#THAT problem needs to be fixed first

[lizardbrainlabs]

Your interpretation of Hector talking with Bauhauzzo post-game (if you can see that happening) would be neat!!

oh the horrors of knowing no one can fix the problem except for you

[gammaraydeath]

i love criticism of how human-centric and ass fucking backwards mass effect's lore is. i need it to live. unfortunately i cannot will myself to actually implement any fixes in my own writing because i fear that if i stray from canon i will be killed with hammers and rocks

[katboykirby]

For me, it's not so much a belief that "making the three undateables into dateables will 'steal' attention from the main cast" because you're right, that's not really the issue.

For me, it's much moreso that "adding three more dateable characters to the pool of 11 that already exist is just going to make a bad problem even worse"

Because the writers simply cannot handle the 12 characters (11 of which are romances) they already have, plus the story, plus Pop Quiz events, plus everything else. I won't go into detail about the story/plot problems, or the characterisation issues, or anything else of that nature right now because there's already plenty of info out there breaking all that stuff down. I just wanna focus on the issue that presents itself when we start talking about the three undateables (Thirteen, Mephisto, and Raphael) and the problems that come along with making them dateable.

Because OP is right - if your name isn't Lucifer or Mammon, good luck ever getting any significant screentime, good luck ever getting nearly as many (or any at all) Spotlight events, good luck getting anywhere near as many UR and SSR cards, etc etc. The writer and devs biases for these two characters at the expense of everyone else in the cast has been prevalent since the first season of the original game all the way back in 2019. Also, OP, Mammon has had four Spotlight events now (not three) even though Beel, Belphie, Diavolo, Solomon, and Luke still haven't even had one.

The problem with making the undateables into dateables is that it's just going to add three more characters for the writers to juggle, when they can't even handle the 12 characters they already have. Lucifer and Mammon will continue to get a full 60-70% writers and devs attention at all times, while the entire rest of the cast (now 14 characters in total, including the player) all get shoved together into the 30-40% of the story and screentime still remaining. Thirteen, Mephisto, and Raphael won't "steal" that screentime from the other boys, they'll just be forced to share it while it gets spread even thinner and thinner

Something that bothers me Is that everytime one of the "trio" Is given spotlight, the same old discourse happens of "do you want them to be dateable?" And Some people answer that No, because "they will take Time of the other cast" I'm sorry but having more or less characters isn't part of the problem. Look at season 1 of OG, and any event before the side characters became dateable. The problem Is the devs playing favorites, even If w still had 7 characters, the same problem would still be there.

Giving Thirteen a kiss scene will not rob of Beelzebub of an spotlight or giving Mephisto a hug of Asmodeus having screentime. The problem Is Mammon having 3 spotlights this year when we still have characters that haven't had one. The problem Is the devs pushing Lucifer as the center of the universe in the Main Story of NB. Why do you blame the characters that barely appear of robbing you of something that they aren't giving you anyways?

[littencloud9]

“top/bottom dynamics matter extremely to me because the sex dynamic changes the regular dynamic of the characters to fit into traditional BL roles and i only believe in one” i don’t know how to explain how much of a skill issue that is on your part

[anotherhumaninthisworld]

Explanations for the Robespierre sibling feud compilation

Version given by Augustin in 1794 — Charlotte is abusing her brothers’ ”spotless reputation” by spreading calumnies painting them as ”bad brothers,” and threatens to ”take a scandalous step in order to compromise us.” Her goal with this is to ”lay down the law on us.” Augustin also implies Charlotte is meeting with suspect people, such as ”a certain Saint-Félix” (a several times arrested ”hébertist”), and tells Maximilien to meet with Guillodon La Saudraie (Augustin’s mistress according to the memoirs of Charles Nodier) who ”would give you certain information on all the masks that it is interesting to know in these circumstances.” He himself has reached the conclusion their sister ”does not have a single drop of blood that resembles ours,” and declares her to be ”our greatest enemy” and ”a woman who causes our common despair.” He therefore tells Maximilien they must send Charlotte off to Arras in order to ”take her away from us.” Source: undated letter from Augustin to Maximilien, usually traced to May 1794, cited in Correspondance de Maximilien et Augustin Robespierre (1926), p. 293.

Version given by Charlotte in 1794 — Maximilien ”detested her because she had the courage of letting him know the danger he ran by being sourrunded so badly,” as she, everytime she had met him, ”had taken the opportunity to let him know that the men around him were trying to deceive him.” Charlotte says she understood that the Duplay family had taken up the case to lose her older brother, and that this motivated her to move out of their house. But both her two brothers and Madame Duplay had also asked her to leave, and on top of that the latter had ”reproached her for seeing counter-revolutionaires, among them Guffroy, representative of the people.” Charlotte also affirms that she had almost fallen the victim of the Revolutionary Tribunal, to which she knows Maximilien, in the public spirit, ”passed for having appointed people to.” Source: interrogation of Charlotte held July 31 1794, cited in Charlotte Robespierre et ses mémoires (1910) by Hector Fleischmann, p. 85-86.

Version given by Armand Joseph Guffroy in 1795 — Maximilien and Augustin kicked Charlotte out of their house ”because she did not think like they did, because she came to see my wife and because she visited citizens who were sincere friends of justice and truth.” Maximilien even reproached her for these visits by saying she was frequenting ”a conspirator.” When Joseph Le Bon, the representative on mission in Arras, briefly returned to Paris in May 1794, he took Charlotte back with him when he set out for the north once again. This was partly to prove her wrong about charges of cruelty she had directed against him, and partly because her brothers wanted to ”get rid of her” (unknown if he by this means to say ”kill her” or just ”get her out of their sight”). Source: Les secrets de Joseph Lebon et de ses complices, deuxième censure républicaine(1795), undated Committee of General Security decree written by Guffroy in the spring of 1795, cited in Charlotte Robespierre et Guffroy (1910) by Hector Fleischmann.

Version given by Maurice André Gaillard somewhere before 1844 — by the spring of 1794, Charlotte says the Duplays have ”destroyed me entirely in [Maximilien’s] mind, today he hates the sister who served as his mother.” Despite living in the same house as her older brother, she no longer has the power to approach him, and advices Gaillard to not even speak to him about her. Charlotte seemingly shows despair over her brother’s role in ”the terror,” saying that, even though she still loves him tenderly, she’s ”no longer able to bear the pain and the shame of seeing my brother devote his name to general execration” and therefore ”ardently desire his death as well as mine.” She is nevertheless certain Maximilien’s ”excesses” are only the consequence of ”the domination under which he groans,” and she hopes Augustin will be able to help her get him to move away from the Duplays, who ”obsess over him and lead him to the scaffold.” Gaillard writes Maximilien for his part had ”devoted mortal hatred” to Charlotte ”since the trip she had made to Arras to collect evidence of the massacres carried out by Joseph Lebon.” Source: La Révolution, la Terreur, le Directoire 1791-1799: d’après les mémoires de Gaillard (1908) page 263-266.

Version given by Charlotte in 1834 — in the fall of 1793, Augustin and Jean François Ricord travel to the army of Italy to serve as representatives on mission. For company, Augustin brings Charlotte while Ricord takes his wife Marguerite. After a while of traveling for town to town the group settles in Nice for a longer period of time. Augustin and Jean François inspects the armies while Charlotte and Marguerite make shirts for the soldiers during the day and go for horseback rides in the evenings. The rides do however cause ”several journals paid by the aristocracy” back in Paris to state the two women are acting like princesses, and Maximilien writes a letter to let his siblings know (I have unfortunately been able to find neither the journals nor the letter). Augustin therefore vetoes future horseback rides, and Charlotte promises to abstain from them. Shortly thereafter, when Jean-François and Augustin are away, Marguerite suggests going on yet another ride to Charlotte, who hesitantly agrees, sad to be disobeying her brother but somewhat assured by the fact Marguerite will have to take full responsibility for the ride since it was her idea. But when Augustin a few days later reproaches Charlotte for breaking the rule and Charlotte does call on Marguerite to testify, the latter lies and says it was Charlotte who came up with it and took her with her against her will. Charlotte gets so stupefied by this statement she is unable to retort it, but Augustin, chooses to believe it, much to his sister’s despair — ”My brother knew I was incapable of lying. Why then did he not want to believe me?” After this incident, Augustin stops speaking to Charlotte and starts keeping a certain coldness towards her, a coldness which grows day by day since Marguerite ”didn’t cease to speak ill of me to my brother and invent thousands of lies to make me lose his friendship.” Charlotte cries over Augustin’s behaviour when alone, but hides her pain from her brother and chooses not to ask him for an explanation for why he’s treating her like he is either, since he’s so burdened by work.

A bit later, Marguerite suggests to Charlotte they should go to Grasse together to see a friend of hers, something which Charlotte agrees to. But just after they’ve arrived, Marguerite comes forward with a letter that she says is from Augustin, and that he’s telling Charlotte to return to Paris as soon as possible. Charlotte, without reading the letter, obeys. But Marguerite had in fact forged the letter, wanting Charlotte out of the way so she can seduce her brother. She and her friend Madame Gesnel now go on to slander Charlotte even more to Augustin, telling him that the reason she had so abruptly left for Paris was because she didn’t care about him, and that Charlotte had caluminated the reputation of both him and Marguerite. So when Augustin in December 1783 comes back to Paris for a short stay, he is ”outraged” against his sister, refusing to even put his foot in the same house as her, lodging instead with his colleage Record. He leaves for the army without seeing his sister even once, but does make their break known to Maximilien, and although he never speaks to Charlotte about it, she can see that he too is unhappy with her (he does however never seem to get more involved in the conflict than this). When Augustin returns from the army for the second time, in the summer of 1794, he is still ”fleeing my [Charlotte’s] presence” and ”telling anyone who would listen that I am unworthy of him, that I conducted myself badly with him, that I no longer deserve his esteem.” The two never manage to make up before his death.

Charlotte writes the reason she never asked either brother for why they were treating her like they did was partly grounded in her ”pure conscience” and feeling that she should’t have to, and partly in the fact she saw them both overwhelmed with work and didn’t want to bother them with her problems. Charlotte does however claim it wasn’t until after thermidor she discovered what had actually caused her brothers’ change in attitude towards her. How exactly she did is unknown (did Madame Ricord herself come forward and tell her about her intrigues? 🤔). Source: Mémoires de Charlotte Robespierre sur ses deux frères (1835), p. 109-116, 125-126.

@henriette-robespierre here you see what you missed out on! Still regret dying young?

[buttercupshands]

*looking at isat ss discord* my power of being silly got out of control

or how I tried understanding rpg maker basics by literally trying to do one (1) thing I really wanted to see ever since seeing Loop unused sprites lying on wiki months ago

the reason I mentioned isat ss discord was simply bc guys were the first people who saw me trying to draw close to pixel sprite face sprite for Loop to,,, do something at some point just to see how it works

and nope I'm not making this into anything, but I really like the fact that I managed to do this

(now with video post edited into this sentence!)

[utilitycaster]

I will say, if the gods became mortal at multiple points during a crisis without any intervention to achieve various goals and canonically even enjoyed it, it does kind of raise the question of "and this didn't come up as an option within the story of C3 until the very last minute and wasn't something the gods themselves proposed because...?"

[writer-room]

Obsessed with Lloyd never mentioning his grandfather is the First Spinjitsu Master, apparently to the point even Arin didn't seem to know, because "eh, it never came up". Cause like, yeah, sure, my grandfather is God, what of it? Normal day for me. Shit happens. My dad is also evil, you wanna talk about that? I sure don't.

It's also funny from a character arc perspective. Here's itty bitty baby first season Lloyd, loudly proclaiming he's the son of Garmadon, and probably also making sure everyone knows he's God part 3 electric boogaloo. And then one Tomorrow's Tea and a few more years later and he's doing everything physically possible to NOT care about his heritage. In fact he'd probably rather his parentage was literally anyone else. Dude could care so less he forgets about it most of the time. King behavior.

[ohdeesnow]

So this means I have to do a minimum of 175 wishes to get my 3 men's outfits, AND THEN however many more it takes to get Sylus R1...

I fear the kpoppies were right, being a multistan is the worst 😭💔

[reachhforthestars]

Sonic 3 spoilers!!! Talking about the mid credits scene/what people have been saying about it under the cut

feeling like the only one who doesnt want reverse sonamy for the movies </3

or more accurately, fine sonic can have an obvious crush on her but i dont want ‘reverse sonamy’ to mean ‘amy doesnt have a crush on sonic.’ she can be lowkey about it or whatever (like sonic is sometimes in the games/other media) but to me part of Who She Is is that shes this super cool, super strong, intelligent fighter but shes also still a young girl who has crushes and believes in fate and is guided by her compassion, not by her strength or her mission or her love of adventure.

shes such a good character because while she is physically strong and possibly slightly magic, those are equally as important as her love and compassion and care for the world and people around her. preserving amys girlhood is important to me like loving sonic isnt her single defining character trait bc she ‘has to have a crush on a guy’ but it is a main character trait because thats just who she is. a loving person who sees the good in the world and wants to protect it and loves sonic because she sees him as the embodiment of that

[dykeyaoi]

I feel like a lot of fanon tends to miss what seem to be three pretty crucial things about Teru, and it's weird because they are easy to miss, but they're also so important that without them he's very superficial. it's part of why he gets so yassified almost every time he's adapted (see: manga into anime into fancontent)

one is that this kid is smart. on my first watch of his debut arc I assumed he was psychically cheating to be one of Black Vinegar's top students. now though I don't think so: firstly, I'll admit, because he doesn't actually seem to have a way to do that except blackmailing other kids for answers or something; but secondly because throughout the series he's just good at figuring stuff out. he picks up complicated psychic techniques more quickly and frequently than anyone else, including Mob. he was the one who almost beat Shimazaki. he figured out that Psycho Helmet was Dimple from the fact that he was a spirit who knew Teru's name, not a lot of info to go on. he draws conclusions in the somewhat haphazard but very clever way a detective does.

two, he's motivated so much by anger. this one's something of a hot take but it's so there to me that I can't leave it out if I'm Teruposting. before meeting Mob yeah he thought he was special and important for having powers but he was also extremely lonely and subconsciously mad at everyone else for not having them. he's the only one who has to deal with Claw he's the only one who has to live alone because his powers make it dangerous for his parents, he's the only one strong enough to be the shadow leader. he'll do it because he's the Protagonist but god he's gonna be pissed the whole time. it's not what he wants (we only get to see what he wants later with Mob and Reigen and everyone else) but it's all he has for a long time. seventh division shows the intersection between I Should Be Satisfied Now Teru and I'm Better Than These Guys Teru very nicely

last and kind of most important is his thing for Mob. I absolutely believe ONE wrote Teru to be queer and he definitely had or has a crush on Shigeo, but I also think that at least part of said crush is him misconstruing his adoration and the pedestal he's put his friend on. until after the Confession Arc, the two of them getting together would be really tricky and probably not good. Mob still feels bad about what he did at Black Vinegar for most of the rest of season one, and the only reason Teru changed in the first place was because of the cavernous gap in power between the two of them. until he declares Shigeo his rival and realizes that he has faults and any destruction he causes isn't perfectly righteous, Teru can't love him.

there's as much to his character as there is to the other main characters, and I get the easy appeal of the flattened version of him but when he's flanderized into this sparkly gayboy who's also sad sometimes, it makes me sad.

[lemongogo]

[nightmare-foundation]

Yknow, I feel like part of the reason why people don't understand Ozpin as well as they probably could is because they... don't understand how the merge works. Let me explain.

The fandom has this expectation that Ozpin will take over Oscar when the merge is finished, and that Oscar will just disappear. Honestly, I think this is an extremely inaccurate reading of the merge based in bias and listening to unreliable narrators.

"But Oscar says he's afraid of disappearing, and expects it to happen. Isn't this reliable?" <- good question. No, I don't believe it's all that reliable. Oscar is experiencing the merge for the first time, and has no clue how it'll end; because of this, and his personal fears, he draws conclusions, and that conclusion is "I'm going to disappear into the collective of lives that is Ozpin." I also don't believe that this specific sentiment has been said by Oscar since v6, but it's been a while, so I can't remember.

Meanwhile, though, Ozpin himself never said that he was going to take over Oscar and that Oscar would disappear. When it comes to talking about the merge, Ozpin always frames it as Oscar gaining, rather than losing to him. Oscar will inherit my memories and muscle memory, you're recollecting my longest held memories and gaining control over my remaining magic, etc. It's almost framed as if OSCAR is taking from Ozpin, rather than the other way around.

"But Oscar has been changing throughout the volumes, if Oz isn't taking over, why is he changing?" <- another point. Oscar IS changing, but it's more superficially. His vocabulary is widening ("plummeting immediately" for example), his mannerisms have changed a little but mostly in the confidence department, and his voice has lowered, plus the inherited magic and memories. But his actual personality and deepest parts of his identity hasn't changed; he's still wise in his own way, notably different from Ozpin; he's optimistic but still realistic, for one, and he's very contemplative, and expresses importance in the individuals, vs the many as Ozpin does. He also still has his own unique brand of sass, his unique strategies and planning (how he handled the situation in Monstra), etc. He still identifies as Oscar, and the biggest change is definitely the gained confidence.

But, harder to notice, especially if you're not insanely obsessed with them like me, Oz has also changed, arguably more than Oscar. At this point, his entire voice has changed; the cadence of his voice, the timbre, his vocabulary and how he words things, etc. If you compare Ozpins current voice and Oscars, both Aaron Dismukes version and Shannon Mccormicks, they sound nearly the exact same. There's VERY little difference- at times, Oscar seems a little more formal than Ozpin! Oz's mannerisms and facial expressions have changed a lot as well, adopting more of Oscars (wider eyes, softer looks, lots of movement with his hands without their cane, honestly likely more that's escaping me rn). He also talks to the other characters as peers now, though it's hard to tell if that's from the merge or character development. I'd also mention how Ozpins worldview has drastically changed, but that's from character development and canonically, Oscar inspired him, but basically he's completely picked up Oscars views and beliefs (even if he's a little hesitant at times, he still trusts Oscar).

But basically... they've both changed, arguably Oz more than Oscar, both from the merge and character development. And it seems to me that it's more likely that Oscar won't disappear? Especially when you consider Ozpin saying "I understand. I went through the same panic and confusion you are." <- this is talking about the merge in v4, when Ozpin just appeared in Oscars head. Obviously, he'd have to be referring to being an ordinary person (likely a teenager) suddenly having a voice show up in your head. Ozpin identifies AS Ozpin- not as any previous incarnation (though he identifies with the memories too), so I doubt he identifies as Ozma. Thus, this implies that they change.

Also, soul in rwby IS identity. Aura is your soul but tangible. Thus, if two different souls merge- that inherently implies a change of identity. The souls change, thus the identity changes. Plus, Ozpin literally says IN v5 that "I am the combination of countless men, living, dying, and reincarnating, and i am changed- but my memories stay with me." It seems that the only constants are their memories, magic, and immortality. Everything else changes- "I am changed."

So I definitely don't think that Ozpin just takes over and absorbs his hosts. Everyone who thinks that's how it works in-universe are unreliable narrators; Ironwood, Leo, Qrow, Salem, even Oscar himself (though atp I think he might have an idea that he won't disappear, but he still doesn't want to change, which is reasonable). Oz's inner circle members wouldn't know in-depth how the merge works, bc a) Oz tended to lie to them and b) i doubt that's something he wants to discuss anyways. Salem wouldn't know because when Ozma told her, he'd only reincarnated once, and he only had the God of Lights really vague, cryptic words to go off of, and Salem herself has likely only been informed by people who wouldn't know how the merge works anyways (Leo). And i already explained why Oscar is also an unreliable narrator about it too.

Light and Jinn are also hints as to how it works too; they imply the hosts don't disappear by saying "Until then, you will reincarnate, but in a manner that ensures you are never alone." And "As the centuries passed, he learned to live with the people in which he had been paired." So naturally, the hosts don't disappear, and everything else says that Oz changes.

Another, smaller note, but you can tell with the other Oz's seen in The Lost Fable that they all act differently. It's more obvious with Ozma and Ozma 2.0, but you can tell with the rest of them (and even the hermit in the story of the seasons), since they all have different mannerisms and, for those who speak, they kinda speak differently as well. They're also vastly different from how Ozpin acts, both from the beginning of rwby to now, and they act differently from Oscar.

TL;DR: the merge isn't a takeover on Oz's part; they both change and, at the end, identify with whoever the host is (hence the name change).

[the-hilda-librarians-wife]

An aspect of Hilda the series that I feel isn’t talked about enough is the colonizer’s guilt and how it affects the main character.

What made me write this was watching the third episode of the new season, but honestly, it’s something we see throughout the whole series. Starting out with the elves in the northern counties, and moving on to trolls and now giants. Every season that came out gave us a chance to see Hilda deal with the feelings that arise from living in a society she knows is built on the occupation of another people’s native land and the oppression of those inhabitants.

She knows it’s not her fault, she knows she’s not the colonizer, but she’s well aware that she’s in the privileged side of her society. Seeing her grapple with the fact that her very existence in these spaces is only possible because someone else is getting the short end of the stick, to me at least, makes her that much more interesting of a character.

Because it’s not a matter of fixing what she’s done, but the privilege is still there and not even well hidden when she sees the day to day life of the people whose land has been occupied by humans/trolbergians. So whenever we see her rush to aid them, her borderline desperation to fix what’s been broken, it’s even more captivating because it’s not just the usual “I love helping people and having adventures” gist, there’s always this undertone of guilt for something she hasn’t personally done but still knows has to be held accountable for.

Hilda knows the type of oppression that people like her get away with. And she wants no part in it.

[onthemeander]

I would like to see Verosika and Stolas become closer friends.

At first it built on a foundation of getting over Blitzø together. hasn’t been confirmed but they seem to be the only two who tried to say “I love you” to Blitzø and Blitzø it blow up in their face.

But even then I think they could do a lot for each other. Verosika gives advice on confidence and generally extends Stolas’ social network. Stolas could give Verosika insight on how to not be so angry all the time, let that sadness breathe, and find a quieter place to hide, in his home, away from parties and drinking that she already went to rehab for.

Do I think it would be a perfect friendship, nah but I think they could really help each other in some unique none Blitzø was.

Edit: when they do get back together Verosika can offer Stolas some of her succubis techniques that drove Blitzø wild.

[jackass-jones]

I know my ass says this every time there’s a new season but god DAMN, heartstopper is such a good show for teenagers