#actually villains aren't this scary

[windor-truffle]

just noticed recently that compared to other tales games, graces doesn't have many long-lasting antagonists besides the obvious final bosses (richard/lambda and the little queen/fodra). there's no subordinate group of the main antagonist like you see in Xillia, Berseria, or Abyss with the Chimeriad, Abbey Legates, and the God Generals respectively. There's no recurring rivals like Ivar(ToX), Zagi (ToV), Chalcedony(ToHr), Zaveid(ToZ) etc. (although there IS an optional second boss fight with Bryce as a sidequest in graces f). The rest of the bosses or antagonists are either monsters in a local area or only last for an arc (Cedric, Kurt) rather than getting a buildup across a significant chunk of the game like Alexei from ToV or the Renan lords from Arise. I don't think this is a bad thing, im not sure what it means other than that a majority of of graces's conflicts stem from individual situational crises rather than massive overarching goals. what can i say it's a friendship-driven game

[thereisnolumos]

I thought Disney cannot disappoint and infuriate me more after Snow White live-action

I was wrong

What the actual fuck is going on in the idiotic Mufasa?????

They're not brothers??? Mufasa took the throne from the rightful heir Taka??? ARE THEY ON DRUGS?!?!?!?!

Have the assholes in Disney forgotten, that The Lion King is LITERALLY Hamlet for kids?!?!?!?!! There was no secret about their past!!!

And Scars line about "I was the first in line for the throne" didn't need to be explained! He was! As the younger brother of the childless king he was! And then that king had a child and Scar was moved down! That's how the line of succession works!!!!

I hate it. I hate it so much🤬

[morallysuperiorlips]

10 Ways to Ensure Your Villain's Evil Monologuing Dialogue is as Unsettling as Possible!

1.) Make sure you're mixing body language with the words themselves: You can have your villain saying the most twisted shit, but if they're just standing there like a cardboard cutout, their words probably aren't going to hit as hard. Have them touch your protag. Have them toy with a weapon as if they're going to use it. Have them pace. Have them put together the blood ritual they're ranting about. Keep them moving.

2.) Have them use personal knowledge as a tool: Does your villain have some deep dark dirt on your protag? Don't let that all go in one swoop. Let them hint at it in drops before they open the dam. Maybe they use that knowledge as a bargaining tool to get an upper hand, or use it to send the trapped protag into a frenzy because they love to watch them scream.

3.) When it comes to threats, certainty is key: A threat is a threat, but there's nothing like a threat being spoken as if the villain knows it's going to happen. Whether your villain has already caught your protag, or is in the process of doing so, everything they say they want to see happen to your protag needs to come with absolute certainty. Almost as if it's a certain warning, and not just something they’re saying to be scary.

4.) Contradictions are your friend: Nothing indicates a warped villainous mind more than some juicy contradictions. Your villain might be talking about how they're going to flay your protag's hide after catching them in their dungeon, only to throw in a subtle "but, you're probably safer here with me." Find ways to toss in twisted contradictions that also underline the crazy shit they might be saying.

5.) Mess with syntax: Unsettling dialogue calls for unsettling structure. Incomplete sentences, unforeseen pauses, longwinded explanations broken up by more unforeseen pauses. Whatever it is, keep the rhythm offbeat. Don't give your reader a chance to be able to tell what's coming.

6.) Expectations? Subvert those: Your protag and even your readers might be suspecting one thing from your villain, so throw them a curveball and hit them with the complete opposite. Perhaps you've reached a point in your story where it seems like the villain might kill your protag on sight. But no, have your villain mention exactly why they aren't going to do that, and why they want to wait it out.

7.) Mix quiet confidence and loud assertion: Some might say that the silent seether is scarier, while others might agree that the sudden explosive type takes the bigger unsettling prize. In my opinion, you can really capitalize on the eeriness of villain dialogue by tapping into both. A villain that speaks on with refined confidence before very suddenly exploding, without much warning, can really power up the dread behind their words.

8.) Sometimes, ambiguity is better than being straightforward: Whether it's obvious that your villain has a lot of tricks up their sleeves--or not--leaving things to the imaginations of your protag, and subsequently, your readers is great for building dread. You can use dialogue to make it clear that they're up to something, but never make them fully disclose what that is. They might show it instead of tell it, or it might just never happen. Either way, it'll likely have everyone looking over their shoulders.

9.) There might be times where silence says everything: You might be worried about penning the correct verbiage for your villain's big evil speech, but sometimes, silence speaks wonders. When used correctly, a long pause, or a bout of silence after your protag has said their piece can build a sense of uneasiness more than them actually speaking would have.

10.) Find ways for your villain to mirror the hero: A monologuing villain is better when they're throwing your hero's values and beliefs back in their face. A hero that believes in mercy? Well, have your villain talk about how they'll make them beg for it. A hero that believes in the greater good? Have your villain talk about their idea of a greater good.

As always, GO WRITE SOMETHING TODAY! <3

[ozzgin]

Hi!! Your writing it truly lovely 😭<33 If i could request anything with Zzy? Thank youuu

Yandere! Demon x Gloomy! Reader (II)

Featuring the goat-legged boy Zzy and a gloomy, newly employed detective Reader! By the way, his name is a little tribute to a series I like. Can you guess who inspired it? Hint: it's Jhonen Vasquez's first comic :D

Content: female reader, perverted goat demon yandere, dark/crass humor!, monster romance, mildly NSFW

[Part 1] [Monster masterlist]

The detective man, at the very least, kept his word. The pay is good, and you barely have any work to do. The jobs themselves are similarly not too challenging: so far you haven’t had to deal with any murder mystery out of an Agatha Christie novel. Rather, most of the time, it’s someone asking you to investigate their cheating partner, or sending you to do a background check for an employee. Every now and then you’ll get the odd client, but that’s something for another day.

Your boss isn’t all that bad either. You were initially quite hesitant to be alone in the room with him. He always seems to be surrounded by an eerie, dark aura, and you’ve only seen him smile in a menacing, villainous way. Now you’ve gotten used to his strangeness. In fact, it’s almost comforting. There’s something refreshing about another human being honest about their misery. He seems to be just as uninterested in this job as you are, spending most of his time reading at his desk. Despite his unkempt, scary appearance, he's pleasant enough and looks after you. Which, now that you think about it, is a little suspicious. You've seen him act around other people: curt and to the point, disinterested, even potentially rude. With demons, he's ruthless.

"Have you had lunch yet?" the man asks, standing up and dusting his knees. "I can get us something."

You nod and flash him a flaccid smile, although you can't help but ask:

"Listen, aren't you being a little too nice? I mean, I'm not complaining...but I've seen how you behave in general, and I have a hard time coming up with a reason for my special treatment."

He ponders your question for a moment, before his sunken eyes look ahead, somewhere behind you.

"Well…If I’m being honest, you’re kind of pathetic, aren't you? I’m just a little worried that if I’m too harsh, I’ll find out you hanged yourself in your apartment or something. Not that I’d care, but if you’re gone, I’m the one stuck with…that thing.”

Ah. That’s what it was. Almost immediately, a shiver runs across your spine.

“(Y/N)! Are you done yet? I’m booooooored”, a prolonged whine erupts from the neighboring chamber.

“I’m about to have lunch, actually. Do you want any-”

“You know I do! Spread those legs and I can start”, the goat demon declares with a grin, clacking his hooves in your direction.

You sigh.

Of course. Months ago, you were tricked into signing a lifelong contract with Zzy. It was the detective’s way of washing his hands off the matter and warmly welcoming you into the agency. It makes sense that he'd treat you with utmost care, otherwise he'd have to deal with this pest from Hell once again.

How's your life with Zzy going?

You've since found a way to seal your bedroom, in order to avoid waking up with his groping hands under your sheets. Sadly, the stubborn creature keeps finding ways to bypass your safety measurements. Who would’ve thought that lust is such a powerful driving force?

On top of the nightly shenanigans, you obviously have to deal with him during the day, at the agency. “Listen, it’s like…one of those fidget toys. It helps with stress”, he explains fervently while pointing at your chest. “You want me to do my work properly, don’t you?” He concludes theatrically. “You’re not holding my boobs. This is the end of the conversation.”

If you’re having a bad day, it won’t go unnoticed. “Boy, what a smell, what a delicacy. You’re even more miserable than usual”, Zzy will exclaim, throwing his hands together in a graceful prayer. “You know what the best medicine is? A quick fuck. Let me pound that sadness out of you, eh?”

Despite his constant clowning, the demon does have moments of clarity. He becomes particularly serious when jealous. “What have you done?” You shout in despair, gawking at the client - now morphed into a pig - foaming at the mouth and running around the room. “He was staring at your ass. Only I can do that.” The horned man stands proud, arms crossed, nodding at his own courageous act. His most treasured belonging has been defended once more.

As expected, the jealous curse has gotten both of you into time-out. Zzy because he cursed the client in the first place, and you - despite your protests - because you didn't stop him in time. "Can't you wear something easier to take off? It takes two business days to unbutton this crap", the demon complains as he fiddles with your shirt. You're laying on the sofa, hands behind your head, gazing at the clock on the wall and counting the minutes passing. Unbothered, compliant. The peacefulness of someone who's given up. "Zipper is to the left", you add, aiding the process.

Another irritating detail is that the damned beast can detect the slightest arousal coming from you, and will make sure to announce it loudly, regardless of who is around. "Someone's horny! Whew, getting me all worked up, too." You slap a hand over his mouth, a deep red blush rapidly spreading across your cheeks. You turn to the detective and apologize profusely, but he remains unconcerned, flipping another page. "Let me take care of her first, Mr. Detective", Zzy manages to mumble through your pressed fingers. "As long as you get the task done", your boss responds plainly, never bothering to look up from his book.

"You should visit me down there sometimes", the horned creature suddenly mentions, his head resting in your lap as you idly browse your phone. You stop to glance down at him. "In Hell, you mean?" He snickers at the thought. "No one believes me when I tell them I have a human girlfriend. I need concrete proof, ya feel me?" You raise an eyebrow. "Girlfriend?" He disregards your inquiry and continues: "At least give me a pair of your panties to take back home." Absolutely not.

"Were you this much of a menace before I showed up?"

"What's that supposed to mean?! You can't blame a demon for being in love."

You sigh once more and roll over.

"Does that mean we can go for round two~?" Zzy is grinning at his own suggestion.

"Just go to sleep. Or something."

[sugarlywhispers]

Bakugou Katsuki is known for being a man with character, with a strong personality. A man that looks menacingly and fucking scary. Everybody knows that he isn't a man that you would want to have problems with –villains literally shit their pants every time the name Dynamight is pronounced. He is fucking terrifying when he gets mad and angry. Even his own hero colleagues and friends know that.

Some people thought that Katsuki needed a woman who was different from him. Like someone more easy going and friendly. Someone who denoted more brightness than him.

And you are exactly that. You two look so different sometimes that people don't understand how you two work things out. But what people don't know –but Katsuki does, perfectly well– is that inside you hides a person even more scary than Bakugou Katsuki could ever be.

And so there all his hero friends are, standing freeze and looking gobsmacked at how you angrily yell to a man at the restaurant all of you were about to leave. Katsuki doesn't know exactly why you are screaming so pissed off at that man, but he thinks that if you are that upset, it surely means that it is something bad. Which also means that the man probably deserves it. You know how to defend yourself, and Katsuki is fucking proud of that.

“Are you really not going to interfere?” Asks Kirishima, looking surprised and a little worried at the same time. Bakugou shakes his head smiling.

He completely loves when you show that side of yours; it is actually the very big thing he loves about you the most and one of the reasons he fell for you in the first place.

“But… I-I don't get it. What happened to our little princess?” Katsuki can't avoid laughing at Mina's words. They really don't know you the way Katsuki does.

“Was it something on the food?” Kaminari asks, kind of like hiding behind Todoroki, the latter watching the altercation with big surprised eyes.

“He wished that was the reason,” says Sero when he comes back from where you are standing, still yelling at the man. “He was selling information about us, and our whereabouts. Apparently, the idiot also took some pictures and was selling them too.”

Katsuki crosses his arms over his chest and grins. So that is why you are that pissed... You are defending him and his friends.

Fucking cute, is what you are.

All of them look at Bakugou dumbfounded. And him? Well, Katsuki looks fucking proud of you.

“Go home, guys. This may take a while,” he says, not taking his eyes out of your still yelling little form.

“Are you sure? Don’t you want us to stay and help you ease things down? She looks pretty… upset,” Deku says sincerely, even though he looks kind of afraid of you. HA. Not even fucking Pro Hero Number 1, Deku, is immune to your terrifying side.

Everyone is a little afraid, and Katsuki smiles proudly at that.

“Nah, I can handle it. I'll see you guys tomorrow.”

Everyone says their goodbyes leaving him standing there in silence, watching you proudly and with amusement.

It took almost half an hour later until you released all your anger in the form of words to the man. With one last not so pretty word to him, you turn around and walk to your waiting boyfriend.

Katsuki's smile is so freaking big, you think it may break the skin of his cheeks. “Finished already? I thought it would take longer than that…”

“Did you know what he was do-ing…” You start a bit heated, but his arms surrounding you by the waist and pulling you to his chest calms you down immediately.

Even though you don't quite finish the sentence, Katsuki already knows what you are talking about, “Yeah, Sero told us what happened.”

He rocks your bodies slightly from side to side, hands caressing your back in a comfort, soothing touch. You don't understand what or why he is doing it, but you aren't complaining either. You love being in his arms.

And Katsuki loves the way he can calm you down just with one touch from him –just as fast as he does when you hold him.

He hugs you tightly and then kisses your forehead, hanging his lips there for a moment.

You snort, a delicate amused breath that collides with his neck and makes his body tingle.

“What is this? A kiss to calm the beast?”

He chuckles, “It's a kiss that shows how much I love you.”

And that shows how proud he is that you are as scary as him. Or even more than him.

a.n; lol this is actually something that happened to me once.. i'm suuuuuuuuch a short tempered minion sometimes it even pisses me off LMAO and then i have the audacity to question why i have favs like bakugou and sanemi oops>.<

[killertoons]

I've got ideas and a theory for the recent welcome home updates (10/18/2024)

Walk with me-

So that short story alone already showed pulling ideas from Edgar Allen Poe with the tell-tale heart and the cast of amontillado

(I wouldnt be shocked if they reference other Edgar Allen poes works like the raven soon but that's me cheating to peek at clowns kofi and I won't speak further on that-)

Basically Sally is doing a rendition of the tell-tale heart and poppy got cast....only she doesn't want to be involved. It's a scary tale, and for those who didn't take advanced English

The story of the tell-tale hearts about a man so absolutely freaked out by this old man's eyes to quote

'I think it was his eye! Yes, it was this! One of his eyes resembled that of a vulture- a pale blue eye, with a film over it.'

So the man sets out to kill him, does so by lurking in the dark for 7 straight nights till finally the 8th night he finally does so, dismembered him and hide the pieces under the floorboards!

But when police came to investigate...he could hear both but a beating heart under the floors and from his guilt he admitted to the murder and ended the tale with

'"Villains!" I shrieked, "dissemble no more! I admit the deed!- tear up the planks!-here, here!- it is the beating of his hideous heart!"

So already Sally doing a rendition of this tale is wild already as I imagine it's been changed to be more family friendly for the neighborhood, but poppy isn't up for it.

And Sally's sad about it! And of course the neighbors all know why poppy actually didn't wanna do it. And Sally trying to be a good friend realized the play scares her so they gotta do something to let poppy have her cozy state of mind away from anxiety

So they form their plan-

To cask of amontillado her into her house, brick by brick.

Another famous story by Edgar Allen Poe, that one is about a guy luring someone he had a dispute over into a cellar and bricking him up down there to rot.

It's a revenge story, one we have no details other than a man was wronged (we never learn the reason) his anger and vengeance taking center stage.

Through the entire story time, the neighbors are supposed to be following a book along as a read aloud story but they keep breaking into separate lil conversations or making quips to each other... Till the end where audio is lost on the rest of the story after poppy was bricked away.

However...

Because we have the secret website we can check there and what's found was....worse

Poppy in the dark of her barn and something is lurking with her in the dark.

By the end someone gets her out but the sounds of the people aren't named... although they sound familiar to us

I could say what we were all thinking and state the obvious "oh those must be the puppeteers! That was poppy's puppeteer having a freak out moment-"

Which I personally agree but there's more to it.

Do y'all know how big birds puppet works?

It's one person in there, with a screen to tell you where to go and a script taped inside while they maneuver around like this!

I imagine poppy is the same way since she's based design wise off big bird

Now with this in mind, add how hard it is to move or see or perceive where you are in general in that suit. How clasterphobic your gonna be if you can't get out!

I get clasterphobic trying to get out of a dress that fits too tight at the store, I can't imagine how scary this would be especially if your on your own in the dark room as well!

with only your lantern to read your lines and something to occupy yourself- maybe knitting as it's a hobby you picked up-

When you hear breathing that's not yours. From within the suit. A suit that's JUST big enough for you, mind you.

So it be impossible for anyone else to be breathing...only you forgot someone.

The puppet suit itself...is breathing.

And there's scratching at the door, something else is lurking in the dark with you but you can't see it. You can't get out, the suit can't leave but your mind is stuck the doors open but in another world it's closed and sealed-

But I'm getting ahead of myself

What is said is...what if that IS poppy reacting in the dark to something...but also it's the puppeteers reaction to poppy as well. They share a mind and A space for a moment in the dark where their fear matches them and it doesn't break till the door opens and the puppeteers talk..

I think the horror is going higher as both sides are gonna start interacting more and more with each other..

[ffverr]

On the discourse (that somehow still exists) of why the X-Men are feared and hated but other genetically modified heroes like the Fantastic Four or some of the Avengers aren't :

I still see this argument online that some people, usually not X-Men fans, pull out in a sort of gotcha moment. To kind of stick it to Marvel for being unrealistic or to vouch for the fearing of other heroes in the marvel universe to tip the scales.

There are two points for the "why is *random x-men* oppressed and not *random marvel hero*" discourse that people are always intentionally missing.

One- A base of mutant fear and repression is the argument that "it could happen to your children too". It could happen to ANYONE, from birth, and there is nothing you can do about it. No being careful of scientific experiences can stop your close ones from becoming a mutant. (Kind of like people are okay with gay celebrities as long as they're doing their thing from afar but it's a threat when it comes to their children/Friends/family being gay)

They layed it on thick with this amazing advertisment back in the day: "do you know what your children are"??? I mean come on it's not rocket science

Fun fact, the kid labeled "mutie" here is actually Franklin Richards, son of Mister Fantastic and Invisible woman. He used to be a mutant and this goes to show how somehow johnny storm can be beloved but his super powered nephew doesn't get the same treatment.

Two- Spider-Man, the F4, the Avengers etc... All these heros who get some powers by some incident. They're supposed to be rare and few in between. The fear of mutants mainly comes from the fact that they started popping up in the MILLIONS. A mutant isn't necessarly seen as an honorable individual that acquires powers and realises they have the responsibility to use it for good. To humans, they're millions of people (or at least hundreds of thousands) that are, just by existing, threatening the status quo of humanity. They are changing the natural dominance of humans for good.

So of course humans love the F4 (usually). Because they're not scared to be replaced by them in their day to day life, however they are scared to be rendered obsolete by mutants. When humans look at the F4 they see brave selfless HUMAN heroes. They relate to them, they identify with them. They're a sweet family dedicated to the world's safety. In contrast, the mutants represent a world changing threat that truly shifts the balance. And that's not comfy at all no matter how cute or harmless the power is.

This difference can even cause very understandable tension in between the X-men and other super powered groups:

In short, the mutant moral panic comes from the fact that for exemple:

-humans are afraid to loose their jobs to super powered level talents.

-humans are scared from groups of super powered people that could threaten their safety.

-Governments are scared of these groups being the equivalent of entire armies concentrated in a single individual.

- They're scared that their children could turn into something unimaginable once they hit puberty

-And some just hate the idea of being manipulated by a random telepath on the street without ever knowing.

In contrast of Spider-Man, humans feel like nature is done with homo sapiens and THAT'S what brings hate and fear.

That's why everytime a mutant hate crime happens in the comics, it's always accompanied by some human saying "y'think you're better than us weirdo".

+ Contrary to the avengers, mutants also claim a culture, a shared history and common experiences between thousands. This binds them together in a way they doesn't necessarly make them identify with humans. And this is overall irritating and scary to humans.

Also, religious fear-mongering of mutants is rampant!!! It does a ton to set appart the mutants from the scientifically modified heros of the marvel universe.

In the end, one of the best comic to portray this whole thing is still God loves man Kills.

It depicts a villain, Striker, that gains popularity by spreading religious propaganda to justify mutant hate. In an emotional and shocking twist, we come to find that Striker has had a mutant son, that he killed with his own hand because he was a "monster".

You can understand how Captain America, with his super body, doesn't really evoke the same existential dread. Bigotry isn't rational, but also, a shit ton of things complicate the mutant's inclusion into society that doesn't necessarly parallel perfectly with real world struggles so that's also to take into consideration.

[blackbirdsblackberries]

Hey, Tira!! Anon that suggested Latina! Reader here. First of all, are you doing good? Remember to drink water, okay?

Secondly, for a neglected! Reader plot,(or maybe a one-shot, whatever you feel like writing) what do you think about magical girl! Reader? Like, there's this pink (or any other color) teenage girl/boy in gotham that fights some type of not really scary monster (maybe those from precure, as they don't look that frightening) with glitter and hearts and cute stuff and then the batfam is just flabbergasted because why?? Are they?? So cute?? And they become yandere because they just think reader is so so adorable and innocent

And maybe gotham villains have a soft spot for reader becuase they saved them for the monster thingys

And now reader has to deal with all the most powerful entities in gotham being obsessed over them

And IF it is a neglected! Reader they have to deal with the pain of being adored by the batfam as their magical girl persona, but not as their real self

OR MAYBE!! Star butterfly! Reader (i could elaborate if you want!)

Sorry for the long ask and any writing mistakes, and again, really self indulgent because I love love love magical girls!!

Hi! I love hearing from you again!!! I'm doing good, I just watched the Deadpool and Wolverine movie and it's taken a grip on me 😩

I love that idea for the plot! I was hoping to do a magical girl reader because my FYP on both Tiktok AND Tumblr has been magical girl batfam and I just finished watching Sailor Moon last night.

I'd love to incorporate that into the plot (as well as make a separate one-shot of it in a different instance).

I for sure think that the Batfam would have the mindset of "oh, they're dressed up in cute, bright colours and is fighting non-frightening monsters. That must mean they're an innocent teen playing dress up and doesn't actually know the truth about the real world"

Whether it's true or not is up to you to decide for now but I personally think that Reader would be in the middle, aware of the world around them but oblivious to how it affects themselves - or completely different then that, Reader would be completely aware of the world and struggles in real life but fights as a magical girl + with a smile on her face so she can give others hope.

For the villains I think for sure that the ones who have a proper soft spot (eg. Wouldn't get Reader involved in crimes, would work to protect Reader) would be Poison Ivy, Harley Quinn, Riddler, Two-Face and Penguin.

For the villains that will let Reader get into trouble so they can save them I think it would be Bane, Catwoman, Clayface and Killer Croc. (Possibly Mad Hatter).

For the villains who would purposefully incorporate Reader into their schemes I think the main ones would be Joker, Hugo Strange and Scarecrow (for two different reasons however).

For Joker he'd see it more so as a bonding experience, a way to "hang out" and "catch up". Even if the Reader is held hostage, in the middle of the battle field, etc.

For Scarecrow I think it would come moreso from a sense of morbid curiosity. How far will Reader go to help people? How does their mind work? How will they react to Fear Gas? What is their fear?

I'd definitely think Harley would love the outfit and Mad Hatter would start to think of you as Alice with your colourful get-up.

If we're talking Batman villains who aren't in Gotham (Talia, Ra, Deadshot, Deathstroke) then I feel it would be a different kind of attachment.

It would be more like "what is this colourful child doing in such a dark place?" (Even if you are already in your adult years).

Talia and Ra would see Reader as someone to train, Reader has great strength to wield and if Talia/Ra can train them then Reader will be a great asset.

The difference between the two would be that Talia grows attached in a nurturing way while Ra grows attached in a condescending way.

Eg.

Talia would think of Reader as a child for her to protect

Ra would think of Reader as a lamb that will be slaughtered without him.

Deadshot has his own kid, he doesn't care much for another until seeing Reader hurt/sad. Reader would be a substitute for Deadshot's daughter while she's with her mother.

Deathstroke, I really don't like him (sorry if you do, he just makes me feel icky), but I feel he'd have a mix between Talia's headspace and Ra's headspace.

"Reader can't survive without me guiding them. Reader needs a father to help them grow" it doesn't matter if you have a dad, he won't compare to Deathstroke. If it's such a big deal for Reader Deathstroke will just remove Reader's father from the picture.

I'd love for you to elaborate on Star Butterfly!

Dw about long requests, I literally squealed when I saw it!!

[hughiecampbelle]

The Boys Preference: Reacting To Your Symbiote

Requested: HEYY ive been eating UPP your head-canons for rhe boys, i would like to request one on how they would react w/ a reader that has a symbiote (venom basically) except it’s not like butcher’s case, but spouted from comp v when they were injected at a young age :D - anon

A/N: This idea is cool my love!!!! I hope you like it!! I did base it off clips from Venom/the Wikipedia just bc it's been ages since I saw the movie lol so apologies if anything is wrong!!! Feedback is always appreciated 💜

Requests are open! 🔮

Butcher thinks your symbiote is both gross and a great thing to have on the team. You didn't tell anyone about them, fearing you'd hear the same responses you'd always heard growing up. He interrogates you about your powers. You promise you would never hurt anyone, that it's pretty bad in terms of looks, but that you have everything under control. That's not good enough for him. He wants you to show him. After more yelling and assumptions, you snap. It's only your arms that you allow to be taken over, but it's enough to leave him feeling sick. Afterwards you're pretty quiet, avoiding him as well as you can. The look on his face was exactly what you were trying to avoid. Eventually he grows a little more used to them and even apologized, though it's a poor one at best. When he really sees you in action he's left speechless. The team needs you, both of you. You're strong, and powerful, and scary in the best way possible.

Hughie was pretty freaked out the first time you showed him. You begged him to run, to save himself, but mostly you wanted him gone so he wouldn't have to see. When he didn't, you had no other choice. Your symbiote took over, giving you just enough control to apologize before, quite literally, annihilating your attackers. He couldn't believe what he was witnessing. He knew you were a Supe, you were pretty upfront about that, but you'd never gone into detail about what you could actually do. He understood why. Your symbiote was the thing of nightmares. It was malleable, and throbbing, and it could be as large as it wanted. It swallowed you whole, making itself a set of knife-sharp teeth. It smiled at him, telling him he was safe, which would have been endearing had it not been you standing in its place moments before. He has a lot of questions, all of them you're more than willing to answer. He deserves to know, especially coming face to face with them. You're an open book, the both of you are.

Annie was pissed. You never told her you were a Supe in the first place. You couldn't tell her. She was everything good about Supes and you feared you were everything bad. You were afraid of her judgement. You had enough of that from M.M. You made sure no one told her, not until you thought she was ready. And then she watched you save Hughie. She felt like an idiot, watching them take over your body, in awe and horror. She felt lied to. Technically, you think but dare not say, it wasn't lying because she never asked you, she just assumed you were human. You apologize anyways, knowing it wasn't right. You show her your symbiote bit by bit, introducing them slowly, telling her as much as you think she can handle at a time. You've been told, if you wanted, you'd be a perfect villain, you'd fit right in with Homelander. You didn't want her to come to the same conclusion. Annie could come to rash decisions at times. You figured you and your symbiote were no exceptions.

M.M isn't the biggest fan. It's nothing personal. Being a Supe is enough not to make him like you. On top of that you've got this thing inside of you that has a mind of its own. It could be capable of anything and you'd have very little control over it. You know this. You've been dealing with it since you were a kid. You and your symbiote grew up together. You've reached a level of mutual understanding and maturity that they aren't just going to start running around and rob banks or hurt people. That's not who either of you are. Still, he can't shake the feeling, the worry, that they could turn on your team at any moment. Your symbiote knows M.M. doesn't like them and, much like a dog, wants to give him extra attention because of it. You've had long talks about what not to do around him, keeping them in check so that you can gain just an inch more of trust. Anything helps to show him that you're not a monster.

Frenchie is probably the most comfortable around your symbiote out of all The Boys. He has a lot of questions for the both of you, especially about your childhood. For many years you thought you were a monster. Your family was expecting powers that could save people, that would get you into The Seven. Instead there was this thing that took over your body, this creature that could control their child. They thought it was gross, unsightly, and forbid you from letting them out. Of course you didn't listen. When you fell off your bike and skinned your knee, they fixed it. When you couldn't reach something, they helped you. They weren't all bad, they just weren't willing to learn that. Still, there was a lot of shame and even now, you struggle to open up about them. There's absolutely no judgement from Frenchie. He's fascinated. Awestruck. He tells you constantly how cool and powerful he thinks you both are. He doesn't want you to think of yourself as some kind of monster or abomination. Ever.

Kimiko watched your symbiote take over the first time you were really hurt. Homelander pushed you off the roof and you fell, breaking your bones, gasping for air, but magically alive. If she could have, she would have screamed. Your symbiote, as gently as it could, wrapped itself around your body, resetting your bones, putting your insides back together. It was excruciating. It only takes a few minutes before you're completely healed. She watches in awe, eyes wide, unsure of what the hell just happened, but eternally grateful you were okay. She stands you up, unsure of what to say. That night, you tell her everything. She's the first to really appreciate them. They're not the most attractive and have a wicked attitude, but they care about you. They saved you. Anyone who loves you that much is good in her books. She gives them names, asking how Kevin is or if Susan might be able to help her with something. It always makes you smile, knowing she isn't afraid of them or thinks of you any differently.

Bonus! Homelander thinks your symbiote is disgusting and weird. He refused to have you be a part of The Seven, but without any other candidates, he eventually gave in. You do a lot of weird things that truly make him uncomfortable. Arguing with your symbiote is a big one. Only you can hear them when they're inside, so it just looks like you're talking to yourself all the time. He hates when you're "saving" someone and they come out, but only partially, like a hand or leg. Something about that, you and them together, makes him queasy. When it's one or the other, that's a little better. When he gets uncomfortable he gets angry, which is bad news for you. Like The Deep, you've become a scapegoat for Homelander. If anything goes wrong, it's your fault. Your symbiote doesn't like him and, as hard as you try to keep them in check, they make it known.

[go-go-devil]

I still really love the reveal that The Pink Opaque was always a show meant for much younger kids as opposed to the teen action show we're first presented with, but mostly due to how well the film tricks us into seeing it the way Owen & Maddie saw it.

Really it's so painfully obvious right from the get go that this is a kids show: Maddie defensively stating that its "too scary for kids" despite being on a young adult channel, the first episode we see having a plot revolving around wishing the ice cream man delivered ice cream all year long, the show's villains having very cutesy names, Isabelle & Tara's pink ghost tattoos being very cartoony, etc.

Yet we the audience see the Ice Cream Man as a grotesque monster with far more disturbing practical effects than the very low-budget real version. We see all the characters appearing older than they actually are. We see dark, dramatic themes of being trapped in a false identity slowly poisoned from the inside in the final episode only because by that point we've become JUST as personally invested in the show as our main characters do.

Upon getting to the reveal that what we saw wasn't actually a Buffy the Vampire Slayer kind of show but actually more along the level of Goosebumps, we end up questioning our memories of the show just as Owen did seeing it again after all those years because it seems so unreal! How can we possibly deny all the intense, compelling drama we just witnessed?!

One might call this a commentary on how nostalgia can blind us to a show's actual quality as we grow older, but personally I see it more as how one's attachment to a show can end up LITERALLY changing it into something else entirely.

Now I never watched Buffy and can't relate to all the references the film gives to it, but as someone who frequently watched My Little Pony: Friendship is Magic as a teen despite not at all being the target audience I can heavily relate to what Owen and Maddie saw in The Pink Opaque.

It didn't matter that the show wasn't actually as intense and well-written as they thought, what mattered was that the show gave them EXACTLY what they needed at that time in their life. Owen saw herself in Isabelle, just as Maddie found her true self through her love for Tara. It allowed the pair to bond and form a real fulfilling friendship during hard times. Their warped memories of the show aren't stupid, they stem from what happens when a piece of art has such a profound effect on us to the point where it ends up shaping our very lives!

The Pink Opaque was never a groundbreaking show with any ounce of queer themes in its narrative, but it helped Owen realize she was trans, and in the end that's all that really matters. 💖👻

[dogtoling]

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 = 🍪

[blueishspace]

Hero, Villain God 22

(Prev) (Next) (First)

Chapter 6

*Grian's pov*

You have an idea... Hotguy told you of your official introduction, you'll have to speak to the people and inspire them or something...but that's boring and you don't really want to spend the entire day standing around at a big celebration. So...What better way to start your sidekicking career then stopping a villain attack? ...

There is one small problem with your idea, where to get a villain... You could create another body and be Cuteguy and Mother Spore at once but that would mean either risking your credibility as a sidekick immediately or make Mother Spore way less scary depending on who "loses" and who "wins"... And a tie is out of the question.

You could get Grumbot to plan an attack but... You don't really want to do that to what is basically your son and unlike other options you can't be sure of your victory considering Grumbot is a god as well... also you aren't sure how mich access he's going to get since Scar has yet to decide where to do this ceremony... one would think that would have been chosen before announcing it but no, it wasn't.

That leaves the last option, using Grumbot to manipulate a smaller villain or crime group to interrupt the celebration so you can actually not die of boredom and look good at the same time... You'll make sure nobody gets too hurt but if you don't this you will actually self combust.

You walk into the lab as Mother Spore, Boogeyman is working on something you don't understand and have no reason to try to do so. You move past him and into the room you know Grumbot resides in.

"Grumbot"

The machine turns on in response.

[Mother?]

"Indeed, how has it been...being alive?"

[... Weird]

"Expected that much"

[Do you require something?]

"I do need a favour from you"

[Clarification needed: A favour?]

"I need you to find someone or someones for me"

[Clarification needed: Who?]

"Someone stupid enough to go after the hero association, powerful enough to create a scene and weak enough to be subdued easily"

[Computing Request: Why?]

"Cuteguy's official introduction, I want to disturb it a little in a way that won't be connected back to us. I want the heroes to be distracted at that point but not threatened enough to investigate too deep"

That's not actually true but you know that's a reasonable justification for it... Well, you don't want them to find you too soon, that's true at least.

[Computing... Understood. ]

"Thank you"

You walk away soon after, you wsnt to ser who Grumbot manages to fool into doing something so stupid. You are sure he will find someone though, after all he has access to all of human knowledge.

*Mumbo's pov*

Mother Spore exits from Grumbot's room, she looks towards you.

"Do not worry, merely had a request for him"

Well, you weren't worrying before but now you do, who does something suspicious and then just says "don't worry" expecting it to work?

Despite your thoughts you nod at her, she turns and leaves... That was really weird.

You'll have to keep a closer eye on her... You genuinely can't tell if she's hiding something or is just especially weird today.

[jakebakingbaconpancakes]

Tangled treating its audience by not leaving them confused or being omitted from anything for the entirety of the movie. We are told and made perfectly aware of each of the character's motives, and the plot twists are more or less foreshadowed.

Right from the very beginning of the movie, we know Gothel is the villain of the story, yet Rapunzel doesn't know that. We see her being manipulated and deceived by Gothel so it's very satisfying to see when Rapunzel finally stood up to her.

Scary-looking ruffians? Actually big softies singing about their dreams five seconds later.

Even when Rapunzel thought Eugene took the crown and left her, they could've excluded Eugene's perspective from us and left us heartbroken as Rapunzel. But they didn't.

Eugene dying was foreshadowed in the very first line of the movie, "This is the story of how I died."

Rapunzel's tear reviving Eugene is a plot twist the audience and the characters didn't know about, unless the audience has known about the original Brothers' Grimm story of Rapunzel healing her prince with her tears.

And if the audience did know about the original story, they'd know Flynn Rider being a thief is a twist, and it's a twist that his real identity is actually Eugene Fitzherbert. Though from observant audiences they can tell Eugene wasn't the rogue thief he's trying to make himself out to be. (And someone's reaction on Youtube immediately knew Flynn Rider wasn't his real name).

Anyway, Tangled is a story that started with the sun and the audience aren't left in the dark.

[intrulogical]

🍊: The Semantics of The Orange Side

Explaining his function, understanding his role in the narrative, and debunking/dissecting common notions about the Orange Side.

To be honest, this essay was inevitable. I've had thoughts about Orange brewing since 2020, but only recently has it developed into something more concrete. For the longest time, most meta surrounding Orange began with theories about his role as a side, then extended towards narrative and side mechanics later on. I, for one, have been a victim of this pattern. 

Then, I realized that asking who Orange is is a terrible opener for theories.

There are many important questions glossed over if we start that way. For example, what is Orange's role in the overarching theme of combating black-and-white thinking? What does it mean for Orange to be a side? Who is he in the context of the Dark Sides? There are many crucial things to consider when it comes to predicting who Orange is, and I feel like concrete theories can only be made if we can establish the semantics of how Orange works.

This essay definitely won't be perfect— this is literally my second draft— but I will try my best making it in a way that flows, somehow. Some sections will discuss general ideas I have, some will try to dissec popular preconceived notions to reorient our logic surrounding Orange. As always, I'm open to discussion! My words aren't gospel.

Important notes: All mentions of Thomas refer to him as a character. Moreover, I acknowledge that Remus is a flawed depiction of intrusive thoughts. Technically, he acts more of a mix of intrusive thoughts, forbidden creativity, and impulsive thoughts. Because of this, when I talk about Remus in the context of his role, please be assured that I am talking about all his functions at once, not just intrusive thoughts. 

(Full essay under the cut! I worked hard on this, so I'd definitely appreciate the read. <3)

i. Orange as a Dark Side

The ways fans have characterized and defined Orange has always seemed to be rooted in their perception of what being a “Dark” Side is. That is— they are edgy, and somewhat suppressed. They are more “morally questionable” compared to the rest. More fics would even go as far as depicting Orange as morally black, in that he has no role in the narrative other than being a stirring force of conflict; a villain that needs to be defeated.

It is unfortunate to see such a surface level perspective on who the “Dark” Sides are and what they mean as an oppositional force to the “Light” Sides.

My stance on the “Dark” and “Light” sides has always been the same (if you read my past essays, you'll know). Like what Logan said in CLBG, the labels are arbitrary because no side can be argued to be “good” or “bad”. Although, it would be a complete lie for me to say there's no distinction. Rather, Thomas’ black-and-white thinking literally created one. But the distinction does not lie within the sides’ morals, rather it lies in how big their influence is on Thomas. Because the “Light” Sides are welcomed, Thomas will entertain their contributions more than the sides Thomas considers as “bad” or “taboo”.

In my opinion, Orange being morally black makes no sense in a series that is a.) thematically focused on dismantling black-and-white thinking, and b.) a man vs. self conflict. The villain is the problem of Thomas not being able to cope with his mental struggles properly. It would be odd to blame a portion of his brain as the evil of all evils. Although, I'd like to clarify that while Orange most likely wouldn't be morally black, it wouldn't be a surprise to me if he is just as dubious and mischievous as the other “Dark” Sides. After all, if they are the most suppressed sides, they would have to stick to unconventional tactics (aka looking scary) to get Thomas’ attention.

I'll explain more later when I get into what I think Orange actually does as a side. For now, I want to focus on Orange in the context of the “Dark” Sides, because I genuinely think it's an overlooked idea! While nothing is explicitly confirmed, the “Dark” Sides are implied to know something the other characters and we, the audience, don't know about. 

Janus and Remus share this sense of meticulousness. They always feel like they're scheming something. Janus, for example, took his time from CLBG to SVS.R to successfully impart to Thomas that acting out of self-interest isn't the worst thing in the world, especially if your mental health is crumbling. Remus is even in on this plan, although his motivations for assisting Janus aren’t actually explicitly expressed yet. Even if Remus wanted to challenge Logan's self-restraint in WTIT to prove how much it was harming Thomas’ long-term mental health, we still don't know if Remus is doing it out of care for Thomas, or just… ‘cus. Either way, it's important to know that whatever Remus is doing seems to point to the same direction Janus is going, which is to break Thomas’ black-and-white thinking.

Assuming Orange is another “Dark” Side, it feels crucial to understand who Orange is in the context of this undisclosed plan. More than anything, because the “Dark” Sides want to be heard, it would make sense if they unionize to achieve that goal together. If they dismantle Thomas’ horrid perception of them, then all three of them would benefit. Thus, it would make no sense for Orange, if he were not morally black, to act solely out of individual interest. Yes, the “Dark” Sides seem to be introducing themselves one by one, but I feel like that's because a.) narratively, it's to pace, b.) it would scare Thomas for three strangers to pop up to him only for them to be shunned as a collective by the “Light” Sides, and c.) Janus and Remus seem to be performing specific roles in this overarching plan, so while they work separately, it's mostly for the same cause.

So, what does that mean, exactly? Like I said, the “Dark” Sides have an overall goal of being heard, strengthening Thomas’ mental wellbeing, and breaking his black-and-white thinking. If my theory is correct in assuming each “Dark” Side has a specific role for this plan, then pinpointing Janus and Remus’ roles may help us factor out Orange's role.

Here's what I deduced: Janus is there as some kind of soft launch, to set the principle. Janus mirrors Patton in that sense, although in the opposite direction. He breaks apart Thomas’ preconceived notions of the world and bandages it with better, more nuanced foundations. On the other hand, Remus somewhat acts like an alarm clock. While not all his contributions are worthwhile, his mere presence is a reminder that something has to be done. In the series, it's to cater to his deteriorating mental health. He checks if the principles Janus provides aren't being followed, and makes a good fucking clamor about it if it doesn't.

Orange, I'd argue, serves as a means for Thomas to externalize these principles. It would make sense that the last thing Thomas would need to do is to put everything into action. Janus points out how one can be disenfranchised, Remus points out when he is being disenfranchised, and Orange ensures Thomas can express his discomfort when he is disenfranchised. Makes sense, right?

Speaking of externalization.

ii. Personal and Narrative Purpose

If you’re a fan that pre-dates the release of WTIT, you're well-acquainted with the idea that Orange represents Rage or Wrath. This theory came about in cahoots with an old notion that each “Dark” Side needs to have a “Light” Side counterpart, especially if you share complementary colors. Thus, many people assumed that Orange is Logan’s foil. Consequently, most interpretations of Orange depict him as emotion-centric, specifically Rage, as that’s what most people assume is an oppositional force against logic. Moreover, because a portion of Logan’s arc revolves around accepting one’s emotions, it would make sense if Orange, as an emotion-centric side, would be part of that. We’ve gotten two hints from the series itself that confirms this: 1.) a fight sequence in SVS.R showing “Blinding Rage” as one of Thomas’ attacking options, and 2.) the infamous orange eyes in WTIT that appeared when both Thomas and Logan felt angry simultaneously. 

What’s funny is, if you really think about it, we literally only have two pieces of evidence that point to this widely accepted fan theory. Although, unlike the previous section, I’m more inclined to actually believe these theories because it… does make sense! Especially narrative-wise. At the moment, miscommunication amongst the sides are at an all-time high. This is mostly because each side refuses to express their thoughts, especially since they’re at the midst of a complete paradigm shift in terms of morality and principles. Everything’s just a little too fragile, and it does not help that Thomas’ mental health is also at the brink. After SVS.R, the sides have acknowledged Thomas is on edge, but they’re still doing nothing concrete to actually fix it.

WTIT is my favorite episode of the series because it encapsulates the entire conflict so well. While Logan isn’t perfect, much of the useful suggestions he provided since DWIT never last past the moment he suggested them. Did Thomas ever see a therapist? Not really. Did Thomas find someone to talk about his issues with? Doesn't seem like it. Is Thomas taking his time with his mental health recovery? Nope. More than anything, the “Light” Sides and Thomas are very reactionary towards their problems. It’s even worse when you consider that Thomas is opting to pursue a relationship in the middle of this mess. WTIT showing us Thomas getting irrationally angry at Nico for not replying to his texts is… an interesting Chekhov’s Gun for future episodes, lemme tell you that.

Now, why am I relaying all this? It’s mostly to prove that something, or someone, needs to snap. There are grievances between the sides and Thomas that they are consciously suppressing that need out. Roman, Logan, and Thomas, specifically, need some sort of outlet for their frustrations— a way to justify them, in a sense. Logan’s eyes glowing orange while he snapped at Remus speaks so loudly of what Orange may offer. Externalization, justice, “cathartic release,” as my friend Orb (@orbmanson7) put it. Presently, Orange as an externalizing force is needed so they can actually do something about this damn issue! 

And if not, I also see Orange’s role similarly to Remus’. As I’ve explained earlier, Remus’ presence acts as an alarm clock for Thomas to be aware of his deteriorating mental health. If Orange isn’t there to assist in an all-encompassing externalization of a side or Thomas’ deepest grievances, the mere presence of Orange as an emotional force can act as another kind of alarm clock. What I mean is, if we’re feeling mentally low, for example, we don’t need to express our grievances in the most eloquent way possible. Sometimes we just need to get angry. To cry, to shout nonsense. And that alone would be enough to prove that we need help. We need to do something about this. 

To summarize, I think most depictions connecting Orange to emotional externalization are not off. There’s a lot of objectivity surrounding it, both when it comes to the narrative and his semantics as a side. We need a driving force that can topple the sides and Thomas over the edge to fully process the depth of Thomas’ mental health issues. 

But, how does he, a supposedly, emotion-centric side, differ from Patton?

iii. Orange’s True Identity

Now that we laid our foundations, I think it would be a good time to entertain the question of: well, who is Orange?

Truth is, I have my own guess on what I believe Orange to be, but I cannot say my opinion is conclusive. My theories on Orange literally change every two months. So what I'll do, I suppose, is first, explain what makes a side a side. Then, I'll explain my own current predictions about Orange. Lastly, I'll list some popular fan theories I've heard about Orange and give you my thoughts.

a. What is a Side?

First— what constitutes a side? To me, there is no real basis in the conception of a side. Like what my friend Orb once explained to me, the interactions between sides are mental processes personified. This doesn't mean we should simply view the sides as metaphors, by the way. They're a hundred percent characters in their own right. But what I mean by “process personified” is that if we view one of Thomas' conflicts on its own— as in, without the sides��� can we imagine the mental processes he's undergoing? To make it clearer, let's use an example. In WTIT, we see Remus and Logan battle out on who gets to influence Thomas more. If we saw this without the sides, we can think of it like— imagine you're having a bad mental health day. You wanted to do a list of chores but your mind is in the gutters right now. You feel guilty because of your demotivation. You try doing what you planned, but you still suck at it, and now you're spiraling, thinking about every insecurity you have, but you're also trying to combat that by rationalizing it.

I'm not gonna say that this definition solves who Orange truly is, but it does help when it comes to understanding how the sides work. Another characteristic of a side would be their multifacetedness. No side embodies one thing alone. They can have roles that are adjacent to each other, but not the same thing. For example, Roman embodies both the ego and creativity. Not the same thing, but it works in tandem in Thomas’ context. Same goes for Remus with intrusive thoughts and dark creativity. It is important to entertain the idea that Orange can encompass more than one role. 

The last thing to consider would be the technical difference between a “Light” Side and a “Dark” Side. The division was created for Thomas to compartmentalize and suppress sides of himself that his Catholic upbringing taught him to believe is bad. If we assume Orange is a “Dark” Side, he must be embodying something typically thought of as taboo. 

b. Who is Orange?

This brings us to our earlier question of, how does Patton differ from Orange if they both embody emotions? In DWIT, Logan confirms Remus was born from the categorization of certain thoughts as good or bad. I think it wouldn't be farfetched to suggest the same happened to Orange if he did embody emotions at a certain capacity. One of the biggest arguments I hear against this suggestion would be, if Patton already represents Thomas’ emotions, why do we need another side who does? The answer, again, lies in the themes of black-and-white thinking and compartmentalization. If Remus embodies the thought of committing a “sin”, Orange could possibly embody the actual emotions of wanting to do so. Anger is merely one possibility in Orange's roster of emotions. There are other emotions as well deemed “sinful” by Catholicism— pride, jealousy, hatred, greed, grief, etc. It would make sense that Patton would try omitting these out of himself when he was younger because he viewed them lowly.

So, what is my actual guess on who Orange is meant to embody? Well, I mean, I think my stance is pretty clear from the past 2500 words written literally before this. Simply put, if Remus is meant to embody forbidden thoughts, then Orange embodies forbidden emotions. Anger is merely one of many. He aids both Thomas and the other sides in externalizing strong emotions that seep past their efforts of suppression.

This is, of course, under the assumption that Orange is his own separate entity. I'm more inclined to believe this because Virgil confirms in CLBG that Janus has “Dark” Side friends (as in, plural). It also just feels more balanced this way if we consider the forbidden thoughts vis-a-vis forbidden emotions parallel to be true.

c. How could Logan be Orange?

But, of course, I've also considered the possibility of Logan being Orange. It's not my theory of choice but as someone who was balls deep in this theory a few months ago, there's definitely some merit to it. Here's the link to the post if you want to read my theory in full. It's pretty lengthy, but to summarize: This theory operates under the assumption that Thomas’ suppression of certain sides (ie. making them a “Dark” Side) makes them develop an additional role— the role Thomas perceives them as. 

To explain better, let's use Remus as an example. Logan explained that, originally, Remus separated from Roman as Dark Creativity. Because Thomas refuses to entertain any creative thought he deemed bad, any suggestion provided by Remus was immediately labeled as intrusive. Thus, he became intrusive thoughts via Thomas’ low perception of him. Same goes for Janus, but to a lesser degree. As a side, he mostly acts out of the interest of Thomas, somewhat like self-preservation. But, because Catholic upbringing teaches that selfishness equates to evil, Thomas perceives Janus’ role of keeping things hidden as deceitful.

Thus, if Logan is Orange, then that means Logan’s role as logic is warping due to Thomas’ low perception of him. It’s no secret that Thomas views Logan as a “strict” side. In this scenario, I wouldn’t exactly say his additional role has something to do with externalization. Moreso, it has to do something with assertion or strict discipline. Think of an authoritative figure, like a teacher. Usually, when an authoritative teacher isn’t being respected in a class, they resort to meaner tactics like passive aggression, manipulation, etc. to impose their power. Logan doesn’t really transform into anything opposite to who he is as Logic. Rather, he has an additional role that coincides with Thomas’ perverted perception of logic. I’m not actually sure what this role is, but if I were to guess, it has something to do with restriction, discipline, or conformity. 

Narratively, Logan becoming a “Dark” Side makes sense when you realize that his entire character arc is about him losing his sense of self-assertion. I made an essay last year that explores this if you want something to read later. To explain, WDWGOOBITM establishes how it’s important for Thomas to balance his practicality (needs) and aspirational desires (wants) for him to function as a human being. At the same time, we get LNTAO where Logan realizes that he failed to contribute to the discussion as usefully as the other sides. This creates a scenario where Logan concedes a lot of the decision-making to Patton and Roman’s hands. The result: Logan’s presence is minimized. Even in the episodes where he “saves the day” (DWIT and the Frozen episode), Thomas refused to consider his suggestions until the latter halves of the episodes. WTIT emphasizes this even more when we see Thomas prioritize his date with Nico to keep himself happy instead of focusing on the chores he promised to do. Even if we don’t know if Roman had anything to do with this, it’s obvious Thomas is naturally more inclined to do things Patton and Roman would prefer than something Logan does.

Thus, it makes sense that Logan becomes a “Dark” Side. But, and this is an important but, I don’t really agree with depictions of Logan suspending his role as logic to become a “Dark” Side. Logic is such an integral part of who we are as people, that even if you’re an intuition-focused person, you’d still have logical facilities in your head that connect one thing to another. Basic knowledge and all that. I can only see Logan be a completely new role if someone takes his place as Logic. Personally, I don’t like that idea, but you can make your own takeaways on this.

How “Dark” Sides are conceived would still be a mystery. The closest we’ve gotten to an explanation is Remus’ origin story, where he and Roman originally started as one creativity until they separated. In this sense, becoming a “Dark” Side didn’t really uproot Remus’ original role. He just changed a little. I’d like to assume the same for Logan, because if he is literally born as Thomas’ Logic, then he as a “Dark” Side would still have similar roles, just with minor changes.

d. Other Theories

Now with the main theories out of the way, let me speedrun through other theories I’ve heard and give my thoughts on it:

Procrastination: I feel like this is too surface-level for a side. As in, hHow would Procrastination justify itself to Thomas as a side that wants to help? Yes, Procrastination would be a good foil to Thomas, but Thomas’ inability to work doesn’t stem from Procrastination. It stems from bad solutions to his mental health crisis. Anyway, too cheap.

ADHD: This feels like… it’s prone to problematic territory. For real, ADHD is so multifaceted in itself, and is literally a disability? I think it makes more sense to have ADHD traits sprinkled amongst the sides rather than one character representing it as a whole. To make it its own guy is like suggesting the other six sides are divorced from Thomas’ ADHD characteristics, which feels wrong to me.

Hatred and any other suggestion that relates to “taboo” emotions: See my argument on Orange encapsulating forbidden emotions as a whole instead of Rage/Wrath on its own.

Justice: I actually liked this idea and sort of incorporated it with my idea of Orange as a means of externalization! To enact justice means to externalize your deepest desires— cathartic release. 

Regret: See: the last two points, since it’s very similar.

Repression: Your heart’s in the right place, but most theories that subscribe to this literally just describe Janus. Keeping things secret because you think it’s unbeneficial? That’s one of Janus’ roles. 

Insecurity: That is literally Remus’ role. While intrusive thoughts shouldn’t be viewed as meritable, intrusive thoughts base itself on a person’s sensitivities and insecurities. I also have an essay detailing how Remus is incredibly perceptive about everyone’s insecurities here.

That's about all the other theories I can recall, but if anyone else has other suggestions, send it to my inbox and I'll give you my thoughts. 

Now that we understand Orange's fundamentals and who he is as a side, the question to ask next is what is he capable of as a side?

iv. Powers and Influences

Now we get to the part where I am! The most unsure about! As of the time I'm writing this, I literally just had a conversation with Orb trying to understand how Orange “possesses” Thomas and the sides, and nothing conclusive came out of it. Even if we are shown one instance of how Orange influences the others (ie. Logan's orange eyes), we actually do not know how that works at all. 

I suppose we can start by asking ourselves how Orange embodies forbidden emotions. I see his insistence for Thomas to perform a certain emotion similar to how Patton would do it. It's impulsive, reactionary. They undergo a situation, then they make Thomas feel an emotion they deem apt for that situation. The only reason Orange isn't utilized as much as Patton is because, of course, Patton is who Thomas is more familiar with. I'd also like to argue that the emotions Orange would possibly encapsulate aren't ones that are constantly expressed. Most of the time, we are in a state of happiness or contentment, emotions covered by Patton. If not, we experience sadness, another common emotion covered by Patton. I would imagine Orange's roster of emotions are only experienced rarely, or if put in a continuous dire situation. Immense anger, for example, would pop up if you feel continuously disenfranchised by something. See: Thomas’ mental health crisis.

Ergo, Orange allows Thomas to feel “taboo” emotions when the situation calls for it. Pretty straightforward. But we're not done yet, because we have to consider what it means that Orange also assists other sides in externalizing their own emotions. We can't use the same argument we gave to Thomas because the sides… aren't each others’ sides. They're Thomas’. If Orange assists in the externalization of the other sides’ repressed emotions, then it has to work differently.

A widely accepted theory or headcanon I see in the fandom is that Orange “possessed” Logan to make him get angry. Or, Logan made a deal with Orange, and now he has angry spurts he doesn't understand. While I appreciate the efforts to make juicy angst, I'm not fond of the idea that these theories basically imply that Logan's anger in WTIT was not his own. In reality, it was. Logan suppressed his frustrations about everyone ignoring his suggestions, and now he snaps. Making it seem like he can't achieve these emotions on his own volition implies he has no frustrations about his predicament to begin with.

The real question is, then, why did Logan's eyes glow orange if his emotions at that moment were genuine? Well, like other segments of this essay, it's hard for me to say something conclusively. We literally have nothing else to work on, guys, pardon me if I can't be a hundred percent certain on my assertions. But if I were to guess, I'm inclined to believe that Orange cannot make the sides feel emotions that they don't already have. Rather, he's responsible for enhancing it. In Logan's situation, for example, his frustration is completely his own. But when you submit to something like, let's say, blinding rage, sometimes you lose your sense of control and simply act. In this case, Orange possibly assists the flow of emotions the side in question would be experiencing.

I'll admit though, I literally have no clue how Orange does that, how he assists the other sides to feel their repressed emotions better. Again, we are working with practically nothing here. Although, one thing we can entertain is the idea that Orange has something to do with a side's state of being. Just like how Janus causes the sides to cover their mouths when expressing a lie, the sides’ eyes could possibly glow orange just because they're feeling an intense, “taboo” emotion. If you don't want to imagine Orange as its own side, you can also factor in the popular fan theory that Orange is simply a state of being the sides experience, no additional side required. Either way, while we cannot dive deep on the semantics of the glowy eyes thing, we can at least confirm there is a link between a side externalizing repressed or “taboo” emotions and Orange himself.

v. Relationships With The Sides (Especially Logan)

Another thing I wanted to discuss is the relationships Orange shares with the other sides. The most accepted depiction of Orange shows him distanced from the “Dark” Sides, while also having a crude fascination with Logan. We've discussed enough of how I view Orange in the context of the “Dark” Sides, so I'd like to focus more on what it means for Orange to assimilate with the “Light” Sides, especially Logan.

Because Logan's first to be seen with these orange eyes, many are quick to assume this is an isolated case. Fair enough— we don't have other examples to compare this with. At the same time, I think a lot of people aren't considering the idea that, if we go by the assumption that Orange is connected to states of being, then any other side can also experience the orange eyes. I won't even be surprised if it happens to Roman in this coming season finale.

But is the much entertained idea of Logan being specifically targeted by Orange unfounded? I would say no, not necessarily. The “Dark” Sides and Logan have always had an interesting relationship. Logan in particular is shown to be the side most unbothered their presence. Again, he's the side who argued that no side can actually be categorized as “good” or “bad”. He's the most sympathetic to the “Dark” Sides, but also… isn’t. 

There's an explainable contradiction here. Even if Logan is nicer to the “Dark” Sides compared to the others, he also has the reputation of being able to easily and successfully shut down their suggestions. He completely opposed Janus’ side in SVS out of Thomas’ interest. He shut down Remus not once, but twice, to protect Thomas. But that's the thing— he does not shut down the “Dark” Sides’ contributions because he disagrees with them. Moreso, he does it because he thinks that's what Thomas’ wants. For example, he admitted in SVS that even if he wanted Thomas to attend the callback, he still preferred if Thomas attended the wedding instead because he thought that was what Thomas would have wanted.

And, well, we saw how Janus responded to Logan's decision— he was confused. It's like he had trust Logan would vouch for his side. Let's remember the main goal of the “Dark” Sides: to be respected, to break Thomas’ black-and-white thinking, and to get him out of his mental slump. This goal can only be achieved if they restore the balance of want and need lost partially due to Logan's diminishing self-assertion. They know Logan can do something if he lets himself loose. That's why Remus and Janus teased him in the Secret Santa gift exchange about wanting to express his frustrations. That's why, after Logan's outburst in WTIT, Remus says, “Gee, Logan, now you're speaking my language.” 

They want Logan in on their plan. For that to begin, they need to make Logan in tune with his own emotional wants and needs, to make him more assertive. Thus, Orange would have to step in. There is merit when fans joke about the “Dark” Sides wanting Logan to go apeshit— it's because it's true. It's because it benefits them.

I can only provide things to consider when it comes to the other sides:

With Patton, think of the point I made earlier about Orange being “bad” emotions divorced from Patton, in a similar way Remus and Roman were created. The main difference between them would be that Patton has more faculty over principles, since Janus has that covered for the “Dark” Sides. While Patton, influenced by Catholic morality, thinks emotions and morals are intertwined, it would make sense for the more cynical sides to view them as separate.

Roman, as aforementioned, may also be susceptible to Orange's influence as the other side tends to hide his emotions from the others. With how the narrative is building up, I won't be surprised if Roman's frustrations with the whole debacle about morals heightens in the finale, especially if something Interesting happens between Thomas and Nico. You can't use Nico as a distraction forever, Thomas. Remember Thomas’ anger at Nico not responding to his messages, remember Chekhov's Gun.

Virgil is an interesting case because he would be more familiar with Orange compared to the others. That begs the question of, is he aware of the “Dark” Sides current goals and plans? My idea is, yes, but only to a certain extent. This can go down many paths. There's the possibility that Virgil was the first part of the plan, but accidentally grew closer with the “Light” Sides before he fully completed it. This explains why he hasn't disclosed the plans to the others, especially since it may incriminate him as someone who was part of that plan. There's the possibility that he knows nothing of the plan, but is familiar with the “Dark” Sides’ antics. Thus, he can't do much but stay suspicious of the sides. Either way, we still don't know enough to conclude how much Virgil knows, but I doubt he would get along with Orange.

I pondered about Janus a little because, if Orange is meant to embody externalization in some form, what does that mean for him, the embodiment of self-preservation and secrecy? I don't have the answer, but while we know the “Dark” Sides have to work with each other, we don't actually know how close Janus and Remus genuinely are with Orange. To be fair, Janus and Remus are complete opposites and they get along fine. I'd definitely prefer it if all of the “Dark” Sides were actually close because it creates such a perfect juxtaposition to the “Light” Sides’ crumbling family. 

I also thought Orange and Remus would make interesting parallels as two forbidden versions of feeling and thinking respectfully. Like I said earlier, Remus can only suggest, but he never actually embodies the emotions of wanting to do taboo things. Orange, however, could. No other points except for the ones I mentioned about the “Dark” Sides in the previous bullet.

vi. Long-Term Presence

Originally, this essay would end here and already be posted. I even went through at least half of it for beta reading. Then, Orb started a discussion where they asked what I thought Orange's purpose was, especially since most theories (even the one you're reading right now) are more centered on Orange in the context of the current conflict. There was actually a part I wanted to write during the second segment where I disclosed what I thought Orange would contribute in the grander scheme of things, but I omitted it because it felt too out of place.

I replied to Orb what I was going to write; I thought that Orange was going to be the final push for Thomas to go to therapy, and make Thomas stand his ground more instead of asking the sides for advice every time he has an issue. I've always thought this, especially therapy, was one of the ways the series would end as a whole, because it means Thomas would stop talking to his sides. Or at least, in the way we see him do it in the show. That sounds a bit cynical, I know. Why would I suggest that Sanders Sides end by Thomas cutting ties with the sides?

Well, I'm not. Not entirely. I'm not advocating Thomas does. What I mean is, an underlying conflict to the current conflicts we have now is how Thomas internalizes his problems. This is literally how the series functions. Thomas has a problem, then consults himself about it via the sides. Even c!Joan mentions it in CLBG. This issue of the problem aversion Thomas has would be fine in the former parts of the series, as the things he consulted the sides about were small. But as the series progresses, we're facing issues that call for an entire paradigm shift in morality. Of Thomas putting himself and his friends in the infamous Trolley Problem. Of Thomas facing horrible intrusive thoughts he opts to combat alone.

I once called Sanders Sides a psychological horror because we see how a normal dude's mental health crumbles as he deals with life-changing situations alone. To find a solution for this main, underlying conflict means the show has to end— internalization IS the series’ foundation!

And so Orb suggested the most batshit idea— what if Orange was Thomas’ foil? Not in a sense that confirms the Opposite Sides theory. Rather, Orange, if his role is externalization, is literally the antithesis of how the sides work. As Orb put it, Orange is there to “completely wreck the format”, making Thomas realize that consulting the sides for help has its limits. He has to literally go out and touch grass, talk to his friends about his moral dilemmas, consult a damn therapist. That is what I think Orange's true purpose as a side is.

vii. Closing Statements

In the end, I can't say that everything I've stated in this essay is pure fact, but this is the most educated guess I can give considering what we're given and what we can expect to happen in canon. While most theories I've seen easily pinpoint different issues the sides and Thomas are facing in the series, these theories would then guess that Orange would be the cause of these issues. That's where theories like Procrastination, Repression, Regret, etc. come from. More than anything, I want you to see that Orange acts in response to these issues rather than in tandem with it. 

The best advice I can give you when theorizing about Orange is: ask yourself what needs to be seen in the series. Remember, Sanders Sides is a narrative. Episodes will continue to happen past Orange's inevitable reveal. Think of Orange in this context, as his own character with motivations and wants for Thomas. Only then you can make educated guesses about him.

Anyway, thank you for reading my incredibly extensive essay on Orange! Again, my words are not gospel, so if you want to discuss anything further, add onto this post or send me an ask! Please read this post though before you send me anything. And If you enjoyed this, PLEASE reblog, I'd definitely appreciate it! If you want to read more stuff from me, here's a carrd masterlist of Sanders Sides meta I've done. Happy reading!

[sawboans]

the fact that i have seen so many disingenuous takes on harding's banter with a romanced emmrich is wild, and maybe it's because the banter is actually part of a set and people aren't triggering the full conversation? but (more so on other social media) the jump to villainize her is genuinely surprising to me because i thought she made it pretty clear that she was coming from a place of concern - specifically, she was worried about emmrich.

whether it's reflected in the game or not (imo it isn't but that's another can of worms), he and rook are apparently moving fast, and a relationship between an older person and a younger person does in fact come along with some real considerations. not just how other people will see them, and how much this will change about their lives, though those are both also factors. i think in the case of emmrich and rook they're on even footing in a lot of other regards, but the prospect of emmrich dying first is absolutely on the table and, yeah, are we sure the guy with A Well-Known, Debilitating Fear Of Dying has thought that through fully?

their argument near the end of the game tells me that no, he hasn't. like... rook clearly has. they're confused why the issue is getting brought up at all after so long of already being together. but emmrich spends the whole game talking about how real, lasting romance was a dream he never quite reached, and goes on about summer companionships and failed courting attempts, and says he and rook are just exploring things and the game uses words like paramour and companion, significantly not anything more permanent. he hasn't even reached the point of saying the big scary L word (and doesn't until basically right before the final battle). he has been avoiding thinking about the specifics of a long-term, committed relationship with rook and rook can call him out on it during their argument - it's because he's scared. and harding is pointing that out; that he jumped into this relationship because rook was just so exciting and now they're running at, as she says, full gallop without looking out for branches, aka the genuine considerations of what this will entail for them moving forward. even if the banters with harding had never happened emmrich was always going to have a crisis about this - she says he's been mopey and distracted, it's clearly been weighing on his mind, and the night before tearstone island is when it comes to a head because if they pull this off, if the threat of the gods is over, then what will he and rook do? plan for the future? god forbid. no wonder he's such a bitch during the argument, he's trying to get rook to cut things off so he doesn't have to (because deep down he doesn't want to, he's just trying to pull the emergency brake)

anyway tl;dr imo harding was showing real concern about how emmrich is approaching the relationship and was fair to point it out. if you bring the two of them around often enough to hear their banter, they actually seem like very good friends (they dig into each other's pasts and interests more than a lot of the other companions and harding asks him for quite a bit of advice, emmrich asks her in turn for a lot of reflection on her connection to the titans... he even starts to take care of her plants if she dies) and i would fully expect my friends to bring up this sort of thing if i was in his situation because it's coming from a place of care. you can interpret that as misguided if you want, but even if she's romancing taash it doesn't necessarily come across as hypocritical to me - maybe taash and harding have already discussed their circumstances and worked through it, but it's clear that emmrich has not.

[wakebymoonsleepbysun]

Seeing a couple theorists on youtube saying that the Nightmare Critters don't make sense as an actual toylike that Playtime Co would make and it's like...

what

dude

Just the fact that mascot horror exists and is popular with kids should tell you that yes, a toy company could ABSOLUTELY make a toyline that's meant to seem spooky/edgy. There are a TON of "scary" stuff for kids, especially back in the 80's and 90's. Or even things that aren't scary or aren't toylines, but have merch and SOUND about as scary, in name, as "nightmare critters". Garbage Pail kids, Creepy Crawlers, Goosebumps, My Pet Monster, Toxic Crusaders...and yeah not all of these are necessarily (or at all) "scary" to most, but they're a bit edgy/gross/etc.

Also all we have is the name. Based on name alone, something like Monster High could easily be a grossout toyline aimed at boys of the 80's, even though yes I know it's a modern fashion doll line for girls. My point is having the term "Nightmare" in the name really doesn't tell us enough to say these are too scary for kids.

Hell, maybe the Nightmare Critters are the villains in the Smiling Critters universe. Villains do get merch too sometimes. Or it could be a Cabbage Patch Kids / Garbage Pail Kids situation. Personally they're the villains in the Smiling Critters universe. Even Disney makes marketable villains from time to time, or merch of the villiains or things like Descendants where the story is pretty heavily focused on villains and also has a ton of merch.

But either way. I'm not saying the Nightmare Critters ARE FOR SURE made by playtime co and not just a nickname for ruined Smiling Critters or something. I can't prove that. But the idea that a toy company wouldn't make a toy line called "Nightmare Critters", esp in the late 80's/early 90's...that argument just doesn't hold water.