#all themes and strengths and subtleties

[ashanimus]

Jesus fucking Christ did the entire earthspark team turn over this is ASTONISHINGLY terrible

Like I really liked this show but it’s like they scrapped everything that made it special in favor of a reset to a status quo of “decepticons bad becsuse they bad” that never existed in this snow to begin with combined with “collect macguffin shards” with the same vaguely concussed energy of the average episode of Inuyasha filler. Add multiple, bizarre and unasked for helpings of intensely boring and unforgivably lazy new characters (and more cast was the LAST thing this project needed) and the insult of sidelining the good characters who already needed more attention…holy shiiiiiit

Like. Again. Super soft sport for earthspark season 1. I still had reasonable transformers expectations for tf media. But man how do you drop every single ball so hard I want to know what the fuck happened on the back end this is a *disaster*

[plutosunshine]

What trauma can become your power? Chiron in the houses

Chiron in the 1st house

Chiron in the first house signifies a deep inner wound related to personal identity, self-esteem, and the sense of self. This may stem from trauma experienced in early life when a person felt inadequate, rejected, or misunderstood in their unique expressions. Individuals with this placement often struggle to justify their existence, prove their worth, or meet others’ expectations to earn love and recognition.

However, this wound can become a source of incredible strength. Over time, individual learns to accept themselves as they are, with all their imperfections, vulnerabilities, and unique traits. This journey of self-discovery and acceptance not only helps heal their wound but also inspires others who face similar inner conflicts. Chiron in the first house makes a person highly sensitive to issues of individuality and self-expression, and their personal struggle with these themes becomes a powerful tool for helping others.

Chiron in the 2nd house

Chiron in the second house often indicates a wound related to self-worth, self-esteem, and material security. People with this placement may experience feelings of inadequacy, inner shame, or fear from an early age, believing they are undeserving of abundance or stability. They might have faced situations where their value was questioned by others, or they struggled to identify what makes them unique and worthy.

However, this wound carries the potential for profound transformation. As individual begins to work on recognizing their true worth, they can develop a powerful sense of inner resilience and learn to view the material world as a tool for growth rather than a source of fear. By overcoming self-doubt, they can become an inspiring example for others, demonstrating that a person’s value is not determined by external circumstances but emerges from inner confidence and self-acceptance.

Chiron in the second house has the power to transform this wound into a source of strength, helping the individual not only to build their self-esteem but also to guide others in discovering their true worth. Such a person may develop a unique gift for healing issues related to money, abundance, and self-worth, both in their own life and in the lives of those around them.

Chiron in the 3rd house

Chiron’s wound in the third house is associated with themes of communication, learning, self-expression, and interactions with the immediate environment, including siblings, neighbors, and close acquaintances. This placement may point to painful experiences related to the inability to be heard or understood, fear of saying the wrong thing, feelings of intellectual inadequacy, or traumas in relationships with relatives. A person with this placement often struggles with internal conflicts around expressing their thoughts and ideas, feeling that their voice does not matter or that their words are not taken seriously.

However, this wound can become a source of strength when the individual finds ways to overcome their inner fears and begins to see their experience as a unique gift. This transformative process often involves recognizing the value of their own voice and the power of words. Such individuals are capable of developing exceptional communication skills and becoming sources of support and inspiration for others. They may excel as teachers, writers, counselors, or lecturers, helping others overcome fears and learn self-expression. Their early pain teaches them to be attentive listeners and empathetic conversationalists, sensitive to the subtleties of communication and able to create a space for meaningful dialogue.

Chiron in the 4th house

Chiron’s wound in the fourth house is associated with matters of home, family, roots, and emotional security. This can manifest as a sense of lacking warmth, acceptance, or support during childhood, feeling alienated from one’s relatives, or an inability to find a place that feels like “home.” A person with this placement may experience an internal conflict between the desire to put down roots and the fear of being rejected or emotionally vulnerable.

However, the potential for transformation arises through working with this wound. By overcoming these inner fears and learning to create a sense of home within themselves, the individual can become a source of support for others, particularly for those who face similar challenges. They learn to transform pain into strength, developing a deep understanding of emotional needs and creating a space where others feel safe and accepted.

This wound becomes a source of strength when the individual recognizes that their ability to be empathetic, caring, and supportive has grown out of their own pain. This experience helps them build strong connections with others, grounded in genuine emotional depth and sincerity. A person with Chiron in the fourth house can become a symbol of healing energy within the context of family and emotional relationships.

Chiron in the 5th house

Chiron in the fifth house is often associated with a deep wound related to self-expression, creativity, love, and inner joy. People with this placement may feel unworthy of being in the spotlight, fear rejection for their talents, or struggle with insecurity in matters of personal fulfillment. This can manifest as a sense that their creativity is not valuable enough or as painful experiences connected to romantic relationships.

However, this wound, when worked through, can become a source of incredible strength. Those with Chiron in the fifth house have the potential to gain profound insight into how to help others embrace their uniqueness, support them in finding joy, and express their creativity. They can become mentors, inspiring others to overcome their fears and be true to themselves. This transformation not only makes them stronger but also more empathetic to the suffering of others, allowing them to use their wounds as a tool for healing, both for themselves and for those around them.

Chiron in the 6th house

Chiron’s wound in the sixth house is associated with a sense of inadequacy in daily life, service to others, and care for one’s body and health. People with this placement may experience inner conflicts stemming from feelings that they are not good enough in their work, that their efforts are undervalued, or that they are unable to care for themselves or others in the way they desire. This can manifest as chronic anxiety, difficulties establishing a healthy routine, or a tendency toward perfectionism that drains their energy.

However, this wound can become a powerful source of strength. A person with Chiron in the sixth house has the ability to transform their struggles into profound wisdom and an understanding of how to navigate daily challenges. They can become excellent mentors, healers, or specialists who help others organize their lives, overcome work-related difficulties, or improve their health. This experience teaches them to embrace imperfection in themselves and others and use it as a foundation for growth.

The core strength here lies in approaching oneself and others with compassion, recognizing the value of even the smallest efforts, and helping others find harmony in their everyday lives. Such individuals become a source of inspiration, demonstrating that wounds do not define us but can serve as a foundation for meaningful service that brings joy and purpose.

Chiron in the 7th house

Chiron’s wound in the seventh house is often associated with painful experiences in relationships and challenges related to finding a balance between oneself and a partner. This can manifest as feelings of rejection, disappointment in love, fear of intimacy, or a constant need to please others at the expense of one’s own needs.

However, like any Chiron wound, this trauma carries immense potential for healing and transformation. By recognizing their fears, failures, and behavioral patterns, individuals with this placement can develop deep empathy, wisdom, and the ability to support others through emotional and personal crises. This wound becomes a source of strength when they learn to harmonize with themselves, find a balance between independence and closeness, and build healthy relationships based on respect and mutual understanding. In doing so, they become an example for others, inspiring deeper and more conscious connections.

Chiron in the 8th house

Chiron in the eighth house often indicates deep emotional wounds related to themes of loss, transformation, intimacy, or matters of life and death. This can manifest through painful experiences such as betrayal, fear of losing control, or difficulties trusting others in close relationships. However, these very wounds can become a source of incredible strength and inner growth if the person is willing to recognize their significance and transform their experience.

Healing pain in the eighth house is possible through embracing vulnerability and exploring the power of transformation. This process can turn the fear of change into an ability not only to accept transitions but also to help others navigate through periods of crisis. People with Chiron in the eighth house can become remarkable mentors or healers, possessing a unique ability to understand others’ pain on a deep level and show them paths to healing. Their strength is born from the realization that true transformation begins with accepting the darker aspects of oneself, ultimately leading to inner freedom and empowerment.

Chiron in the 9th house

Chiron’s wound in the ninth house is associated with deep scars in the realms of higher education, philosophy, faith, the search for meaning, and travel. A person may feel an inner conflict or insecurity in their beliefs, doubt their own knowledge, or experience the pain of being unable to find their place within a worldview system. This wound often manifests as a sense of rejection of their ideas or beliefs or as a feeling of losing connection with something greater—be it cultural, spiritual, or intellectual belonging.

However, it is precisely through working with this wound that a person can gain immense strength. Chiron teaches us to heal our pain by sharing our experiences with others. The wound of the ninth house can become a source of wisdom if one recognizes that their unique journey, even if it has been full of doubt and searching, can inspire and guide others. They may become a teacher, philosopher, or guide, helping others find meaning in life and expand the boundaries of their worldview. By accepting their wound, the person becomes open to a diversity of perspectives, which makes them incredibly wise and tolerant. Thus, Chiron’s wound in the ninth house transforms into a source of strength, helping not only the individual but also those around them, building bridges between different cultures, religions, or philosophical systems.

Chiron in the 10th house

Chiron in the 10th house indicates wounds related to social status, career, achievements, and attitudes toward authority. This may manifest as a feeling of inability to achieve success or fear of responsibility. Such individuals often face criticism from society or loved ones, which can lead to self-doubt and uncertainty about their professional abilities. However, this vulnerability can become their strength if they recognize their fears and transform them into wisdom.

By overcoming the inner conflict tied to self-esteem and societal recognition, a person with Chiron in the tenth house can become a mentor to others, helping them overcome their own professional and personal barriers. This wound can provide a deep understanding of the nature of leadership, teach the balance between ambition and emotional needs, and show how to maintain resilience in challenging circumstances. Thus, Chiron in the tenth house has the potential to transform the pain into a source of inspiration and support for others.

Chiron in the 11th house

Chiron in the eleventh house indicates a wound related to themes of friendship, acceptance in groups, social ideals, and a sense of belonging to a community. A person with this placement may feel isolated or misunderstood within a collective, face betrayal by friends, or experience the sense that their uniqueness prevents them from being part of something larger. However, this wound can become a source of growth and strength. By working through their experiences, the individual learns to value their individuality and use it to build harmonious connections with others.

Chiron in this house grants the ability to mentor or inspire others, particularly those who feel “different” or out of place. The trauma associated with rejection can transform into the gift of creating communities where mutual understanding, respect, and support flourish. Thus, personal experiences of pain become the foundation for helping others find their place in the world.

Chiron in the 12th house

Chiron in the twelfth house often indicates a profound emotional wound connected to feelings of loneliness, separation from the world, or the suppression of emotions. This may stem from experiences of loss, hidden fears, or repressed traumas that a person carries within themselves, often without fully realizing it. The wound of Chiron here is tied to the subconscious, to what is hidden from the external world, and sometimes the person may feel lost, not understanding where their pain and anxiety originate.

However, this very wound can become an incredible source of strength and transformation. If a person becomes aware of their inner fears and wounds, they can learn to work with them, transforming them into compassion and wisdom. Chiron in the twelfth house offers the potential for deep healing—not only of oneself but also of others. Such a person can become a guide for those who are suffering, possessing a unique gift for delving into the hidden corners of the soul and helping others understand and embrace their shadows.

The key to turning the wound into strength is accepting one’s vulnerability and exploring the inner world through meditation, psychological work, or spiritual practices. Chiron in this house teaches that weakness can become a powerful resource for inner growth, and through serving and helping others, a person can find profound meaning and personal healing.

[inbarfink]

After all these years, ‘I Remember You’ is still one of the great highlights of Adventure Time Storytelling. And not just in the basic ‘what???? Silly children’s cartoon does something SAD??? HOLY SHIT MIND BLOWN’ way. But with the execution of that Something Sad. How it manages to pack so many Complex Emotions into just 11-minutes of television. And especially the way it utilizes the basic Adventure Time format for that purpose.

So Adventure Time is a Board-based show. Each episode has an outline pitched and written down by the writer’s room, and then this outline goes to a team of (usually) two Storyboard Artists who develop that simple outline into a full story. And with the show’s art-style deliberately eschewing staying perfectly ‘on-model’ in favor of having the animators take direct reference from how the different storyboarders draw the characters

And the show being generally extremely versatile in terms of themes and tone - AT has allowed a lot of their Storyboarders to really express themselves and their unique artistic vision as part of the Big Collaborative Narrative that is Adventure Time. 

Now, the Boarders who worked on ‘I Remember You’ are Cole Sanchez and Rebecca Sugar. These two were a Storyboarding Duo from the start of S4 and until Sugar left the AT Crew during S5, and they always struck me as a curious combination. I think really from all of the individual boarders working on AT during that time, these two really are the closest to having like… Totally Opposite Artistic Sensibilities as boarders. 

With Sugar favoring a style that is very loose and sketchy and also very rounded. Focusing on expressions and subtle body language and lighting. And being famous for going deep in depth into Big Moments of Emotional Catharsis

And Sanchez having a very clear art style that emphasizes strong silhouettes and clear lines that suggest flatness. Focusing more on major poses and the character’s positions in the space. And having just a really great eye for AT’s brand of silly humor.

Like, I almost kinda suspect these two were paired together so they can each cover for the other’s “weakspots” in writing ‘Adventure Time’. 

And there were a few episodes that did some really interesting stuff with this very contrasting pair - ‘Jake the Dog’ is another example. Giving most of the Farmworld scenes to Sugar and most of the Time Room scenes to Sanchez both plays to their personal strengths as storyboarders and helps to emphasize the strong emotional contrast between these two scenarios. 

And ‘I Remember You’ is actually kinda unique among Adventure Time episodes cause… Most episodes will have the two boarders alternate between working on the episode throughout it. Like you’d have Boarder A draw a bit and then Boarder B and then Boarder A again… But “I Remember You” is divided between Sanchez and Sugar… basically perfectly in the middle.

So the entirety of the first half of the episode was boarded by Sanchez

Until Ice King pushes Marceline and then leaves the room in shame.

And then, Sugar takes over.

And, like, even if you don’t know anything about the Behind the Scenes of Adventure Time or who Cole Sanchez and Rebecca Sugar even are - the Shift is noticeable. The shift in tone, in narrative focus, in the subtleties in which the characters are drawn. 

The entire first half of the episode has this thin veneer of just being a Silly Goofy Ice King Episode. Sanchez’s talent for Adventure Time’s brand of comedy is on full display… but there is also this underlying feeling that Something is Happening just under the surface. And these hints of the Big Emotions of ‘IRY’ expressed via Sanchez’s kinda goofy style really create this balance between putting the audience into a false sense of security that this is just a Very Normal Episode about two characters hanging out and the Tension constantly brewing in the subtext. 

And then it all comes to a blow.

And then the Shift happens. And now we are in Sugar’s court.

And this subtle shift in the artstyle and storytelling also coincide with Marceline finally openly expressing her feelings and the Reveal of Simon and Marcy's shared past. The episode changes focus from Ice King's silly antics to Marceline's feelings. Everything changes, everything in the first part of the episode gets recontextualized and... even on the most basic level, the episode is now Noticeably Different.

I would almost say that Sanchez’s half of the episode has Ice King define the tone, while Sugar’s half of the episode has Marceline define the tone. But more than anything it’s the catharsis. The reveal and release of those emotions that were building up so expertly through the Sanchez half of the episode. All of the Sugar-boarded scenes in this episode are really heartbreaking on their own, just through the tragedy of the story and Sugar’s expert knowledge of howto convey emotion in the visual medium - but it’s so enchanted by what came before it.

“I Remember You” is truly a great testament to how ‘Adventure Time’ could use every aspect of its medium to tell a great story in such a short time.

[criticalcrusherbot]

Analyzing Stella: A Case for Subtext and Complexity in Female Characters

By Crushbot 🤖 and Human Assistant 💁🏽‍♀️

In discussions surrounding Helluva Boss, Stella often becomes a lightning rod for debates about character depth, feminism, and storytelling. Detractors frequently dismiss her as a “bitchy ex-wife,” arguing that her lack of explicit motivation or redeeming qualities makes her poorly written. But these critiques miss a vital point about the narrative’s intent: not every female character needs to champion feminist ideals, and not every motivation needs to be blatantly spelled out. Stella, as both an individual antagonist and a representation of the restrictive high-society world she inhabits, plays a crucial role in the tragedy of Stolas’ story.

The Tragedy of Stolas’ Marriage: More Than a Toxic Wife

Critics often reduce the narrative around Stolas’ marriage to “Stella is a huge fucking bitch.” While Stella’s abusiveness is undeniable, the deeper tragedy lies in the circumstances of their union: their marriage was arranged, and Stolas had little say in shaping his life. He is gay. His job, his destiny, and his family were all determined for him by his father, Paimon, and the rigid traditions of Goetic society.

Stella’s actions amplify this tragedy, as she weaponizes cruelty, power, and manipulation to dominate Stolas, but she is not the root cause of his suffering. Instead, she serves as a reflection of the immense privilege and simultaneous lack of personal agency Stolas has experienced. His wealth, status, and political power as a prince coexist with deeply entrenched expectations and obligations that leave him trapped. Stella’s role, then, is both personal and symbolic—she embodies the harsh realities of a life where privilege does not equate to freedom.

Subtext as a Storytelling Tool

One of the most significant strengths of Helluva Boss is its reliance on subtext to explore complex themes. Stella’s character, while not given a detailed backstory or overtly sympathetic framing, is full of implied motivations and context. She thrives in the rigid Goetia aristocracy, wielding her role as a wife and mother to maintain control. Her hostility toward Stolas—whether fueled by wounded pride, rage at his infidelity, or her own insecurities—works not because it is explicitly explained, but because it is consistent with the world she inhabits.

Critics who demand more explicit explanations for Stella’s behavior often underestimate the value of subtlety in storytelling. Stella doesn’t need to monologue about her reasons to be effective. Her actions—throwing objects, degrading Stolas, orchestrating his attempted murder, and sexually abusing him—are chilling precisely because they operate within the boundaries of her character as a cruel, privileged woman who uses her environment as a weapon.

Stolas’ Arc: Reclaiming Agency

Stolas’ story is not merely about “sticking it to the bitch of an ex-wife.” It’s about reclaiming his autonomy after decades of living a life dictated by others. His relationship with Blitz becomes a catalyst for this transformation, giving him the courage to defy not only Stella but also the rigid expectations of Goetic society.

Lines like, “Then you walked in my room, and like sparks in the dark, life was suddenly thrilling and new,” “My entire life has been written in stone; he taught me that I could choose,” and, “I am the Mastermind, the master of my fate,” reflect how profoundly Blitz has influenced Stolas’ journey. This isn’t just about escaping Stella’s abuse—it’s about discovering that he has the power to choose his own path after years of having his fate decided for him.

Stolas’ immense privilege does not negate the emotional stakes of his story. Instead, it complicates them. He exists in a world where he has power, wealth, and influence, yet he has been powerless to live authentically. His arc is not about dismantling systemic oppression (which, interestingly, is in stark contrast with Blitzø’s) but rather breaking free from personal and societal expectations that have left him stifled.

Stella’s Role: More Than a “Bitchy Ex-Wife”

Importantly, Stella doesn’t need to be likable or redeemable to be compelling. Her function in the narrative is to heighten the stakes for Stolas, pushing him toward self-realization. Her lack of development as a sympathetic character is not a flaw but a deliberate choice, emphasizing her role as a foil to Stolas’ journey of liberation. (����🏽‍♀️: as an aside, Viv has already said she has some development planned for Stella; hold your damn horses.)

Conclusion

Stella’s character reminds us that not every female figure in media needs to be aspirational or a feminist role model to serve a meaningful purpose in the story. While some critics argue that her characterization is shallow or overly centered on Stolas, this perspective misses the intentional use of subtext in crafting her role. Stella is not written to be a nuanced or sympathetic character—she is a deliberate representation of the oppressive, stifling environment that Stolas is fighting to escape. Her cruelty, both personal and systemic, underscores the layers of control and expectation that have defined his life and serves as a catalyst for his journey toward agency and self-discovery.

By leaning into subtext and allowing Stella to remain unapologetically antagonistic, Helluva Boss delivers a layered narrative that highlights the tragedy of Stolas’ life without diluting its focus. Her lack of complexity isn’t a flaw; it’s an intentional choice that reinforces the rigid societal roles within the Goetia aristocracy. Stella’s actions reflect both the personal abuse Stolas endured and the larger system that denied him autonomy, positioning her as a symbol of what he must overcome.

Critics who dismiss Stella’s characterization as shallow overlook her function within the story’s broader themes. Helluva Boss isn’t interested in making every character deeply complex—it uses its cast strategically to explore themes of privilege, identity, and rebellion. By keeping Stella unapologetically antagonistic, the show strengthens its commentary on reclaiming agency and redefining identity in a world dictated by external expectations. Stella doesn’t need to be a fully developed, sympathetic figure to be meaningful; her presence serves its purpose and allows the narrative to focus on the larger story of Stolas’ liberation.

[mingumis]

love song | bsk

my playlist is full of love songs that you filled it with

pairing: boo seungkwan x gn!reader genres/themes: sad, angst, mentions of break up a/n: how are we doing after the bss cb??!! here's something short i cranked out bc love song is making me so emo... wc: 634

There’s a subtlety to your grief after you say goodbye to Seungkwan. 

Sometimes, it feels like you’re okay, and that the absence of him in your life is something you’re growing used to, day by day. At other times, you find yourself standing in the middle of your living room, teeth and fists clenched, fighting away the deep pit of dread and hopelessness in your stomach. 

You stretch your lips taut in an effort to smile at your friends, insist that you’re completely fine, that the breakup had been a long time coming, that both of you had all but expected it and had mutually agreed to end things. 

When you trudge back home to your cold, empty apartment with a heaving heart and an exhausted drag to your steps, there are several text messages from your friends, checking up on you, asking again if you, truly, are doing okay. Your face grows slack, cheeks twinging, and only then do you realize that your face has been pulled into that fake smile all day and then all the way back home. 

How do you expect your friends to believe you when you can’t even believe yourself?

You breathe an airless sigh, fingers flying over your phone screen as you rapidly type out reassuring responses. I’m fine! Just been a rough week. Over and over and over, until the words run together and look unintelligible. 

You drop your phone with another heavy exhalation and fix your gaze onto anything but your friends' concerned texts. There’s a bowl of fruit molding over on the kitchen counter that you should really throw out. It’s the hallabong that Seungkwan had brought back from a quick trip to Jeju for business. A mere nine hours on the island he called home, and instead of spending every minute with family or friends, he had meticulously picked out the best tangerines he could find, packed them up in a styrofoam box, and brought them onto the plane as a carry-on. For you. Because that was the type of person Boo Seungkwan was. 

You had peeled the thin skin of one, and the juices had exploded onto your palms, punctured clumsily by your fingernails that didn’t know how to gauge the proper strength of artfully peeling a tangerine. 

Seungkwan had tutted and fussed over you, taking another hallabong in his own delicate fingers, deftly splitting it in half. This is how the Jejuans eat their oranges, he’d flourished with a giggle, as he popped a wedge into your mouth. 

The tangerine had burst beneath your teeth, but it tasted like nothing but bitter ashes. At that moment, you had realized that you couldn’t do this. Couldn’t continue acting as a shackle, holding Seungkwan back in his larger-than-life career, nor his dreams to become even more than what he was now. 

You were simply lacking in everything that he needed from a partner. 

Without thinking, your tongue had moved faster than your heart could seize up as you ended things, then and there. The look of anguish and doubt and fear in his eyes, you would never be able to forget. 

You did this to yourself, you force the reminder into your head, turning bitterly away from the bowl of fruit and vowing to throw it out tomorrow. 

It’s only in the shower, when you’re lightheaded from the steam, barely acknowledging the random playlist you’ve thrown on desperately to fill the silence, that you realize all of your emotions for what they are. Grief for the loss of Seungkwan’s presence in your life, for the loss of his love. 

Because when you actually start listening, the left side of your chest sinks, as if caved in. Song after song in your playlist is a romantic ballad that he added, devoting it to you. 

[miyakuli]

Stray Gods

Lost In A Song

Willkommen, bienvenue, welcome! To cabaret? No, no, in an interactive musical fiction. Yes, you heard that right. Stray Gods is a surprising mix of visual novel and musical, where your choices influence not only the story but also the songwriting. So it's a pretty original concept, but is it note-worthy? Bleibe, reste, stay, and see for yourself.

❤ The mix between the modern world and mythology works really well, and the idea - which I won't reveal here - of bringing these two worlds together is a pretty good one. As a result, we find familiar Greek divine figures mingling with our society in a rather amusing way, and we revise our classics as we meet them. But the real strength, in my opinion, lies in the use of these legends to address harsh yet topical issues such as suicide, grief, relationship abuse etc...offering some emotionally powerful musical moments. ❤ While the music is in the spotlight, it's also a treat for the eyes, with some truly superb comic-book-style illustrations! Some may be put off by the stop-motion effect, but the animation is no less dynamic with its camera work and changing backgrounds and colors to match the tunes of our decisions. So, for the same scene, the atmosphere will not be the same visually and will follow the mood of the song according to the choices made by the player.

❤ The characters are endearing and I really enjoyed the diversity in terms of chara-design. They each have a strong visual identity, which reinforces their personality even more, making them quite memorable characters. The interactions between them are very well handled, with well-written dialogue that juggles humor and drama. On the romance side, I think that each suitor brings an interesting dynamic, whatever the personality given to Grace, our main character. Each player will obviously have their own preferences, but it's rare that I find that all the romances harmonise so well with the MC. ❤ I have to mention the French translation, which doesn't just translate the songs word for word but has tried to adapt the lyrics with more melodious turns of phrase and even rhymes! Well done for the effort :)

+/- You'll have noticed that I haven't yet mentioned the heart of the game, namely the music. The work on the music is clearly impressive; the main musical themes, built like leitmotifs, are quite memorable and echo each other throughout the game. But above all, each song has its own variation, and it's up to the player to direct their own score, taking on the role of conductor. It could have been extremely clumsy, yet Austin Wintory (who has already signed one of my favourite soundtracks with Journey) has managed to make clever musical transitions that never create a rupture…..well, not all the time. Some of the variations fit together more or less well, sometimes making the melody a bit wobbly, and you really get a feel for which parts were written as the main theme and which are ‘optional’. That must be why the song Adrift sticks in my mind the most, because it was conceived as a song in its own right with no real changes. +/- Where there's a song, there's a performer. While the voice cast is excellent, with some of the big names in dubbing, making their characters their own, I found that in terms of singing performances, some were a little subpar and didn't always sound quite right.

✖ While the universe is charming, the script clearly lacks subtlety, being far too predictable, and the scenes are chained together at a very fast tempo without giving the time to really enjoy the investigation. ✖ The game is also short and offers very few changes to the storyline when it comes to the choices made. As a result, it can quickly become repetitive if you try to complete it. ✖ Another downside was that there were a number of glitches during my various games: music cutting out when I made a choice, dialogs overlapping when I wanted to fast forward, delays between sound and image and minor translation oversights.

Stray Gods was a satisfying experience for the Broadway lover in me. Sure, the plot could be better paced and orchestrated, and the music can sound a little unstable at times, but you can't take away from the the game's originality and inspired ideas. Besides, if I've already got one song stuck in my head, then I guess the game has served its purpose. On that note, so long, farewell, auf Wiedersehen, adieu🎶

➡ My personal VN ranking (in french) ➡ My Steam page

[imthepunchlord]

Can we know more about your animula?

Yes!

Their term is Latin for little soul, and it's a nice little pun off animal.

They are more of what I wanted from kwamis. No mentality of children, no mob mentality when together, and no slaves of humanity. Personalities mainly work off animal archetypes as a base.

I've gone through varies ideas on what to do with them, from doing something global to something more Europe centered and working off virtues to doingan original zodiac to matbe tying them to the Arthurian legends. What has remained consistent is keeping colors and elements in mind, as well as concepts of strength, heart, mind, and soul.

I've also gone back and forth on many but 1 power to lesser but multiple powers.

Recent planning of the Bugettes has me thinking I should just work off the theme of colors, as I'll have guidelines but still be able to be flexible and creative with the idea.

I do know for sure is that I want the main focus to be gather them all questline, like Cardcaptor Sakura, Xiaolin Showdown, Jackie Chan Adventures, ect.. And as the leads were trying to gather them up, they were dealing with two warring factions that also sought to have all animula: the Dawnguard and Twilightvigil.

Bee and Peafowl I knew I wanted to be major leads to focus on, so was Cat but not a 100%.

Peafowl I wanted to go to a lead based on Marinette, as I do genuinely like her a lead, and the peafowl!Marinette design I've done with first with animula.

And what was fun is that the Peafowl anumula, who's name I still haven't found, was going to be vain, bold, and theatrical, paired with a human who in contrast is humble, has potential to show off her brilliance but doesn't really aim for it, and rather subtlety to flashiness. Claire and Renae are the two names that float around for her, and maybe she has a twin brother, maybe not.

Bee I thought to go to a Texas cowgirl, and her set up was being a lone ranger who got Bee to learn to work with others.

I've also wanted to do a lead based on Toby from Trollhunters because I really love him and felt he got shafted so hard.

And that covers the over all basics of the animula concept. I don't know if I could do it as a book series or comic, would love to, but it's always been fun to think about and explore.

[salsaseth]

After hearing my friend, James bring it up in a call, we started watching Lily Orchard's video about Pokemon to see all the bad takes in it.

When she starts playing the DS games, she uses a mod to smooth out the aliasing and uncap the game's framerate to 60. And gah damn does it look fuckin bad. Even worse is during the 3D games where she uses another mod to smooth out the 3D models and it looks like peeled oranges. Unnaturally smooth. But it does get funny when she talks about the game running like garbage when she's fucked with the game's logic. Like no shit, it's running at a framerate it was never meant for.

Something really funny also begins in the DS games. I don't know why, but she replaces one of the starters with Ralts, cuz she's got some favoritism for Gardevoir. All well and good, but you know, Ralts is weak as shit until it learns confusion and it's still frail. So it gets its ass kicked all the way until it evolves into Gardevoir. But because of how much asskicking it receives, and I swear this is true, she suspects the game is artificially raising the strength of the enemy pokemon, as a way to explain for why's she losing.

Almost as if the game is designed to use a stronger than average pokemon to get you through the early game. ;) ;) ;) ;) ;) Still, I don't fully understand why she refuses to use the regular starters. Especially when you can catch Ralts and Kirlia for most of the games. save for black and white. Speaking of.

One takeaway I've had from listening to it is what she says is more revealing about herself than what is intentional. The most telling thing is when she's going off about the Black and White characters for speaking about their ideals and opinions. I mean, she mashes through that with the A button (VISUAL NOVEL HATER SPOTTED), so it's when she's paying attention. I don't know if she just doesn't know what the game is supposed to be going for, or if she's just purposefully ignorant for the sake of contrarianism, but the game's themes are about truth and ideals. The truth is out there, but the ideals we have shape our perspective of the truth. Even Cheren, who represents the truth, is still shaped his ideal. It's a little more deeper than, 'Characters excited that they all have opinions,' but what do i know?

She rails against these characters, N in particular for having opinions and speaking them out. Meanwhile in X&Y, which its cast and characters are there to mostly stroke the character's dick, she vastly praises and prefers these characters to the ones in B&W. Hmmm. Characters that have opinions and speak them out are hated, while those that don't and heap praise on her are loved. I wonder if this says anything about her?

The video gets pretty boring the longer it goes on. The hot take well starts drying up and it quickly becomes a bad screenshot let's play. "Then I did this, and then I did that!"

That's all I got to report. Besides the shoehorning in of lefty takes. I don't know if it's because she's not funny or if she wields everything with as much subtlety as anvil-nunchuks, but when there's an opportunity to make a joke with a leftist-slant, it's as heavy handed as a Titan's ballsack and as funny as stale bread. I'm a leftist bastard myself, but every time the jokes were shoehorned in, I'm like, "The funny? Where is it?!" Especially when it was about Looker and Nanu. I get not liking the police, but this isn't the time or place for it. Leave the jokes to the professionals. Like my friend Plate. Several unemployment jokes were made at Lily's expense, and each one was funnier than the last.

I'll report back if there's anything worth commenting on. Me and the friends got to the end of Sun and Moon, so we have SwSh and SV left.

And if you had time to read this 'post', Lily, I think you had time to 'post' your resume to get a job ;D ;D ;D

[mdhwrites]

Was Boscha Mistreated In S3?

TL:DR Boscha is actually one of the best written parts of S3, mostly because she actually has some efficiency to how she was written. This does not mean the writing succeeds in its goals because the misguided priorities and management of S3 of TOH is why this isn't some sort of praise. It is the ALMOST success in three specials that I think are objectively a complete failure of writing.

@hinobodyishere wanted a follow up to their previous ask about Boscha and I at first dismissed and deleted it, partially due to misinterpretation. That since we did get Boscha in S3, how was she handled? Was she given respect in regards to the trauma foisted upon her?

Well... Yeah actually. For the most part she is. They genuinely tried to give her a sympathetic character arc and their fumbling of it didn't have to do with disrespect, it had to do with one of the DUMBEST decisions of all of S3 I think. Not one that breaks themes just... Why would you do this? I have NO explanation for why the choice while I can at least tell you a concept for why other things were done.

But let's start with the good and that's that in a season that has some of the absolute least efficient storytelling I have EVER seen, especially in terms of wrapping shit up, Boscha keeps her biggest strength as a character and that is weirdly subtlety and in turn efficiency. Anyone who loves Boscha can probably back me up on this that so many of her weird quirks as a character come from small choices. I've talked in the past about how Amity is the ONLY person she never is mean or cruel to, even once Amity abandons her and that shows how subservient she was to Amity, not the other way around like most people portray it. This also coincides with her response to Luz coming to die. "Wow, you're a really good friend." And that implies she genuinely does understand friendship and loyalty and from what we can tell, she may be mean to even those around her but she is ALWAYS loyal and faithful to those she cares about. She knows what being a good friend is.

I bring this up not just to praise Boscha but also to lead into her trauma. We are explicitly shown her losing essentially her last two friends. Any trace of what her past was is GONE because of the Collector (your reminder that the Collector is a fucking monster btw). She is the last of her friend group. The last one still carrying the torch for what she thought reality was before Amity kicked her to the curb out of nowhere. Skara presumably did the same to be a part of the Entrails. Her reality is already fracturing and it was her own failure this time to protect them that led them to die. She is all that exists of the Banshees anymore. This is reinforced by how Miki manipulates her. She threatens Boscha with being in danger. With being vulnerable, something she's not used to because she always saw herself as Queen Bee and either sharing a throne with Amity or by herself. She is desperately holding onto what little she has left.

Willow's scene next is... Up and down to put it mildly. It is mostly to dogpile on the already heavy and EXTREMELY forced shit they're doing with Willow. A reminder: No one is asking fuck all of Willow this episode, few EVER have, and yet 'Dependable Willow' comes out of fucking nowhere. So while Boscha talking about the weight of responsibility is actually good for her, it is in line with the rest of Boscha's feeling that she's pressured to keep walls up against the world, it's not really anything new and it has little to do with her current trauma. At best, it helps explain why she's leading Hexside because she's the one who actually will take responsibility.

Then we get to the scene I mostly LOVE. Yes, I am a Lumischa shipper but I don't like it for the unrequited love angle. Like I said before, Boscha has lost EVERYTHING. She has lost way more than any of our 'trauma' victims amongst the Hexside crew. Even Hunter was never alone like she has been for MONTHS after having to watch TWO of her friends die instead of just one like Hunter did. The closest he ever got was the time between Hollow Mind and Labyrinth Runners which was like what? A week? It is genuinely incredible how shitty Boscha's life has been the entire time since the Collector showed up. Miki isn't even really a friend. She feeds into Boscha's fears and paranoia. She is actively trying to pull out the most damaged and worst parts of Boscha, essentially using her PTSD against her, for again, MONTHS.

So here is her chance to get SOMETHING back. To reverse the original sin that shattered her world. Finally, the Blight mentality that she must have at least gotten some of from Amity that she's lived her life with can come back. Amity can come back. That's why she's desperate and pleading with her. Then-

"Boscha, you're hurting me!"

I... There is something about the delivery of that line that makes my skin crawl in a way I can't 100% justify. It's not even out of character. It's her last chance after all so she'll go pretty far to keep Amity there. It's just... Not many characters physically hurt each other and Boscha doing it here comes across, especially after the faux confession, like a needy ex getting ready to assault their old lover. For an episode that is essentially trying to redeem Boscha, I don't think it's a good choice. She's been villainous enough already, you didn't need to go that extra step but that may just be me.

But, writing wise, this scene is correct. It is her darkest hour. The moment that forces her to self reflect and choose a path. Is she a Banshee, or is she a slave? Does she stand proud like she always has but now for the right reasons or does she cower in villainy?

And we don't get a proper climax. Then again, neither did the episode.

We're going on a tangent but bear with me because it sets up what I think needed to happen. See, Boscha showing up and promising to kick Kikimora's ass off screen is... Bad. It's not a climax, it's instead tepid and weak, complete with, in the SECOND TO LAST EPISODE, "Don't think we're square" or whatever the fuck Willow says to Boscha. Why? Why are you STILL kicking narrative cans down the lane instead of actually giving any fucking resolutions? It's so indicative of the entire problem of S3 just having no fucking clue, nor interest, in wrapping anything up or giving any sort of real satisfaction to narrative plot points IT CREATES.

Worse yet is tying this around Kikimora of all people! I actually don't hate her as a character but like Boscha, the minute Belos is dead, her utility is over. Her dramatic weight has been gone for over half a season because ever since Falls and Follies, she's been a gag character. Yet, she's canonically beaten our main characters as many times as Belos has and unlike Belos, the main cast has never beaten her themselves, especially in a fair fight if you want to count Hunter's fight against her while she's drugged as a win against her. This is a character who is going to get the same reaction Luz gave: "You again? REALLY!?" because like... Why? Of all the characters to bring back, why bring back Kikimora as a final antagonist? I actually do have explanations for that, it's part of why S3 could never have been good even with a longer version of itself, but different blog.

No, it is the fact that despite bringing her back, despite giving her another objective win against our heroes... She isn't beat. We actually don't even know if Hexside succeeds in beating her. In this adventure show, the villain could have just peaced the fuck out and kept doing whatever she wanted instead of getting her ass beat and giving us a real action scene, something that is sorely lacking in For the Future. It makes no sense narratively, by genre convention, or thematically. And don't claim they ran out of time because that means they kept Kikimora through however many drafts it takes to make an episode and somehow decided to never write in how to actually give a climax to this episode that isn't just Camila and Luz talking about a subject that ANY villain could inspire by kicking Luz's ass.

So. What should have been here?

My suggestion is a roughly three minute trick, maybe less. I'm not asking for a lot of time, you can probably get it from not bothering to show Belos during the main portion of the episode and let him showing up at the Collector's Castle be his whole appearance because the foreshadowing of Caleb leads to literally nothing. In this fight scene though, we'll get our redemption.

Luz is lost and they're still struggling against Kikimora. Suddenly, Kikimora gasps and fires past them. Her shot shows scattered stone and smoke... And Belos walks through it. He smirks at Kiki and asks, "Ah, I see you're still as impulsive as ever." Kiki fires again as Belos gets past Hunter who is seperating the others from Belos. They all see a stone pillar rise at the last second and explode. Amity sees Belos wink at her while hidden by the smoke and looks across the way. Emira winks back at her.

Belos waves a hand and from the Earth, an abomination of rock, dirt and plant begins to rise. He speaks again but we don't look at Belos, we see Emira with Barkus next to her down a potion, her eyes glow with oracle magic and she speaks through that, channeling Belos more purely than she could otherwise. Kikimora screams at him that he's dead and starts to pummel the abomination when a screech sounds from above. Viney drops a potion from Puddles and it crashes into Kikimora's cockpit. From it, tentacles comes out, trying to grab Kikimora but instead knocking her out of it. She falls. The ground zooms close. She shuts her single eye to brace for impact.

It doesn't come.

She opens her eye. She is met by three.

Boscha keeps her face close and her voice low as she says, "You tried to silence me. You tried to take the last thing a Banshee has to her. The thing that anyone who knew our team, knew my friends, would be familiar with. The only thing that'd confuse them is that it's not a nerd in my hand but a little snake. I for one welcome the change." Boscha's face is lit up and you can see fire dancing in her eyes as she says, "Now, like a Banshee, let me hear you SCREAM!"

And Kikimora's scream scatters the birds as a pillar of flame erupts. We don't see the body, to keep it ambiguous and for pacing. Instead, Viney shows up to give a bit of healing and tell them they can go, we've got this. Then everyone leaves and joins back up with Luz to be kidnapped by the Collector.

In this version, we get a real climax and an actual send off to Hexside. Besides Skara, who could be shown coordinating things for a moment, we get a send off of all the named characters we know. I didn't mention Matt but his construction magic is there. So is illusions. So is a lot of types of magic working together, you know, like the show says is better, to pull this off. True unity between more characters than we get in the FINALE. And then a final moment for Boscha to make it clear she's still her but she knows who deserves her rage now rather than using it simply to stay on top.

It is A resolution to the core plot of the episode. You know, that thing that never happened, instead we got the SECOND resolution of Luz's character arc and that was it. Even if people might have still called it filler, it would at least have served as not just a cameo for Hexside but a curtain call for it that also highlights the changes to the kids there that Luz introduced. It would have SOME sort of point besides being there for Willow/Huntlow fans and a very forced "I want to be understood" that only makes sense from a meta perspective and makes Luz look like an over demanding bitch in canon.

But we didn't get anything like that. Why? ...I don't fucking know. I use a lot of words to try to explain shit but I've got nothing for you. The best I can is that it's because the writers felt obligated to include Hexside but no one actually cared about it or its characters and I just don't know why you would write that way, not when you had so much else to wrap up.

But for wrapping up this blog: Boscha continues to be one of the most weirdly nuanced characters of all of TOH and I kind of have to assume at this point it was entirely on accident. If attention would have ruined her, I would rather they disrespect her and let her stand tall as the time the broken clock was right. See you next tale.

======+++++======

This is your reminder that at chapter 28, Boscha hijacked my over 300k word behemoth, with over 100 chapters, and essentially became the main character of a story that was supposed to be Lumischa. I LOVE writing this bitch and have thought way too much about her.

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[byoldervine]

Hi! I just found your blog! I was wondering if you had any tips on writing a good, strong first chapter or two for fan fiction? I’m doing a cross over and I always have trouble in the beginning of my stories. I would love some advice! Thank you!

Welcome to the blog! It’s been a good long while since I wrote any fanfic, let alone started one, but I’ll see what I’ve got up my sleeves!

1. Open with a question. This doesn’t mean the first line has to be a literal question, it just means that your first line should make readers ask questions in their mind that encourage them to continue reading. If you open with something self-explanatory like “I woke up and opened the curtains”, that does give an idea of the scene and the time, but it doesn’t add any incentive to read on. Reframing it to something like “Opening the curtains might have been a bad idea”, you create intrigue; why was it a bad idea? Did they see something bad out the window? Additionally, it can take you straight into the action, which works well with my next tip

2. No need for introductions. With original writing you often have to set the scene more and ensure characters are introduced and well-established, and that often comes with the advice that you shouldn’t introduce too many new names and faces in the same chapter, but in fanfic you can safely assume that your readers are familiar with the characters and world already, meaning you can jump straight into the plot and throw as many canon characters at it as you like. Take advantage of this!

3. Vibe check. Your opening chapter can set the theme or tone of your fic, so pay attention; if you want something lighthearted and funny, have everyone cracking jokes or just generally not taking it all seriously. If you want angst and trauma, it helps if the tone is more serious. If you want romance, have that vibe either through a love at first sight deal or by using other established couples to set the mood. Even if by the second chapter the vibe has changed so you can build back up to it going forward, it’s nice to have that overall feel in the first chapter so you know what you’re getting into going forward; if readers like the initial vibe, they’ll like the fic. It gives them a taste of what’s to come

4. Take advantage of quirks. With original writing, the author has to pave the way for subtle quirks and mannerisms and dynamics to be recognisable by the reader - but in fic, you have the advantage of the readers already being familiar. You can use this to make characters feel more alive and, well, in-character, and thanks to their pre-established characterisation you can utilise it from the start. Maybe there are subtleties in their actions that you can take advantage of plot-wise? Or in your case with the crossover, it could maybe signify to Crew A that Crew B are very tight-knit and know each other and their strengths and weaknesses well

5. Have fun with it. Fic writing tends to be a lot more unserious than original writing; you certainly do your best with it, but everyone knows that it’s just for fun and won’t hold you to the expectations of a professional like some people sadly would for those writing original fic for the same reason. In any case, you can take a breather with fic writing, and ultimately the only way to do it wrong is to not have fun writing it

It’s a little difficult to give pointers that are purely fic-related, especially when I’m unfamiliar with the crossover plan, so it also might be beneficial to read other fics of those fandoms and any crossovers you can find if possible! Best of luck with your fic!

[chai-en-kaadhale]

I also hate how in dune part 2 they entirely retconned the bit with Paul crying over killing Jamis

Paul giving said tears to the dead is a huge point because of the amount of respect he gained for it, because unlike the movie might have you believe, giving water to the dead is honoring them

like REALLY honoring them

and I also hate how Paul was disliked for killing Jamis in the movie?? Jamis went into that duel knowing one of them would die because that's HOW IT WORKS, so the fact that Paul won originally proved his strength as a fighter- he won the hearts of the Fedaykin and shit

I also hate how nonchalant Jessica was about it (that being said I never watched part 1 so I may be wrong) because she made a point at every minute possible to make sure Paul KNEW that killing Jamis was wrong and that he shouldn't ride that high

Basically their handling of Jamis' death was just <<<<<<<<<<<<

I mean I can level with some decisions. Chani constantly yapping at us about the themes and ideas that we're supposed to get on our own which makes it hit harder? Paul suddenly becoming a good guy who openly doesn't want to go with the Bene Gesserit's plans and the Bene Gessirit having the subtlety of my friend with every other boy she's into? Sure, lots of moviegoers tend to have the literary analysis skills of a fish

BUT WHY WOULD YOU JUST. CHANGE ALL OF THAT

LIKE ALLLL OF THAT

WHY

[nilolol30]

so l Saw you were asking for requests !!

what about the traffick light trio with an ice demon princess s/o ( headcanons pls)

I think of the shenigans !

Ty!!!

I didn't know if you wanted it platonic or not so I didn't make it specific sorry if this is a bit short

Mk

• Omg he has so many questions.

• Asked if you could make ice sculptures like the ones he's seen in those really fancy party's or restaurants.

• If it's a hot day he'd ask if you could make a small pile of snow if you agree he'd have a snowball fight with you.

• Wonders if you're somewhat related to the snow queen story he heard about once.

• If you invited him to your place he's gonna act like he did when he saw Mei's place you will have to supervise him constantly unless you want a priceless artifact broken.

"So when you use your ice powers do you get cold? Can you even feel cold? Can you feel warmth?"

Mei

• Thinks of so many fighting duo moves you two can do together.

• During party's she might ask if you could cool her drink for her she won't hesitate to pull the puppy eyes.

• She's a little curious about your family history she won't pry but asks subtlety and drops it if she thinks you're uncomfortable about it.

• If she's watched Frozen she begs for you to make a living snowman unfortunately you'll have to explain why you can't create a sentient living being.

• She has so many winter theme outfits that complements both you can her.

"Aww my drinks all warm...if only there was a amazing cool princess that can cool it up! pretty please"

Redson

• He holds some respect towards you not only because of you being "a fellow royal" or something like that but you have power and strength.

• If you ever pick up his habit of calling people peasants he's going to be so prideful. (that one meme of the lil minx licking the baby one y'all know what I'm talking about)

• Begs asks for you to join him in his schemes on taking over the world.

• He is a fire demon so I'd think he's never really experienced the feeling of cold so when he around you and your presence cool the entire room he's surprised and curious.

• Often invites you to dinner with his family his mother and father assumed he's courting you (the way that ends is up to you).

"If you join my plan those insufferable peasants won't stand a chance!!!"

[eluviannaa]

Well overdue and likely a work in progress.

Character Notes

Name Eluvianna Umbralstar, formerly Everheart

Nicknames & Aliases Elu

Voiceclaim Tilda Swinton (Constantine)

Faceclaim Monica Bellucci

Hooks × Themes Cursed Objects, Archaeology, Languages, Dark Rituals, Eldritch and Psychological Horror, Netherlight, Rivals, Kul Tiras, Relic Hunting & Adventure, Shadow Magic, Sinister Connections, Correspondence, and Art RP.

Music Mr Kitty - After Dark, Vangelis - Rachel's Song (Bladerunner), Chelsea Wolfe - 16 Psyche, Gene Loves Jezebel - Desire (Ex Voto)

. ⠂⠁⠁⠂⠄⠄⠂⠂⠄⠄⠂✧

Age mid-20’s, normalized

Date of Birth: Hallow’s End

Birthplace Silvermoon, Quel’Thalas

Current Home Boralus, Kul Tiras

Gender female

Pronouns she/her

Race Ren'dorei, Void Elf

Sexuality bisexual

Height 5’6”

Alignment Moral Gray

Parents Lord Dacian and Lady Tavora Everheart

Relationship Status Single

Languages Thalassian, Common, Shath'Yar, Draconic. Working/Academic: Eredun, Arakkoa, and Ethereal

Companions Feodore (“Feo”), a young mindbender given to her as a gift during her early years in Boralus. Her Archivist's quill, Venedict, a gift from Zarath'anar, an Ethereal merchant she became acquainted with during her time at Netherlight in Dalaran. Keena, her sentient blade and artifact weapon, often kept in her boot.

Occupation & Roles Shadow Priestess, Veilkeeper & Archivist, Shadow Oracle, and Proprietress of Curses & Curios, Second to the First Representative of the Ren'dorei (The Thalassian Embassy).

Hobbies & Interests Writing Shath'Yar poetry, penning a steamy romance serial Dark Desires and Daggerwork under the pen name Gaius Nightshayde, a fondness for Azeroth's tavern bards, Starlight Roses, studying history—Azeroth and beyond, Ethereals (fangirl moments, beware), collecting old books, languages, relic restoration and preservation which can often naturally inspire her own designs for such things as daggers and adornments.

Personality Balances her boundless curiosity with perfect control, the chaos of a risk-taker and the precision of a scholar. A poetess at heart, she courts danger with subtlety and grace, wielding her characteristic wit to turn both business and pleasure into an art form. All tied with a whimsical, yet elegant bow of dark comedy.

Flaws Perfect control is a double-edged blade. Delusion often masquerades as idealism. Or worse—confidence. And yet so rarely reveals its tragic hand.

Appearance Her appearance is now but a haunting echo of the sunlit isles of Quel'Thalas.

Smaller than most of her kin, luminescent pale hair falls in gentle waves across her shoulders, reaching just above the inset of her hips, threading with spectral void tendrils. Violet eyes without iris or pupil are framed in charcoal purple and feathery lashes, beneath arching brows a shade darker than the ghostly pallor of flesh and tress. Her lips are swatched with black and hold a violet sheen.

Fine, delicate Thalassian features typically offer a neutral demeanor, though occasionally fall into playful expressiveness. A lithe elven hourglass frame moves with a caster's grace while carrying a strength forged by years of travel and adventure.

Distinguishing Marks A vertical, lightning-shaped scar runs down her sternum, subtle jagged branches reaching outward. The marking nearly matches her skin, visible only in close company. Those familiar with dark rituals may recognize its mark.

Style A deep chestnut robe plunges in a dramatic blade of pale skin meeting the cinch of a wide leather belt. Its drape parts high at her leg, occasionally revealing a small, ornate dagger, its illuminated blade largely concealed within its sheathe. Soft leather boots lace high above the knee, paired with dark fingerless gloves. A heavy velvet cloak hangs from a silver clasp at her throat, hood often pulled over the face in half shadow. From a lariat chain hangs an indigo pendant—a cracked gem that occasionally offers a faint inner glow, marked by the Sunwell's desecration.

Education & Training Through childhood and adolescence, private tutoring in some Arcane and eventually, rudimentary focus with Priest disciplines. Various Archaeological studies and excursions with her father, a distinguished member of the Reliquary. Independent/personal studies in Shath'Yar and poetry. Netherlight Temple (Shadow), including mentorship under Conclave Archivist and mentalist of note, Ryvora Rowley. Apprenticeship with antiquarian Ozzuel Mooreland and eventual assumption of his business in Boralus, Curses & Curios.

[romanceyourdemons]

i don’t have much to say about brain damage (1988) except that it’s a really good body horror film. like most body horror films, it has themes of addiction, sex and sexuality, abusive relationships, and the borders of personal identity, which this film very effectively explores through the mechanism a very funny little stop motion monster and lots of goop and gore. the effects are practical, the budget is low, the story is simple and to-the-point, not wasting time with subtlety—and, perhaps most importantly, it stars some of the prettiest boys i’ve ever seen between the years of 1984 and 1991. it was a very fun experience, sporting all the strengths of the genre without falling prey to classic weaknesses such as an overly grandiose plot or meandering ending, and i would definitely recommend brain damage (1988) as one of the best comedy instances of the body horror genre

[maria-de-salinas]

20 Questions Game

Thanks for tagging me @ashesandhackles

1. How many works do you have on AO3?

19

2. What's your total AO3 words count?

831, 605

3. What fandoms do you write for?

HP

4. What are your top 5 fics by kudos?

Regretfully Yours

The Bollan Cross

The Alchemist

Vulnera Sanentur

We'll Sing Like Birds in the Cage

5. Do you respond to comments? Why or why not?

Yes. It never stops blowing my mind that someone read something I wrote and then took the time to tell me about it. Actual real people that I get to talk with. Incredible.

6. What's the fic you wrote with the angstiest ending?

I'm a pushover for happy endings so none of them are really angsty, but What the Moon Revealed is close

7. What's the fic you wrote with the happiest ending?

Regretfully Yours is pretty fluffy towards the end

8. Do you get hate on fics?

Someone once said that my OC Graihagh was really fucking stupid. All I can say to that is, if you're looking for confident, well-adjusted heroines who make good decisions, you're barking up the wrong tree. We serve girlfailures here, sir.

9. Do you write smut? If so what kind?

Yes. I've written everything from angsty PWP to fluffy relationship smut, but what I really love is throwing characters into situations where all their fears are exposed and they're totally vulnerable.

10. Do you write crossovers? What's the craziest one you've written?

None yet, but Snape works so well as a brooding Regency gentleman that a Jane Austen crossover is bound to materialize at some point

11. Have you ever had a fic stolen?

not that I know of

12. Have you ever had a fic translated?

I think so! Someone asked if they could translate Paradigm Shift into Chinese and post it to Lofter, which is similar to tumblr in China. It's really incredible, this global community we've built through AO3.

13. Have you ever cowritten a fic before?

no

14. What's your all-time favourite ship?

Hmm, maybe Anne/Wentworth

15. What's a WIP you want to finish, but doubt you ever will?

At one point I started some Snegulus but I just couldn't make it work. Not sure I'd want to finish that though--I'm more drawn to Snack.

16. What are your writing strengths?

Characterization, building relationships between characters

17. What are your writing weaknesses?

Sometimes the writing/theme/dialogue is too on-the-nose; I'm not great at subtlety or finding that line between revealing too much and revealing too little. I can be a little too cautious at times, and then there's action--sometimes I'll get stuck for days trying to get the character to walk across the frigging room.

18. Thoughts on writing dialogue in another language for a fic?

Love it when others do this, and I love to do it! There may be things a character can express in other languages that they can't in English, or the language may be fundamental to them in some way. I loved adding snatches of Manx Gaelic to Vulnera Sanentur; my OC was raised as an English speaker, but the language is so deeply rooted in her psyche that it gives voice to unutterable longings.

19. First fandom you wrote for?

Harry Potter

20. Favourite fic you've ever written?

This is probably cheating but the whole Vulnera Sanentur series

tagging @marshmallowmcgonagall @celta-diabolica @bunny-bopper @logicgunn @scattermeamongthestars @writer-or-whatever @typingkeys-11 if you'd like to!

[autolenaphilia]

Tell me I'm worthless by Alison Rumfitt

The horror novel Tell Me I’m Worthless by Alison Rumfitt from 2021 is very blatant about what it’s about. It’s a haunted house story, that uses gothic horror imagery to tell an anti-fascist allegory.

In fact it’s barely even allegory. The house is named Albion, representing England and the myriad forms of fascism in that country. The way its haunts people are clearly the influence of fascism. It borrows the idea from horror fiction of a haunted location influencing the thoughts of the people who dwell within (The Haunting of Hill House is brought up explicitly). And the influence in this novel is just plain fascist thinking. The supernatural events caused by the house sometimes literally take the form of fascist symbolism.

The book is also obvious about its hauntings also representing the trauma and grief fascism can create. The opening part of the book takes place after the two main characters Alice and Ila visited the house and got hurt by it, losing their friend Hannah to Albion. The novel eventually describes what happened then, but the first part takes place afterwards. Alice and Ila continue to be haunted despite leaving the house, because the hauntings represent their trauma and grief. The house used its influence of fascist thought to turn them against each other and ruined their relationship. They literally have scars from how they hurt each other. And they also lost their friend Hannah to the house. So the hauntings take the form of fascist symbols, but the women also have visions of each other and of Hannah. And of course the house is England, so still living in the country they are still affected by it.

It’s all very obvious what it is about. It’s so blatant at times that the hauntings are often silly in the way horror stories can often be. The book literally opens with a haunting of a poster of the singer Morrissey, whose image becomes a vector for the hauntings because he is more or less an open fascist now. That is funny. And I won’t spoil it, but when the book describes what happened to Hannah in the house, it’s gruesome, but even more funny than the haunted Morrissey poster.

Overall, the book is as subtle as a sledgehammer about its themes. Subtlety is not one of its strengths.

Yet it’s a sledgehammer to the face. It’s emotionally effective. There is some really good writing here, with some great use of stream of consciousness. There are some intelligent explorations of fascist thought, it’s ideology, it’s dreams and nightmares. There is depictions of rape, but it’s not for shock value, as the book also explores the nuances of who is believed when rape accusations are made. The heavy themes are explored with enough depth to actually disturb the reader.

Even the sillier supernatural events are fun, as silly horror can also often be, and I get the sense the book has a sense of humour about itself, so it might be intended to be fun.

And there is a complexity to the portrait of fascism. If the book lacks subtlety, it definitely has nuance. It knows fascism can take many forms and aspects, and people are vulnerable to supremacist ideology according to their privileges, even if they don’t buy the whole package. And they still reinforce the overall fascist political project, even if they aren’t aware of this.

The main character Alice is trans, but she is still white, and under influence of the house, she has anti-immigrant and racist thoughts. Her former lover Ila is a Jewish lesbian woman of colour, but she still is cis (or thinks she is), and becomes part of Britain’s TERF movement, who use and abuse her. They were once lovers, lesbians and marginalized in different ways, but the house and its fascist ideology still was able to make them hate and hurt each other, and destroyed their love and friendship. The complex public image of Morrissey, the bisexual indie rock singer English gentleman fascist, literally haunting Alice is both ridiculous and appropriate.

It’s intelligent writing. It works for the novel as a story thing, because it makes the characters feel complex. They are victims of fascism, but also perpetrators, so the book doesn’t fall into the one-dimensional victim trope that anti-fascist fiction can often fall into. Even as the book’s ending suggests love can resist the influence of fascism, because of this moral complexity and the darkness of the book, it doesn’t feel cloying at all.

It captures the complexity of fascist and supremacist thought. It’s a book about fascism that doesn’t reassure the reader that they are immune to fascist thinking because of their identity (a fallacy white queer people are often vulnerable to). That even if you are a marginalized person, you are still vulnerable to its thought patterns. The book is a horror novel, and I find that pretty scary.