of the Beast

And becoming worse.

Like I have been having this idea in my mind for a while now and I wanted to share it. I hope you liked my idea and the drawings I made because it really took me a lot of time trying to finish this post because you know... Christmas and happy new year (ah yes, what a happy post to show in these lovely times, yeah!)

SO WHAT YOU THINK?

[frownyalfred]

Cracky Pennywaynes scenario for your appreciation:

I can't remember if Alfred was still around in that comic arc where Bruce’s parents mysteriously come back from the dead, but now I'm just picturing them, still as young as they were at the time of their deaths, deciding he aged like fine wine and they WILL be fucking that old man. It could easily go angst (especially Alfred's POV) but I'm too amused by everyone dealing with the revelation that Bruce got some things from both his parents (like being sexually forward)

Bonus question is who of the batfam (if anyone) accidentally walks in on them, and how scarred are they from what they see?

I am LIVING for the image of Jeremy Irons’ Alfred standing there with his arms crossed, refusing to be embarrassed about his age in front of his two old hookups. But still wistful, in his own way.

Meanwhile Martha and Thomas both looked at Alfred for a long, silent moment, turned to each other, then turned back to Alfred.

“No,” Alfred said, already recognizing that expression. “Absolutely not.”

[cosmicredcadet]

I think queer stories would be better if people stopped assuming that queer representation hinges on if two characters are romantically involved at all. Like the moment you accept characters as being queer without needing romance to prove said queerness then i think we'd find ourselves with a lot more unique, nuanced, and interesting queer stories. but by limiting queerness to only romance you are stifling queer stories.