#SO THIS MIGHT NOT EVEN BE RELEVANT LMAO

[red-might-be-dead]

guys i haven't listened to 112 yet, what's gay sex?

[emblazons]

"It feels like such a basic thing, but it’s something that I actually don’t see that often."

Marie celebrates one year of gifmaking remaking my first set ever

[puhpandas]

as someone who isnt super excited for sotm for certain reasons I am really glad that like. it's clear that since ruin theyve been setting up for carnival and sotm IS carnival. so now that carnival is finally coming out, afterwards theyll be moving on to other plotlines since the main villain stuff is sorted out

I'm just rlly happy to finally see a clear direction for how the story is gonna be playing out with like "okay these games were leading up to this so after this will be open possibilites" instead of like. absolutely no info about each upcoming game and being left guessing before it releases and just having to wait and see what's in it and if anything you're looking forward to will be in it

it feels like they have a plan and a solid direction for what they're trying to do and after carnival releases thatll be all that buildup coming to fruition. & we already know from the Scott interview that theres another release 'beyond sotm' that's 'super exciting' so maybe thatll be focusing on another big currently untouched (which is basically all of them) plotline, or even the big campaign game that dawko has been calling security breach 2

[froganni]

Maybe a little overly serious approach to the situation, but y'all have GOT to be more respectful towards the creators you watch and consume content for. fWhip's message about getting a lot of hate is honestly abysmal.

Like, don't get me wrong, I love lore-related series! I think they're a lot of fun and I love watching them.But give non-lore series a chance! They're also a lot of fun!

These creators are all responsible adults who are very capable of creating boundaries for themselves and deciding amongst themselves what rules they want to follow when joining a project.

Obviously, there are many viewers and community members who this isn't directed at. :D

Please don't send hate to anyone, it's not helpful. If you don't like something, don't engage with it. Just leave it at that. Show respect to the community you're apart of, and to the creators that head it.

(It's fine to be annoyed with something and talk about it, but don't force a creator to see that negativity. It's not benefiting anyone.) The more hate a creator gets, the less they engage with and organize fun things for the community. Please remember to be kind.

[taichi-x-koushiro]

ME: Happy Kou-shi-ro {5-4-6} Day!!!

[unproduciblesmackdown]

more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair.  More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking.  Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction. 

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are:  "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself.  They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory.   As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it.  Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

[vampirecatboy]

tonight in dnd land: Aja 👏 got 👏 LAAAAIIIDD [airhorn noise]

and it was anonymous 😎

[zhalar]

yeah i dont really consider myself that socially anxious anymore [<- speaks on the phone about grownup things for 15 minutes and my fingertips start to sweat]

[spud-works]

I fucking hate Destiny 2, it's my favorite game

[cazshmere]

12th House Synastry and the Blockages Faced in the Relationship (Planet Overlays)

materialist🔖

DISCLAIMER‼️: This explanation is mainly from the perspective of the planet person, but the feelings and experiences described might also resonate with the house person. Both sides may find some relevance in these observations. Please note that this focus is solely on the negative outcomes of these synastry placements. There are undoubtedly beautiful and positive elements that can arise from these connections as well so take these with a grain of salt. These are just my personal observations and are meant for entertainment purposes only; it may not resonate with everyone due to the nuances of astrology. Please respect my work and avoid copying or stealing it. Enjoy reading!!

Sun ☀️ : With this synastry, the Sun person feels that their true personality is restricted or blocked. They don’t understand why or how the house person perceives them in a way that is far from who they actually are. Sensing the house person’s apprehension towards them, they might try “switching personalities” to appeal to or be accepted by the house person, driven by a need to please them. The Sun person feels misunderstood and is unsure why the house person doesn’t see them the way they want to be seen. The sun person could also be some sort of enemy disguised as a friend to the house person.

Moon 🌙 : With this synastry, the Moon person’s true feelings and intentions may seem hidden or concealed for various reasons. The Moon person might feel the need to put up a front to appeal to the house person and gain their acceptance. This can also manifest as the Moon person harboring negative feelings towards the house person but pretending to enjoy their company, reflecting the restriction of their true emotions. This dynamic can lead to a lack of genuine emotional connection and increase misunderstandings. A lot of jealousy also comes into play with this synastry

Mercury 🗣️ : As I'm focusing more on the negative side of this synastry, I have to point out that this is a major red flag placement 💀💀. Communication, which is crucial in any relationship, is significantly blocked here. The Mercury person might withhold their thoughts and intentions due to fear of how the house person will react. This could also involve the Mercury person bad-mouthing the house person or even snitching on them, while putting up a front and pretending to be all buddy-buddy with them. With communication being a barrier, this can also manifest as a language barrier or misunderstandings between the two, leading to further communication problems.

Venus 🩵 : Ahh, the planet of love being in the 12th house 😭—very iffy. With this placement, love is literally blocked in this synastry due to unfortunate circumstances. This could mean that the Venus person doesn't know how to be lovey-dovey with the house person and ends up being rude, though in a more playful way, as Venus tends to be gentler. The Venus person might feel that the house person won’t accept their love and as a result starts “teasing” or “playfully bullying” them as a subtler way of expressing themselves. Since the Venus person can’t externally express their love, they turn these feelings inward, leading to the creation of fake scenarios. In these scenarios, they are genuinely expressing their love for the house person, and what plays out in these fake scenarios is what they actually want to portray in real life but are somehow unable to. The venus person also feels that the house person might not understand the way they love and that’s why they end up not expressing themselves openly and that’s where unrequited feelings and love occurs. You will never know unless you try right?

Mars ❤️‍🔥 : Lmao, this one is the most interesting! As we know, Mars is the planet of initiation and motivation. When Mars falls in the 12th house, it blocks any chance for progression - be it physically, mentally or emotionally. Mars is a very instinctual planet, and being placed in the 12th house can lead to confusion about their true instincts. The Mars person might doubt themselves and try to pull back to avoid overstepping any “boundaries”but the mars person often takes the idea of "overstepping boundaries" a bit too literally and ends up not making any move at all. Contact is blocked. This has to be one of the worst synastries because if contact itself is blocked, how can a relationship even be formed? It blocks all the areas such as the development of love, feelings, communication, etc.

Jupiter 🧿 : This placement is comparatively easygoing, but as we focus on the hindrances in this synastry, it can present some challenges. Jupiter represents expansion and abundance, but when it falls into the 12th house, it amplifies themes related to spirituality, mysticism, spirituality, etc. While one of Jupiter’s natural traits is the art of bringing joy and luck into wherever it lands, this can manifest as the Jupiter person bringing immense joy and luck to the house person. However, the Jupiter person might come across as excessively optimistic, which the house person may find confusing or overwhelming. This difference in outlook can leave the Jupiter person feeling let down because the house person doesn’t share their perspective or beliefs. As a result, the Jupiter person might hold back their optimism and viewpoints to better ‘connect’ with the house person on a higher level.

Saturn 🪐 : With this synastry, discipline and structure are blocked. The Saturn person may feel off balance and unstable when they’re with the house person. The house person might have a very fluid and mutable way of living, which is probably something the Saturn person struggles with or entirely opposes. However, with 12th house synastry, there is often a need for pleasing and acceptance from both parties. As a result, the Saturn person might bend their own rules and try to go with the house person's “flow,” but they won’t feel comfortable doing so because it creates a sense of imbalance in their life.

Neptune 🧜🏼‍♀️ : This placement is quite tricky and can be confusing. Neptune, the planet of dreams and illusions, falls in the 12th house, which can block a clear sense of reality. The Neptune person might find their ability to perceive the house person’s true nature clouded, leading to misunderstandings or unrealistic expectations. The house person may feel like their true self is hidden or misunderstood, and the Neptune person could struggle with setting clear boundaries or distinguishing between fantasy and reality. This can create a foggy dynamic where both parties have a hard time grasping the other’s true intentions and feelings.

Pluto ⚡️: This placement can be intense and transformative, but it also comes with its hurdles. Pluto is all about transformation and power, and in the 12th house, it blocks the ability to fully experience or enact personal change. The Pluto person may find it difficult to navigate deep transformations within the relationship, leading to feelings of being stuck or unable to evolve. This can manifest as unresolved issues or hidden power struggles. The house person might struggle to understand or support the Pluto person's need for transformation, leading to a dynamic where growth feels obstructed and hidden tensions simmer beneath the surface.

Uranus 🛸 : This placement brings a unique set of challenges. Uranus represents uniqueness and innovation, but when it falls in the 12th house, it blocks the ability to fully express or embrace individuality. The Uranus person might feel stifled or unable to showcase their unique qualities in the relationship, leading to feelings of frustration or alienation. They might struggle with feeling accepted for who they truly are, and their innovative ideas or unconventional traits could be suppressed. This can cause the Uranus person to feel disconnected from the house person, who may not fully appreciate or understand their uniqueness.

banner/pic credit : @/crisscreen and @/only-ranpo

© cazshmere 2024 [All Rights Reserved]

[youwerethedefeated]

Ok brief run down of kagehina sightings in the light novels for @infinitemilk

Right off the bat in volume 1 chapter 1, we have Hinata daydreaming about having a picnic with kageyama underneath a beautiful sakura tree in full bloom. Yep with the pink flowers falling around romantically, they're sharing food and laughing together etc.

The "he chose the Olympics over me" also comes from there, though I'd say that's the least gay thing to happen in that chapter. (It's volume 12, chapter 1 if I'm not mistaken.) Prior to that, Hinata also complains that "Kageyama never tells me anything" and that if they're partners, shouldn't be included in that kind of decision making? (Yeah just like that)

This is the same chapter where yachi goes on on her (paraphrasing) "they're not friends not lovers but a secret, worse third thing" rant: "more like a fork and knife, or the minute hand and the hour hand of a clock. Even when there's no conversation between them, they still continue to move with the same purpose"

This same chapter, hinata continues bitching about kageyama joining a pro team/the JNT and ditching him the whole time lmao

There are a few chapters during the summer training camp that show Hinata pestering everyone to compete with him because Kageyama wasn't talking to him - at some point lev asks "why don't you compete with your partner" and hinata is like "Oh we're taking a break" (yeah just like THAT)

When they do start training together again they're both so happy about it.....

There's a chapter (that I never found translated in full) that's that one scene where Hinata messages kageyama on new years day, and kageyama gets "fluttering feelings at the bottom of his stomach." My dude be out here getting literal butterflies in his belly JUST FROM A TEXT and then he proceeds to get mad at hinata for making him feel this way 😭

Later on when they meet anyway, Hinata says he wanted to go to the shrine with kageyama and that even if they go now, it won't be the same bc then it's not "his first time" anymore.....

And the star of the show. The Grand King in Rio.

This one takes the crown for not only being the gayest, but also perhaps the most plot relevant. It's just about that time Hinata and Oikawa met in Rio.

Inevitably, they talk a bit about Kageyama, and oikawa starts downright TEASING hinata over him like... asking if they'll meet for the Olympics and stuff.

And then hinata starts spiraling because a) he's not at a point where he can meet kageyama as an equal, b) he can't remember Kageyama's face, c) he tries so hard to remember "that terrifying face" that he gives himself a tummy ache ksjhdkaldm

In the end hinata arrives at the conclusion that he and Kageyama don't need to meet now, since he isn't ready, and he recalls the promise he made to Kageyama, and how it's such a coincidence that he met Oikawa all the across the globe, and it was also a coincidence that he met Kageyama in the first place, but if life is made of coincidences then it's inevitable that they'll meet again someday... the rest is super poetic, really

ANYWAY this is it from the top of my head. I think @kagehiner might have more anecdotes since he was the one who got me into the LNs in the first place lol

[bonefall]

Do you think the clan cats having less kits per litter/less litters in general (they already have less kits than real cats) would fix the bloated cast issue? Because I look at Ginga and the cast is also bloated and only a few characters have offspring but the author keeps making other dogs join Ohu and refuses to kill the old as fuck dogs

I don't think there's any one particular "solution" for stopping bloat in series that manage large casts through generations like Ginga or WC, it's actually a few things

The #1 MOST important thing I think about bloat, though, is that it's about a ratio of quality to quantity. NOT raw size.

A long while back I made a couple of allegiance lists for certain eras. In spite of my Clans having the same (or even higher!) population as canon, I NEVER struggled with those lists being bloated. If anything, sometimes if a Clan's below 30, they look too small.

(I'm sure you can find those lists if you look, they're probably tagged BB!Allegiance, but they might be a bit out of date)

That's because in BB, there's dozens of HUGE cultural additions to Clan life. In "administration," alone, there's 3 new major divisions of skills (hunting, cooking, construction) ALL with their own "head" of that patrol, plus canon's leader, deputy, and Cleric. Not to mention subtitles like the Educator and maybe a Chaperone/Permaqueen!

So to bring it back to that "Ratio Theory," If our Clan is 30 cats, those 8 major roles immediately give at least a slight amount of character to a little over 25% of our group, with each role being something that the other 75% of cats can desire and compete for.

Canon's measly 3 is 10%, and you can ONLY vy for deputyship if you want any power. There's nothing else to BE ambitious about.

You can make the ratio higher by having hobbies, drama, skills, arts, etc. Basically; characterize background characters! Which should be obvious!! Give them traits that are useful and interesting and show the community being valuable.

It won't feel like "bloat," it has the sense of communities living their lives. Even if they go quiet for a while, when they return (just look at how much people like seeing Sedgecreek or Hallowflight mentioned lmao) it feels like meeting an old friend again.

WAYS TO MAKE BLOAT FEEL WORSE;

Giving too many "opportunities" to old characters.

Think of every relevant role a cat gets as a meal, and the bigger the role the more they've eaten. If you're only giving value to your old fanfavs, you're not doing much for them because they're already full while the rest of your cast starves.

Haphazardly killing off characters.

I actually strongly resent the "trend" where people conflate good storytelling with an author's willingness to suddenly kill characters off. I think it comes from the same place as needing to "outsmart" your audience.

If you kill off a character with VALUE, an unfinished arc, interesting connections, it's just unsatisfying. The Erins have this problem of killing background characters with some established lore or value (like Harelight and Briarlight) while leaving uninteresting background nobodies behind that they never build back up.

Before killing a character, ask yourself what their role in the cast is, and their dynamic with others. Try not to axe them without a plan to fill that "role" and/or comment on their absence. Replace what you take.

EASY REPLACABILITY

This one is HUGE, this is why Ginga is so bad with this. If a bunch of dogs die, 100 random soldiers can replace them from somewhere. That is REALLY bad, because all the random influxes of new characters do not have a chance to replace what was lost.

It also makes death feel cheaper. Oh no! Background dog 7446 got eaten by the newest type of bear. This won't make battles harder to win or cause us to lose any valuable skills though. Also a new dog just walked in from offscreen.

Population Growth outpaces Death Rate

AKA your cast is growing too fast and you're not getting rid of old characters. This is what anon was asking about-- and it CAN help to make births less frequent and litters smaller. Make sure to pair with preventing lots of new, adult characters to casually wander in, too.

ALL of these tips have exceptions and places where they can (and should) be subverted and broken. But these are just things I think about

[matenr0u]

Riku: Island Breeze

I was going to put this in my combat analysis, but it absolutely deserves its own post.

In 358/2 days, Riku wields Oblivion/Bygone Memories for the final encounter he has with Roxas. Having called out to him and realized that Roxas really is Sora’s nobody, Riku goes all out to bring him to Castle Oblivion where his best friend is sound asleep, having his memories pieced back together. 

During this iconic battle, Riku is specifically vulnerable to Aero: the power of wind. 

Why is this relevant, you might wonder. Riku is associated with a fair handful of things: bat wings, darkness, fleur-de-lis, but not wind.

On the contrary, Riku has a little known fondness for the wind. You could even say, it makes him feel nostalgic.

Fair enough, Roxas can hurt Riku with the wind because he misses the island breeze. Neat gameplay detail, no big deal. But if I can compel you to peer just a little closer… Because this is Riku— the guy who spent his days gazing enviously at the sea and the sky and brooding over his dark angsty feelings. This time, it actually is that deep. 

In other words Riku is weak to Roxas’ Aero attack because it reminds him of Sora.

Sounds like a reach, right? Allow me to demonstrate.

This passage alone is insane, but there’s more.

While Riku is elsewhere in Castle Oblivion reminiscing, Sora battles Repliku for the first time. This is before they have both been consumed with false memories.

Everything about this exchange is so Riku. It’s all of the real Riku’s messy, complicated feelings dialled up to 100 and Repliku doesn’t even understand why he’s having these thoughts. Sora is clueless of course.

So he runs away, and as he leaves, Sora picks up this…

After defeating Repliku, Sora finds the Aero card. The island breeze. Riku’s memories of chasing each other, rolling in the sand together, of jealously watching from afar as Sora and Kairi grew closer.

The way poor Repliku’s dramatic ass just drops it and runs away lmao

Some time later, following the second battle against Repliku, Sora obtains his lost Oblivion/Bygone Memories keyblade after talking to Namine. Wonder why Namine had that keyblade. Probably just a coincidence…

I’ll close this post with a few more of Riku’s thoughts.

Other Diamonds:

Chain of Memories:

“The wind brushed through Riku’s hair.

I wonder if I really will meet someone from my memories in this castle… I want to meet— Sora. More than Kairi, more than anything, I want to see Sora. I want to see him— and apologize.”

Translation credit: goldpanner, keijitranslates

[thesunshinecourts]

five curiosities for the next book, after reading the sunshine court

a non-exhaustive list, but five things i'm curious to (hopefully) find out more about in TSC2, or that i have questions about still:

what happened at the trojans' fall banquet (presumably jeremy's first year)? it's a Scandal, and jeremy cannot stand to be around bryson, and annalise has never forgiven him for sticking with exy after that, despite having attended all his games in high school. given the allusions to his stepfather, and also his step-grandfather being a congressman, i can see how jeremy's sexuality might be relevant to the situation—especially if we read into lucas' stiff apology and shame at his implication about jeremy and jean as being born from more than just common decency, but rather knowledge of this being a previous sticking point in terms of jeremy's scandals—but i also keep thinking about what cat said. jeremy has—three. two brothers, one sister. the way she says it, how it sticks out to jean as an odd switch, and the fact that we've only met two siblings – it makes me wonder what happened to the third. or if that's even the right question to ask, regarding jeremy's siblings.

elodie. i'm curious if we learn anything about what happened—by and large, i kinda hope not, if only because then jean has to too, unless it turns out stuart is lying, but that's a very different kind of fallout. (i don't actively theorise he is—at some point, these kids will run out of tolerance for ghost stories coming back to life—but i think its possibility ought to be considered, at least). i think we'll get more flashes of her from jean's thoughts, though, and i anticipate lots of heartbreak lmao

lucas. assuming stuart's contact comes through, and neil's hit goes ahead, we've got lucas in the aftermath of finding out his brother is a monster, and jean saying not to call the police, and then possibly his brother being dead. if it happens any other day—if it happens in west virginia, especially—i suspect lucas might be able to look at it like another domino in the ravens machine falling down, or even that something horrible happened to him when he returned home, but if it's still in LA, after what he did to jean, after jean said no cops-------i can see how that might twist into something more suspicious. who knows! i'm curious to see what happens there. grayson is a monster, but he is still lucas' brother. aaron and kevin still have complicated grief about tilda and riko, and they were their direct, constant abusers; cass never learned until after the fact, and lucas is in a complex space between the two parts of that spectrum. if grayson dies, i think the fallout will be unavoidable for exploration

this is a small one but man, i just want to keep seeing jean's list grow. it tears something out of me every time, and stitches me back together, and i want to go through that over and over, because i want to see a jean who not only hears that his life is his and worth living, but a jean who learns to believe it too

i'm just kinda assuming we see the foxes again, because i remember nora's character list having new details about characters who didn't show up in this one, but i'm also quietly hoping for more thea. their scene made me ache, and he'd never had good defenses against thea, and kevin knew that. jean would kill him for bringing her here made my heart do the !! double-tap. i'm extremely invested in jean, thea and kevin as a unit, and it would be so incredibly wonderful to see more

[fanfics-for-you]

what's in a name? || Patrick Verona (TTIHAY) x gn!reader (Modern!College!AU)

AVAILABLE ON AO3 (SOON)

Inspiration: ✨️Patrick Verona✨️

Summary: Patrick Verona is apparently the most intimidating guy on campus. You just want to get by, pass your classes, and get to your actual dreams. When you casually approach him one day and decidedly are not scared of him, Patrick has some questions.

TWs: light language, use of Y/N (only like twice), second person POV (you, yours).

[[A/N: This is basically under the concept that you approach Patrick first, and aren't really as afraid of him as anybody else. He's intrigued. Also this is a college AU, because I am in college and I think it's weird to write about high school lmao. ALSO,,, I know this is incredibly niche and a dead tag, but... I watched the movie recently and was violently possessed to write this. The parasites in me what to continue this universe, but idk. Anyway. Enjoy :)]]

You were exhausted. Totally and completely exhausted.

You'd stayed up all night for your chem quiz, and still, didn't think you did great on it. Which made your day ever so worse. So, when you went to the library, and someone was sitting in the spot you always sat in, you halfway wanted to cry and halfway wanted to rip your hair out. Normally, such a thing wouldn't be a big deal, but today it was. So, with a certainty that rivaled a lawyer in court, you stomped over to the chair.

For a moment, the guy didn't even look at you. He kept staring at his friend, a surprisingly 'metal' dressing guy who was talking avidly about something.

You cleared your throat.

That's when they both looked at you.

You were entirely focused on the one in your seat. A taller guy with built shoulders, curly hair and a sharp jaw. In normal circumstances, you'd probably think he was hot. Today was not normal circumstances.

The man raised an eyebrow.

Okay, so maybe it was a little normal circumstances, but that wasn't relevant.

"What are you doing?"

The man answered, simply -maybe a little confused, "Sitting?"

"That's my spot," you clarified, pointedly.

"Oh, I'm sorry-" the man pretended to start getting up before pausing -speaking sarcastically, "-Oh wait, I've just remembered, this is public property."

Mindlessly noting that he had an accent that you couldn't quite place, you rolled your eyes, "I sit there everyday. Just give me the spot."

"You weren't sitting here all day," he pointed out, "-or else I wouldn't be here."

You pressed your lips together into a thin line, "I was busy failing a chem test, now get up."

His eyes skimmed over your face, thoughtfully, "Do you know who I am?"

"Why-" you sighed out, frustrated, "-would I know who you are?"

Even despite the comment, he did seem familiar somehow but you weren't going to tell him that.

He furrowed his eyebrows for a moment, and didn't say anything. You felt like you were going to explode in fiery flames.

You groaned, "Oh my god. There are thousands of seats on campus, just go sit somewhere else."

"Exactly," the man countered, "-why don't you sit somewhere else?"

"Because-" you huffed out a breath, "-that's my spot."

"And why is this spot so important to you?" He shuffled slightly, moving his hands along the cracks of the seat, "-You got something good stashed in 'ere?"

"Dear god," you huffed out a breath in defeat, "-Whatever. Enjoy your seat, asshole."

And with that, you spun on your heel and pulled yourself deeper into the library. Taking a breath in, you pulled yourself into a seat not too far from the original, but you were around the corner so you wouldn't have to look at his stupid face. You soured just at the thought.

You pulled open your chem book, and read through it -trying to figure out which ones you definitely missed, that way you could get the ballpark for what your grade might be. You really needed to know, to make sure your GPA stayed in the range for your dream university.

But, in the middle of it, you heard someone plop into the chair in front of you (it was a group of chairs, like for a group of people if necessary).

Before looking up, you spoke -sharply, "Do you mind?"

"Not at all."

Your eyes shot up at that familiar accent, and you frowned.

"You got the seat," you pointed out, bitterly, "-What the hell do you want now?"

"Your name," he answered simply.

You blinked, (what?) before settling back into your seat and flipping to the next page, "Yeah, no."

The man seemed to move forward, and unwillingly your eyes flickered to him (his curls moving with the motion), "Why not?"

"I don't give my name out to strangers," you retorted -flicking your eyes down to your book, "-especially not assholes."

"Don't know if I can change who I am," he smirked, "-but, I can work on the stranger part."

You frowned, eyeing him particularly, "Seriously, what do you want?"

"I already told you," he replied, fidgeting with something in his hands (you weren't paying attention), "-I'm Patrick, by the way."

"Well," you exhaled, sharply, and ignored his name, "-you're not getting it."

"Well," he repeated with the same sort of grin, "-I'll just have to work on that too, then."

You looked up at him again and squinted at him -trying to read him somehow. All he did was grin at you, a charming kind, of course, that made crinkles on his cheeks. You ignored the flutter in your chest that it gave you and darted your eyes back down to your book.

The next day, you were in better spirits. After studying for an entirely different class, you were pretty sure you aced that test. So, you weren't as pissed, thankfully. Until you went into the library to sit between classes like you always did.

You paused in your step and frowned.

The guy (Patrick, your mind treacherously noted) was sitting by your chair, mindlessly tapping his fingers along the arm of the chair. He wasn't in your chair, thankfully, but still, he was in the one beside it. Pointedly close.

You huffed out a breath, and moved toward the chairs, "What are you doing?"

"Sitting," he repeated.

You raised an eyebrow.

He seemed to take that as a repeat of the question -before saying, confidently (too confidently), "I'm studying for a test."

"You don't seem like the studying type," you retorted, throwing yourself into the chair and pulling out your laptop -realizing it was no use to try and get him to leave.

Patrick pointed out, "You don't even know me."

"And I don't intend to," you replied with ease, flicking your eyes to meet his, "-your point?"

He grinned the same bright one from before, amused maybe. Your heart skipped a beat, so you dropped your eyes back down to your laptop. He, on the other hand, didn't seem to look away.

"What's your major?" He asked, thoughtfully.

"I won't tell you my name," you leveled, scrolling through your online schedule for homework, "-but you think I'll tell you my major?"

"Well," he reasoned, "-a name is much more identifiable, but your major," he shrugged, "-not so much."

You eyed him again for a second, before saying, "What if you just want to look up my classes and hunt me down?"

Patrick smiled again, before asking, "What is your next class?"

"Why?" You ask, pointedly, "-So you can force me into talking to you again?"

"Preferably," he replied, grinning cheekily.

You raised an eyebrow, and bit your lip to pull down a smile that begged to quirk up, "I'm not telling you that either."

"What if I just follow you when you leave?" He questioned, curiously, "-Figure it out myself?"

"And what if I-" you smiled at him -patronizingly, "-call the campus police?"

He raised both eyebrows as if to say 'touché' without saying it out loud. You bit down another smile and moved back to your computer -pulling out your planner and jotting down dates.

"Your pissiness," he suddenly spoke, "-Are you often filled with boiling hatred?"

"No," you sigh out, before shooting him another patronizing smile, "-that's special just for you."

He laughed then, and something warm zinged down to your toes (you ignored it), "Do you seriously not know me?"

"Do you know how many Patricks exist in the world?" you point out, "-No, I don't know you."

"So you do remember my name," he smirked, patting along his lap with a mischievous gleam in his eyes.

You rolled your eyes but didn't say a word.

It ended up like that for the rest of the time, Patrick shooting questions now and then, and you shutting them down. His stupid smirk and low, rumbly, accented voice, you hated that he actually seemed kinda nice -all things considered.

But, as you stood up to leave, you decided on something.

"Literature," you said simply, gathering up everything into your bag.

He paused, shooting up his eyebrows, "What?"

"My next class," you answered, nonchalantly pulling your bag onto your shoulder, "-Intro to Literature."

Patrick grinned, bright and shiny, "Gen Ed?"

"Yeah," you answered, moving to put the last few things in your bag.

"Can I walk you?"

Your eyes snapped to him then, curiously -detailing the rather honest look, before answering solidly, "No."

He burst into laughter then, throwing his head back against the chair -you mindlessly watched his curls fall back with the motion and then snapped your eyes away.

"Same time tomorrow then?" He asked, still laughing a little bit (something in you twinkled).

"Nope," you exhale a breath, ignoring the disappointment that swirled into your chest, "-I'm not on campus tomorrow."

He seemed to falter for a second, "Do you live on campus?"

You raised a solid eyebrow, you really think I'd tell you that?

"Right, yeah, okay," Patrick conceded, holding up his hands in faux surrender, "-What days are you on campus?"

You paused, pressing your lips together, but something in you did it, "Mondays, Wednesdays and Thursdays."

He grinned a little brighter, "Are you here around the same time on Mondays?"

Something in your chest flipped, but even still, you answered, "That's what you have to figure out. Not me."

And then, you spun on your heel and walked out of the library. His laughter trailed out behind you, and if you had a small little smile on your face at the noise, that was only for you to know.

Monday came, and you woke up early and made your way to campus -the first class of the day was at the crack of dawn. You physically despised it, but so is the schedule of a college student. Plus, you still worked, so the earlier the better for your schedule -didn't mean it didn't suck though.

Sipping on your drink, you wandered back toward the cafeteria -crossing the main connecting area, where everything led to. There was a baseball game going on, not an official one by the looks of it, in the grass. Your eyes hinged on the game for a few seconds, the echoes of laughter shooting toward your ears. It looked fun, but you weren't too invested in being outside for that long. Before you could look away though, your eyes caught on a familiar frame.

Patrick.

His hair was tied back, and he was wearing a pretty bland tank top (just grey), with some typical jeans. With his hair pulled back, you could see his jaw more distinctively -the sharp lines clear from even this far away. (Not that you were looking.) The sun bore down on them but all of the players seemed to be happily distracted. And you kinda were too.

You pursed your lips, for a moment, and looked forward again after a breath, heading toward the cafeteria again confidently.

Before you could get very far, though, you heard a familiar accent.

"Hey!" He yelled, a little distant -footsteps following his voice, "-Hey!"

At first, you weren't sure if he was talking to you, so you kept moving.

"Shit, I don't know what to call you," he called out, breathless and much, much closer.

You spun on your heels with furrowed brows, and met his eyes over a few people's heads. The grin that swallowed his face whole should've been criminal, bright and twinkly and... charming.

Before you could say anything, he was by your side with heavy breaths -assumedly from playing baseball and getting over to you. Leaning over slightly, he leveled out heavy breaths. You were almost concerned enough to offer him water, but he seemed to settle himself before you could.

"Hi," he echoed, "-'Ve been looking for you all morning, what time did you get here?"

You blinked, all morning?

"I get here early, 7, and immediately go to class," you answered, a little blankly (looking for you, looking for you, looking for you).

"Oh," he paused, "-I got here at 8. There's classes at 7?"

"Obviously," you respond, because you did in fact just say it.

"Did you-" Patrick started, before pursing his lips together, "-Are you going to the library now?"

You furrowed your eyebrows, "No, I'm going to the cafeteria to eat between classes. Why?"

"I'm actually quite hungry myself," he avoided the question, "-Do you mind if I tag along?"

"What about your game?" You furrowed your eyebrows even further -eyeing him curiously.

"'S just to fill time," he explained, "-It's nothing serious. They're sure to find someone to fill in for me."

You flicker your eyes along his face, trying to read him. What's your prerogative?

After a moment, you come up with nothing and instead, just turn on your heel -leading the way to the cafeteria.

"I'm taking that as a yes, then?" Patrick called out from behind you, catching up and matching your stride with ease (despite you making no move to slow down).

You decidedly don't answer him, and say something focused elsewhere -eyeing him as you walk forward, "Do you always stalk people this much?"

Patrick laughed, catching your eye with his warm brown ones (they were almost sparkly under the sun of the day), "Only the ones that blindly hate me."

You pressed your lips together in a flat line (trying not to give anything away), "I didn't say that I hated you."

His face lit up at the words (and you couldn't decide if you regretted it or not), "Well, you could've convinced me."

You roll your eyes, and keep walking forward, "Not telling you my personal information isn't... hating you."

"I'm not sure not introducing yourself is exactly anything but hatred," he argued back, fluidly.

"I just told you that I don't hate you," you point out, "-so it isn't."

"Does that mean you'll eventually tell me your name?" Patrick asked, curiously.

You turned to him, flicked your eyes over him, and then looked forward again, "Maybe on good behavior."

He burst into laughter, brown eyes set on your face, "You're quite an enigma, you know that?"

"And you're not half the mystery you portray," you fire back, naturally, with the flow of the conversation.

He grinned at that, eyes shining with something you couldn't quite label, "You know, I don't think I've met a person like you. You're fearless in like a-" he motioned with his hands, "-casual way."

"I'm not fearless," you argue, approaching the door to the cafeteria, "-I'm just confident."

"Do they not go hand-in-hand?" Patrick offers, getting to the door before you and promptly holding it open for you -unflinchingly.

Something warm stirs in your stomach at the gesture (and his woodsy scent that brushes your nose as you walk past him), but you ignore it, "You can be certain and still be afraid."

"But knowing you're right doesn't necessarily mean-" Patrick followed you in, matching your stride again, as if it's natural, "-that you're confident."

You furrow your eyebrows, genuinely intrigued, "What do you mean?"

He paused, maybe a little shocked by your attentiveness, "Plenty of people know they're right and still concede to someone else because they don't want to fight it. You-" he pointed at you, "-will fight it."

"Well," you purse your lips, avoiding his eye contact, "-maybe I'm only like this with you."

"You," Patrick paused, "-You're not this fiery ball of rage with anyone else?"

You eye him for a second, before saying flatly, "Maybe."

"All of this seething hatred and impressive indifference just for me?" He grins, the big teeth-showing kind, "-I'm touched really. Because I am special to you in some weird kinda twisted way-"

Before you can stop yourself, you let out a laugh at his words -just a quick one. Barely there.

But you could still see the delight smooth along his face, and just knew he caught it.

"How much of that have you been holding back?" He tilted his head curiously, before continuing to push it, smirking, "-Oh I bet you think I'm hilarious."

Your heart skipped a beat at the smirk, and you simply pressed your lips together and turned on your heel to the food counter. There wasn't even a second before you heard footsteps following you.

"You're not denying it, you know," he called after you, close on your tail.

You peer over the selection of food, eyeing the different items thoughtfully, "But I didn't confirm it either."

"Still not denying it," Patrick hummed, sing-songy.

"You know," you turn to him (mindlessly noting that he is very close), sharply, "-someone can have one good joke and still be unfunny."

He leaned forward slightly, eyes set on yours -challenging, "Then tell me why it came out like you were holding it back?"

You blinked at him, once and then twice, the sudden closeness sent a shock through your brain and the challenging tone of his voice nearly gave you full-body shivers. You can't find words to say, and you can nearly see it processing on Patrick's face (the way that he had made your mind melt for a moment), so you turn to the counter and point at something random for them to pick out for you.

The woman eyes the two of you suspiciously, but still diligently pulls out a to-go plate and piles the... mashed potatoes onto it.

"Oh my god," he finally says after a moment (you ignore it).

You go through a few other items, and the woman gathers them onto the plate. You pay, grab your plate-

"You like me," Patrick retorts, and you're not even looking at him but you can tell he's got a shit-eating grin.

Your brain malfunctions for a moment, but you step toward the tables and fire back (on autopilot), "I won't even tell you my name."

He's hot on your trail, following you diligently, "You're avoiding the question."

You spin to him, and reply -sharply, "You didn't ask a question."

His eyes flicker along your face, taking you in (you want to squirm but you steel yourself in place -your eyes now challenging), and then he grins so bright that you'd need sunglasses in any other scenario.

"Oh, you're really into me," he continues, low, gravelly, accented voice rumbling through your ears.

You screw up your face into something defiant, roll your eyes, and turn back to slide into a table. Patrick follows you like a lost puppy. Well, an incredibly arrogant lost puppy.

"You're still not denying it," he slides into the chair beside you and you hate the way your brain swims at the woodsy smell that brushes your nose.

"'Thought you were hungry," you say, simply (avoiding the question and decidedly not denying).

"It was very obviously a ploy," Patrick chimed back, with natural ease -tilting his head slightly and looking at you with twinkling eyes, "-They had pizza out there for all the players. I've already eaten."

Your fork froze for a millisecond (even still, you were sure he caught it), and after a moment, you pulled it to your lips. Maybe conquering both of your lack of response and the way your mind lit up at the idea of 'he just wanted to see me'.

His smile and eyes seemed to soften slightly, as he leaned his head down to catch your eye and guide it back up to your natural gaze (your heart skipped a beat). His brown eyes were soft and if you were honest, maybe a little affectionate.

"What's your name?" He finally said after a soft few moments.

And just like that, for you, the moment snapped, and you rolled your eyes -turning back to your food.

"Oh, come on," Patrick tried to catch your gaze again, "-Look, I'll tell you. Patrick Verona. That's my name-"

You bit down a smile, as he motioned to you with his hands.

"-Now, your turn, tell me yours."

You raised an eyebrow.

Patrick let out a half-laugh, before leaning forward slightly on the table -not quite a breath away, but certainly closer.

"You're so stubborn," he laughed, "-I'll beg. You want me to beg?"

You can't help but let the smile slip onto your lips then, "Why would you beg for my name?"

"Because I want it," he pointed out, still grinning "-Because I want to know you, and personally, I think it should start with a name."

Your heart fluttered in your chest, and you let your fork hang there on the path to your face. You took a moment, scampered your eyes along his face (dark brown eyes so incredibly soft, curls coming down from where he put them up in individual tendrils). Your resolve was weakening, it was really and truly broken under Patrick Verona's hand.

Stupid pretty boys-

"Y/N," you said finally (quieter than intended), immediately pulling a bite to your mouth.

Patrick blinked, "What?"

"'S my name," you explain -shortly, moving a hand in front of your mouth as you chew, "-Y/N."

His eyes lit up at the words, that stupid charming grin smoothing onto his face as he repeated, softer than expected, "Y/N."

You shove down the fluster that begs to climb up your cheeks at his accented voice saying your name. It's something you'd never really thought about but now that it's said, you probably should've thought about it.

Patrick leaned back in his chair, eyes still set on you. He was still grinning, as he said simply, "Suits you."

You furrow your eyebrows, "What's that supposed to mean?"

He raises his hands in faux surrender, laughing to himself, "Jesus, you're a true ball of rage, you know 'at?"

"I'm not-" you huff out, and take a deep breath in, "-I'm not mad."

"Defensive then," he mends, "-You act as though I'm about to strike any minute."

You pursed your lips, "Whose to say you aren't?"

"Me," Patrick laughs, "-This entire conversation. The way I've acted around you since the beginning-"

"Oh, shut up," you roll your eyes, unable to stop the smile creeping onto your lips, "-you were an asshole once."

He groaned, but something like amusement was twinkling in his eyes, "You are the most stubborn human being on this earth-"

"You took my spot," you interrupt, sturdy.

"-It's public property," Patrick argued back, "-and how was I supposed to know it was yours before I sat in it?"

You paused, for a moment, before saying, "You couldn't. But, you could have given it to me when I asked."

"And then we wouldn't be here," he explained, now fully grinning, "-and wouldn't that just be such a bore."

Your eyes swam over his face a moment, Patrick Verona. And his dumb persistence. And his stupid handsome face-

God.

You let out a long sigh, picking around at your food. Eyes watching the swirl of your fork, you debate a few different things to say. Finally, after a few spare seconds, you made up your mind.

"Yeah," you hum, flickering your eyes up to his, "-it would."

Patrick grinned, big and bright and twinkly (you felt your heart skip a beat in your chest). His eyes, the deep brown that if you weren't careful you could stare at for way too long, were soft but still sort of happy, eager. Definitely eager.

And maybe, just maybe, you could get used to-

"I told you I could work on the 'stranger' thing," he suddenly said, smirking, "-You never should've doubted me."

"What?" You raised an eyebrow, confused.

"You said-" Patrick explained, "-you don't give your name out to strangers. And I said I could work on that part-"

You level a look at him.

"-And look, I did," he continued, before adding with a smirk, "-I have successfully escaped the cavernous barrier, deeper than the ocean I'd say, that walls you off from any poor soul who wishes to know you-"

"You're really pushing it, Verona," you chime back, fiery (but not quite all the way).

"What?" He raised his eyebrows, like he said nothing at all to warrant the reaction, "-You can't tell me that it's not like pulling teeth getting to know you. Or trying to anyway-"

You press your lips onto a flat line, "Wow, you must be a sort of masochist, then?

He faltered for a second, before laughing a little, "Oh absolutely, I chase the high of you ignoring me for 2 hours straight every day."

You rolled your eyes, biting down a smile, "I despise you."

"Better that than indifferent," he responded with ease, "-I prefer you feeling something rather than nothing at all."

"Oh my god-"

It continued like that, a back and forth, as you finish eating your mediocre cafeteria lunch. The silence is sparse but not uncomfortable when Patrick isn't running his mouth, that is. It was nice. Insanely nice. You'd probably never had as much fun on this campus as you did with him, just in general, but...

"Same time Wednesday?" He poses with a cheeky grin, leaning onto one hand against the table -closer to you than before.

You felt something warm swirl into your stomach, as your eyes flickered over his face. He was still smiling, like he wasn't able to stop when he was here with you. And something in you never wanted to see it go away anyway.

So, with a slight head tilt and a brighter grin than what you'd let slip past all day, you repeated.

"Same time Wednesday."

[canmom]

Hello! I absolutely love your blog, everything from your festival recounts to animation analysis and programming (one of tumblr's recommended posts was the one where you made your own rasteriser, and I liked your attitude in what I've read so much that I'm gonna attempt to conquer my 3-year-long grudge against using opengl during college and do something similar now that I'm a bit older and have no deadlines :D).

But anyway, I have 2 questions (sorry if there's easily accessible answers, tumblr search is not helping): 1. During your animation nights, does the screen stay black while everyone watches their own video while you provide commentary? I haven't caught any yet but maybe someday! And 2. do you have any youtube channels or just one-off video essays that you like that also cover animation/directors? Or, even programming lol.

Sorry for the long ask have a nice day!

hiii! i'm very touched that you like my dorky eclectic blog <3

For the Animation Nights, I just stream the video over Twitch from local sources on my computer, typically by playing the video in mpv and recording it in OBS. This is obviously not ideal from a video quality perspective, but it's the easiest way to watch video in sync without making everyone download files in advance. Then we all chat in the Twitch chat box (in large part to crack stupid jokes, it's not that highbrow lmao). I've gotten away with it so far!

As for youtube channels, I can recommend...

anime production/history (i.e. sakuga fandom)

SteveM is likely the most sakuga-fan affiliated anituber. He makes long, well-researched and in-depth videos on anime history, usually themed around a particular director or studio.

Pyramid Inu might be my fave anituber - very thoughtful analysis of Gundam, obscure mecha anime and oldschool BL and similar topics. tremendously soothing voice too.

The Canipa Effect does excellent deep dives into the production of specific shows, both western and anime. I appreciate the respect he gives to the Korean animators of shows like AtlA in particular!

Sean Bires's 2013 presentation on sakuga is pretty foundational to this whole subcultural niche, and a great place to get an introduction to the major animator names to know and significant points in the history of anime. unfortunately a couple of the segments got slapped down by copyright but the rest holds up!

animation theory (for animators and aspirants)

I'm going to focus here on resources that are relevant to animation in general, and 2D animation. if I was going to list every Blender channel we'd be here all week :p

New Frame Plus is one of the best channels out there for game animation, describing in tightly edited videos how animation principles work in a game context and analysing the animation of various games. highly recommend

Videogame Animation Study is similar, examining the animation of specific games in detail

the 'twelve principles of animation' (defined by Disney's Ollie Johnston and Frank Thomas) remain the standard approach to animation pedagogy; there are various videos on them, but Alan Becker (of Animator vs Animation) has quite a popular series. I haven't actually watched these but many people swear by them! Dermot O'Connor expands the list to 21. Note that some of the terminology can be a little inconsistent between different animators - c.f. 'secondary motion'...

Dong Chang is an animator at Studio NUT, who produces a lot of fantastic, succinct videos on standard techniques in the anime industry, timesheet notations, etc. etc. Studio Bulldog, a small anime studio, are a good complement; they focus more on douga than genga and are generally a bit more traditional.

programming

big topic here, I'm going to focus on game dev and tech art since that's my field. but also some general compsci stuff that's neat

SimonDev - graphics programmer with a bunch of AAA experience, fantastic explanations of advanced optimisations and some of the more counterintuitive aspects of rendering

Acerola - graphics programmer who makes very detailed guides to a variety of effects with a very rapid and funny 'guy that has seen monogatari' editing style. When he's good, he's really good. His video on water is probably the best one I've seen (though I can recommend a couple of others).

TodePond - the most charming, musical videos about recursion and cellular automata you've ever seen. less programming tutorial and more art in themselves.

Ben Eater - known for his breadboard computer series, a fantastic demonstration of how to go from logic gates up to the 6502 with actual hardware. worth watching just for how clean he puts the wires on his breadboards like goddamn man

Sebastian Lague, Useless Game Dev - both do 'coding adventure' style videos where they spend a few weeks on some project and then document it on Youtube, resulting in a huge library of videos about all sorts of fascinating techniques. great to dive into

Freya Holmér - creator of the 'shapes' library, makes videos on mathematical programming, with gorgeously animated vector graphics. Her video on splines is a particular treat.

There are definitely many more channels I can recommend on these subjects, but I'll need to dig into my history a bit - unfortunately I need to rush out right now, but hopefully that should be good to be getting going with!