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ginnsbaker · 24 hours ago

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All Of Your Pieces (1 - Honey! I shrunk the kids! 18+)

Summary: Wanda accidentally shrinks your kids while trying out a spell that would benefit both of you in the bedroom; Jimmy and Darcy attempt to find out more about the Hex, particularly when they discover a remarkable detail about you. Pairing: Wanda Maximoff x Female Reader Chapter word count: 3k+ | Tags: Smut, Campy Humor, Language

A/N: I've been working on this series since late August and have finally figured out what to do with it, enough to share it with you all. The story will be told in three parts: Westview (The Missing Town), Pre-Westview, and Post-Westview. This follows some events in WandaVision, but it's very canon-divergent. It's going to be different from my other works (I've never written humor before and I'm quite insecure about that), as this one is very plot-driven but at the same time, still very much Wanda x Reader (especially in parts 2 and 3). Updates will be every Wednesday. Chapters will be 2.5–3.5k words long, except for the ending chapters of each part, which are twice as long. So, without further ado… More author's notes here.

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“Honey! I shrunk the kids!”

Wanda bursts into the basement, apron billowing out like a cape. Except, there's no draft down here; that apron shouldn't be moving like that at all. But then again, considering your wife’s claim, maybe the laws of physics are taking a day off.

You glance up from the miniature model home you’re meticulously working on, unsure if you heard her right. Did she really just say that?

“You what?”

Wanda, flushed and a little breathless, skids to a stop in front of you. “Okay, so I was experimenting with a new spell, one that was supposed to…” She bites her lip, hesitating, her face glowing a deeper shade of red. “...it was supposed to do something else, but it backfired and... well, it’s not important right now!”

“Jesus, Wanda.”

Your poor, beautiful, occasionally clumsy wife stands there, teetering between a freak-out and a fit of giggles.

“It was an accident! I didn't mean to!” Wanda shrieks, causing the room to tremble from her panic.

Wanda's powers have always been a wildcard. You can child-proof the entire house in a day, but that definitely doesn't cover child-proofing Wanda herself—especially not when your kids are involved. Luckily, the boys have inherited some special abilities of their own, which leaves you as the sole non-superpowered member of the household. With that in mind, you know better than to panic. Getting worked up alongside her would only escalate things, and you’re not exactly keen on being shrunk next.

“Okay…where are they now?�� you ask as calmly as you can manage.

Wanda takes a deep breath and leads you to the living room. You trail her in silence, clutching at composure. It can’t be that bad, right? The distant sound of playful music trickling through the house almost makes it seem like everything’s fine. You hadn’t really noticed it before, but now that you think about it, it’s like your brain has learned to associate that kind of tune with situations that somehow always end in collective sighs of relief.

Sighs, giggles, and applause—sounds that don't belong to Wanda or the boys.

Where are they coming from?

Before your mind can completely sink into the oddities of your life here in Westview, Wanda halts in the middle of the living room. Your eyes dart around, searching for Billy and Tommy, but they’re nowhere to be seen.

“Where?”

“Right there,” Wanda points toward the coffee table, her finger trembling slightly.

You squint in the direction she’s pointing. Next to the TV remote, two tiny figures wave up at you—your sons, each about the size of your thumb.

“Oh my god, they’re tiny!” you gasp, covering your mouth with your hand. You expected them to be at least half their normal size—a size they might grow out of eventually.

“Shhhh, Y/N!” Wanda hisses, pressing her index finger to her lips. “The neighbors might hear you.”

Neighbors. Which usually means just Agnes from next door. There’s literally several meters of spaces between your houses, but somehow, she always manages to hear things she shouldn’t and pries like she’s in some perfectly timed routine.

Wanda kneels by the coffee table, her eyes soft. “I told them to stay right there until we sorted this out.”

The twins start making noises, sounding like tiny bells, though still hard to make out. You pull out a magnifying glass from your back pocket—has that been there the whole time?—making sure your sons are okay. As soon as the lenses zoom in on their faces, you're relieved to see them laughing uproariously, seemingly unbothered by their predicament.

“They seem... happy?” you say, lowering the magnifying glass.

“They think it's hilarious,” Wanda grumbles, her lips curling into a pout.

“So,” you sigh, pushing yourself to your feet. “Any ideas on how to fix this?” You're tempted to suggest just letting it run its course, waiting for the spell to fizzle out, but you know Wanda wouldn’t go for that. She's fiercely protective of the twins, and you can't blame her—it’s all her handiwork, after all.

Then you hear it—a hiccup. Another follows, and then another, each one a little louder than the last.

Before you know it, Wanda's a sobbing mess.

You cup her face in your hands. “Hey, hey...it’s okay,” you murmur, gently brushing away a tear with your thumb.

Wanda’s breath hitches as she looks at you, her eyes brimming with worry. “What if I can’t fix it?”

“We will,” you promise, looking into her eyes.

A collective ‘awww’ rings in your ears, pulling you out of the moment. What the hell—where did that come from? You've had this creepy feeling of being watched lately, and it's only getting worse.

Wanda brings you back to focus when she nuzzles into your palm. “Oh, Y/N, I don’t know what I’d do without you.”

You give her a small, lopsided grin and plant a kiss on her forehead. “Good thing you’ll never have to find out.” Something passes over her eyes as soon as you say it, but it vanishes in a split-second, replaced by a moment of inspiration.

“Wait,” she bursts out, stepping away from your embrace. “I think I have an idea.”

She heads straight for the fridge, and you trail after her, holding your breath.

“I’ve been trying to reverse it, but my magic isn’t cooperating. It’s like... it’s tangled,” Wanda mutters, yanking things out of the fridge.

You scowl, arms crossed, watching her. “Tangled? What do you mean?”

“I don’t know. The more I try to fix it, the worse it gets. Like it has a life of its own,” she says. she says. After a few more seconds of rummaging, Wanda finally grabs a tetra pack of chocolate milk—the twins' favorite.

“I’m hoping this will do the trick,” she says, giving the carton a shake.

You cock your head, clueless on what’s going on. “Honey, what’s going on?”

Wanda mumbles, barely glancing up as she vigorously shakes the carton. “Just doing what it says—’Shake well before serving.’”

You roll your eyes, muttering, “This woman...”. Then louder, you ask, “I mean, what’s the chocolate got to do with our tiny children?”

Wanda stops mid-shake, a look of realization dawning on her face. “Oh, right,” she slaps her forehead. “You can’t read minds. I keep forgetting,” she chuckles, setting down the carton with a sheepish grin.

There it is again—a chorus of laughter from somewhere far off. Your mouth twitches at the sound—it’s really starting to get on your nerves. You make a mental note to bring it up with Wanda later.

Wanda gathers herself, then pitches her plan. “Instead of directly casting a spell on the twins, I think it’s safer to enchant this chocolate milk.” She picks up the carton again, giving it a final shake. “The idea is to infuse the milk with a spell that will gradually restore them to their normal sizes.”

You nod, beginning to understand what she’s trying to do. “Sounds less risky than zapping them with more magic head on.”

“Exactly,” she agrees, her eyes lighting up with excitement. You’d swear she’s getting a kick out of this macabre parenting hack—kids and all. The background tune keeps playing, like a promise that the universe won’t let things turn to shit. You’re wondering if maybe Wanda hears it too.

“This way, the magic is diluted and can adjust more naturally with their systems. It’s like... sneaking the cure into their bodies,” she says, snapping her fingers, red swirls of magic emanating from them to the carton of milk.

“I'm so proud of you, baby,” you say, leaning in for a quick kiss which she happily accepts. “For finding a fix, I mean. The whole shrinking our kids thing? Still not great.”

–

“What kind of spell do you think Wanda was going for?” Darcy asks, her eyes fixed on the credits rolling across the screen before it fades to black. She’s really gotten into Wanda’s little show, a welcome distraction from the freezing depths of hell that is New Jersey in November. Though exciting things are finally happening to her, the timing couldn't be worse.

“No clue,” Jimmy mutters, his attention glued to the laptop in front of him. It’s been two days since Quantico sent him to look into the bizarre case of a missing town—a phenomenon almost unheard of in the 21st century. Upon arriving, they discovered that the town in question, Westview, was enveloped by some sort of anomaly—or a Hex, as Darcy has started calling it, referring to the hexagonal shape of the barrier encasing the town.

Around the same time as the discovery, S.W.O.R.D. agent Monica Rambeau was quite literally sucked into the anomaly by accident. The only breakthrough has been Darcy Lewis’ detection of the signals, providing them with a window into the mysterious shroud, even helping them identify some of the show's characters as actual residents of the town.

But overall, they're still desperately trying to piece together why this is happening and how to stop it.

Darcy peeks over at the data on Jimmy’s screen. “Find anything new?”

Jimmy sighs in frustration. “No, not really. Everything we dig up just adds more questions instead of answers.”

“Like what, for instance?”

Instead of answering directly, he slides a thick file across the table toward her. “See for yourself.”

Darcy catches the file and starts flipping through it. Murmuring, she says, “So, Google finally returned search results?” The stack of papers is downright daunting. Jimmy’s right—any mountain of information would raise more questions than answers.

“No, not Google,” Jimmy corrects her. “Stark's highly confidential database did. The woman Wanda's married to in Westview? She’s not in any public records. Turns out her records were wiped clean two years ago.”

Darcy looks up, puzzled. “Why would Stark's company have this?”

“Just read, Darcy. It’s all in there,” he says, turning his full attention back to his research.

Darcy frowns slightly and begins scanning through the pages more attentively. It takes her a few minutes to piece together the information she's reading, with her mind going in different directions and still burning with curiosity about the spell Wanda botched.

Finally, she reads aloud, somewhat incredulously, “Subject was recognized as S.H.I.E.L.D.'s youngest marksmanship prodigy prior to recruitment by Stark Industries following the dissolution of S.H.I.E.L.D.. Subsequently provided tactical support on multiple classified operations in conjunction with the Avengers initiative.”

She sets the file down thoughtfully. “Kinda reminds me a bit of Romanoff or Barton. Total badass. I hadn’t pegged Maximoff for that crowd.”

“What crowd did you have Wanda filed under?” Jimmy asks, just out of curiosity.

Darcy’s gaze drifts off, a dreamy smirk on her lips. “Honestly? I always pictured her—or anyone for that matter—swooning over someone more…mythical hammer than tactical espionage.”

Jimmy snorts to himself at Darcy's whimsical take and says, “Of course, you’d say that. Thor's everyone's type.”

“He’s yours too?”

“Yeah, why not,” Jimmy shrugs, his tone more reluctant than sarcastic, which only amuses Darcy more.

“So,” Darcy begins, “Wanda's settled down in New Jersey, married to a woman? I mean, good for her. They all deserve a break. Maybe even an early retirement.”

Jimmy lets out a long, tired sigh, like he's just about done with everything. Darcy notices and raises an eyebrow. “What now?”

He barely glances up. “Like I said, everything’s in there. Just keep reading.”

Darcy groans but goes back to the file, flipping through the pages again. She’s about to make a snarky comment when something catches her attention—something that has her eyes practically popping out of their sockets.

“It… it says here Y/N’s dead.”

“That’s right,” Jimmy responds without missing a beat.

“Not snapped five years ago. Dead-dead.”

“Yep.”

Darcy stares at the page, disbelief all over her face. “That can’t be right, can it?”

Jimmy finally swivels his chair to face her, looking as tired as he sounds. “That’s what I’ve been trying to wrap my head around for hours. If aliens and superheroes are real, maybe bringing someone back from the dead to star in a sitcom isn’t so far-fetched, right?”

–

You carefully pull the blankets up over Billy, smoothing his hair and whispering a soft good night. Tommy’s already half-asleep, but you make sure to tuck him in just as snugly, brushing a kiss on his forehead. Wanda stands in the doorway, watching you, her heart swelling in her chest. You were so clueless when she first had the twins, but now, being a mother just seems to come naturally to you.

And you pulled it off in a week, while the twins stretched into six-year-olds just as fast.

“Honey,” you call softly, noticing the way she’s lost in thought. “Aren’t you going to say good night to our boys?”

Wanda steps into the room, giving each of the boys their good night kiss. You pucker your lips, silently asking for your turn, and she playfully swats your arm, whispering, “Not here, baby.”

You pout, giving her your best puppy-dog eyes, which only makes her smile. Without warning, you grab her hand and hurriedly pull her out of the boys' room, making a beeline for your bedroom. Wanda’s laughter fills the hallway, and just as you reach the door, you suddenly sweep her off the ground, lifting her into your arms.

Wanda lets out a shriek, her laughter infectious, and you can’t help but grin, even as you let her thump onto the mattress—a sloppy, graceless drop. You follow her onto the bed, rolling onto your stomach to peer down at her, still sporting that stupid smile.

“So, about that kiss you owe me,” you whisper, hovering closer, teasing her with your proximity.

Wanda nods distractedly. “I think I can manage that,” she murmurs, and then her lips are on yours.

It starts simple and sweet. Though soon, her tongue is gently nudging your lips apart, and it quickly becomes anything but. Her hands slip down to your back, pulling you close until her heartbeat hammering against yours. You break away, lips trailing down to her neck, exploring every dip and hollow, your tongue darting out to taste her skin. When you hit that spot just behind her ear, the one that always drives her wild, she gasps.

“Don't start something you can’t finish,” she warns, her voice already thick with want.

“Who says I won't?” you shoot back with a wolfish grin.

You both fall into a familiar routine, as easy to slip into as the back of your hand. There’s no hurry, just the two of you moving languidly—whispering against skin, giggles turning into sighs and breathy moans. Sometimes, being with Wanda feels like a desperate need, as if not having her completely would literally be the end of you. But it’s moments like these that are your favorite—the ones where you’re barely even trying, yet she still comes apart at your touch, at the mere feeling of your fingers on her.

Eventually, you both settle down, a contented sigh escaping you as you curl up against Wanda, your skin slightly damp with the effort of your love. You like this, being the little spoon, hiding your face in her neck like you’re hiding from the world, though you vaguely recall a time when it was usually her in your arms.

As you’re staggering on the edge of sleep, Wanda’s fingers gently massage your scalp, her lips dropping soft, pensive kisses on your forehead. You're almost out, but one last question keeps you from drifting off entirely.

“Wanda, that spell earlier that shrunk the boys—what was that about?” you mumble, your words slurring into the dream nipping at your consciousness.

Wanda’s laughter rumbles through her chest, nudging you slightly from your drowsy state.

“Come on, tell me,” you coax, giving her side a playful pinch to keep her talking.

“It’s embarrassing,” she mumbles, her face turning a delightful shade of pink again that spreads down her neck and chest. Her coy reaction wakes you up some more. As a twisted kind of payback, you run your tongue rough over her nipple, snatching a sharp gasp from her. Moving up, you hold her flushed cheek, making sure she’s looking right at you. Your thigh presses between hers, and it doesn’t take long before she’s wet and ready again.

“Are you going to tell me, or do you plan on sleeping with a wet pussy tonight?” you whisper, brushing your lips against the corner of her mouth. Under different circumstances, Wanda would scold you for your crudeness, but right now, she's too worked up to care. Your dirty mouth has always been one of the most irritating yet irresistible things about you. Even having kids hasn’t changed that.

“I was trying to... enchant your...” she starts, but then your hand tightens on her butt, spurring her subtle grinding movements. By this time, she’s practically dripping onto the sheets, her thoughts scattering as the tightening sensation below her stomach builds.

“My what?” you push, smirking as you watch her fumble for words. You hoist her leg, resting it on your shoulder, laying her wide open. You slide two fingers inside her, fucking her slowly while your thumb brutally circles her clit. As she hesitates to answer, you hook in another finger, drawing a sharp cry of pleasure from Wanda. Your gaze stays locked on your wife, a part of you as surprised as she might be at your boldness tonight.

All day, she’s haunted every corner of your mind, fantasizing about stealing a quick, desperate moment while the twins are asleep or at Agnes’s. But there’s been something—an unnameable restraint—holding you back from indulging those wicked impulses. It isn’t until the boys are asleep, the house quiet, that those invisible chains start to loosen. That’s when you can finally allow yourself to desire Wanda the way you really want to. The way you’ve always been meant to.

“Your... clit,” Wanda finally spits out, seeing you've drifted off, stuck in your head. “I thought I could make it... well, longer. Like a...” She chokes on the words, too embarrassed to finish.

“Like a cock?” you throw out crudely, looking down at her impishly.

Wanda nods, mortified but also a little defiant. “Wanted you to fuck me with it,” she mumbles, finding her backbone now that the secret's in the open.

“I am fucking you,” you whisper hotly right into her ear. “But if you want it like that, all you have to do is say the word.”

Wanda clenches around you at the thought of doing it like that in the near future, her breath hitching. “Please,” she mewls, the word dripping with need.

“Good girl,” you growl, cranking up the pace as you drive your fingers harder inside her, making her gasp and arch towards you. “You can come.”

With a choked whimper, Wanda surrenders, her body seizing as her orgasm washes over her. She soaks your wrist, the clear fluid trickling down onto the sheets, but you don't stop, pushing through every pulse of her release until she's quaking, utterly wrecked beneath you. You patiently wait until her spasms subside before slowly pulling your fingers away.

Wanda's hand shoots out, stopping your movements. “Stay,” she implores, sounding like she's on the verge of tears. You're momentarily startled by her reaction, concerned something might be wrong. Swiftly, you slide your fingers back where they belong, nestled deep inside her.

“Okay, baby, I’m not going anywhere,” you murmur, pushing back the damp strands of hair sticking to her forehead with your free hand. Exhaustion begins to cloud your senses as you sink down beside Wanda, still keeping your hand where she wants it.

“I'm sorry for needing you so much,” Wanda murmurs, her voice shaky with tears you can't see, your cheek pressed against the pillow beside hers.

“Don't be,” you mumble, half-lost to sleep as she clings to you more tightly. “I’m here.”

“You love me,” she says, a hint of wonder, of fear.

You nod, lips brushing the nape of her neck. “And you love me,” you murmur back, your eyes slipping shut. “I'm not going anywhere, Wanda.”

“For now,” she whispers to herself, once your breathing evens out in sleep.

Tears betray her then, and she clamps a hand over her mouth to keep quiet. But just before her sobs fully break free, she flicks a finger, a thin red wisp of magic ensuring you stay deep in sleep.

With you unaware, Wanda surrenders to her grief.

#wanda maximoff x reader #wanda maximoff imagine #wanda maximoff x you #wanda x you #wanda maximoff #unbetad #my writing #my fic #elizabeth olsen x reader #elizabeth olsen #wanda maximoff fanfiction #oneshots #fic request #wandavision #monica rambeau #darcy lewis #jimmy woo #All Of Your Pieces #AOYP

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aspoonofsugar · 2 days ago

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"I'm done blaming myself for your mistakes"

This line by Vi pretty much sums up her conflict in Act 1 of season 2, but I have yet to see it discussed. The point is, in fact, that Vi does blame herself, which is why she is unable to properly call Cait out. If Jinx specifically were not the one responsible for Cassandra's death, I doubt Vi would have stayed silent in front of Cait calling Zaunites animals or that she would have accepted many of Cait's actions without saying a word.

Vi still feels at fault for Powder becoming Jinx, which makes her vulnerable and willing to compromise on her morals, so that Caitlyn would not leave her. Ironically, I think this behavior is among the reasons why their love story does not work out in the first Act. They fail to communicate properly.

On the one hand Cait treats Vi badly. She insults Vi's people and insists that Vi should become an enforcer, despite her knowing of Vi's painful past. Obviously this is wrong, but personally I think it stems from Caitlyn's poor attempt to reconcile her love for Vi with her hate for Jinx:

"Three faces keep spinning through my mind. I see mother when they found her. And every fiber of me just sinks like in dark water. But then there is Jinx. Laughing. I want to tear that laugh from her throat forever. Then I see Vi. I asked her to put on the uniform. Suffice to say, she declined."

Cait's solution is to have be become a part of her society, so that she can keep on hating Jinx and the "bad" Zaunites, while loving Vi and the "good" Zaunites. Except it obviously does not work.

On the other hand Vi is unable to call Cait out. And the whole point is that Cait needed someone to call her out. She is grieving, but she is obviously becoming like the enforcers she once despised. Like the enforcers Vi despised. She negates Cassandra's legacy, by using her ventilation system to poison the air. She acts cruelly against a man, who is unharmed and who has clearly been hurt by that same gas she weaponized. She is ready to shoot a child (even if she does not intend to kill her), so that she can get at Jinx. Vi clearly sees all of this, which is why she asks Cait not to change:

Vi: Everyone in my life has changed. Promise me you won't change.

However, she fails to confront Cait about it all. Except that when you are in a relationship, you must feel secure and free to call the other person out. Even to get into a fight with the other person. Still, Vi is so terrified of losing Cait too, that she is indecisive. And in the end she is tragically left behind by Cait.

This happens because Vi herself has not yet decided who she wants to be. Is she a Zaunite or an Enforcer? Does she want to kill Jinx or not? Vi can't choose. Jinx even calls her out on this:

Jinx: Plastering my face all over, so someone else would do your dirty work?

She tells Cait she wants Jinx dead, but the moment she can kill Jinx she doesn't. Sure, Isha comes between them, but after Cait disarms Isha, Vi could pretty easily take Isha away from Jinx and let Cait kill her sister. However, she does not. That is clearly because she sees Powder in Isha. Jinx and Isha embraced are clearly representative of who Jinx is as a whole. She is an unstable terrorist, but she is also a hurt child. That is who Jinx is and that is what Vi (and Jinx herself) needs to see and to reconcile. Even now, Vi insists that Powder is dead and that only Jinx remains. However, Jinx is Powder no matter how much Silco, Jinx herself and Vi insist she isn't. She still clearly is.

It is just that Powder has changed, but this is normal. Just like it is normal Vi herself has changed and will need to change again, so that she can decide who she really wants to be. Just like Jinx and just like Cait will have to do.

As a side note, I am loving the foiling between Cait and Jinx. They have always been foils, but while last season focused on how this juxtaposition impacts Jinx, right now we are seeing how it impacts Cait.

In season 1, Jinx sees Cait as Vi replacing her. In a sense, Jinx's jealousy of Vi stems from that same inability to accept change. Jinx too deep down hopes she can go back to being the innocent Powder and that Vi can love her, like she did in the past. However, that is not possible because people change and forge new relationships. Jinx forges a bond with Silco she can't simply erase because Vi wants to. Just like she can't erase the one with Vi simply because Silco wants to. Similarly, Vi has a new bond with Cait that she can't break simply because Jinx asks her to. So, Caitlyn is really who Jinx wants to be. Someone complementary to Vi in battle, but also reliable, dependent, lovable. By the end of season 1, Jin realizes she can't really be that person anymore and interiorizes there is a part of her Vi can't understand. That same part Silco instead accepts.

Silco: Don't cry. You are perfect.

In season 2, Jinx becomes Cait's dark side. She is really Cait's Joker, as she is the one who challenges Cait's sense of justice and morals:

Cait: It's her blood in your veins. Vi: Then why are you the one acting like her?

Cait is letting grief and pain change her for the worse, just like Powder was transformed by her own losses and traumas. Cait keeps insisting she is different from Jinx, but she isn't. In fact, her whole fiasco kinds of hint at it symbolically. Cait poisons the underground city in her attempt to catch Jinx. Only for Jinx rewinding the ventilation system, so that the poison Cait used is sent back to Piltover. Jinx literally acts like Cait's mirror, which is why Cait's shot ends up hitting exactly this, a mirror. As in, Cait can't really kill Jinx without hurting both herself, Vi and the whole city :P

I am curious to see how their foiling will develop, now that both girls are growing into the leaders of their opposite factions.

#arcane #arcane meta #caitvi #caitlyn kiramman #vi #jinx #my meta #arcane season 2

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mommy-mortis · 2 days ago

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I wasn't really talking about the edginess of it all the Dragon Age games have had funny moments hell my favorite one was getting the big nug what bothered me the most was the the people you're supposed to align with like the crows for example the child kidnapping assassins that have no qualms about killing anyone and everybody for money

Now they're a child rescuing organization that treats children better than orphanages and they're all family instead of brainwashers I don't think that's how they were described in the first one I'm pretty sure that they were real fucked up with how they treated children and I think the game doesn't want you to support murdering child kidnappers

They basically took all the bite from these characters/clans/guilds also the fact that none of your choices really matter from the last three games is kind of a bummer as a standalone game I think it's fine but if you want to put everything together it falls short

In a sense it reminds me of Mass effect Andromeda just using a well-known name to push their sales when if they had just released it as a standalone I don't think it would have gotten so much flack and as a person who's played all of the Dragon Age games I wouldn't feel so disappointed so is it a good game yes by itself

And the worst part is that it's not the games fault it's these executives who are too afraid to take a chance on a new game I like the characters I like the designs even though it kind of looks like SIMs 4 mixed with fortnite there are so many redeeming points to that game I just wish it wasn't a continuation

I'm sorry to ramble so much

Maybe it's the banking on nostalgia with stories that lack authenticity but at the same time don't connect with the source material that's the real problem, cash grabs

AMEN 🙌

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meo-eiru · 20 hours ago

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Hello!

Do you have any tips on making art for games?

I've tried my hand in making VNs before and i want to try again but i always get overwhelmed when it's time to make the sprites, backgrounds, and other artwork :(

Mostly because the sheer amount of art needed is intimidating.

The best way to overcome that overwhelming feeling is so start out small.

Remember that you are not a big company, work based on the workload you can handle. For a first vn usually focusing on 2-3 characters at most is more ideal, you don't have to make your job harder.

For the backgrounds there's an app called FotoSketcher (not sure if it's available on mobile), it basically places a filter over your art and makes it look painting like, and you can choose from various different styles. It's free and has nothing to do with AI so you can use it without worry.

While I drew the backgrounds in the cg, since we were running short on time FotoSketcher did help me a lot with the in game backgrounds. Though you might need to draw over some stuff to make them blend in better.

For the sprites, or well the character designs, don't go too overboard with details. More details doesn't mean better character design, in fact it can usually feel hard on the eyes. Try to keep it simple.

Be aware of your character's charm points and focus on those.

For the expressions, you don't have to draw each expression one by one. Something that really fastened the process for me was drawing different eyes, mouths and eyebrows, then combining those like puzzle pieces to form the expressions.

For example these two Starling expressions have the same eyes and eyebrow combination but I used different mouths.

And for the cgs, again keep your workload to a minimum. You don't have to illustrate every fun scene, remember that the players can imagine those themselves too. Focus on the scenes you think should absolutely get illustrated to support the story better. If after finishing those you still have time you can always add in more, but what is important is to make a presentable game, not going above and beyond with every single small detail.

#asks #hold your tongues #indie vn #indie visual novel #indie game dev

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aihoshiino · 24 hours ago

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chapter 166 thoughts

As of chapter 166, Oshi no Ko has finished a roughly four-and-a-half year run started back in 2020. While there's some speculation about an epilogue or some extra content in volume 16 when it drops, this is where the main story ends. And you know what that means!!!

OSHI NO KO HAS OFFICIALLY ENDED WITHOUT ADDRESSING OR ACKNOWLEDGING THE FACT THAT RUBY KISSED HER BROTHER IN CHAPTER 143

please understand that this is FUCKING BOGUS

I'll probably do a longer post on this subject specifically, but my main critique of 143 when the chapter dropped was that while I liked the individual beats in it and I was really glad to see Akasaka finally addressing this tension bubbling underneath Aqua and Ruby's relationship, the immediate swerve away from showing us the aftermath of that kiss felt to me like an admission that the story was going to needlessly draw this out even more. Now that the story has ended and we can see that moment had literally no impact on the plot or even the character dynamics, I'd like to revise that statement - it feels like an admission of compromise. It feels like crumbs thrown to AquRuby fans to tempt them to keep reading and to stir up the waters of the ship wars, so people would keep reading and stay invested in the manga right to the very end. But most of all, it feels deeply disrespectful to both Aqua and Ruby as characters. Rather than exploring their feelings and giving both of them interiority and complexity in relation to incest or even just fucking acknowledging that the kiss had happened and letting their dynamic evolve, the series just memory holes the entire event and asks that you do too. Rather than letting Ruby have any development whatsoever as pertains to that relationship or, god forbid, let a female character move on romantically from the male lead, the series ends with her feelings so up in the air that I literally could not tell you what she thinks of Aqua by the time he dies.

ANYWAY… FINAL CHAPTER. BREATHES OUT VERY HARD.

I really can't believe it's taken us until the final chapter to actually deal with Ruby's grief over Aqua lol. We got a snippet of it last chapter but it was so brief that it really just felt like a tease. I also just think it's kind of bizarre that we're spending this little time on Ruby having feelings about Aqua's death to the extent that I have no idea how or when she found out about it.

It's also kind of hard to feel particularly strongly about Ruby's grief when the chapter doesn't really bother to explore it all that much. It's just a montage of Ruby quite literally Screaming, Crying and Throwing Up while Akane dispassionately narrates it all. The art also doesn't really help in terms of connecting with the emotions at play - I usually really like Mengo's expression work and the way she depicts extreme emotions but this all just felt like of… I don't know how else to put it. Goofy??? Is that an insane thing to say about Ruby grieving her brother???

Idk, something about both the panelling and just the extreme on-the-noseness of Ruby, again, literally Screaming, Crying Throwing Up while she's wearing a Burning cosplay Just In Case You, The Audience, Didn't Get It only for her to abruptly be done crying with no exploration or insight as to what's going on in her head that allows her to move forward.

Honestly, this is kind of the issue with everyone in the cast. The resolution is just sort of "Aqua died and we were sad about it but then we stopped being sad". I know what the story is trying to go for here - it's trying to express that even when you're in pain, life goes on and so you have to find a way to go on with it. But the result is that we spend all this time oogling at their pain without spending equivalent or even meaningful time on their recovery process.

It feels both excessive and undercooked at the same time and I'm left with the same icky, voyeuristic feeling I got from Aqua's funeral last chapter. This should be the point in the story at which we empathize with Ruby the most, but she remains a frustratingly distant figure right to the final pages. Part of this is an unfortunate consequence of Akane's narration directing these final chapters meaning that we're hearing about Ruby from an outsider's perspective and thus don't really see what's going on in her head… but if I can be frank, this has been an issue of Aka's with Ruby in particular basically nonstop since chapter 123.

As others & myself have noted, despite the absolutely catastrophic downward spiral Ruby is in at that point, Aqua revealing himself as Gorou basically flips it all off like a switch. There's some mild lipservice paid to the idea that Ruby is just using her dependency on Gorou to prop herself up and it's pointed out that the issues that contributed to her breakdown haven't actually been resolved - but none of these issues are ever even acknowledged again, let alone resolved. So, functionally, that reveal does fix all Ruby's problems in the space of a single chapter and the result is, again, that we spend multiple chapters gourging on depictions of Ruby's absolute rock bottom only for her to ping back to normal like a lightswitch. As such, the depictions of her pain feel less like explorations of Ruby's interiority and more like voyeuristic oogling at Ruby's misery and trauma and the effect is that the resolution to it all is both unsatisfying and a little gross. The result is that it feels like Akasaka is just indulgently mining the imagery of cute girls suffering because it causes simple thoughts neuron activation but doesn't respect these girls enough as characters to build them back up.

It doesn't help that this is basically the in-universe excuse for Ruby's career further skyrocketing. Instead of Ruby becoming a star on her own merits as the story keeps insisting she was supposed to, she's artificially buoyed by the public's morbid fascination with her tragedy. If I was feeling charitable towards the story right now, I would say this is an avenue of intentional critique but… well, I don't feel super charitable about the story right now lol

I WILL say that the one part of this chapter I did just uncomplicatedly like was the beat of Mem trying to suspend activities (presumably in the wake of her grief for Aqua) only for Kana to basically immediately explode into her room and help her get back on her feet. It's a beat that would've been much more effective if we'd, you know, seen it, but I otherwise enjoyed it and I thought it was sweet.

But. pbbbbtttt. I guess I can't talk around it any longer… let's get into the Dome concert.

To start things off on the immediately worst note possible, Akane describes Ruby performing at the Dome as being 'everyone's dream', including Aqua's. I'm reminded once again of the strange turn the story took in insisting that um, actually, performing at the Dome was totes Ai's dream all along (even though she literally didn't give a shit even a week before she was due to perform there herself) so Ruby performing there is fulfilling that dream for her!!! and I can't help but wonder if this abrupt shift in focus is an attempt to make readers forget what Ai's actual dream was - to see her beloved children grow up happy and healthy. Hell, it wasn't even really Aqua's dream, until the story suddenly had to try and convince us that his entire purpose for existence was to kill himself so Ruby could be an idol for slightly longer than she would've otherwise. The only people whose dreams she's textually fulfilling are Ichigo and Miyako and Ruby herself, but…

Honestly, is this really Ruby's dream anymore?

Who is Hoshino Ruby? What does she want? Why does she want it? These should be the very least of what we can concretely say about not only a protagonist but a character who has become a central figure of the entire story as Ruby has, but with the way Oshi no Ko has warped and distorted her, I find myself increasingly unsure of what the story wants her to be or how I should answer those questions.What does Ruby feel about Aqua? Was she still in love with him? Had she moved on, romantically? Was she still waiting for a response to her confession? Did she finally realize it was probably kind of shitty to respond to her brother going "lowkey wanna kms" by sticking her tongue down his throat? I Guess We'll Never Know.

This extends to whatever the fuck Ruby's relationship with idols and being an idol is. Almost the entirety of Ruby's time in the story has been spent reiterating over and over that Ruby cannot just be an idol who imitates Ai and that to truly shine, she needs to step out of her mom's shadow and shine in her own way. Ruby even literally tells Kana in no uncertain terms in 137 - "I'll be a star in my own way. I won't be like Mama."

While this has always been the text of the story, as I've pointed out before, the actual art with which Ruby's idolhood depicts her basically just as Ai 2.0. It relies so heavily on mining the imagery of Ai's charisma and personality as an idol and using them as the measure of Ruby's success as an idol that Ruby essentially has no visual or conceptual identity of her own as an idol. She's just Ai, But Arbitrarily Better, For Reasons The Narrative Fails To Actually Establish But Hopes That You Just Accept Anyway. This was always kind of annoying, but now that friction seems to have been resolved by… just making her Ai 2.0, But Arbitrarily Better (etc, etc) in the text as well. The fact that we're given no further insight as to Ruby's feelings and continue to just have Akane Explain Ruby's Character Arc to the camera also doesn't help.

All this combines to make the Dome concert and the final few pages feel exceptionally cold in a way I really don't think was intended by Akasaka. Yes, that splash page was nice and flashy but… I just felt nothing. I have no idea if or why Ruby cares about this. And even though the Dome concert has been hyped up through the entire story as the peak of Ruby's achievements as an idol, I feel no sense of accomplishment in her finally being there - not just because her journey to it was basically sneezed at us across two panels, but because it just feels hollow as a victory lap for Ruby. Again, she feels so distant and abstracted as a character that I can't bring myself to feel very strongly about her good or bad.

I think the perfect encapsulation of this are the final four pages of the story. Ruby's words here are very clearly intended to be a callback to Ai's words to Gorou in chapter one but as @all-of-her-light pointed out in our initial discussions of the chapter, Ruby very much does not have an equivalent to Ai's conclusion that she nevertheless wants and values the opportunity to find personal happiness and fulfillment outside of being an idol. Are we supposed to believe that simply being an idol is all that Ruby needs to achieve a similar degree of happiness and fulfillment? Is there no more to her than that?

I've seen a lot of people interpret this ending as exceptionally bleak and, as usual, gleefully predicting Ruby's immanent suicide because her beloved oniichansensei isn't around but this is indulging in, if you'll allow me to be frank, some pretty transparently ship-motivated flanderization. Despite what certain sections of the fandom would like to believe, Aqua and Ruby's lives, past and current, have never revolved around each other to the exclusion of every other relationship in their life. Ruby has a massive support network of people who love and care for her and actively want her to get back on her feet. I can one hundred percent believe that she does not need Aqua in her life to be happy and content.

The issue is that we don't see enough of Ruby to understand that ourselves. Again, she has become such a distant figure with so little insight into what she's thinking and why that this ending is basically a Rorschach test in which you can interpret basically whatever the hell you want or assume because we have so little canon basis to support or debunk our assumptions.

and yes. don't think i didn't see them. it IS both grimly hilarious and weirdly tonally appropriate for this ending that ruby has a bunch of oshi goods of ai and aqua including their fucking autographs set up to say goodbye to every day.

AND…… WE'RE DONE!!! THAT'S OSHI NO KO, BABY!!!! well, technically, there's going to be a 20 page extra chapter in volume 16 but I don't see it being big or substantive enough to meaningfully change my feelings about the ending so… I guess we're leaving it here. Damn. Feels crazy to be done with it.

I'll probably do a bigger post down the line about my thoughts on the ending as a whole but in terms of just How This Chapter Made Me feel, I guess the word is just… meh! It's definitely not an ending I like and I think the execution is sloppy and rushed but I also just don't really have the energy to feel angry about it. Maybe that's sad in its own way but tbh… I still really love Oshi no Ko! I still find it engaging and I find the characters I enjoy rewarding to talk about. I like the artistry of the anime adaptation. I don't blame anybody else for being so turned off by this ending that they're done with the series but for me, I like what I like about OnK too much that this ending could retroactively ruin it for me. Whatever else happens with the OnK franchise, whatever directions the anime and live-action take, this will always be the series that gave me Ai and the Hoshino family and. look at me. look at what she's done to my brain. could I really ask for anything more than that?

That being said, I'm definitely not done with discussing the series! I have fics to write (including a VERY exciting large scale project lined up with some friends), my Ai analysis post to finish and I also want to do a re-read of the series and finish my anime rewatch. I'll be here to discuss Oshi no Ko as long as I have things to say about it and as long as you guys will have me! Despite how the series ended, I've had a genuinely wonderful experience in the fandom and I really don't want to let go of the little community we've built together just because the series is done. I'm Ai's fan for all eternity!!!

#oshi no ko #oshi no posting #onk spoilers #chapter reviews #IT ALL... RETURNS..... TO NOTHING....#IT ALL COMES #TUMBLING DOWN TUMBLING DOWN #TUMBLING DOOOOOWN

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balkanradfem · 22 hours ago

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I don't get to talk about feminism in real life, because it's not an accepted topic here, it's an 'evil harpy movement' still, despite it getting women the right to vote, own property, own a bank account, be able to be paid for work. The consenus is that normal women don't need to be feminists, we already have the right to vote so what more could we possibly want. I do get to talk with young women about it! When I have some teenagers or young adult women in my life, I am telling them all about it, showing them all the violence statistics, instructing them on all possible methods of abortion, and they are genuinely stunned to gain this information they've never had access to before.

But yesterday, I was at plant lady's house, and I breached the topic of feminism, because I had just entered a feminist book club, and joined a little group of croatian radfems, so I was all up in my ideas about it. And I love the plant lady, she's a beloved figure in my life, but she is both against feminism, and a huge fan of conspiracy theories. So when I started talking about feminism, she interrupted me to tell me that she heard that women, are not in fact, responsible for feminism, but it's actually males in power that are pulling the strings. I explained that we don't even allow m*n to participate in what we do, but she was sure she's right, because, males in power thought it would be cool for women to have jobs and pay taxes, so they invented feminism, to collect more taxes and have more workers. And I knew I couldn't argue her about it because conspiracy theories exist to null every argument against them, right, no matter what I say, she'll have a more incredible explanation. So instead I changed the topic to the problems of sexual violence against women, domestic violence, normalization of pedophilia, and treatment of women like objects due to rampant pornography.

And she's like, no, that doesn't happen, most people are normal and have normal marriages and treat women normally, and these problems, are not the problems of 'feminism', these are things everyone is against – and I say no they're not, m*n don't care, they don't fight against any of it, in fact they're the perpetrators of 90% of these crimes. Then she launches into a story of an abused woman who refused to leave her husband because she loved him. I explain to her that this is incredibly common and it's called 'cycle of abuse', and we can resolve this by teaching women very early on about this cylce, that it can easily happen to them no matter what kind of husband they choose, and to recognize the signs early, before it comes to worst, and for women who are going trough it, they need all this euducation too. What is happening currently is nobody is talking about it and we pretend it doesn't exist and then victim-blame women when they get abused. Most abused women don't even recognize they're being abused because they're being isolated and told it's their own fault. Then she launched into another story about a woman who she knows was battered who escaped. Then she mentioned another situation she knew with a violent husband, and another with a drunk one. And I'm listening to her like. Hey. You said this doesn't even happen, that it's incredibly rare, but you personally know this many cases? And you know me, I've been living in violence too, remember?

And she just looks at me. Realizing for a second that it's not that rare. She didn't argue with me. She previously really thought about each and every case she knew as an outlier, something so improbable and rare that it wasn't really a social problem. She told me then, that we can't really help these people, because police only makes it worse, so what do we even do. I told her it's important that we talk about it, that we offer resources and teach women early on to recognize abuse, and to make a point of not blaming women for it, to make it clear any male could do it to them at any point, to be ready for it, to reconsider marrying, to have a separate bank account, to never let their survival and housing be completely dependant on a male.

I also indulged her to think why women can find themselves in these situations in the first place? If we're so equal, how come it's possible women don't have anywhere to go to, and need to stay in the abusers house to just survive. I said it has something to do with parents usually leaving their houses and properties to sons, and expecting daughters to move into their husbands places, and she again said 'no this doesn't happen', and I went 'well why don't these abused women just move into their own houses they inherited from their parents' and she again, had no arguments. It's not the sole reason though, women earn less too, get less promotions, get paid less for the same job, still mostly do unpaid labour, dedicate a big part of their life to raising children on their own, they don't get to accumulate funds and properties in the same ways m*n do.

Anyway, while we were having this entire conversation, her 18yo daughter was there, listening to us, and miraculously, she seemed to agree with me! When the plant lady claimed 'there's so many normal ones out there', the daughter interrupted to say 'no mom, there's no normal m*n out there, I can't find anyone normal', and I immediately supported her claim with agreement. I was so happy to be a little feminist influence on her and to validate her point! She was also wearing a shirt that said 'grl pwr' and I was like 'yes this is great' even though it's just a liberal catchphrase, it's still a sign of wanting women to have power in the world that doesn't believe a word they say.

I think the type of attitude the plant lady has is extremely common for women in our country, in fact she was very receptive to what I was saying. She knew about this many cases of domestic abuse, because she was often the safe person for these women to tell, and she has been helping the ones who escaped, me included.

Most women I know will launch in defense of males and trashing of women as soon as you mention feminism, because it's the only socially accepted thing to do. I believe we all have women in our lives who are not malicious or terribly ignorant, but affected by the mainstream beliefs that women are asking for too much, already have everything, and are at fault for everything that happens to them; this is incredibly pervasive and impossible to debate in a conversation. It's so ingrained in women to go against anything that makes m*n look bad, it's almost considered a sin and a hate crime to even think this way. Like something a bad, selfish, bitter, irrational and greedy woman would do, and nobody wants to be dubbed that. I remember thinking this way myself when I was a teen; I wanted to hold males responsible so bad, but the shame of being seen as this hateful and bitter person was getting to me, to the point where I would silent down and not speak out.

I used to get so angry at anti feminists, and would avoid indulging with the topic because it would irritate me so much, but I've gained more understanding as I go on, and can now tolerate the opposing arguments when I know they've come from propaganda and social pressure, rather than ignorance or hunger for approval. I'm more effective being able to indulge a little! Not a lot though. If I spent a lot of my time trying to argue with anti-feminists I would in fact, wither and die.

#me every day: what about domestic violence #am i posting too much about domestic violence?#no its because the rest of the planet isnt bringing it up enough #i have to pick up the slack #radical feminism #feminism #domestic violence #anti feminists #conspiracy theories #male abusers #trying to share feminism in croatia #deadly adventure #but someones gotta do it

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dogtoling · 1 day ago

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General life- and blog update , since I assume at least a few people might have been wondering where I've been and what i've been up to recently. I obviously haven't been posting or drawing much this year in general. This will probably be an important post if you care about stuff on this blog, and I already rambled on Sheezy, but that site isn't very populated yet and it's also very good at hiding journals so let's just ramble again...

The summary of this post if you hate reading: I'm heavily considering just stepping away from Splatoon. That decision obviously would affect this blog (mostly, my OCs, which is kinda most of the blog at this point). I don't think the blog itself will go anywhere, and I'll probably use it for something in the future... alternatively i'll cherry pick stuff from here into an archive for people who like the worldbuilding.

Longer post under cut:

So what have I been up to this year? The answer is quite simple: NOTHING. Like, actually absolutely nothing. Aside from Art Fight, this has probably been one of my worst art output years of all time, which is really frustrating. That's between my horrendous mental health and depression chasms this year and a complete lack of both focus and inspiration (which can also get chalked down to the depression to a degree, yeah). So the very real reason to why there hasn't been much activity on this blog this year is because I just haven't Done Anything in general.

Now because I know there will be a few people who think "that's fine! you shouldn't judge yourself based on productivity!" you're right! I also agree. However the issue for me specifically is that most (if not all) the time I spend NOT drawing or creating, I spend sitting around wishing I could start drawing or creating, because that is like the 1 thing that keeps me sane on this freaking earth. Unfortunately coming up with OC scenarios in my head doesn't really result in output I can feel fulfilled by in any form as much as I wish it did, lol.

Now; The Issue. It doesn't take a genius to see that if you spend 9 months trying to finish like a dozen OC pages that you COULD do in a week or 2 if you wanted to, then there's probably more than just the problem of executive dysfunction (even though that's at least 60% of it for sure). Obviously my other major problem is that I live by imaginary rules and structures that make sense, but aren't actually useful at ALL in reality and are more than a hindrance if anything (the mental to do-list in my head that says i can't do X until I've done Y doesn't do very much if task Y takes 10 months and I also don't want to do it, and it also has no structured ending).

How does this tie into stepping away from Splatoon, you may ask. Well, the issue is that I have foreseeably fallen out of love with the series. Which isn't exactly news lol. Currently, I'm not even sure i will get the next game, if and when the time comes. Yes, the loss of interest is also expected, given that Splatoon 3 has ended and every fandom has this kind of downtime and lukewarm in-between-titles period. But the truth is that modern Splatoon (almost 10 years old!!!!) is tangibly different from the way the series was back when I fell in love with it. That was Splatoon 1, and while the series has improved in a lot of aspects and is thriving, it's grown in a direction that I just don't really like. Splatoon 3 had the most freaking horrendous, immersion breaking story mode they could've done, then they followed it up with a DLC story that was pretty cool but also compounded a lot of my fears about the series' future and played into every single thing i do not want Splatoon stories to be - fully character focused, random fucking villain, mundane event that's unrealistically world-threatening just because a kids video game needs a scary climax even though it's immersion breaking AGAIN, the whole thing taking place in cyberspace and thus offering basically no worldbuilding even though there is SO MUCH WORLD. I COULD GO ON.

The gist of it is that nowadays, rather than playing Splatoon and being inspired and excited at what comes next, I mostly find myself dreading what dumbass plot they will do next to throw a wrench in the otherwise good stuff. And when that's like THE main approach I have to what's supposed to be my favorite series, it is HARROWING. I can't even really blame the game for this; the story is NOT its selling point, the developers probably do their best to get the bits to us that they really want to tell, and at the end of the day the game is unfortunately a product. Worldbuilding for Splatoon is fun to a point. It's less fun when in order to actually write or create something coherent, instead of filling in the blanks, the blanks are 90% of the freaking thing. At that point you're just better off making something of your own instead of being anchored onto an IP that gives more problems than answers and occasionally shoots you with like a machine gun. Working in the realm of Splatoon is frustrating because more often than not, the questions I have ARE NOT MINE TO ANSWER, and the likelihood that the specific-ass questions I need answers to will ever be actually addressed is really low.

Tying this back to my OCs. Obviously I love my OCs more than I love myself which admittedly isn't that high of a bar but you get the point. The problem is that I spend a lot of time mulling over worldbuilding that, again, frankly isn't mine to do. Because if I want it to be Splatoon, then it should be mostly accurate to how Splatoon is! But the problem with that is that there's really not THAT MUCH worldbuilding in the series that you can work with, and most of the core game mechanics are just abstract enough that it's actually horrendous to try and come up with workarounds and ways for things to make sense that don't require just constructing a full knockoff version mirror dimension of the game and saying fuck everything that's in place here because Inkopolis Plaza literally has no roads in or out of there and I have no fucking idea how that's allowed when your only option is to jump the fence (or, nowadays, take the train which also isnt connected to a street as far as I remember). Between the face value issue and the lack of REALLY IMPORTANT worldbuilding, like - I will always come back to this - THE INK TANK'S FUNCTION 10 YEARS DOWN THE LINE - there's a goddamn ocean of plot holes and things that end up being obstacles to creativity rather than inspiration. I feel like I'm pretty solidly at the point (and have been for a while) where hanging onto Splatoon is really only contributing to creativity block and frustration with lack of freedom and the ability to actually do things.

So I guess those are my reasonings that I've put together just sitting here for the time being. The TL;DR is that I wish I could just do stuff without Splatoon's canon getting in the way, which is a really stupid problem to have if you're making Splatoon OCs. I feel this frustration extremely strongly every time I have to work with actual bigger aspects of the world; we still don't have an Inkopolis map, we don't know what the world around Inkopolis looks like, we don't know what the wilderness is like aside from Just Normal Forest and Desert and very few snippets as to what modern wildlife MIGHT be, I still don't know how the fuck the Inklings teleport to the goddamn arctic ocean to play a turf war at Shipshape Cargo co. These are all actually really important things if you're trying to establish a setting in any kind of storytelling that's outside of immediate city bounds (and even there, you need to know the layout of the city and its important areas). Also a fucking mutant bear and a baby salmon and a squid not wearing suitable gear went to space and fought on a rocket in space. These are some things that would give me peace of mind to not have to deal with in my own writing, probably.

So where do we go from here? Unsure. I haven't really made a decision on this front yet, though right now I'm leaning more towards actually going ahead with trying to do my own thing. That will result in obvious design and setting changes for my OCs whenever I get around to it. This blog probably won't go anywhere (again, unless I impulse delete it during a mood swing like i've almost done on like three separate occasions this year), but it will probably get less use, and I will probably end up making a new blog to post about whatever I end up doing once I get to a point where it feels like it makes sense. There's a chance that I will delete this blog and put all the interesting stuff on an archive blog for the people who are here just for the worldbuilding. My actual true passion for a long time now hasn't even been Splatoon anymore, it's just been cephalopods. I'm kind of done having Splatoon get in the way of the cephalopods, as thankful as I am that it introduced me to them...

If you read this to the end heres a treat for you = 🍪

#rambles

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neechees · 9 hours ago

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You know what doesn't make sense about Stephen King using the "Indian burial ground" trope regarding the hotel. He also says that the hotel was made around the early 1900s and the builders had to "fight off" Natives protecting the grounds, but a lot of the tribes that traditionally lived in that area were plains or somewhat nomadic, and a lot of nomadic Tribes would hold funerals for dead bodies near where they died, leave the body there, and then any other nomadic tribes would know not to camp there until there was no trace of the body.

So how is it an "Ancient Indian burial" ground.... on top of a mountain? That isn't really a prime location for making camp (thus someone likely wouldn't have died there, nevermind it being a large graveyard) save for maybe like very specific circumstances. And King's story is insinuating there were still Natives there & still living very traditionally despite such practices being illegal. A lot of tribes were also displaced to Reservations at this point. This leaves us with several options for explanation:

The Overlook manager was full of shit & that wasn't actually a burial ground there but he's playing up the history of the hotel & that also explains the appropriation of Indigenous art within the hotel

The location of the Overlook hotel was not built on specifically a burial ground but the mountain & area itself held some kind of special cultural/spiritual significance to the tribes there, who likely protested in some way of the Overlook being built there because of that but not exactly in the way it was described

In King's world, there was a Native American reservation located there (& this would explain Native people living in such a weirdly specific area & wanting to defend it) that the Overlook hotel then trespassed on solely to build a hotel & this reservation is never brought up or elaborated upon but no longer exists

The builders of the Overlook happened upon a Nation of tribe/s living on that mountain that were still living traditionally as in pre-contact despite the U.S laws a la Last of the Dogmen & maybe there WAS a burial ground there because of that isolation but the Hotel management pushed this Indian Nation out solely to build a hotel

All of these explanations are crazy but the REAL answer is that King used faux Indian mysticism to explain why this hotel is cursed because of laziness & left it at that

#the shining #this is why you research for your novels

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raven-at-the-writing-desk · 1 day ago

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Hopefully this doesn't come off as snarky, but I find it genuinely hilarious that every "big-name" Leona fan that I've seen seems to like him against their will lol. I've always had Leona as my favorite, so it's fun to see the journey other people go through to liking/appreciating him!

Look 💦 I can’t speak for other L*ona likers (regardless of size, honestly; I'm a firm believer that one's level of internet fame isn't a factor in the devotion for a character) but for me—to quote Scar—“my words are a matter of pride.” And by confessing to (ick 🤢) LIKING LION… it’s throwing all that pride out of a window. It seriously does feel like these feelings exist against my will.

I have a summary of my story to explain my relationship with the lion lore 💀 I call it a summary, but it’s still kind of long— It's below the cut for those who are interested!

To begin with, the promotional materials didn’t sell me on him. Everything about how he initially presents—from his arrogance to his “tough/bad boy” design (seriously, that biker-cowboy combo of his dorm uniform is SO ugly and shows way too much skin for my liking…)—was so unappealing to me. He seemed exactly like the kind of character and tropes I tend to dislike. The only “good” thing I saw in him was his face (which, ironically, is what Vil says about him) and maybe his UM chant particularly the line where he demands you kneel before him. Then comes along book 2, which is easily the weakest of the main story and does a HUGE disservice to him, making L*ona seem a lot stupider than he actually is. At that point, I had basically written his entire character off. I claimed to all my Twst friends that there was nothing that would ever make me like him.

Around 2022, I decided to get involved in a round of EBG (Epic Bias Game) which is basically like a test of your will?? You’re supposed to compete with your friends to see who can go for the longest without talking about or acknowledging their oshi (which includes not being able to react to fan works of them). As part of EBG, each participant was randomly assigned a “new oshi” to replace the usual one AND GUESS WHAT, I GOT HANDED L*ONA BY THE WHEEL OF FATE 💀

One of my friends (who knew I hardcore hated him at the time) assured me that this would get me to change my mind. They even went out of their way to write a little story explaining how my OC was forced to spend more time with L*ona, which led me into writing interactions between them to build more of the lore. I managed to outlast the friend in EBG, but didn’t win the entire game. I came out of it not really feeling super different about L*ona, but I think forcing myself to write about him extensively helped me gain a little more perspective on his character. I still didn’t like him, but I at least appreciated his presence in the cast a little more.

AND THEN TWST HAD TO COME AND BASH ME OVER THE HEAD WITH L*ONA CONTENT… All the little vignettes and voice lines where other characters would talk about what a good leader he is (*glares at Epel, Jack, Ruggie, Savanaclaw mobs, etc.*), when he sarcastically claims to be a “delicate prince” or a “lost child”, those moments where he sasses others, times when he’s able to use his charisma and/or intelligence to pull ahead, rare instances when he whips out his royal manners, him respecting women… But I think the turning point for me had to have been book 6 OTL GOOD LORD, BOOK 6 FUCKED ME UP 😭 Him using his UM in a creative way to turn falling glass shards into harmless sand? And strategically turning himself in?? Willingly ceding control of the dorm to Ruggie??? Telling everyone about Styx’s lore???? AND THE BEEF HE HAD WITH JAMIL BUT STILL GIVING HIM WISDOM AND ADVICE… Sometimes I still tear up thinking about how L*ona says “You’re not like me,” to Jamil 😔 implying that part of the reason why L*ona guides others is because he has hope in their futures but not his own… (I’m still salty that EN messed up this line by changing it to “I’m not like you,” which makes him come off as way more arrogant 💦) Anyway, I blame book 6 for being the tipping point in my downward spiral 🌀 IT GOT WORSE IN BOOK 7 WHEN HE STARTED SHOWING HE'S MOTIVATED TO ACTUALLY GRADUATE AND TAKES ON AN INTERNSHIP THAT COULD BENEFIT HIS COUNTRY... Special shoutout to the Club Wear card for being especially hot-- I did my best to hold out against the steady drip of content that called attention to his… positive traits… (Not that I’m saying he doesn’t have any; I mean this in that whenever his strengths as a character are brought up, they really get to me as someone who loves intelligent, mature/responsible types and “big brother” figures OTL) BUT IT'S SO HARD WHEN TWST KEEPS PULLING STUFF LIKE THAT???

Then in 2024 came the stupid Lost in the Book with Nightmare Before Christmas event 💀 which finally introduced us to L*ona in full formal attire (MY WEAKNESS) and gave him the opportunity to be in the role of the "hero" and leader... and those Nightmare Suit vignettes 😭 Leona thinking about what it actually means to be "king"... Ugh, it was another strong showing of his character. I'm pretty sure it was this event that started the snowball of my friends (lovingly) bullying me about him and calling me a tsundere about it. Weirdly enough, a BUNCH of things started happening irl to push L*ona at me too. For example, my pet (who usually actively avoids or attacks Twst stuff) was actually eager to pose for a picture with a L*ona standee. In a group fan merch order, I had asked for the bonus Grim sticker but the artist (who had no idea about my complicated thoughts on L*ona) said they were out of the Grim sticker but they had L*ona stickers they could include instead. Most recently, I had just finished this last-minute artwork of Miss Raven eating pocky by herself to celebrate Pocky Day (11/11). Typically the fan art you'd see on this day would involve two characters playing the "Pocky Game" (in which the players try to eat a stick of pocky from either end; usually it's framed as romantic since meeting in the middle results in a kiss). However, I had chosen to do a solo Miss Raven art because I thought this suited her "I want to be taken seriously!" personality better. Well, guess what? I GOT A PACKAGE DELIVERY NOTIFICATION FOR THE TWST MERCH ORDER... WITH L*ONA IN IT 💀 Almost like he heard there was food meant for sharing and he came to claim it for himself... Like I literally did NOT choose for these things to happen to me, THEY HAPPENED ON THEIR OWN. I DON'T BELIEVE IN PREORDAINED EVENTS BUT THE UNIVERSE SURE IS WORKING IN STRANGE WAYS.

So now that the tables have turned, it’s really embarrassing. Everything is coming back to bite me in the butt… It truly feels like L*ona plotted this all along and was on the prowl, patiently waiting for me to get worn down before he pounces and delivers the final blow to my ego OTL Like, it's gotten to the point where many of my long-time friends in the Twst community are now joking that "It's over" for J word... ONE OF THEM EVEN TOLD ME IT FEELS LIKE I'M GETTING DIVORCED AND L*ONA IS THEIR NEW STEPDAD, HOW AM I SUPPSOED TO FEEL ABOUT HTHAT ??????????? ? ? ????? ? ??? ? ?? ?? ? ???? ?

But by the far the worst, the WORST part about everything here is that if L*ona were fully sentient, he would be so smug about recent developments 😡 It makes me SO mad thinking about how he'd look down on me with that hot smug rage-inducing smirk of his and make fun of me for eating my words so badly.

“What was that you said about hating my guts, herbivore? … Hah, it's written all over your face--you're terrible at hiding your true feelings. You can just give in, you know. Tell me how much you worship me. How much you want me. You'll give in eventually one way or another--so why not make this easier for the both of us and save us the time of playing the wait game? I don't bite, promise." (<- a liar)

(Disclaimer: NOT MY MERCH; this is a L*ona Liker friend’s picture that they’re letting me use as a reaction image 😅)

THIS IS FR MY OVERBLOT ORIGIN STORY…

#twisted wonderland #twst #disney twisted wonderland #disney twst #Leona Kingscholar #NOT L*ONA ROT #notes from the writing raven #twst en #twisted wonderland en #book 6 spoilers #Savanaclaw #Epel Felmier #Ruggie Bucchi #Jack Howl #Jamil Viper #jp spoilers #Vil Schoenheit #book 7 spoilers #Jade Leech

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drabbles-mc · 3 days ago

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Just Like Old Times

Jake 'Hangman' Seresin & F!Reader

Written for @narcosfandomdiscord Book of Inception: fanwork that provides an origin story for a character that doesn't have one & "He made me who I am" & improvement

Warnings: 18+, language

Word Count: 2.4k

A/N: the way that the last week or so has gone really just zapped all the motivation and creativity out of me, so getting this written really fought me every step of the way lmao. but i will say, that thinking about Jake Seresin in high school was fun. giving him a brother was also fun. going three for three on these prompts was challenging and rewarding and fun. and now i want to revisit these two at some point because idk i have issues lmao

You knew from the second that you’d walked into The Hard Deck that night that he didn’t remember you. Part of you didn’t really blame him, high school being such a distant memory for all of you now. Not just in years, but in all the experiences you’d packed into those years as well. From one standpoint you understood it…sort of.

From another standpoint you couldn’t believe that he could look you in the face and not say a word, not have even the tiniest flicker of recognition. He had looked right at you, and moved right on along to the next person. No matter how much things changed, they always stayed the fucking same.

It wasn’t until everyone was sitting out on the beach after the football game that the two of you even had a real conversation. Up until that point everyone had been running circles around each other, and you had much bigger things to worry about than Jake Seresin’s recollections of you, or lack thereof.

You were mid-conversation with Bob and Natasha when you noticed that neither of them were really looking at you anymore. You searched their faces, trying to figure out what it was that they were looking at.

Natasha leaned back, palms sinking into the sand as she said, “Bagman, six o’clock and incoming.”

You rolled your eyes, still not turning around to look at him. “Man knows how to ruin a good day.”

You didn’t have to look back to know how close he was, the tilts of Bob’s and Natasha’s head spelling out that information for you. His footfalls were nearly silent on the sand. Without realizing it, the closer he got, the deeper you pushed your fingertips into the sand like you were searching for something to grip onto.

Suddenly you were cast in Hangman’s shadow as he stood directly behind you. You shut your eyes for a moment, the longest blink ever as you tried hard to bite your tongue.

“Ladies,” he said, and you didn’t have to be looking at him to know exactly what his face looked like. “Bobby.”

Natasha was squinting against the sun but she still pulled a bit of a face. “It’s a good day, Hangman,” she said with just enough warning in her tone. “Let’s keep it that way.”

He chuckled, and you could see from the movement of his shadow that he was holding his hands out. “Every day at Top Gun is a good day, Phoenix. Thought you would’ve known that already.”

You were hoping that it was just going to be a quick thing, an in-passing comment that he made because he simply couldn’t bring himself to walk by your little trio without saying anything. But of course it wasn’t. Somehow the shift went from Natasha making extremely thinly veiled comments to the effect that Jake should hit the goddamn bricks, to him plopping down on the ground right there with you. He wedged himself right there between you and Bob like he had been there the whole time.

It didn’t take very long after that for Natasha to find a reason to leave. And wherever Natasha went, Bob was only ever a few steps behind. That left it with just you and Jake and the ocean that was slowly beginning to calm in front of you. It was a scene that could’ve been a peaceful one if the man sitting next to you had any interest in that.

Legs bent and pulled up towards you, you draped your arms across your knees. You were staring out at the receding waves as you asked, “To what do I owe the pleasure, Seresin?”

You could feel him staring at you and you made a point to not return the gesture. “Where’d you say you were from?”

You shook your head. “I didn’t. Also don’t think you’ve actually asked me a question directly the entire time we’ve been here.” You cast him a glance. “Too busy giving Rooster a hard time.”

He narrowed his eyes slightly at you like he was studying you, but there was still a smirk on his face. The more time you spent around him, the more you wondered if that was just what his face defaulted to these days. He leaned back on his palms, legs stretched out in front of him.

“Wasn’t until I heard Phoenix call you by your last name earlier that I realized—”

“Wow,” you barked out with a laugh, unable to stop yourself. “You’ve been running drills and sitting in class with me for how long and it took until today for you to recognize me? No sense of déjà vu sitting two rows over from me and picking on other kids in class? Nothin’ jogged your memory even a little?”

He leaned back, brows meeting for a moment. “When did you—”

“The first night we all got here!” you said, gesturing emphatically at nothing.

The smirk instantly returned to his face. “I’m that memorable, huh?”

You rolled your eyes and shook your head. “Fuck off.”

“What? C’mon, you can’t be mad.”

“I’m not mad.”

“No?” he asked, chuckling like he knew better than to believe you. A lot of confidence in your character for someone who only remembered who you were within the last two hours.

“No. Being mad would suggest that I’m somehow surprised that you’re still the way that you are. And I’m definitely…not.” You sighed. “You’re still Jake Seresin. Only difference now is—”

“My rank? The number of confirmed kills I have?” he tried to fill in the blanks, cocky as he’d ever been.

You looked at him. “Only difference is now you’re old enough to know better.” You saw the way he rolled his eyes at you and couldn’t help but to say, “I don't get you, Jake.”

The look on his face let you know that it had been a long time since someone referred to him by just his first name, not his last or his callsign. There was something intimate about it in a way. You wouldn't have given it any thought if he hadn't flinched at it.

He recovered as quickly as he could, that air of nonchalance reappearing around him. “I'm no Mystery Man.” He held his hands out in a brief gesture, like an invitation to scan him over. “What you see is what you get.”

It wasn't untrue. Jake Seresin had never been the type of person who lived a double life. Who he was around you was exactly who he was around everyone else. Maybe when it was just him, when there was no one else in the room looking to him or expecting anything from him, he was a different person. Not that it mattered—the world was never going to know. Reaching as far back as you could in your brain for memories of him, he'd always been some version of the man sitting in the sand next to you. He was just looking a little more refined these days.

You had just been hoping, when you'd seen him again, that maybe he would've changed by now. Nothing would be different if he wasn't different, but it would've been nice if it could be. The longer you looked at him, the more you tried to un-blur all of the memories that you hadn't bothered to tap into in a long time.

“How's your brother these days?” you asked, diverting course just slightly.

The question was immediately met with an eye-roll. “Fine.”

You had to let out a quiet laugh at that. “Yeah? That good, huh?”

He shrugged. “You want the play-by-play or something?” He shook his head, looking out at the ocean instead of at you. “He's fine.”

“You two not get along anymore or something? I thought you were both—”

“I see him on holidays. We text on birthdays. He is off doing…whatever he does.”

You hadn't expected the tension. From what you remembered, the two of them had gotten along well enough. His brother was a few years ahead of both of you, in his senior year of high school when the two of you were freshman. But he'd always been nice, nicer than Jake had been anyway. But they ran in a lot of the same circles, played a lot of the same sports, and they seemed to have a relatively good time doing it. Judging by the way that Jake was avoiding looking in your direction, you were now wondering if you were misremembering it all.

“We're grown-ups now, you know,” you offered up finally. “If you don't want to talk about him you can just say that.”

He flipped it right back on you. “We're grown-ups now, I can answer questions about Tommy if you have them.”

You laughed quietly and shook your head. “I can see that. The answers you've given so far have been so thorough and paint such a clear picture.” It got him to laugh even though you could tell that he didn’t want to give you the satisfaction. After a moment you cleared your throat. “You guys just seemed to get along back then, is all.”

Now he was looking at you again. “Yeah, Tommy got along with everyone back then—still does.”

You hummed in amusement. “Guess that trait isn't a genetic one, then.”

He cracked a small grin as he swatted sand at you. “Funny.” There was a pause, and you were waiting for him to pick something else to talk about, or for him to just get up and leave. Instead, he gave himself a moment and then said, “Tommy graduated with a full ride, but even when he was gone somehow I was still…” he trailed off. “Navy was the first place I wasn't a legacy kid. No footsteps to follow. Just me.”

“Hmm,” you nodded, not sure what you really wanted to say in response to that.

He caught your uncertainty. “What?”

“Nothing, I just…you wanna say that your brother, your family, your whoever was why you were like that back then. Fine, I get that, kind of. But then why,” you curled your fingers into the sand, “are you still up to all the same shit?”

“I'm not—”

“You are.” The laugh you let out was dry. “I'm one of the only people here that you can't lie to about that. I knew you back then, and I know you now, and from what I've seen? Not much has changed.”

The pinch of his brows let you know that what you were saying was getting to him, whether he admitted to it or not. He tried to hide it, and was semi-successful at it—it probably would've fooled someone else. “If it ain't broke—”

You didn't let him get to the end of the sentence. “There's always room for improvement.”

You were used to laughing at your own little one-liners, but Jake laughing at them too was new, especially when they were at his expense. Whatever the two of you were doing in that moment, it was the closest to being friends that you'd ever been. It was still a stretch but it was something.

“I don't know, you stack my resumé up against anyone else's here and I'd say I'm about as improved as it gets.”

“I think the one thing that could definitely still do with some improving is your humility,” you rebutted with a laugh. You geared up to hear some comment about how there was no need to be humble if he could back up everything that he was saying. When he didn’t, you said, “And, if you feel like taking suggestions—”

“You got another one for me?” he joked.

You laughed. “Yeah, of course.” You cleared your throat. “You said it yourself that this is the one place where none of that other stuff matters, like it never happened. So maybe, when you get a chance, you should get around to dropping all the bitterness that goes along with the brotherhood rivalry.” You shrugged, offering a small smile. “Cocky doesn't pair well with the sad, ‘He made me who I am,’ shtick.”

He raised his eyebrows in surprise as he laughed. “You're meaner than I remember.”

“Yeah, that's because you don't remember me,” you said, the lift at the ends of your lips taking the sting out of your words.

The look of surprise didn’t fade from his face, neither did the amusement. “Damn.”

You still had a smile on your face as you stood back up. Brushing the sand off the backs of your legs, you looked at him. It was a strange feeling, caught between remembering how things were back then and knowing how they were now. A lot of things hadn't changed, clearly, but the circumstances certainly had. You wanted more of it to be different, but there was no saying it so plainly.

“You heading back?” you asked, standing completely upright.

He looked up at you from where he was sitting. Shaking his head, he replied, “Not yet.”

You cocked your head to the side, folding your arms over your chest. “Going to sit out here with your thoughts?”

He chuckled and shrugged. “Well, you did give me a lot to think about.”

“Don't think too hard,” you joked as you started to walk away, “otherwise smoke’ll start coming out of your ears.”

“Your concern is touching!” he called after you, laughing as he spoke.

Turning around to face him, you continued walking away. “Guess I'm just too sentimental for my own good!” you replied, throwing your hands up in apparent exasperation with yourself.

You could still see the grin on his face as you turned back around. Even with your back to him, you still found yourself smiling too. You knew better than to get your hopes up for much, but there was still part of you that was thinking that maybe there was still a chance for things to start changing before all was said and done.

There was still the very large possibility that things would continue to be the same as they ever were. You knew that. But, the same way you'd been wanting things to be different the first night you turned up at The Hard Deck, you still wanted things to be different now. It felt a little more attainable now than it had then. And, if nothing else, at least you knew that this time everything was going to be a bit more memorable.

(divider by @inklore 🩶)

TGM Taglist: @garbinge @proceduralpassion @cositapreciosa @justreblogginfics (If you want to be added to any of my taglists, please let me know!)

#narcovember #book of inception #top gun maverick #top gun maverick fanfiction #tgm #tgm fanfiction #jake seresin #jake seresin fanfiction #hangman #hangman fanfiction #jake seresin x reader #jake seresin x you #x reader #x reader fic #hangman x reader #my writing #fanfiction #drabblesmc

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arcane-ish · 1 day ago

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I'm low key intrigued by this shot in the trailer:

That's the Vander statue, right? I almost didn't recognize it, by how stern and general like it looks. In s1, the Vander statue always felt kind of warm and protective and affectionate. It's obviously a place of solace for Silco and it's full of doodles by Ekko's people and little things the Zaunites left on it.

Here, he looks like a british admiral on his fleet ship or something.

I probably expect way too much but I'd love the idea of Sevika being the one who knows the truth about the original revolution attempt and who is maybe aware of the difference between the narrative and the reality and decides to intentionally keep mum about it to preserve the revolution. I could picture her keeping quiet about how dangerous it was because she just wants the revolution to happen, or even throw Silco under the bus and conceal Vander's flaws because she sees people want to rally behind his positive image, or she could do the opposite, amp up stories about Vander and the revolution and conceal that he wanted to call it off.

I can't help but think that the statue looking so different to Sevika might symbolize how she saw him. That from her perspective he was a lot meaner or colder. Or that the way she looks up represents the mixed feelings she has towards him. To that he looms large that the big shoes that have to be filled just like Cait talked about filling Cassandra's shoes.

I wonder if this shot symbolizes (again with looking up) Vi being unsure whether she should join the revolution. Since we know that Vi will at some point be saving enforcers again, I suspect an original revolution attempt will fail in some way.

I could picture it like this, Sevika lies about how much Vander was in favor of the revolution. Vi is torn when she sees the melding of Jinx and Vander, because if Vander is on it, it must be good right? And then she finds out what really happened and she's no longer keen on the revolution.

(that said, I think it should be distinguished between whether Zaun defends on its own turf or attacks topside. We know somebody is attacking Singed at some point (only to get eaten by Warwick I presume), though that could easily be chem barons wanting access to shimmer, we also have shots that suggest more bridge level confrontations, but we don't know if these are current shots or from the past, we have Ekko and firelights flying in on Piltover but that doesn't necessarily feel hostile)

There we'll probably have this whole aspect of the Pilties will probably find out that the medicine (Noxians) is worse than the disease (Zaunites) and we have this whole other secret, Cait likely has to figure out at some point that Ambessa organized the Memorial Attack.

(I could picture Vi finding out and if she thinks the revolution is going bad rush to Cait to call off the attack on Zaun till she figures out the Noxian involvement. Or reverse, I could picture Cait finding out and rushing to Vi and asking her to help against the Noxians)

Sidenote: I don't really have super high hopes for getting young!Silco and Vander flashbacks, but in my perfect world the whole "the tale about the revolution is different from what it was actually like" thing would have Sevika giving this rousing speech about how the ones before them were these heroic and disciplined revolutionaries intercut with flashbacks of Vander and Silco getting drunk and goofing off at the Last Drop.

#arcane #arcane spoilers #arcane speculation #vander #sevika #silco #zaundads

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kathleenkatmary · 2 days ago

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Yes. All of this. And to piggy back off of it, I feel like one of the big ideas the show highlights, particularly in the second season, is the way that trauma and pain can isolate us (especially women), especially when we're made to feel that expressing our pain and seeking help would be an annoyance or a burden to others and/or like our pain is misplaced or wrong because the perspective of everyone else seems to be that what we're experiencing isn't that bad, or isn't even bad at all. And in that isolation not only do we do things that close ourselves of from getting help from others, but it makes closes us off from seeing the pain the people close to us are struggling through.

I feel like the show was pretty explicitly critical of the way our culture treats trauma and the pain that comes from it and the way that "socially acceptable" ways of trying to deal and cope inherently isolate us from being able to both seek/receive help from others and offer help to those who need it.

Alison resorting to plotting to murder Kevin from the beginning of the show really highlights this, IMO, because it's made clear - particularly throughout the first season - that she's been made to feel like there's nowhere else for her to turn. She's surrounded by people who think Kevin is the greatest. Even the other women around her prop up this idea. There's at least one point where Diane talks about how great Kevin is and how lucky Alison is. Since she's known her Patti has been, from Alison's perspective, 'just one of the boys' when it comes to her relationship with Kevin. So when Alison looks around, it seems like she's alone. There's nobody who sees what she's going through, and with the way things are she understandably doubts that anyone would take her seriously.

And even when she and Patti do team up and start to see each other differently, there's still a lot of friction between them that comes almost solely from them continuing to operate like they were when they were alone because even though they are working together, they don't really know how to reach out to each other and ask for an offer emotional support. The culture they exist in doesn't teach them how to do that. And for them I think that's true twice over, because they both clearly grew up in families where that was the case, and the community they live in is clearly one where that kind of thing isn't really common or encouraged. It's not a coincidence that their relationship started getting healthier and more functional the more they both realized that they actually weren't alone in the things that they'd gone through and learned to both accept and offer support.

Patti and Alison really do represent the two different sides of this problem. Alison is self absorbed, she uses people, especially Patti, she often doesn't recognize what other people are going through, and she takes whatever help Patti will give her and then some without offering much in return. Patti, on the other hand, is constantly offering herself, her help, her support to Alison, even when it's detrimental to her life and relationships, even when she's getting very little, if any, help and support in return... but for much of their relationship, she doesn't really ask for it. There are points here and there where she blows up and points out how uneven their relationship is in this regard, but she always lets it go after that.

Alison doesn't know how to offer help and support, and Patti doesn't know how to ask for it. And when you look at their stories, it makes sense why that's the case. Alison has spent so long being so isolated, not really having any friends, the closest relationship she seems to have is with Diane, and even that seems pretty shallow. She's been stuck with this abusive asshole who sucks up all the air in the room, all the money she makes, all the attention and love from everyone in their lives, and through that all she has to watch and listen as people fawn over how great he is. She's been so alone in it for so long, with no relationships of any real depth. She's so self-focused because she's had nobody else but herself for so long, and nobody to see what she's going through. So when someone does see it and offers some kind of help and support, it makes sense that she would just take and take and take. It's like she's been stuck in the desert for so long and she's finally stumbled upon someone who's offering her a bit of water.

And in turn, it makes sense that Patti would continue to just keep giving, to just keep letting Alison take and take and take. She's been taking care of her brother for so long, even when he's an adult and he doesn't really need it, even when she know he's manipulating her so that he doesn't have to take care of himself. She found herself in this position when she was young where she had to take care of her brother, without anyone there to really offer and tangible help or support. She didn't really have any friends or close relationships of her own. Her life revolved around taking care of Neal, so the only 'friendships' she had were the ones she had through him, and while those relationships were shallow and empty they were the only ones she had. And she had them by way of taking care of her brother. She felt like she didn't have anyone to go to for help and support with her pain because not only did she not have anyone close enough to her to feel safe doing that with, but the position she'd been in since she was young made her feel like she was the one who had to take care of other people, not the one who was taken care of.

Alison and Patti were two women who had been traumatized at least in part by these roles they kind of ended up forced into, these roles that are very much consider expected and accepted roles for women in society. And society can be nasty to women who chafe against those roles. Especially when the men who make those roles miserable for them are so beloved by the community. Which just makes the women experiencing those traumas isolate themselves even more, and that results in them not being able to reach out to each other. It's also not helped by just the general way society teaches women to look at and think about each other. Both Patti and Alison express some pretty unflattering and stereotypical assumptions and perceptions about the other, which are based on (1) those cultural ideas about women, (2) the roles the society/culture they lived in forced them into, and (3) the roles they ended up in and the image they projected as a result of their isolation.

That's the tragedy that I think the flashback where they meet at the bar is really hammering home. These two had existed in each other's orbits for a long time, so close but just out of reach because of the way the culture and community they lived in taught them to isolate themselves, to wall themselves up, to shut up and deal with it themselves. If they had just been able to reach out to each other sooner, to both offer and receive help and support from each other, their situations never would have reached the extremes they did. But because they were made to think that they had to go it alone, that there was nobody else who could see what they were going through, that they needed to just keep their mouths shut and not make a fuss, they ended up having to struggle through it all by themselves for so long when they really didn't need to.

I've always felt like one of the biggest messages the show was trying to put out there is that there's no such thing as a 'perfect victim', and that a big reason for that is because our culture's relationship with trauma and emotional pain inherently puts people who have experienced trauma in a position that fosters those 'imperfect' things that can make victims selfish and mean and reckless and self-centered and irrational. No matter how much you'll see people online or in the media talking about self-care and mental health support and getting help, when it comes to actual people experiencing actual trauma and its aftermaths in an actual community, our society and culture is still very much set up in a way that discourages people who have been abused and traumatized isolated and alone, and I think Kevin Can F**k Himself did a really amazing job at really laying bare that reality, exploring just how damaging those norms are, and showing how powerful finding someone who understands and learning how to both seek and offer help can be.

A thing I find really important about the way Kevin Can Fuck Himself goes about its job: Allison is kind of a mess. She’s self-centered, she doesn’t put other people’s needs first, she makes reckless choices that endanger herself and others. And the show says: yes. Right. She’s flawed as fuck. And she still does not deserve any of what’s happening to her. It could be argued that she is, in fact, this flawed as a direct product of her trauma. Her self-absorption, unlike Kevin’s, is actually self-preservation. It puts Patty in danger. It tunes out Diane’s pain. It capitalizes on Sam’s relationship problems. And still, the show says: yes. Right. She’s going about this in fumbling, worrying ways. And she still does not deserve any of what’s happening to her.

Know how we know this? How we really know this, outside of our own objectivity, our own awareness of the abuse she’s enduring even to the soundtrack of laughter?

Because Tammy is the one to find her. Because Tammy is the one holding the cards at the end of the game. Tammy, who does not like Allison. Who sees so clearly the complicated, messy, dangerous person Allison can be. The mistakes she is prone to making in the name of desperation. How imperfect she is at every level. And Tammy, who is the character most explicitly set to call Allison on all of her shit, to drag her before a court of law, to lean on that hot-button of whether or not she’s a “good person” until it breaks—lets her go. Folds the cards up, puts them in her pocket, and leaves.

Because Tammy, like the show, like the thesis statement of abuse is never earned, never deserved, never warranted, understands. This is a world that so often sanitizes women after it’s too late to save them. A world that insists she should have done more to get out. A world that insists you should be kind and moral and perfect, or maybe you got what was coming to you. This is a world that sees fighting back as an equally heinous crime. As punishable, if not more so, than the actions of the instigator.

But this show doesn’t want to play that game. This show doesn’t want to fuck with it at all. Allison doesn’t have to be perfect and moral and above reproach. Allison has blood on her hands, and a DUI neatly ignored, and knowingly has an affair with her married boss. Allison hurts her friends sometimes, and she makes awful decisions out of desperation, and she doesn’t always pay attention to other people’s plotlines. And the show says: yes. Right. She’s making choices you probably should not agree with.

And she still does not deserve any of what is happening to her.

#kevin can fuck himself #my movie and tv stuff

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