#Standardized departure

[thekimspoblog]

Is the video game really subverting its genre? Are you sure it's not just doing clever things within its genre, because otherwise the game would be boring and unchallenging and say nothing interesting? I'm just saying, it's cool and all that the internet allows horror game fandoms to overflow into eachother, but not EVERY 2 hour video essay needs to be spent breathlessly sucking off the devs. Sometimes a game is just REGULAR difficult and REGULAR high-quality.

Besides RPGs made over a decade ago, what is the thing supposedly subverting? Clearly not other contemporary indie horror games, because there is clearly a convergent ethos forming of cosmic horror and beginners' traps; that's just what the genre looks like nowadays.

[stereotypical-jew]

okay. so. i did not vibe with the latest doctor who episode a lot? and idk why exactly. i did still enjoy it for the most part! do love that we're getting more explicit queer romance on the show, but idk it didn't feel...genuine? especially with the doctor saying that ruby's his best friend but then abandoning her to aliens for most of the episode. i'm like really feeling that the overarching plot must be about storytelling. like especially all the blatant references to bridgerton INCLUDING the bad guys and poker face covers. and the teaser line about it being the doctor's life they're playing out. i'm hoping that the arc is kind of about how something (pantheon character?) is kind of controlling the doctor/ruby's story to hit the beats it's supposed to bc its tv but is doing so in a non-organic way which is why the season feels so disjointed and very telling-not-showing. also the weird 6 month time jump between Space Babies and Boom. otherwise i'mgonna feel like it was just kind of poorly written. like! to be clear! i am still enjoying the show! but not as much as i have other seasons

[coffinkissez]

why do genshin fans get so pissy when u mention hsr is a better game for ftps 😭😭

[premiumgelato]

[angelsanctuarys]

what did you think about Perfume Of The Timeless!!

I personally liked it, I think it gives a small hint of what the whole album is going to be without making it super obvious. Which is the point of a single, to just give a taste, a nudge.

Also, mark my words, the song is not going to be the 1st of the list, there's going to be at least 1 behind it that will connect to those initial drums.

Sidenote but oh joy of joys on that 5:30 mark where finally we make a return to a much missed element that I was weeping for: letting emppu going berserk and bring those gorgeous heavy riffs back to life with enough force to revive the dead!

[journey-to-the-attic]

We know what goes on between them in DDVD, but would Lucifer and Zhao ever take an interest in each other in mainline JTTA?

it's not an impossibility! if they're compatible in ddvd, they'd still be in jtta, since zhao is still very much the same person at his core - the main difference is that, in ddvd, zhao doesn't have the time to make the mistakes he does in jtta, since he ends up in the devildom. ultimately he is still the same pathetic little man who is full of love but never knows how to express it

it'd take a while for them to actually see each other in that light, though - it'd only really become viable once zhao is at least significantly on his way to making up for how lonely ik's home life has been. before that, lucifer's disdain in regards to it would stop him from entertaining the fact that he finds zhao kind of cute

also in ddvd, i'd say it's only after getting down to the devildom that zhao realises he also likes men, so zhao in baseline jtta is even MORE repressed about being bi - which is another hurdle he's gonna have to cross before he even thinks about the fact he might have an interest in that demon dude who's adopted his kid

(also if we want to be sappy perhaps it's just a matter of zhaolu finding each other in every reality )!

[jorvikzelda]

if there’s one thing about me it’s that my shoes are ALWAYS going to set off the beep machine at airport security

[coachbeards]

i really have made some peace with the beardjane endgame ending, not because i think they're a good healthy couple, but because like. i knew they weren't going to break them up lmao. i knew it. i think they had a good opportunity to do it after mom city, but i knew they wouldn't.

now, i don't think beard is happy in his marriage, and there's definitely that ted-shaped hole that jane unfortunately cant fill (and she hates beard for that, and ted, too)......... i think he tries, like a lot. i really do think he tries to force himself to be happy. they keep going to codependents anonymous, beard probably begs her to agree to couples counseling.........they have a baby that needs both of them, and he isn't happy. and he hates himself even more that he's not happy, because he...should be, right? this is the life people should be happy with. a good job, a wife, a baby........

[morkaischosen]

The Pathfinder angle does deserve to be the headline there, though - Lancer didn't attract its initial playerbase by openly selling itself as Not 4e.

People rallied against 4e for being well designed? I always heard it was because it was too much like WoW.

D&D 4e being too much like WoW is one of those things that's true in places (it actually had design informed by WoW among other things but a lot of said design was actually remodeled to actually work in the context of tabletop game instead of trying to lazily transplant mechanics from a video game directly into a tabletop game), but ultimately is just a lazy shorthand for "it's like bideo gane therefore bad." On a deeper level D&D 4e wasn't rejected "just" because it was too much like videos game but because its designers actually took a look at all the things taken as default in D&D and actually considered how conducive they were to the experience people were seemingly looking for from D&D (D&D 4e being built to be a fun skirmish game didn't come out of nowhere: it was a response to people basically playing D&D 3e like that and finding the game too unbalanced to serve that experience).

Funnily enough, in being willing to reconsider what people actually wanted out of D&D, 4e is actually the edition of Hasbro D&D most aligned with what people seem to actually want out of D&D these days. A lot of the common design issues people bring up with 5e are issues that D&D 4e already rectified once and 5e actually walked back on because they wanted to get back the purists who had rejected 4e for not being D&D-shaped enough.

[7nuh]

MR. CRAWLING YANDERE HEADCANONS !

CW 𓂃 gn!reader, gaslighting, canon-typical violence

AN 𓂃 ik i said i'd have HCs for all of them but this ended up being too long so... 🧍‍♀️ also unedited bc i have an exam later ill be back to edit this later pls

Mr. Crawling is the protective type. He spends half of the entire game following you wherever you go and going through great lengths to protect you from the other residents of these cursed apartments. However, I can see how that protectiveness can get twisted in the long run when you remain completely helpless and unable to defend yourself. Mr. Crawling would have no choice but to step in and make decisions for you instead because he cannot afford to lose you just like that.

Out of all the homicipher men, mr. Crawling is the one who has the most respect for your choices and boundaries. He leaves when you tell him to, patiently guides you throughout this maze, and comforts you when you are upset— and he's never violent unless threatened.

Such a sweet and gentle guy would never hurt you intentionally. He loves you too much to hurt you.

That being said, though he'll never intentionally hurt you, he doesn't realize it whenever he's being possessive and suffocating you instead. After all, having wandered these halls for so long has desensitized him to violence and made him forget all his human memories. Simply put, his concept of love is warped in its own way. He doesn't understand nor remember how to healthily love another person by societal standards, but he (usually) means well.

He may not understand love but he knows one thing for sure— you're very precious to him. You're so full of life, so kind (to him), and so persistent to find your way home despite everything. Everyone else just kind of does their own thing around there... but you need him. You give him purpose and he's ready to give himself up for you in return.

But as much as he respects you, he knows you sometimes don't know any better. You almost got yourself killed multiple times despite his numerous warnings, and he's not confident you completely understand him just yet. So whenever he feels as though something got lost in translation, he won't hesitate to push you aside or cover for you in that instance. Thankfully, you can now regenerate your limbs.

You don't know any better. This sentiment becomes a mantra that repeats itself in his head over and over again. The two of you haven't made any significant progress on finding an exit, but you've almost died more than a dozen times by now. How are you supposed to survive without him?

What even is your home like? How can he be sure that you aren't going to get yourself killed over there too? Can he follow you there too to protect you? Can't you just stay here with him instead? Would that be so terrible? Of course he wants you to find whatever you're looking for...! it's just that...

The thought of losing you only intensifies his anxiety and over-protectiveness. Whether by departure or death, he cannot stand to be apart from you. Why are you so eager to leave this place anyway?

Mr. Crawling is gentle, but love can force him to be violent. He's not as cruel as the rest, but it doesn't mean he won't be when you're put in danger, especially when his possessiveness and overprotectiveness spiral out of control. He doesn't want to restrict you in any way because he loves and respects you too much to do that, but you just keep getting yourself in trouble. He overcompensates and goes overboard instead trying to protect you, even if it means killing someone.

And the thought of you moving on and forgetting him depresses him. He knows you had a life before this, but he wants a life with you in it. He'll be selfish just this once, but never again. He'll make sure you're safe here you so don't worry about that! Just don't leave him. Just stay with him, please.

It starts little by little. He starts telling you to rest more often and misleading you farther away from the elevator. Sometimes, when you tell him to leave you alone, he pretends not to understand you anymore. When he sees that dreaded green light from a distance, he tells you there is something malicious up ahead. In times like these, he's glad you're so blindly trusting of every word he says. It's difficult for him to watch your resolve break down, but it's for the best. When you're with him, you're safe and that all that's matters.

I can see some of the others like Ms. Bride and Mr. Silvair being in on it. Ms. Bride is very excited that her wedding garments will be used for their actual purpose this time whereas Mr. Silvair finds your unconventional relationship an interesting area of study. Whenever you find yourself 'lost' (escape from Mr. Crawling), they will redirect you back to him.

Eventually, you do give up. Maybe you even become more monstrous by the day and accept that you're better off here. He loved your persistence, but maybe he can show you giving up and that staying here isn't so bad. After all, you have him. He makes sure to be extra affectionate and cuddly after you give up <3

You'll learn to accept it, won't you? For him? Whatever's beyond those elevator doors can't possibly be better than being loved unconditionally and safe within his arms. You're even free to be yourself down here! You can be as violent as you want, and Mr. Crawling will happily watch you bludgeon someone to death on the sidelines with nothing but adoration.

Alternatively, if you do find your way home, he WILL follow you whether you like it or not. But if you don't want him there... well, do expect a few inconveniences. Whatever it takes to convince you to let him stay or to convince you to come back, really. Maybe like blood on the walls spelling 'me love you' and 'me miss you' or a cold pair of arms wrapping around your waist at night.

[ghcstao3]

ghost having a missing tooth. just a lateral incisor, lost it only a few years into the military, never bothered to have it properly replaced. he has a retainer with a fake tooth, sure, but that’s a special occasion sort of thing—because why would he wear something for cosmetic purposes when his face is hidden behind a mask most of the time?

but when he and soap start going out, particularly on leave, ghost suddenly finds himself self-conscious and constantly wearing that retainer. even makes the stupid decision of eating with it in on occasion just because he doesn’t want soap seeing the gap in his smile. which is weird for ghost, because he’s never felt embarrassed by it before—but maybe with soap and his perfect smile, it makes ghost feel like he’s lacking in contrast.

soap finds out on leave, when their departures were staggered and ghost arrived home two days later than soap. he never bothered with the retainer that day, too tired from travel and work, and doesn’t realize it’s missing until he’s pulling off his standard civilian-get-up-surgical-mask and smiling at soap in greeting.

it’s clear that soap notices immediately. his eyes flicker to the smile and a furrow finds his brow as he asked what happened in the past two days he was gone that had ghost missing a tooth.

ghost’s smile fades instantaneously before he ducks his head and mechanically utters out an explanation.

then soap asks to see his smile again. insists until ghost finally offers up a grimace, then contemplates it a moment before deeming it cute, of all things.

it’s only natural from there that soap does anything in his power to make ghost smile, because the missing tooth is something charming in a way soap can’t explain. it’s just so very ghost, and how could soap not love that?

[princesssarisa]

Disney's unconventional "Cinderella" (1950) (long)

Having watched most of the many adaptations of Cinderella, I've come to realize what a unique adaptation Disney's 1950 animated classic really is. Unlike Snow White, which only had a few stage and screen adaptations before Disney produced its groundbreaking film, Cinderella had already been adapted many times before Disney's turn came, and Disney's version makes a surprising number of departures from the standard Cinderella "formula." It was definitely a fresh, creative Cinderella when it made its debut, and it arguably still is. Yet because it's become so familiar in pop culture, and today so often serves as our childhood introduction to the tale, it's easy to overlook its inventive storytelling choices. The 2015 live action remake uses several classic Cinderella adaptation tropes that the original 1950 film actually subverts!

Here's a list of the often-overlooked ways in which Disney's Cinderella stands out from earlier adaptations, and from many later ones too.

Cinderella herself. Disney's Cinderella isn't a traditional Cinderella in personality. The "traditional" portrayal of Cinderella, seen in virtually every adaptation before Disney's and several afterwards too, is the portrayal I call "The Waif": a very young, fragile, melancholy girl, dressed in pathetic rags and smudged with ashes, who makes the audience want to rescue her and who wins the Prince's heart with her wide-eyed innocence and artless charm. But whether chiefly to set her apart from earlier screen Cinderellas or from Disney's earlier delicate ingenue Snow White, Disney's Cinderella is none of those things. She comes across as older, or at least more sophisticated. Nor is she waif-like, but instead combines down-to-earth warmth with ladylike dignity, even at her lowliest. She doesn't sit in the ashes ("Cinderella" is her real name in this version), and her servants' dress is humble yet clean and only slightly tattered. She's gentle and kind, yes, but also intelligent, practical, playful, sometimes sarcastic, philosophical, optimistic, genuinely cheerful when she's with her animal friends, and yet angrier and stronger-willed than virtually all earlier Cinderellas. She doesn't beg to go to the ball, but asserts her right to go, and then sets to work fixing up an old dress of her mother's for herself. Only her stepfamily's sabotage, first by keeping her too busy to finish the dress, and then by destroying it after the mice and birds finish it for her, prevents her from taking herself to the ball without a Fairy Godmother. To this day, she stands out as a complex, unique Cinderella, which pop culture too often forgets.

Lady Tremaine. Some critics today complain that Disney makes Cinderella's stepmother a total monster instead of giving her "nuance" and call her portrayal "sexist." But can't we agree that her sheer cruelty enhances the film's dramatic power? And compared to earlier portrayals of Cinderella's Stepmother, it definitely makes her stand out. In most pre-Disney Cinderellas and many after, the Stepmother is a pompous, vain comic antagonist. Once again, Disney was innovative by portraying Lady Tremaine as a dignified, manipulative, and truly sinister villain, who takes quietly sadistic pleasure in abusing Cinderella and will stop at nothing to prevent her from going to the ball or marrying the Prince. As far as I know, she's also the first Stepmother to realize before the slipper-fitting that Cinderella was the lady at the ball and to take action to prevent her from being found. That's a commonplace plot device in more recent adaptations, but in 1950 it was a creative twist!

The mice and other animals. Viewers debate whether Cinderella's mouse friends, Jaq, Gus, et al, and their misadventures evading Lucifer the Cat are a welcome addition or take away too much screen time from Cinderella herself. But there's no denying that the presence of the mice and birds is an inventive storytelling choice, which makes Disney's Cinderella stand out! And I can provide a long list of reasons why they're more than just "filler." (1) They add liveliness, humor, and appeal for younger children. (2) They gave the animators an outlet for the type of character animation they did best, rather than binding them to the harder work of animating realistic humans. (3) They give Cinderella someone to talk to besides her stepfamily. (4) They give her a way to demonstrate her kindness. (5) The struggles of the mice with Lucifer parallel Cinderella's abuse by her stepfamily, and Cinderella's undying optimism not only keeps her from despair, but inspires them too. (6) They arguably provide a further reason why Cinderella stays with her stepfamily – not only does she have nowhere to go, but an entire community of small sentient creatures relies on her for food and protection. (7) They reward Cinderella for her kindness. From the start, her friendship with the mice and birds makes her life easier to bear, both by easing her loneliness and because they do helpful deeds for her, like mending and cleaning her clothes. They fix up her mother's dress for her to wear to the ball – only the stepfamily's last-minute cruelty requires the Fairy Godmother to step in. And in the end, they're directly responsible for Cinderella's happy ending by freeing her from her locked room. They do all these things because Cinderella has protected them, fed them, made them clothes, and been their friend. Therefore, Cinderella's good fortune never feels "just handed" to her: her kindness directly earns it.

The Fairy Godmother. It's always varied between illustrators whether Cinderella's Fairy Godmother is portrayed as a grandmotherly old woman or as youthful, regal, and beautiful, but screen and stage adaptations before the Disney version virtually always took the "youthful, regal, beautiful" approach. That is, when they didn't change her into a wise, fatherly male magician-advisor, as in several opera adaptations! At any rate, seriousness and dignity were the norm for this character in most adaptations from the 19th century through the 1940s. Making her a sweet, comforting, grandmotherly figure, with a comically and adorably absent mind, was another of Disney's fresh choices.

Cinderella's entrance at the ball. We all know the classic image of Cinderella's entrance from other adaptations. Cinderella appears at the top of the grand staircase that leads down to the ballroom, and a hush falls over the assembly, as not only the Prince, but all the guests and members of the court are amazed by the unknown lady's beauty and magnificent dress. Even in versions without a staircase, Cinderella captivates the room the moment she enters. Adaptations both before and after Disney's, including Disney's own 2015 live action remake, play her entrance this way. But the 1950 animated classic subverts it! The grand staircase leads up to the ballroom, not down to it, and Cinderella's entrance isn't a triumph at first, but a vulnerable moment as she makes her way up the stairs alone, dwarfed by the splendor around her. Then, when she reaches the ballroom, no one notices her at first, because the other ladies are being presented to the Prince and all eyes are on him. But then the Prince notices her in the shadowy background as she quietly marvels at her surroundings, and leaves his post to approach her and invite her to dance. Only then does the rest of the assembly notice her, because she's the one the Prince has singled out. It's more understated and it feels more realistic than the traditional entrance, as well as more clearly symbolic of Cinderella's venturing above her station, then both literally and figuratively being led out of the shadows by the Prince's unexpected attention.

The slipper-fitting plan. Over the years, it's been fairly popular to mock the idea of using the glass slipper to find the Prince's love, as if there were no chance it would fit anyone else. Disney's version is creative by having the slipper-fitting search be the comical, hot-blooded King's idea, not the Prince's, and making it clear that it's not, nor is it meant to be, a foolproof plan to find Cinderella. The Duke points out that the slipper could fit any number of girls, but the King doesn't care if they find the right girl or not: he just wants to hold his son to his pledge to marry "the girl who fits this slipper" and force him to marry the first one who fits it. This also means that Disney doesn't do what most adaptations do and have the Prince conduct the search himself, but follows the original Perrault tale by having a gentleman, in this case the Grand Duke, do it instead. This prevents audiences from mocking the Prince for relying on the slipper instead of knowing his beloved's face.

Cinderella breaking free and asking to try on the slipper. Even though in Perrault's original tale, Cinderella asks to try on the slipper, she almost never does in adaptations. In most versions other than Disney's, including Disney's own 2015 remake, Cinderella's presence in the house (and/or the fact that she has the other slipper) is either discovered by accident or revealed by Cinderella's allies, not by Cinderella's own initiative. In some versions, she even tries to hide from the Prince and/or the search party, either out of fear of her stepfamily or because she feels unworthy of the Prince in her rags. But not Disney's animated Cinderella! First of all, she has an assertive emotional breakthrough when she calls on her dog Bruno to chase Lucifer away and free Gus to slip her the key to her locked room. Earlier on, she urges Bruno to try to get along with Lucifer, lest the stepfamily not allow him to sleep in the house – it's clear that Bruno represents her own rebellious side, and in that scene she's really talking about herself, revealing that she tolerates her stepfamily's abuse so she won't lose her own "nice warm bed" and be homeless. But in the climactic scene, when she finally sees a way out, she gives up playing nice and seizes her chance. First she unleashes Bruno on Lucifer, and then she runs downstairs and directly asks to try on the slipper, not caring how her stepfamily will react, or what the Grand Duke will think of her shabby dress, or whether the audience will accuse her of gold-digging or not. This isn't a common breakthrough in other Cinderella adaptations, but it fits perfectly (like a glass slipper, you might say) with the Disney Cinderella's stronger-willed and more self-assured characterization.

"I have the other slipper." We can probably all safely assume that when audiences first saw Disney's Cinderella in 1950, they all expected Cinderella to try on the glass slipper she lost, with her identity revealed by its perfect fit. They never would have expected Lady Tremaine to trip the footman and break the glass slipper... only for Cinderella to calmly reveal that she has the other one. It's yet another clever and unexpected twist, not seen in any other version. Not even Disney's own 2015 remake.

Disney's Cinderella deserves far more credit than it gets for being unique among the myriad versions of the tale, especially compared to the versions that came before it.

[magicalmanhattanproject]

man im just like. thinking about egg signs and how they've evolved over the course of the qsmp and how the qsmp has evolved over the course of the qsmp and just feeling so much love and affection for every part of the project. i dont have any grand overarching point with this just. like. here's a history of egg comms bc of the kind of person that i am

so wayyyy back ten months ago now at the start of the short and sweet egg event that was planned to last maybe a month at most, the eggs had their own custom, decorated signs!

[ID: Leo with a pink sign with an egg on the bottom corner that reads "hello" in all caps. Her nametag reads Leonardo. End ID]

They were extremely simple, single word signs. There was hello, hola, story, feed, sleep, and maybe one or two more and each was its own separate sign. The eggs could only communicate the most basic needs in words and everything else was through minecraft body language or just hoping their parents guessed right.

But obviously, there was a lot more that parents wanted to hear from their children. I'm not sure who was actually first, but the earliest departure from this system I know about is BadBoyHalo giving Dapper a simple oak sign so he could name his pet slime. (Screenshot from @/lxrd-ren)

[ID: Dapper wearing a diver's helmet standing next to a tiny slime in a boat with an oak sign reading "Bouncy (slmecicle but better)" End ID]

Parents quickly realized how much more convenient this was and pretty soon every single egg had stacks of signs to communicate with.

The next innovation came from Vegetta, who was the resident mod knower at the time. He knew about colored canvas signs and gave Leo signs in her favorite color purple because he loved her and gave her everything she wanted.

[ID: Leo's bed in her room under some Fooligetta fanart with a purple sign reading "<3" End ID]

Colored signs obviously had a lot of advantages. Being able to tell at a glance which egg placed which sign was a huge step forward in eggs being able to have long, complicated conversations as well as leaving obvious marks of their personality everywhere they went. It took a little while for them to be standard for every egg though. Bobby never stopped using oak signs even after Richas and Pomme both showed up with colored signs.

[ID: Two signs reading from right to left a red Pomme sign reading "we already started working on a guillotine factory" and a dark grey Dapper sign reading "thats the most french u have said so far pomme" End ID]

And this was the system for a while! And it worked pretty well for most people! The biggest struggle most people had was egg signs not being translated, but streamers adjusted to that by reading signs out loud so the translators would pick up on them. This also lead to adorable and fascinating dynamics like Richas swearing in signs he wrote for Bad and then warning Bad not to read them out. There was also the genuinely phenomenal development of Leolingo where Leo writes only in Spanish to Foolish because it's easier for her to write and he takes his time to puzzle his way through it and learn in a way that's super cool to watch someone else do onscreen.

Then Tubbo joined the server. And Tubbo himself had no problems at all with the system, but he is dyslexic and he casually mentioned offhand that it was getting kind of annoying to read signs after a ten hour long stream and the admin team Fucking Cooked.

Within 24 hours, they had TTS working on the signs. Within 48 hours, it was working on books too. I can't remember how long it took to get translation working, but it was definitely under a week.

And this opened up a whole new world of possibilities for the entire QSMP. The admin team has been on top of capitalizing on it for story purposes, but also just allowing the egg admins to speak in their native languages to everyone whenever they want has been so enriching for everyone involved. Leolingo is awesome but Foolish has been learning Spanish insanely fast and his process is a lot slower and more frustrating than most people can do in front of an audience of thousands of people without feeling discouraged. That's also one language. We've had everything from Foolish being able to check his work a bit more faster to Phil insisting on his eggs taking a day to speak to him in their native languages to Ramón writing a book for Fit in Cantonese, a language we haven't even seen on the server in any other context!

And all of it is fully understood and fully communicated! Sometimes the translators mess up but no one expects them to be perfect and people ask for clarification if the translator says something that doesn't sound right. It's not only a massive step forward in communication technology, but it's a great demonstration of how to use it and when you can and can't rely on it.

And finally, the most recent innovation! One of BBH's viewers sent him a dono saying they had trouble reading certain signs because they were too low-contrast. Bad, Richas, and Pomme just. Took it upon themselves to fix the problem right there and then. Based on One (1) bringing up their own personal struggle, those three came up with new signs that innovate tremendously on the originals.

[ID: Two separate images of the before and after. The first is the egg signs in their original colors with the corresponding egg's name written on them to demonstrate the font color and the second is in the new, higher contrast colors with the same text. The new signs also have custom decorations for each egg. The second picture also has two signs from Pomme in all caps that read "Send all the love to Richas he spent a whole night making this he's the best <3" End ID]

There are three main innovations visible in the above pictures

1: Obviously, the colors are higher contrast. The signs with white text have darker colors and the signs with black text have lighter colors.

2: The colors themselves are lower saturation. Richas said this made it easier for him personally to read them so he corrected that way, but that's open to change if it causes difficulties for more people than it helps

3: The decorations are for accessibility reasons! People with various different forms of colorblindness will find different sets of colors easier or harder to distinguish, but any of them can look at the decorations and use them to identify whose sign is whose instead.

But! Those innovations are not why I made this post! It's these ones!

[ID: The backs of the new signs when placed on the ground. Most visible are Chayanne's with vines and a hardcore heart, Sunny's with shining sunglasses, and Pomme's with an apple and the Eiffel Tower. End ID]

Richas added distinguishing marks to the backs of the signs too! This is something that Bad brought up specifically as something he wanted because it was hard for him to tell who was talking when he was using TTS from behind signs and couldn't see the colors at all.

We went from custom egg signs (a hotbar or so of words and nothing else to communicate with) through a long journey of expanding communication and expanding who we're bringing along on the communication and how easily they can join in and we've circled all the way back around to custom egg signs (they can say anything they want in any language they want and anyone will know it's them saying it from any angle)

and i guess i have enough feelings abotu that to write All This about it

[premiumgelato]

[pomefioredove]

Ngl I want a sequel to bad ending 'yuu gets sold' series

Cause imagine the boys go to NBC just to find out that yuu is actuality doing great, better than great, even better than the time they were doing in NRC

I like to think that Rollo is legitimate a nice person when you remove the hatred over magic type of stuff

He deffo makes sure that yuu is well fed and clean (let's be honest, not something that yuu always has in NRC) plus treat yuu greatly

rollo fans who are starving since everyone stopped talking about him after november I'm here for you. I see you. take my hand

parts 1 | 2 | 3 | kalim | 'bad' ending

summary: yuu transfers to NBC type of post: fic characters: rollo my beloved additional info: yuu is gender neutral, implied romantic ^_^

It had been a long six months for everyone at Night Raven College.

The departure- and subsequent absence- of their beloved Ramshackle prefect was very much felt.

Days were longer, nights were darker, the first year class itself felt empty.

"At least they're not dead," was the consensus.

Of course, you continued to communicate with your friends- it wasn't like you completely dropped off the map, although Noble Bell College had a stricter policy about phone usage.

You even sent some letters back and forth, yours filled with updates and mementos, theirs with pictures of all you'd left behind.

Did you miss NRC?

Well...

You missed your friends.

But Crowley? The overblots? Being everyone's personal therapist?

...Yeah. You could live without that.

Noble Bell College may have been more exclusive, and more strict in their code of conduct, but it was more peaceful, too. Smaller, less students, and much less reliance on magic, so that you and Grim could be whole students independent of one another.

The curriculum was much different than NRC's. Less of an emphasis on a personal connection to magic, and more on tradition, ritual, and history. There were few times when you'd have to sit out a class, or watch your friends have fun from the sidelines.

If anything, Rollo made a point of including you.

A part of it may have been personal pride- after all, he just couldn't resist showing you how much better he is.

But he also had a vague idea about how stressful your life at NRC really was, and how isolated you felt, despite being surrounded by people. It was his duty, in a sense, to rectify that.

Even if it meant you had to sit through his lectures and recitations of the traditional magic laws.

...Though, even with his intense adherence to tradition and structure, he made quite a show of being kind to you.

Despite his best efforts to claim fairness and righteousness, it was no secret to anyone that he favored you. You quickly became the only person he spent his free time with (not that he was particularly social in the first place...)

And... it was nice. Is nice.

He holds himself to high standards, and expects that of others; he's cold, harsh when he feels it necessary, and repressed in all ways imaginable.

And yet... well, there's no sabotage, no swindling, no scamming, no manipulation to make petty ends meet.

Rollo, as a person, is both confusingly complex and reassuringly simple. You know as much. He sticks to routine, to rules, to tradition. He's diligent in every sense of the word, and highly respected because of it.

And when the eyes of the other students are turned away, he treats you with a sort of gentleness that you'd become wholly unfamiliar with at NRC. Like a porcelain doll, like something precious he desires to wrap in cotton and silk and store somewhere safe.

You wonder if his behavior towards you is at all connected to the very reason he risked his status bringing you here in the first place... but you don't dwell too long. He's as mysterious as anything.

When your former classmates come to visit over break, it's like they're meeting an entirely different person.

"Happy to see us, eh? You're like, glowing," Ace smirks.

Deuce elbows him in the ribs for that comment. "What he meant is that you look great. I mean, really! You've been sleeping more?"

You nod. "Lots, yeah,"

"Weird, I woulda guessed they'd been working you to the bone. This place is all "no funny business", right?" Ace shakes his head.

You laugh, walking alongside your former fellow first years in the streets of Fleur City, the very ones you'd become so accustomed to in recent months.

"I've actually been doing well with my studies. I think I've finally decided what I want to do after graduation,"

"Oh, that's great!" Deuce says. A lengthy pause follows, much to your confusion- it's as if everyone has something they want to say, but won't be the first to say it.

Epel clears his throat. "You been 'doin alright?"

"Um... yeah. I have,"

"Cause... you know, if anyone was giving you trouble, we'd give 'em what for!"

You chuckle. "I'm fine, really. People here are pretty nice..."

Again, that same silence follows. Epel, Deuce, and Ace look between each other, as if daring the other to say the next thing.

This time, you take the initiative.

"Listen. If this is about Rollo, he's fine. I'm fine. He's been nothing but helpful,"

The tense silence breaks and Ace sighs, shaking his head. "You can't blame us for being worried,"

"I mean, this whole situation has been really shady. Everyone at NRC has been worried sick..." Deuce says. "We just wanted to make sure..."

You smile. "I appreciate it, but you really don't have to send in a rescue party. I've been... I've been really good. Happy. And I miss you guys to pieces, but I've felt closer to home here than anywhere else. Does that sound strange?"

A short pause follows. Deuce is the first to speak, his voice sounding strained. "Not at all. We just want you to be happy,"

You can tell he's trying really hard to sound positive. Epel, on the other hand, doesn't sugarcoat anything.

"You really won't come back with us?"

You smile again, though this one is wholly apologetic. "No, I don't think so,"

The three are quiet for another moment, and then seem to drop the subject. The rest of their stay goes by smoothly, even with all the strained moments where you can tell they have something to ask. You assume they've already figured out the answer.

The day trip is over by sundown and you return to campus just before curfew, taking a seat in one of the cozy (though currently empty) lounges by a familiar face.

"They're gone?" Rollo asks, not bothering to look up from the textbook he's perusing.

You watch him carefully, and think it's best not to mention you friend's attempt to bring you back with them.

"Yes, they're gone. We had fun, nothing happened,"

"Good," he says. A brief silence follows before he speaks again. "I do trust you. But-"

"You don't trust them. I understand. If I were you, I suppose I wouldn't, either. But I'm fine,"

"When are they coming back?"

"Two months. They're taking the weekend. Might bring some other people,"

Rollo hums a note of acknowledgment, fingers rolling around the pen in his right hand. The book is still open, though he's looking ahead now. His face is flushed.

You know he's unhappy with it, but he won't say anything. You're grateful he likes you enough to let you rub elbows with people he despises. Especially after all that's happened...

He stands, closing the book. "Very well. Let me know what day so that I may adequately prepare myself. Good night. Be safe,"

And with that, he takes his leave.

Ever distant. Ever polite. One might mistake the way he speaks for coldness or resentment if you weren't so familiar with his mannerisms by now.

You turn to look into the lounge fireplace behind you, watching the flames flicker and die until all that remains are soft, glowing embers, the same shade of red that burns on his cheeks when you look at him.