#SO THIS MIGHT NOT EVEN BE RELEVANT LMAO

[red-might-be-dead]

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

[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")

[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]

[lokh]

am I misremembering that they had some sort of greeting?? or did they just say some shit like hail zarkon

edit AHHH ok I was thinking of the phrase vrepit sa

me ignoring the multitude of wips from actually relevant fandoms: what if I finished that shlav translator fic

[tiredsmashbros]

THURSDAY - .... um...?

well would you look at that. the blue bitchass is beginning to give up... how wonderful doing a party ain't easy don't try this at home-

WELL... since... SMG4 isn't going to announce something cool, i um, will! similar to the 1K birthday party last year on thursday, i'll show an itty bitty wip update once more on:

LIPBITE PART 3!!

since i already teased lil bit from this page a few days ago, i thought might as well show the whole thing!! obviously not final, but very close to it. frankly i've been meaning to have this next part done before 2025, yet i kept getting really sick, and having to manage several projects and irl issues/events. hopefully within my last spring semester i can continue working little by little but i can't genuinely guarantee a date. other than later this year LMAO. but what i CAN guarantee is i'm making sure its as great- maybe even better than pt2 as i'm putting a little more effort and thought from improving the past few months. alas, it is slowly in the works and reminder to folks i AM in my senior year and will be graduating THIS SPRING!! yippee!!! hopefully, after this event i can get back to prioritizing this one as i slowly get back to college. either way, once its done, i hope you guys will enjoy it as much as i do and hopefully the wait will be somewhat worth it. until then, wait patiently fuckers /silly

BUT THATS NOT ALL!!

since obviously that one sketch above ain't going be enough

here's a bunch of other things i've worked on during my fall semester that seems pretty cool and relevant but never uploaded on here !!

this is a illustration piece i made for my screen printing class! with the printed one being off from the reference since i put the color order wrong LMAO and i also wanted to experiment how chaotic i could make it hehehe. kinda shy to share this piece in particular, but its honestly one of my favorites i've done, so theres no harm in sharing

the same class, but as 1/3 of my final, i had to make books! but because i'm horrible with using pins and too picky with paper + string alignment, i thought it would be best i do... well... a very silly collage-like project xDDD buTT!! this one taking the opportunity to make a cool TSB book!!!

lastly, something even more crazy, another final from one of my other classes... a kickstarter.

BUTT PLEASE LET ME STATE THAT THIS IS FAKE AND PURELY MADE FOR EDUCATIONAL PURPOSES. I AM SOLELY SHARING FOR FUN AND ENTERTAINMENT. THIS ISN'T REAL WHATSOEVER AND VERY LIKELY WONT EVER BE.

okay legal reasons out of the way-

i've shared this with very few people on my server, HOWEVER, instead of me being in control what you can and can not see, i've decided to just let it out for people to see the silly jokes and additions around the page i've made on your own free will, and additionally to help folks get a more semi-direct answer to what TSB story is to those who haven't caught up or confused! a win-win lmao

welp. time's nearly up for me so i will flee for now. hopefully this satisfied some interested despite not being TOO grand, but just small silly goodies for the day.

but if you're still reading this, all i gotta say is tomorrow is a more special day. something i'm very proud of and hope ya'll will enjoy 🍔

[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."

[plat3uau]

I honestly do not know where to begin or how to even write a decent looking introduction, so allow me to just drop this and leave…🤣😭

Okay, but jokes aside, since I’ve been getting really into visual storytelling lately, I just thought “Huh, why not test it out with Jingluo, and capture their dynamic while trying to add a fairytale-like elements to it?”

Also, I genuinely want to become even more expressive through my art, overall… and I guess it’s also an excuse to draw even more stuff related to the two (shhhh, and excuse me for the repetition.😫😫)

Notes on the title (that I think might be needed): I know the matter of language isn’t relevant to the game’s plot at all, but for some reason I’ve developed the headcanon that Luocha is good at picking up languages, as he travels a lot. (I see him just… being very quick at adapting and blending in with the locals’ way of doing things, in that kind of sense. <3)

We don’t really know much about him as for now (still waiting for that lore drop, though!!), but judging from his appearance and aesthetics (so please take this with a grain of salt), he looks like (at least to me) a character from a place based off Europe or the West… So because of that, I had the view that Luocha might have had a harder time actually writing down/learning by heart the Chinese characters (or at least the writing system there) commonly used by the people in the Luofu, when he first set foot there (I mean, I thought of that as it’s a region very much inspired by Chinese culture), since most European languages use the Latin script as for their writing system.

So hopefully this explains why there are two inscriptions: the one on the left side of the canvas is actually written by Luocha, and the other one being the translated version of the title!🥰

(P.S. I tried to translate the title in Chinese to make the Luocha’s writing seem… how to say, more believable? More real? Anyways, I ended up with “我在你身边”, which translates into “I will stand beside you”, so not super faithful to the original title, but I believed that the essence of the general meaning of the original one was still there, so I decided to go along with it.

I’m no native speaker here nor a translator, just a person who studied some Mandarin for a while. T - T❤️)

(P.S.S. I’ll try to keep you updated! My creative process is usually quite slow, so I was thinking that maybe I could share some of the wips with you all. Or you know, just to document some of my thoughts, that kind of stuff. ^_^

Alright!!! I wrote too much, and honestly, BLESS your heart for reading through my stream of consciousness, lmao. But I genuinely appreciate it, I really REALLY mean this.🥺❤️

Thank you so much for taking your time to do so. To whoever reached this point. <3)

[ladyofthebookcase]

i need to yap about cultural nudity in nine sols NOW. context for new followers is that i watched kill la kill this summer and really enjoyed it and the commentary it made on nudity and the desexualization of the naked body. not sure how i want to structure this so i'll just kind of block it out based on the three main characters that are relevant to this. also when i say "the text" i mean the game of nine sols as a piece of media, like how english majors would refer to the book or movie they're studying. im not an english major but i could be.

goumang: my initial reaction to seeing her was to be like "huh she's not wearing any pants that's weird", followed by "well that's probably normal for solarians, they're cat people after all so it's probably less of a big deal in their culture" and then i just didn't care about it for like the rest of the game until i replayed it and got to her again and went "oh that's right, no one else has their pussy out like that. i guess that's just a goumang thing?" and, while i think it IS probably just a goumang thing to some extent (see the post about her being pussy out because of furgonomics basically/it's comfortable for her bird legs), an interesting thing to note here is yi's complete lack of reaction to it. goumang doesn't interact with any other characters in this outfit (the jiangshi don't count cus they can say like 2 words ok), and it could be argued that yi simply has bigger priorities/is not into women, but i do think it's notable nonetheless that literally zero acknowledgement is made to the fact that goumang is just walking around pussy out. not even non-diagetic elements interact with that at all; she's never censored in her manga cutscenes or posed in a way that either hides or exposes her. what this means is that her nudity isn't really treated like nudity. the text completely ignores it! now, we also know from a dev comment that solarians are matriarchal, which i think definitely ties into the different treatment of goumang and jiequan in this regard (i.e. why he's censored and she's not, from an in-world perspective, probably is similar to the way "women's" chests are censored in our world, although non-diagetically we know why he's censored lmao.)

jiequan: ok hmm. i'm no jiegolar, so i'm open to input on this one, but the element here i find significant is that jiequan is seen interacting with another person (aside from yi) while being naked. the fact that ji is hidden behind a screen is most likely just to obscure their identity (specifically his tall form) from the viewer, since they don't seem to have a problem also going around essentially pussy out the entire game; this is to say, it's not because jiequan is naked. i will say that the jiequan naked scenes have quite a different Vibe than the goumang and lady e scenes (no seriouesly why is that one cutscene so sexually charged help) but i think it's reasonable to chalk that up to 1) jiequan is a freak and 2) he's obsessed with yi so that changes the overall vibe of their interactions as opposed to, say, goumang. yeah i don't really know what i'm saying on this topic i don't have enough jiequan brainrot experience for this really. it does kind of give the vibe of like an emperor chilling in the nude in his palace and he's allowed to do that because he's the emperor though.

hm. yeah let's move onto something i've thought a bit more about.

lady ethereal: now THIS is really interesting to me for a few reasons, the first of which being that yeah, she's hot, and the game treats her as such! and yet at the same time it doesn't oversexualise her, or portray her as attractive at the expense of her personality. in fact, once again yi makes zero acknowledgement of her nudity-- his focus is on her, and that something strange is happening to her. yi also shows no discomfort or shame about entering the hot spring-- there's no "wait, you want me to get naked?!?!?!" moment that some media might have had, and i think that's really good not only because im a sucker for different cultural and hypothetical-cultural interpretations of nonsexual nudity, but also because a moment like that would have been cheesy and annoying and made the scene less serious. the focus of that scene ISN'T that the hot lynx woman is hot, it's that there is something mentally wrong with the hot lynx woman. the fact that these scenes take place at a hot spring without the text ever interacting with the nudity of the characters is to me a really strong argument for the idea that nudity is fairly normal and definitely not inherently sexual for solarians. the idea that it is inherently sexual is a very historically recent and western thing anyway and maybe i just haven't consumed enough media where it's not portrayed that way but i found this portrayal really refreshing ESPECIALLY WHEN ITS WOMEN ok this isn't even in a gay way i literally don't care about bodies like that. i dont having sex. i just think it's really really refreshing and nice for women to be, like, able to have these kind of scenes and character moments without the text reducing the entire scene to "ohh look boobies lol". without them being censored or hypersexualised or made into a joke. rips off shirt to reveal a tattoo on my bare chest that says "I FEEL STRONGLY ABOUT AFAB BODIES BEING TREATED LIKE THEY'RE INHERENTLY SEXUAL AND THE STRONG EMOTION I FEEL ABOUT THIS IS THAT IT FUCKING SUCKS". thank you for reading my essay.

[son-justdont]

okay so here's the update regarding my mom's opinions on catws

she fuckin gets it, dude

i talked about how despite everything hydra does to make him look intimidating, you can see that he's very neutral, sometimes even scared. i showed her this gif:

and she said "it's like he's lost"

we talked about how he's extremely calculating and doesn't react emotionally even in high stress or when he's being bested, like when Natasha fucked up his arm, or even during the face reveal. and she said "because they didn't understand the science of it... the serum enhances everything about the person, and he wasn't bad. that's why they had to work so hard and wipe him so much, because he wouldn't ever actually want to do those things." i couldn't help but smile while she was saying this lmao

she also said: "to me, Steve always seemed... independent. it's almost like Bucky relied on him more than the other way around" which is the most stucky thing she could've ever said. she's so fucking right

she was like "wait, so he pulled him out of the water... and then he just walked away?? so now he's just wandering around... and the longer he stays unfrozen, the more he's going to remember everything"

we can't quite yet watch civil war but we are very excited for it lol

oh, and she loved nick fury and she didn't even know who the fuck he was. i forgot to explain beforehand but she understood pretty quick. and then she was very upset when he "died" as well LOL she said "THEY NEED TO STOP DOING THAT." she hated rumlow immediately as well and i was like yeah that's the correct opinion

now i wanna respond to some of the comments under the cut cuz ive been having such a good time lmao

@bucky-boychik-barnes @impetusofadream HERE U GO (one of them is from a different post where i talked about the same thing lmao)

@ilovemosss i read this post out to my mom including the replies and when i read this one she went "YOU ARE!!!!!!!!!"

@sentowritesstuff @stuckydrewx @partofthefandom @musette22 @rillils @skullfragments

she really thought all these responses were so funny and sweet! i however will not be introducing her to ao3 lmfao. she's no prude but she's pretty shy. i'll have to just relay ideas i find myself, i think. if anyone has any non-M rated recs you think she might like based on what she's said, feel free to send them my way haha

honestly she'd probably enjoy herself but i am probably only be showing her Cap and Bucky related stuff LSKDJF we didn't even watch avengers and i sure as hell am not showing her AoU. i'm basically explaining the relevant information as to what went on in between movies. i was like "natasha is an ex russian spy that was groomed to be as a child. that's basically all you need to know" like i didn't even explain nick fury and she was SO UPSET WHEN HE DIED LMAO

and, i gotta spill the beans, but i haven't seen a marvel movie since the first black panther. yeah that includes IF and EG. i know what happens but my interest in marvel PLUMMETED back then and i never caught up. honestly i'm only back into this stuff because i rewatched jessica jones and then wanted to go through the whole MCU from the beginning, saw CA:TFA, went "oh yeah this was all that i liked," and went all in for them.

i have watched TFatWS and i loved it (it seems like the fandom doesn't though LOL) for what it was, so i'll probably show her that. she is gonna be so so so so so upset regarding steve's choice, just like the rest of us. and i'm not looking forward to it lol. but i'll update when that happens too

i'll have to make a post civil war mom thoughts once that happens haha

[theshepherdshound]

how much younger are leshy and heket to narinder in this? did he ever have to do babysitting duty?? and if so, did he love it or loathe it? (feel free to consider babysitting duty as a doodle request if you don't want to but you don't have to lmao)

O DARN THIS IS A BIG THOUGHT, the short answer is all of them are around 3-6 years apart? depending on who's who and where, though i don't really have a like full thought on a timeline beyond that. kallamar isn't that long after narinder in terms of joining their little family- and is still older than him in that regard (narinder likely being around 4/5 and kallamar being around 8/9- so not much older, but keeps canon-ish). the main thing being that they are all children when they get crowned, meaning they're all emotionally stunted in ways that allow them to dehumanize non gods

(also featuring narinder sneaking food to heket because she is well... cursed with the existential hunger of her godhood)

so like... the narinder in my mind is deeply parentified. shamura is for better or worse, not a great parent because none of them are really fully cooked emotionally, sort of more explained but is character relevant/thematically spoilery if it's a thing you don't wanna read

because a lot of what i wanted/want to write about is how intergenerational trauma affects relationships, the change of perspective of family over time, and the unintended harm all of that can do- it's important that narinder is the barrier between the depersonalization he's trained in from shamura to be shielded from his siblings through him. it's why them having a period of time between them is important to build that relation

i'll continually stress until the end of time that i don't think of shamura as being intentionally abusive in this regard; they think what they're doing is right to protect narinder in the ultimate goal of surviving in a court of gods. they, for all of their faults, love him and think they're doing the right thing. the result however is narinder has little to no sense of self beyond his duty to them and his family, and it is his (and their) eventual undoing

it is also the root of why he understands that baal may never forgive him for doing the same thing to the brothers. that he leaks out his trauma onto them and while aym might understand he was doing his best he has to accept that baal may never get there- because he hasn't and may never be able to forgive shamura. that's kind of the thing that happens, you try and shift or change the ways in which you were hurt when raising kids, and in turn hurt them in new ways

they are, ultimately, the root of all of the abuse he receives throughout a period of his life because he has no ability to set up boundaries unless he's lying, and the only way he knows how to lie is to protect his family

he does/did like babysitting though- even now he likes hanging out with kids because they don't scheme against him

[elodieunderglass]

Just dropping in too say, really enjoying the Killieposting lately! As someone who was never a horsegirl but did read a lot of books about them, I love it.

Anyways, since i know you are also a Diana Wynne Jones enjoyer, I was wondering if you'd ever read Enchanted Glass? feat. an old retired jockey living with a disability caused by an injury from his racing days! It's actually one of my favorite DWJ stories but no one else ever seems to have heard of it (also featuring weredogs, vegetable growing, grief, romance, the failures of the foster system, the king and queen and queen of faerie, and a couple of slightly cringefail wizards types(for anyone interested in such things))

I’m really glad! I start to feel embarrassed but then people send me lovely asks!

I wish I’d written Enchanted Glass(2010), but she got there first.

On balance it’s decent Jockey Representation, with a joke just for me:

“Tarquin’s small, bearded face looked to Andrew to be showing agony. But he reminded himself that the man had been a jockey and that jockeys were used to pain.”

— Enchanted Glass by Diana Wynne Jones

(Killie offscreen plaintively saying that that doesn’t mean they want to be in pain)

DWJ 🤝 Dick Francis with the content, of course, but note the stylistic lack of comma!!! That’s not DWJ’s cadence, that’s a Francis signature. That is LITERALLY a joke just for me. One point for that.

Unfortunately, I do have to condemn this as Problematic, even if it’s Aidan (feral orphan failed by foster system)POV and intended to reveal Aidan’s character:

“Aidan was astonished all over again at the little man with one leg, who energetically heaved himself into the room with his crutches. He should have had the hat, Aidan thought.”

Oh Aidan no -

“He was surely a gnome, beard and all. But his greying head was bare and slightly bald. “You know my brother-in-law, Tarquin O’Connor,” Mr Stock announced.”

Do not -

“Ah, no. He’s Irish. He’s a leprechaun, Aidan thought.”

Why do English people exist? Really? I do understand that this is a feral foster child POV of course, but come on, kid.

“He had been right to think leprechaun about the brave, shrewd little man with one leg. He almost was one. He was full of gifts.”

No you were not right Aidan, that’s plain racism, argh.

I like this shoutout to the Injured Jockeys Fund:

“Tark, as Mr Stock heard it, had been lucky to live, trampled and broken in all directions as he was. He’d never ride again. Nowadays, Tarquin lived on his savings and what he got from the Injured Jockey (sic) Fund…”

Still relevant today and a nice touch. Here’s the webpage for the IJF with some up-to-date statistics.

Quick edit to show how DWJ is very good with POV here in Andrew POV:

“Though the life of a jockey was something Andrew could barely imagine himself, he could tell it had been as thrilling and absorbing as his own work on his book.”

Yeah I reckon it might be Andrew lmao. Lmao it is as thrilling as writing an academic text for SURE. So empathetic of you to notice that.

(Love a good DWJ unreliable narrator)

on the whole, not bad Jockey Representation and a book that contains competitive flower and vegetable growing.

Me 🤝 Tarquin having to console ourselves for winning prizes for our cakes instead, due to blatant FUCKING AROUND FROM THE JUDGES. I saw you, Tark, you deserved that win, and I completely understand that cake prizes ain’t shit really, anyone can bake a cake. I don’t care that the fucking king of the elves himself is fucking us around in some kind of climactic scene or something, trust me, that kind of thing takes care of itself, narratively speaking. it’s the fact that you look back at your records for years afterwards and have to remember that ONE year, that ONE YEAR where they DELIBERATELY DICKED YOU OVER - “oh that’s the year that the elf king guy or whatever got mad” FORGET THAT? SO WHAT? GEOPOLITICS?? - I’ll be noticing the blank spot where my prize should’ve gone for the rest of my LIFE?

On balance I do appreciate this book! Thank you!!

[hugemilkshake]

Hey can you do more uh...self aware cookie run au with anxious reader? Just I can't help but imagine more scenarios of y/n being anxious and thinking 'OH MY GOD IM GONNA DIE!' Buuut end up spoiled by cookies. Here are some examples I thought up but if you think of anymore cute and fun things, I'd love to see em too!

Y/n goes to the hollyberry kingdom and meets pitaya. Thinks they are gonna die to dragon...nope, dragon just wants to encourage y/n to make smores or roast jelly dogs over their flames and if a single one of the cookies who sabotage the competition even think for a SECOND about interrupting that, then they got another thing coming!

Y/n thinks they are gonna die to the licorice sea or the traitor affogato cookie when encountering them....sea acts kind to y/n somehow (or just ignores em...your choice lol) and affogato just wants to spoil y/n with sweets! (Bonus: instead of joining the COD....they go with y/n as something along the lines of 'you know what? I don't want to take over this kingdom anymore. I don't want it anymore, I want y/n! King, I admit to everything, please banish me so I can run away to y/n's kingdom!') Lmao!

Golden cheese kingdom...y/n goes in, thinking glitches are gonna kill em buuuut all the digital cookies make sure y/n is feeling safe, happy, and comfortable....aaaand golden cheese gives em lots of hugs lol! Can imagine being wrapped up in her wings feels really good!

Enjoy the milkshake! I had to give an excuse for writing about affogato cookie- I mean, the dude caused me brain rot. Also I’m not writing any golden cheese stuff because smoked cheese massacred my team and I’m angry at that (my team had way more power than smoked cheese)

Somewhat plot relevant?

-platonic self aware au-

Normally you had means of controlling your anxiety but at this moment, there was no way you could control your anxiety. You were in the middle of a forest! And not even one in your own world! It was one in the game you had recently just gotten into!

You were only on episode 4 in the story mode so you literally had no clue where you were. You just sat on the ground and started to silently panic.

But at some point a cookie you did see once in the cookie unlock screen kinda picked you up and just took you to a palace? You don’t really remember what the cookie said but they weren’t hurting you! So that must mean something!

But you were now having a feast in this palace with a cookie who you learned was actually a dragon- well anyways the dragon said they were Pitaya Dragon, also known as The Red Dragon. You did panic for a moment before Pitaya told you to just chill out and have something to eat.

And you know what? It was actually quite fun! The Red Dragon talked about other dragons and nice fun stories while the two of you ate, you were sad to go but you had too. You got some berries and stuff you could sell as a wondering traveler. Though you did tell Pitaya you’d come back one day so might want to stay close

——————

You had gone from a warm and humid forest to a frozen wasteland. What’s more to say? You had everything you needed to survive and villages were quite nice to you, you had your own gear so you didn’t bother them too much.

But you did befriend a peculiar cookie when you were by the Dark Cacao kingdom…

A cookie who looked quite lavish found you and seemed a little lost and panicked… kinda how you were when you first got here…. You felt bad to the cookie so you went to talk to them

Apparently his name is Affogato Cookie and he was banished from the Dark Cacao kingdom on the grounds of the false accusations of him trying to upstage the king. Poor guy…

Now since Pitaya Dragon was so generous to you when you had nothing so you decided to help Affogato get back in his feet since you should be passing on others kindness!

What you didn’t know was that one Affogato lied to you, two Affogato had connections to Dark Enchantress and three, he would become your travel buddy. So now the two of you travel around as friends :3

[lightningant]

Severus Snape thoughts

I've prodded him with my thoughts before but now I need to post through it. Because he's my princess.

I think a lot of what makes Snape so complex (and so compelling) is that he is neither a good person nor a just person. He really is beefing with that 11-year-old. He really did scoff at Albus saying that he would protect Harry because he cares about him. (LMAO, btw). He really is just a horrible guy, which honestly makes his efforts that much more brave and noble!

When we see the Prince's Tale, Severus Snape personally curates his timeline to showcase his bigotry to Harry. He specifically isolates moments where his antipathy for muggles is contrasted with his love for Lily. He does not show Harry his home life, or how much Lily liked him, he is on topic: I hated muggles, but I loved her. And then he isolates a moment where Lily finally explains how troubled she is by his friends, and he cuts off whatever teen drama motivated her to say it. He shows his worst memory again, something he was shaking with rage and fear at Harry discovering. He shows the aftermath of him grovelling.

And after that is the timeskip. His feelings are not relevant. In fact, all of his memories may as well be from Lily's perspective. It is significant that all his memories are essentially from Lily's perspective.

What Snape was showcasing to Harry is that he knows that he was not listening to her. He knows he was being patronizing, that he prioritized his exclusive access to her over feelings, that he treated her beliefs as if they were irrelevant or biased.

Snape took on a patron-like relationship with Lily, teaching her wizarding culture and presumably acting as the source of her incredible potions ability (despite her expertise clearly being charms). He most definitely assumed that in the Dark Lord's new order, people like Lily would be coveted for their magical skill alone, and he would not really care if the Death Eaters executed Lily's parents and sister because they're just muggles.

And then she is murdered for protecting Harry Potter too well. She is disposable. He had to have heard it. She's just a mudblood.

Snape gives himself no excuses in the Prince's Tale. He did not include what he did for her in his memories, because he prided himself in uplifting her star and probably still does, and the memories in that bottle exhibited his shame. He provides no context which might paint himself in a better light. He is giving Harry his remorse, with raw, open honesty. 'Here is where I went wrong.'

Snape's character is that of someone who is bearing the excruciating burden of not only being responsible for the death of a loved one, but silently de-radicalizing himself, all alone, while still on the inside. He lives in his muggle house. He intentionally repaired the link between his current self and his shameful muggle origins in order to acknowledge the way he treated muggles was wrong and the way he treated Lily was unforgivable. He won't even let paintings use slurs.

There is a temptation to polish his image, to say he was justified or uniquely victimized, without acknowledging Snape is messy and cruel has always been fundamentally incapable of empathy, yet he has passionate feelings on doing the right thing. He spent 10 years making an active choice to be a good person, a thing that does not come naturally to him. The point of the Prince's Tale is that it does not come naturally to him!!!!! And he does it anyway!!!!!!

He doesn't want Harry to die because he's the last thing he has left of Lily (🙄), but because the right thing to do, the Lily thing to do, is to not raise a boy for slaughter, let alone her boy.