#NeP felix

[vennnovember]

this acronym is getting out of hand

our top scientists have been working on figuring out how to expand the "KFC" gang even further, and they have finally made a breakthrough. it is my honor to present to you:

YOUFATFUCCK

They are definitely all humans, trust me.

(explanation of all the characters under the cut)

YOU - The player character of Deltarune Ribbit Mod.

Felix - My very own perseverance SOUL OC and the main character of an Undertale fangame I am hypothetically making called Neverending Pages.

Acter - The Roaring Knight from Wandydoodle's "Oblivion Theory", linked here. To be honest I haven't read the whole theory (it is over 300 pages) but as far as I can tell, Acter is the Vessel from the Goner Maker and fills a similar narrative role to Chara from Undertale.

Tera - A "third entity" interpretation by Free AZ, linked here. To vastly oversimplify the theory, Tera is a force of good, while Kris, whom they possess and sometimes control the actions of, is evil.

Frisk - The player character of Undertale. Should be self-explanatory.

Unused - Unused human sprites from the Undertale files.

Clover - The player character of Undertale Yellow.

Chara - The first fallen human from Undertale.

Kris - The player character of Deltarune.

[jesterkard]

its cool to see you back! love your arts <3

Thank you ! DBD has been my most played game in the past months again, nature is healing.

[mcdonaldstuck]

MOD LIST !!!

okay we got uuhhm

felix - he/him "hi im felix"

toby - him/it "im too tired to write a snippet just write it for me"

nep - she/they/mew - "meow meow meow"

[adarkrainbow]

The Yaga journal: Baba Yaga in Soviet movies

And we reach the final article I will translate from the “Yaga journal”: Baba Yaga sur l’écran soviétique (Baba Yaga on the Soviet screen), by Masha Shpolberg! 

In 1979, the Soviet studio Soïuzmultfilm produced a three-part cartoon for the Olympic Games that had to happen the following year. The first episode opens with a choir of journalists proclaiming in all the languages of earth: “Micha the bear-cub was just elected Olympic mascot of Moscow”. Baba Yaga listens to this in her cabin, and becomes enraged: “Why him? Why him and not me?”. “Everybody agrees to it!” the journalists say. “And Baba Yaga is against it!” she says, before attacking the television screen with her broom. Throughout these three short episodes, the “Baba Yaga is against it!” cartoon tells the various attempts (and failures) of Baba Yaga and her assistants (Zmeï Gorynytch and Kachtcheï the Immortal) to prevent Micha from reaching the games. The plot relies on the omnipresence of Baba Yaga in the Soviet imagination, and her importance as a symbol of folk-culture. However Baba Yaga did not always have such a status. The witch and her tales were banned by the Soviet Union soon after its creation. Starting in 1918, the year of the creation of the komsomol or “union of Leninist-communist youth”, the Soviet Party reorgaized the educational system: it was decided that fairytales had no place in education. Its rural and pagan roots were problematic for a State which wanted to create an industralized and rationalized world. Galina Kabakova explained that on one side, the fairytale did not carry the values of the new society, and on the other the marvelous and fantastical was considered toxic for the minds of the youth that were to build socialism.

The persecution of the fairytale knew its peak in 1924, when Nadejda Krupskaïa , the companion of Lenine and the president of the Glavpolitprosvet, the Central Comity in charge of Political Education, demanded that all public libraries got rid of the books “with a negative emotional or ideological influence”, as well as the books that “did not conform the new pedagogic approach”. This included the fairytale books of Afanasiev. As the cultural historian Felix J. Oinas explains, in the beginning of the 20s several Soviet critics argued that the folklore was carrying the ideology of the dominant classes, which in turn led the proletarian literary organizations to receive very negatively folktales and fairy tales. A special section of the Proletkult for children even attacked fairy tales based on their “glorification of the tsars and tsarevitchs”, claiming that they were “reinforcing bourgeois ideals” and “causing unhealthy fantasies” in children. When the fairytale re-appeared in the middle of the 30s, it was because the Soviet political culture had decided to re-appropriate the Russian folklore for itself. Just like the Romantic nationalists of the pre-Revolutionnary era, this ideological turn aimed at melting the personal identity in a vaster, collective identity. And what was the best medium to do it? Cinema. Alexander Prokhorov, in his “Brief history of the Soviet cinema for children and teenagers”, explained that the cultural administrators of Staline changed their view on folk-culture, and the fairy tale became a legitimate cinema genre since it helped visualize the spirit of the miraculous reality proclaimed by the Stalinian culture. The end of the NEP, in 1928, also put an end to the importation of foreign movies, freeing the Soviet cinema from all competition - and of all commercial goals. 

In 1934, during the first congress of Soviet writers, Samouil Marchak and Maxime Gorki insisted on the importance of childhood literature for the creation of a new Sovietic man, and in 1936 the Sovnarkom, the highest governemental authority, established two new studios out of the ancient Mejrabpomfilm: Soïuzdetfilm, for children movies, and Soïuzmutfilm, for cartoons. It is in this political and institutional context that the young moviemaker Alexandre Ro’ou (in English his name is spelled “Rou”) decided that, for his first film in 1937, he was to adapt a very famous fable, “Wish upon a Pike”. The success of this movie allowed here to adapt a fairytale, more complex on an ideological level: Vassilissa the Beautiful, in 1939. Through this movie he became the “founding father” of the genre of the cinematographic fairytale. It is in this movie that Baba Yaga made her first appearance in cinema, played by a man - Guéorgui Milliar. Throughout the next thirty years, Milliar would play Baba Yaga in three other movies of Ro’ou: in Morozko (1964), in “Fire, Water and Brass Pipes” (1968) and in “The Golden Horns” (1972).

In this article, the author will analyze the evolution of the character of Baba Yaga throughout these four movies - based on the social and political context. While always created by the same movie-maker, and played by the same actor, Baba Yaga is never the same character in these movies. Throughout the years she is slowly “domesticated”: from a macabre and intimidating force of nature, she becomes a vain hag, more superfical than wicked, from a relic of the past, she becomes a modern mascot. By analyzing the narrative and aesthetic choices causing this transformation, the author wants to analyze the allegories of each movie in their historical context. 

I) Baba Yaga in the Stalinian era: Vassilissa the Beautiful (1939)

Vassilissa the Beautiful, a movie adaptation of the story “The Princess-Frog”, was conceived as much as an entertainment as a teaching tool. In the version of Ro’ou, Vassilissa is not a princess and Ivanouchka is not an idiot. The two are rather hard-working, intelligent, honest people. The brothers of Ivanouchka oppose the duo by the women their find as wives: an excentric aristocrat, and a gluttonous merchant’s daughter. The entire first part of the movie presents an allegory of the fight of the social classes. The brothers and the wives do nothing while Ivanouchka goes hunting and Vassilissa does the chores, and then they pretend to have done the honest workers job. 

Baba Yaga only appears in the second half of the movie, when the wives burn the frog skin of Vassilissa, and the maiden is ravished by Zmeï Gorynytch. A title-card mentions “In the land of the Zmeï, Vassilissa the very beautiful was guarded by Baba Yaga”. Traditionally, the role of kidnapper in Russian fairytales is played by Kachtcheï the Immortal, who doesn’t appear in the movie - but the Zmeï here fills his role as “the rival of the male hero for the hand of the woman, usually a fiancée or a wife, sometimes his mother” and “the male counterpart of Baba Yaga”. So, as much in their home as in the magical land, Ivanouchka and Vassilissa must fight against oppressors that take away their goods and exploit their work. Jack Zipes noted that, according to the marxist reading of the fairytales, Baba Yaga symbolizes “the entire feodal system, where the greed and brutality of aristocracy are responsible for the hard living conditions. The murder of the witch is the symbol of the hatred felt by the peasants against this aristocracy, that hoards and oppresses.” However, in the Vassilissa movie of Ro’ou, Baba Yaga plays a more ambiguous role. Her skinny and nervous figure, the rags she wears, allows her to hide herself in nature. Her hunched back imitates the rocks, the way she spreads her arms and legs imitated tree branches. By fusing with the landscape, she can attack Ivanouchka without ever being seen by him. Often Ro’ou likes to superposition to allow Baba Yaga to appear and disappear suddenly. As a result she seems half-translucid in many scenes, suggesting that she is a force of nature - or even the personification of the forest. 

The “magical” part of the movie plays on the contrast between the domain of Baba Yaga (the forest) and the domain of the Zmeï (the mountain). The two realms are heavily inspired by the expressionist cinema of Germany (especially the sets of the Cabinet of Doctor Caligari, in 1920), but couldn’t be further from each other. The world of the Yaga is the one of the dark forest, confusing and threatening, but deeply organic and human. The world of the Zmeï, however, is an industrialized, hyper-sanitized, geometrical world. A post-human world, or one devoid of humanity: a fascist world. Indeed, the historical context of the movie invites an allegorical reading: the Germano-Sovietic Pact was signed the 23rd of August 1939, and the movie was released the 13th of May 1940, one year before the Nazi invasion of the Soviet Union in june 1941. At the time, while Germany wasn’t an official enemy (and it is hard to imagine that Ro’ou selected this tale with a political purpose in mind). But the movie is a proof of the tension that existed at the time about the entire situation. Baba Yaga, who keeps turning and roaming around Vassilissa, reminds of the painting of occidental paintings, “Death near the Maiden”. It isn’t just the virginity of Russia (aka, the integrity of its frontiers) that are threatened - it is her very life that is at play. 

Vassilissa, a girl who is obedient and modest when she is free, becomes proud and rebellious in captivity. She is a model of resistance that anounces the true female heroes of the Second World War in Russia, such as Zoïa Kosmodemianskaïa (made famous by the movie of Leo Arnchtam in 1944). Just like Zoïa, Vassilissa is ready to sacrifice herself for the good of others, and to follow her own principles. When Baba Yaga discovers the hat of Ivanouchka in her isba she aks Vassilissa “Where is he? You say nothing? If you say nothing, I will make you talk. Maybe fire will make you more talkative.” Vassilissa is only saved from torture by the arrival of Zmeï Gorynytch. 

The analogy between the monster and the foreign invader is reinforced by the third cinematographic fairytale of Ro’ou, Kachtcheï (Koschei). Filmed in the Altaï and the Tadjikistan in 1944, and released the day of the victory (9th May 1945), the movie tells “how Koschei the Immortal fell onto Russia like a thunder clap in a peaceful sky, burned out houses and our bread, massacred the population and took away thousands of women”. Even if the historical facts cannot allow us to read “Vassilissa” as a simple allegory of the war to come, the images still carry the possibility of an upcoming conflict. We can read it in the presentation of Vassilissa as a resistant-model, as much as in the glorification of the elements of folk-culture (aka, part of Russian culture). The movie is also preceeded by a prologue in which three bards introduce the tale by playing gousli (gusli), a traditional musical instrument. When Ivanouchka goes searching for Vassilissa, the text says “He wandered for a long time throughout his native earth” - even the typography of the title-cards reminds the medieval books. All these elements create throughout this movie a new “nationalist vocabulary”, and so unite a nation threatened by an external force. As Prokhorov explains, “The movies of Ro’ou, just like the kolkhoz musical comedies of Ivan Pyr’ev, were answered an official demand of art inspired by the narodnost (popular spirit/folk spirit)”, an art that “allowed the entire Soviet community to stay in touch with their popular spirit, as the metaphysical source of the communal strength”. The internationalism of the first years of the Soviet Union was slowly breaking down in front of this romantic and deeply essentialist view of the nation. 

II) Baba Yaga throughout the Thaw: Morozko (1964), Fire, Water and Brass Pipes (1968) and The Golden Horns (1972)

The period that followed the war was once again difficult for the fairytales, and all those that studied folk-culture. Félix Oinas explains: “After the war, the Russian folklorists knew another series of trials, perhaps the most difficult of them all. The era of the ideological dictatorship of Jdanov, nicknamed Jdanovchtchina, started in 1946, and quickly became an anti-West witch hunt”. Vladimir Propp had just published “The historical roots of the fairy tale”, which was heavily criticize due to containing numerous quotes of Western folklorists, as well as comparativist ideas, not to say cosmopolite ones. In 1947, Soïzudetfilm was re-organized and became the Gorki studo: the studio however did not have any order or demand for children movie.  In 1952, the situation led Constantin  Simonov and Fedor Parfenov to publish an open letter in the Literaturnaïa gazeta “Let’s resurrect the cinematography for children”. However it was only in 1957, after the death of Staline and the succession of Khrouchtchev, that the minister of culture finally commissioned an augmentation of children movie production. In 1961, the Gork studio was named “Gorki central Studio of cinema for children and the youth”. 

When Ro’ou produced Morozko, in 1964, it was in conditions very different and yet paradoxically very similar to the ones in which Vassilissa the Beautiful was produced. The first novelty was the use of color: the second half of the movie takes place in winter, which forces a restrained color palette, even in the makeup and costumes - it is limited to the red and pale blue of the traditional Russian paintings. The appearance of color makes the Baba Yaga younger, as well as more visible in the landscape - but it doesn’t make her more lively. When Ivan discovers the isba in the middle of the forest, and when said isba obeys his order for it to turn towards him, he is sincerely surprised. Baba Yaga gets out of the house yawning, and she asks grumpily “What do you want? Why, unexpected, uncalled, did you dare turn the cabin and wake up the crone?”. It is almost as if everyone in the story was forced in their part of the story against their will.  If the Yaga of Vassilissa was jumping from tree-top to tree-top, but the Yaga of Morozko keeps complaining about back problems and she asks Ivanouchka to leave her alone. She only does magic because Ivanouchka forces her to, and her speech is filled with affective diminutives ending in -tchik. Ivanouchka, in the end, doesn’t need to vanquish Baba Yaga, he rather has to convince her to help. 

The male equivalent of Baba Yaga, Morozko (Grandfather Forest / General Winter) turns out to be just as harmless as the witch. When he sees Nasten’ka, abandoned by her family to die of cold in the forest, he immediately comes to her help. The role of the two magical characters (Morozko and Baba Yaga) in the life of the young protagonists is limited to the one of a godfather or godmother. The equivalence of these two relationships is highlighted by a sequence which puts in parallel Morozko putting warm clothes on Nasten’ka and Baba Yaga doing the same for Ivanouchka. Another parallel can be found in the way the protagonists call their helpers: Ivanouchka calls Baba Yaga “Yagusia” or “Babulia-yagulia”, while Nastenka calls with affection Morozko “Morozouchka-batiouchka”. From villains, Morozko and Baba Yaga are transformed into helpers, the Donors of the Vladimir Propp’s functions. 

The most important consequence of this transformation is the new nature of the “source of Evil”. Evil doesn’t come anymore from what is supernatural, but it rather comes from what is too natural: the flaws of ordinary humans. It is the jealousy of Nasten’ka stepmother and the boasting of Ivanouchka that cause their initial separation and the unbalance that Baba Yaga and Morozko try to remedy to. The qualities preached by Morozko are very close to the ones glorified by “Vassilissa the Beautiful”: hard-work, modesty, and intelligence. What is different is the goal of these virtues: the seriousness and gravity of “Vassilissa the Beautiful” is gone. In Morozko the characters are funny and light-hearted. Ro’ou was trying in “Vassilissa” to animate the visual popular culture, inherited from the lubok and illustrated movies. But in Morozko it all becomes a great show, a smooth surface without any depth. When Ivanouchka leaves his birth-house to go seek his fortune, he passes by a group of young girls that dance and sing when seeing him - these are traditional dances and songs, but the aesthetic is much closer to the one of a technicolor musical than a medieval fantasy. 

“Fire, Water and Brass Pipes”, filmed by Ro’ou four years later, in 1968, goes even further in the idea of a show or entertainment. Caracterized by saturated colors and random explosions of music and dance, the movie is aiming at the audiovisual variety show at the cost of the stylistic coherence. This excess alos manifests at the narrative level: while Morozko reunited two distinct fairy tales (Morozko and Ivan-with-the-bear-head), “Fire, Water and Brass Pipes” is a sort of remix of elements taken from numerous myths, cultures and legends (not even all Russian!). The skeleton of the plot is roughly the same: as usual, Kachtcheï kidnaps the beloved of Ivanouchka, and he must undergo a series of trials to get her back. These trials, symbolized by the fire, water and brass pipes of the title, are so many occasions to introduce very different elements, ranging from Greek philosophers to the god Neptune. 

In this movie, Ro’ou also modifies the traditional structure of his cinematic fairytales in another way: instead of beginning by the human drama which starts the plot, he begins by the presentation of the magical beings. It is in this “prologue” that we have a full humanization of Baba Yaga: she becomes a mother, and is shown to be able to feel empathy and sorrow. The movie opens with Baba Yaga flying through the sky, rushing to the wedding of her daughter with Koschei the Immortal (also played by Milliar). When she arrives, she is humiliated twice. First, she fails to land properly, implying she can’t move as she used to. Then, nobody recognizes her at the court except for her own daughter and Koschei. This is quite revealing that in this context she introduces herself not as Baba Yaga, but as a relative of the happy couple: she joyfully says (rhyming in Russian), “I am the mother of the bride, Koschei the Immortal is my son-in-law”. This image of Baba Yaga as a mother is not taken out of nowhere: already in the story of Afanassiev called “Baba Yaga and Small-One”, the witch had forty-and-one daughters, that died by her hand. In the movie of Ro’ou, a new importance is given to her maternity as well as to her physical problems (she handles her mortar badly, she falls every time she tries to dance): it all indicates that maybe the life of a witch can be affected by the flow of time. This Baba Yaga is implied to have always been as she is now: she lived a period of youth, and now she is aging. So her life can have a beginning... and an end, like the life of all mortals. 

The prologue that presents the maternity of Baba Yaga also has a role in the narrative of the movie: it explains why the Yaga is so willingly helping Vasia (the new name of Ivanouchka). Indeed, when Zmeï Gorynytch offers Koschei a magical apple that makes him young again, he sends away his bride, deeming her too old for him, causing a public humiliation. By helping Vasia defeating Koschei and freeing his beloved (Alionouchka), Baba Yaga is actually avenging her own daughter. She needs Vasia as much as Vasia needs her. 

The Golden Horns, made in 1972, thirty-tree years after Vassilissa the Beautiful, was the last movie of Ro’ou that uses the character of the Baba Yaga. After being reduced to a second role in Morozko and “Fire, Water and Brass Pipes”, she finally regains a prominent role. Queen of the forest, she has no rival except for the deer with golden horns - as she complains to a group of hunter, the deer keeps undoing all of her traps and ruining her projects. She doesn’t have back problems anymore, and she is healthy enough to dance and sing. Indeed, throughout the movie she keeps insisting that she is still young. In the beginning of the story she is playing cards with a friend, Duraleï. When he accuses her of cheating and calls her “old hag”, she throws him away from the isba and she says to herself “He dares to call me hag, me, who everybody says has a young soul!”. The Baba Yaga of The Golden Horns isn’t wicked, but she is vain - she is a pretentious old woman that spends hours in front of her mirror. The three young lechïï that serve her constantly flirt with her, and calls her by the diminutive “Babou-yagusen’ka”, and the witch herself flirts with a group of hunter-robbers. Baba Yaga even has a musical number, a song throughout which she turns her hand-mirror into a guitar and sings “I can’t see her enough, Yaga the Fair / Oh my love, me, me me!”. 

Beyond the changes brought to the very image of Baba Yaga, Golden Horns is different from the previous movies in two main aspects. The first: the question of the relationship between genders. In Golden Horns, it isn’t a young man who tries to save his beloved from the hands of Baba Yaga or Kachtcheï. It is rather a mother, Evdokia, who tries to save her children. The final conflict is one between two women: one a mother, the other (the Yaga) an old maid. As a result the values of the more are much more conservative in nature. The song of the young girls in the prologue, with the title-cards, compare Russia to a mother. “Always happy, and a bit sad / So is Russia, my mother. / Like the fairytale, intemporal and kind / So is Russia, my mother”. It is this same Russian earth that protects Evdokia in the final battle against Baba Yaga. As the Yaga takes weapons, Evdokia remembers a small bag of soil her neighbor gave her. “Native earth, protect me!” she screams as she throws the soil towards Baba Yaga. These two sequences insist on the sacred nature of the Russian land, “mother” of the people and symbol of maternity itself. The movie implies that it is Evdokia’s maternity that makes her invincible, and that it is the vanity (the “wrong use of her gender”) that dooms Baba Yaga. The absence of a father figure also helps the manifestation of more conservative political messages. It is possible to read Evdokia as a feminist figure: she is independant, and she goes searching for her two daughters without fear. She is intelligent and strong: she isn’t even shocked when she learns she must battle Baba Yaga in a sword-fight. However, she is continuously guided and helped by masculine figure in positions of authority: the Sun, the Wind, and Golden Horns. Golden Horns also offers the perfect example of a theory brought by Evgueni Margolit and summarized by Prokhorov: “Soviet cinema expressed the ideal community of the future as a land of children, where the government filled the role of the strong, order-giving father of the people”. Evdokia, the figure of the mother, is thus treated like a child by the figures of the Father.

In conclusion, this movie offers a new definition of the political action. Like in most fairytales, the movie starts with a transgression: the twin girls of Evdokia, Machen’ka and Dachen’ka, disobey their mother’s instructions and go too far in the forest. What they cannot know is that two wicked spirits trap them, and use them to start a revolution against the Baba Yaga’s tyranny. The movie ends with a tribunal, formed by the small children-wood spirits, alongside the former friend of Baba Yaga, Duraleï. Through a vote, they decide to punish Baba Yaga by banishing her to the swamp. The events of this tale must thus be understood in a wider context, that is seen at the beginning of the movie: this movie represents a shift of powers in the forest, and is the triumph of the humble people, of the simple folks against the monarchy. 

Conclusion

In “Vassilissa the Beautiful” (1939), made before the movie, Ro’ou tries for the first time to give a cinematographic shape to the world of the folktales. Taking inspiration from the iconography of the lubok, of the illustrated book, and of the German expressionism, he creates a ciaroscuro universe filled with heavily connotated characters, all either wholly good or wholly evil. Baba Yaga, in this universe, like in the one of fairytales, according to the interpretation of Propp, is a liminal character, the guardian of the frontier between the known and the unknown. Often camouflaging herself in the forest and the rocks that surround the isba, she embodies the dark side of the nature. In a movie whose goal is to enrich the nationalist vocabulary of a land threatened by an external force, Baba Yaga becomes a problematic figure, at the same meant to be “one of us”, since she is part of the Slavic folklore, but also “one of them” since she is unpredictable and hostile. 

In the three movies realized by Ro’ou one after the other during the period known as the “Thaw”, the Baba Yaga of Vassilissa is domesticated, becomes a satire, her fangs are removed to make people laugh. While these movies keep feeding from the imagery of Russian nationalism, and keep trying to maintain the authority of the State, they are aimed at being more of an entertainment than a mystical communion with the soul of the people. By giving to Baba Yaga a biography - children, love interests, a passion for clothes and other fashions - these movies remove her from the mythological world, and give her a place in the contemporary world. It is how she becomes, at the time of the Olympic games of 1980, a cult figure, a legitimate rival to Micha the bear-cub for the title of Soviet mascot. 

[transolar]

AC: :33< Hi!!!!!!!!!! :333333 can mew make some cat n' cannibal / gore / violence related names- purrefurably masc ones fur us >:33 thank mew in advance X3 -Nep

(pt: Hi!!!!!!!!!! can you make some cat and cannibal / gore / violence related names- preferably masc ones for us? thank you in advance -Nep

-Leo -Cal/Calico -Whisker -Lynx -Felis/Felix -Antropophagus (kinda long but can be shortened to Anthro) -Carn/Carnage -Jab -Clot -Bloodbath

[writers-get-biters]

stuff about some of us :]

[pt: stuff about some of us (smiley emoticon)]

decided to make a post detailing a lot of us's signoffs, names, and pronouns. gonna link it in pinned post so easy access. also gonna update when we get more people bc yea

its gonna be super long (theres so many of us lololol)

lets do this! under the cut ;w;

format is "sign off | name | pronouns":

~ 🧊 | ele | ?

~ 🔌 | 404 / .exe | glitch/[ERROR]

~ 🔏🔮 | achilles | they/zhey/xe (ceters can use he/him)

~ 🗜️🪞 | alma / 2a | xe/ne/ze/he

~ 🛜👾🫶 | arzon / arson | xe/ze/fae/bun/bug/it/thon, they theoret

~ 🎨🐳 | art | th3y/th3m

~ 🖱️🪞 | beeatrice / 2b | ve/v/e/kye/xo/it/the/✈️/eni/co/daze

~ 🌌🕳️ | black hole | hei/hy/he/hey/they/the/vae/xae

~ 🧼🚿 | bubble bath | they/he/clean/mel/mist/polish/shine/fo/🧼/🦆/🚿

~ 📠 | cassandra | she/it/they

~ 📰 | cassie | she/they/it

~ 🎙️ | cecil | ?/any

~ 💿📺 | cisco ordiel | he/they/it/ange/arch/wing/flap/hae/hol/tech/ai/pix/comp/🪽/🦢/💿

~ 🦊🌲 | corey | he/her

~ 🌀 | dash | it/they/she/spark

~ 🕶️💿 | dave strider | he/him

~ 💽 | delta | they/claw/rhy

~ 🧃 | dirk(&) | he/it/prin/ze

~ 🎡 | aubrey / roxy / ariel? / angel? | he/xe/hy/sh3 & other revoxpronouns

~ 📡🎯 | ilo | hy/it/prin & other neos

~ 📡💫 | ezekiel / zeke | hy/it/prin & other neos

~ 🤢🤮 | emesis appendix | gag/gags

~ 📜🕸️ | ephila n. serket | sie/sh3/sh*/🕸️

~ 🐱🎭 | etta | they/nep & cat neos

~ 🐱✨ | etta emery | they/nep & cat neos

~ 🐇 | eva | she?/her?

~ 🎲🎰 | felix lucky / the dice master / the dealer of the cards / the chessmaster | xe/they/sh3/it/card/dice/roll/luck/chance/🎲/🃏/🎰/♟️/👑

~ ⚔️ | finn the human | he/him & variations

~ 🧪🔍 | flare (?) | they/he/she/splash/spark/solar/stab/point/acid/sci/💉/🧪/🔬/🔭

~ 🌸🐾 | ginger | she/they/awoo/dog/woof/bun/sparkle/bork/pup/cute

~ 👑 | harley | she/it/xe

~ 💟🌄 | hazel levesque | shy/hyr

~ 📖🌟 | helix | he/azu/they/ty/fi/kye

~ 👑🔏 | ike | hx/hxm

~ 🌷🍉 | imogen | she/it/they?

~ 🏡 | isla | fi/moss/flower/ribbit/they/ash/tree/she

~ 🐈🍼 | jacob | he/they/it

~ 🥾 | enzo / jafinniottsprite^3 | ?

~ 📺 | jake english | ?

~ 🎂 | jane crocker | any, pref 4 hx/hxm & he/him

~ 💄🐜 | jane prentiss | she/shx/they/thxy & any bug-themed neos

~ 😸🎁 | joey | he/+/hap/lo

~ 🕷️ | kairi | they/spi/ve

~ 💄 | kanaya | she/they/xo(?)

~ 🍭🩷🔮 | kandi / candi | she/candy/gummy/sweet/honey/rainbow/sour/bright/brownie/fruit/cherry/heart/sprinkle

~ 🦀🩶 | karkat vantas / KARKAT VANTAS | he/she/they/it/troll/hx/shx/thxy

~ 😪💤 | lailah | nap/sleep/soft/sh/?

~ 🌹🦇 | lucille abel | he/vamp

~ 🌙🌬️ | luna chang'e lovegood | shi/shy/lu/star/they/hy/fae/mu/she/it/xe/dar/spirit/gho/whim/ae/lo/xhey/dae

~ 💫❔ | madeline / "maddy" | sh♡/sh^/heart/hah

~ 👾 | Mal.exe | she/glitch

~ 💥🪲 | mark / slate | he/it/x/xe

~ 🧭☠️ | meg aradia | he/it/she & death neos

~ 😽🔕 | meulin | qui/quis

~ 😍💝 | nina | shx/it/shey/she

~ 🎀🔪 | nina mina may | knife/blood/royal/kill/hood/creepy/odd/weird/splatter/obsess/haunt/rot/rotting/gut/gore

~ 🌩️☕ | ochre latte nimbus | they/storm/caf/warm/frappe/rain/thun/light

~ 🥞 | pan / pancake panache | ?

~ 🍓🧸🐰 | pawlette / paulette | ?

~ 😿📦 | peter | he/it/itch/-

~ 🪢 | riley august | she/him

~ ⭐🪁 | ripley | ?

~ 💎🚀 | roman ellis | xe/hymn/hyr/it/thou/ae/sol/holy/illum/ly/ei/lyre

~ 🦇💕 | romeo liev montague | he/love/bow/arrow/heart/cloud

~ 🐕🪽 | roof | pup/x!

~ 🛡️ | rook | any (especially they/xo)

~ 🐈‍⬛ | roxy | they/she/un & cat + void neos

~ 🐈‍⬛🖥️ | roxyhalsprite | ?

~ 🪞 | sasha | mirror pronouns or she/her

~ 🪞🎟️ | sasha | mirror pronouns

~ 🎮 | sollux | he/they/it/2/two

~ 🗞️ | t$assi | ?

~ ⚖️ | terezi | ?

~ 🪩 | the one who is seen | any

~ 🪩👁️ | the watched one / the watch'd one | eye/seen/behold/👁️

~ 🎥 | tuo | he/him

~ ♏️ | vrissy | ?

~ 🔆♊ | xanther coda | he/she/they/it/space/cosmic/moon/love/heart/yellow

~ 🧟‍♀️ | zadie | she/it/love

~ 🥀 | zadkiel | he/it/anti but kinda any

~ 🕸🍖 | zinc / azync | it/rot/gore/blood/teeth/bones/skin/meat/feast/hunger/starve/fang/dead/rotting/corpse/gut/kidney/heart/eye/claw/axe/knife/cut/grave/rotten

[vampykatzz]

New intro!!

My name is Nep, but our system coectively goes by Felix, I use he/it pronouns but don't mind they/them!

We are a polyfragmented DID system and I (the host) have my own subsystem with a few members!

I am Nepeta sourced and my faceclaim contains features from most members in my subsystem for some reason...

I like to draw and stuff ^_^

I don't post here often but when I do it'll probably be either art or spam

I love Homestuck, The Glass Scientists, Warrior cats, South Park, and Saw!!

I have a pretty lil cat named rose

here she is

[lyndens]

Ilove Dead by Daylight™ the survival horror asymmetric multiplayer online game developed by Behaviour Interactive

[nep-moved]

1 and 4? owo

OH HEWWO FELIX... thank !! ;0

do you have any unique hobbies?

it was at this moment that nep realized....

they are boring.

fhfjdk is laying in bed nd yearning an ungodly amount considered a hobby 👉👈 bc other than that i nap nd play Viddy Games gjfjdk

what’s your favorite season, and what’s your dream day for that season?

SPRING BABEY !!! i lov takin walks nd just lookin at how pretty everythin is.... also walkin on this lil trail that leads into a forest >;3c it's v relaxing to just sit there fr a while... ALSO i like sneaking into my old school's playground late at night so i can go on the swingset gjfjsk pls don't tell the police 😔😔 ideal date w my f/o's WHO is interested...

[battlingbuddy]

Nep runs in, yeets a chikd-sized white cowboy hat at Jeremy, and runs out. "IF RYAN ASKS I WAS NEVER HERE AND I DIDN'T DO S H I T! K THX!"

   –> He’s startled for a moment at Nep’s sudden appearance, followed by the yeeted hat. There’s a startled blink… followed by another.

   … Before he grins and turns, heading towards the bedroom to give Felix the hat. 

[toxic-potions-productions]

Yes, my persona has 2 younger siblings. Before you ask, I’m an only child IRL.

First thing with Gacha life OwO. For all my Gacha studio projects, i’ll be remaking them later.

Now, back to me suffering with the Gambino meme!

---------------------------------------------------------------------------

Strawberry & Rasberry belong to: Me

Lulu belongs to: Josie (My IRL friend)

Mae the talking cat & Mae Borowski belong to: @ask-nightmare-doi

Alex belongs to: @panoori

Jasy belongs to: @jasichi

Felix belongs to: @felixlovessans

Riku belongs to: Rikupam from discord

Chudo belongs to:  ! 📞𝕯𝖎𝖆𝖑𝖙𝖔𝖓𝖊📞 from discord

Brxken belongs to: Brxken from discord

Quarrels belongs to: @quarrels-nep

Best belongs to: [X] from discord (Cuz I was feeling nice)

Hoodie belongs to: I am a hoodie on discord

Zoey, The 3 personalites, Bianca & Sky all belong to: Me >:3

Sans & Papyrus (LST) Also belong to me

LST Felix belongs to: Me

All original versions of these characters belong to there rightful owners.

Inspired by: Amy_Gacha 35

Songs by:  Melanie Martinez

If you wish to be inspired by this, go ahead! Just be sure to credit me & be somewhat original. Cuz I didn’t make this only for there to be a crappy rip off of it

[vennnovember]

my Perseverance Soul interpretation, Felix

i cooked up a positively delicious idea for one of the previous fallen humans and decided to make them a reality yippee

the basic idea is that they have enough determination to reset the timeline back to when they first fell into the underground, but not enough to save their progress and load their save file to a previous state. this means that every time they die, their progress is set back to zero, and they have to do it all over again.

over. and over. and over.

to Felix, knowledge is power. they defeat their foes through analysis; thankfully, the timeloop gives them plenty of opportunity to study monsters. before long, it becomes and algorithm. do this to satisfy that monster, do that to scare away this monster. sets of numbers, lines of dialogue. that's all they are.

but ultimately, their effort will be for naught. their fate was sealed the moment they fell into the underground. there's a coffin and a jar with their name on it, just waiting for them to give up. but they're sure as hell not going to give up without a fight.

[undeadwicchan]

Rewatching RWBY: Volume 2, Episodes 5-8 [Live Blog]

Party time.

[Episode 5]

Pyrrha time!

I love her so much

KICK THEIR ASSES PYRRHA

TAKE ALL MY UWUs AND LOVE PYRRHA

I love Mercury’s fighting style it’s just an excellent foil to Yang’s

And this is where people were wondering why Merc decided to forfeit, was it to be ass or to hide that he has prosthetic legs that we didn’t even know about at the time so we speculated. Turns out it was both.

Omg Sun, smooth lmao

Awww Sun…. ;-;

*sigh* Blake…

JAUNE LMAO

Lemme guess, Neptune?

Poor Pyrrha ;v;

CINDER

CINDER I WILL CUT YOU

YOU BETTER NOT TOUCH HER

*CRIES AND SCREAMS IN VOLUME 3*

[Episode 6]

Heheh Freezerburn <3

Weiss’s crush on Neptune is cute.

Yang got this.

The freaking laser pointer lol

Poor Ren lmao

Not yet, Nora. *crackles in Volume 4*

I keep forgetting that Jaune’s affection for Weiss is genuine, and I’m interested in seeing possible White Knight in Volume 7

Pyrrha ;_;

Bee talk. BEE TALK.

I love this art style for the flashback

I wonder if that was Salem’s old house…

How did Qrow know they would be there…?

That hug was comfort from a friend but…

That wink was flirty and gay as hell Yang.

JAUNE BOY ;__; At least he finally got the picture….

I love Ruby’s dress!

Although why was Yang just wearing a plain white dress? I was always expecting something yellow and slim tbh

I love their sisterly bond asdfdg

‘Necktrap’ huh? Also Sun is wearing a black shirt instead… interesting.

SUN’S LOOK AS HE TURNS BACK TO SEE BLAKE. IT’S SO SOFT AND VULNERABLE

Also hello callback to “I knew you would look better without the bow” to “I knew you would look better in a tie”

Blake gives Sun a very soft look hello???

Sun’s big smile when Blake says yes they are. He’s crushin on her so much askdgk

Aww Yang’s and Blake’s dance.

Sun is making her laugh, be happy, and having fun asghk BE STILL BLACKSUN HEART OF MINE.

That silent “Thank you” from Blake to Yang and the others.

My “Ruby is suffering” senses are tingling - Ozpin, probably.

This seems more like Ozma talking though.

I JUST NOW REALIZE. THOSE ARE A CALLBACK TO LOCUS’S AND FELIX’S COLORS IN RED VS BLUE!

[Episode 7]

Lmao Glynda is just being polite.

“To the socially awkward” I love those dorks.

Awww Weiss… :c

Well Blake is still having an amazing night with Sun…

RUBY THAT WAS AN INDIRECT KISS

Forever Fall...don’t do this to me.

Pyrrha….

Jaune’s character development is amazing jfc

Omg Nep is such a nerd

Lol Jaune

I love their talk so much it just shows how much Jaune has grown since Volume 1.

Blake and Sun are still dancing, my feet would be dying from so much dancing.

Penny you’re so precious ;v;

Another Red VS Blue reference!

He keeps his promises, even if it’s wearing a dress.

Pyrrha’s laugh is so precious too ;v; … I am not looking forward to Volume 3.

ARKOS, REN. ARKOS IS HAPPENING!

I love the synchronized dancing from JNPR.

I also remember Monty post a video with different people doing the dance. He even put Adam’s V2 model in there before he even appeared. I think.

Awww Weiss’s perception on Jaune has changed, and she has a date now too.

Looks like Sun and Blake want in on JNPR’s fun.

Penny too!

Is that a Cinderella reference? Oh it is.

Not a very good spy if Ruby can spot you Cinder.

Wow, whose idea was that for the password?

And so it begins… with that virus…

Damn she’s quick.

I’m starting to think something with glass is her semblance, despite Ruby saying she thinks it’s not in the episode after this.

OH MY GOD, NEPTUNE’S DANCING

Is that Daft Punk in the background?

Jaune and Pyrrha hanging out ;v;

SUN AND BLAKE’S DANCING ASFKDGJ

They have stamina for so much dancing tho jfc

Oh and this is the part where some people thought Ruby got framed here.

Ominous.

[Episode 8]

Ozpin and Ozma were switching… I wonder who is in control now…

Never change Ruby, never change.

Ironwood is right on that.

I love that Ironwood turns to Ozpin wondering why is he telling her that. He has a plan Ironwood.

Yep. That’s Ozma. Mr. Secrets.

Ooooh Glynda was about to say the D word.

Yep definitely Ozma.

ZWEI!! <3

Weiss quickly caves in XD

I wonder if Blake avoids dog Faunus too.

This one is hard, but I think it’s Ozma…

I love that man so much.

Okay that’s Ozpin when he’s talking to the girls.

Team CFVY!

Ooof… Poor Velvet.

Oh my gods their reactions to Oobleck.

There was gay energy from Yang, Arkos, Blake having the time of her life with Sun at the dance. All in all good stuff.

[mcdonaldstuck]

this is the aggie/magma that started it all

[recentanimenews]

The Hidden Dungeon Only I Can Enter - Crunchyroll Winter 2021 Spotlight

  Are you bold enough to step into The Hidden Dungeon Only I Can Enter, which started as part of Crunchyroll's Winter 2021 lineup today? It's okay if you're apprehensive; that's why we're here to guide you through the door with a handy overview of the adaptation. 

  Official website

Twitter

      Navigation

Launch Info

Official Trailers

Synopsis

Characters and Cast

Staff

Additional Info

    Launch Info

Launch Time: January 8 (Live NOW!)

Territories: North America, Central America, South America, Europe, Africa, Oceania, the Middle East, and CIS

Show Page

  Official Trailers 

    Synopsis

  The Hidden Dungeon is a place of legend where rare treasures and items are hidden. Nor, the third son of an impoverished noble family who's lost the one job offer he had, was lucky enough to hear about this dungeon. He then acquires a skill that allows him to create, bestow, and edit skills... and in order to use it, he needs to accumulate points by carrying out such tasks as eating delicious meals and doing sexual things with alluring members of the opposite sex.

  Characters and Cast

  Ryota Osaka (Nariyuki Yuiga in We Never Learn: BOKUBEN) voices Noir:

    Noir is the third son from a family of minor nobles. Olivia gives him some of the world's most powerful skills of 'Create', 'Grant', and 'Edit'. He also possesses the 'Great Sage' that allows him to gain all kinds of knowledge, but with an intense headache as a toll. Noir is a bit stupid at times but also has a serious and careful personality.

  Miyu Tomita (Rizu Ogata in We Never Learn: BOKUBEN) voices Emma:

    Emma is the daughter of a baroness and a childhood friend to Noir. Her specialty is using a dagger during melee combat. She treats everyone around her equally with a kind heart. Because of her looks and voluptuous body, Emma is very popular with the opposite gender. Emma gets irritated because Noir doesn't notice she has feelings for him. 

  Rumi Okubo (Chinatsu Yoshikawa in YuruYuri) voices Lola:

Lola is the gorgeous receptionist at the adventurer's guild Odin. As the person in charge of Noir, she arranges various quests for him to go on but secretly hopes to become his wife. Despite her calm demeanor, Lola has a competitive streak and considers Emma, who is close to Noir, to be her rival.

  Yui Horie (Felix in Re:ZERO -Starting Life in Another World-) voices Olivia:

    Olivia was a top-tier adventurer who worked 200 years ago. She became trapped in a labyrinth by a curse after discovering a hidden dungeon. She communicated with Noir through telepathy and became his master by giving him the world's most powerful skills. Olivia has the personality of a mischievous older sister with a light-hearted attitude.

  Staff

  Original Creator

Meguru Seto

  Original Character Designer

Note Takehana

  Director

Kenta Onishi (assistant director on Science Fell in Love, So I Tried to Prove it)

  Series Composition

Kenta Ihara (Saga of Tanya the Evil)

  Character Design

Yuya Uetake (key animation on SING "YESTERDAY" FOR ME)

  Animation Production

Okuruto Noboru (Choujigen Game Neptune The Animation: Nep no Natsuyasumi)

    Additional Info

  The Hidden Dungeon Only I Can Enter was recently revealed as one of a handful of shows getting dubs in multiple regions, including English, Spanish, Portuguese, French, and German.

  Seven Seas Entertainment licensed the web novel and the manga of The Hidden Dungeon Only I Can Enter for an English speaking audience. The first volume of the light novel launched on October 13, and the manga, adapted by Tomoyuki Hino, on November 3.

    Here's what the original author and illustrator said back when the adaptation was first announced:

  Comment from the original author Meguru Seto:

  I am amazed, delighted, and excited by such a reality where a small delusion that only existed in my head a few years ago is now being turned into an anime with the help of many people. This is thanks to all the readers who have supported us and the people involved. The Hidden Dungeon Only I Can Enter is a comedy, a battle, a bright but slightly naughty work. No, not even slightly? That's where it's hard to judge. Please check it out in the anime. I can't wait to see the characters in action!

  Comment from original character designer and illustrator Note Takehana:

  Congratulations and thank you for making The Hidden Dungeon Only I Can Enter into an anime! I can't help but be excited to finally see the world of hidden dungeons, which is full of fun, excitement, and lewd moments, in action as an anime!

  Yay! I'm looking forward to seeing the hero, Noir, and all the heroines in action together with the viewers!

    -------

Joseph Luster is the Games and Web editor at Otaku USA Magazine. You can read his brand new comic, MONSTER FLIGHT, at subhumanzoids. Follow him on Twitter @Moldilox.

By: Joseph Luster

[nothings-kinpossible]

(@toon-town-mess) can I get a Canon call? Hey, I'm Bendy from The Epic Bendy/Wasteland Squad AU! I'm looking for my squad mates (EM!Mickey, Oswald the Lucky Rabbit, cuphead, mugman, and Felix the Cat). If you remember me and my magic fountain pen, drop me a line!

Hit them up!

-Mod Nep