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assaultmystic · 2 days ago

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ive shared this essay on tranmisogyny and nihilism with a few friends, and then realised u might as well all have it. circa 3k words. enjoy x

Apology

The complete and systematic account of transmisogyny is, of necessity, a hopeless exercise. Abjection is the mother of the totality after all. We are talking about the constitutive incompleteness of the world, the necessary impotence, the weeping lacuna of artifice that begets all things! If we theorised the whole world, we would not speak of transmisogyny once, because it is a condition on the possibility of theory, and so must be forever excepted

So, what little that follows is a betrayal. Partial by design (to let the light in) and necessity (I am tired. I am weak.), it is a betrayal nonetheless. Nothing could fail to be. So let's be honest. To theorise transmisogyny in full would be to draw borders around its extent and its diffusion. To theorise transmisogyny in full would be to construct and fortify its privileged subject -who is and is not transmisogynised. To theorise transmisogyny in full would be to tell "the transmisogynised" what to do about it. I don't want to do any of these things, and I will fail. There is no conversational path into discussion of what's possible that does not foreclose some options. We, the disinherited, conduct our peculiar miracle by fleeing down paths others cannot even see. So, take what you like and laugh when I give away my limits. Have fun.

Preliminaries

All of this is play, everything is. Nothing really matters. The real, in fact, is a mesh of overlapping consensuses that have been built not merely incidentally, but structurally, on our expulsion. There is no serious, real, or proper way to be a tranny. In fact, it remains integral to the notion of consensus as such, and reality by extension, that we are delusional in our self-articulation, paranoid in our recognisance of our exclusion, and dangerous at the point at which we express any of this. We are thus freed to recognise everything as play, for though those involved in playing out the real have their stakes in us (though they are loathe to admit it) we are disbarred from ever really holding stakes in the real. Because that's what real means.

The enshrinement of this exclusion as unreal is both necessary for the sustaining of the real as really important, but is also absolutely critical to facilitating the social character of transmisogynisation. All affordances granted to us allow us to play, however temporarily, at admission to reality. Those on the inside know we ought to be grateful for this mercy. It is particularly advisable for those who would like more sway over consensus (those who do not see themselves as having that sway already) to let us play inside sometimes. We get cold out here. Some of us get so cold we become frozen, we forget we are playing, we become unable to move, so keen on coming in that we harden into fixed things, like those inside are. But we will know no benefit for it. Even if they wanted to, they could offer us no rewards. Whether they know it or not, it is just a game.

Each magic circle that defines with its border the games of the real is drawn in our blood. Each empire and every banner they flew. Every flag. Every cause. All of it, all of it had its stakes in us. All had to eject us. We were understood to stand for nothing. For annihilation, for nullification, for endings. The family line ends here. The revolutionary project will see no children. In fact, there only was a "we" insofar as we were taken to stand for nothing. We are unified in that we are constituted by resistance to that which ejects us from the social, every social. We are unified in this alone. The trappings of inheritance, family, reproduction, legacy, futurity. What world that is, or was, or is being built could truly love the tranny? At best they'll have us die in the shadow so that their gleaming future would shine more brightly for contrast. No. We have each other. There never was a world for us, because wherever a future was believed in we threatened it in our nihilising impotence. This keeps us vital. Keeps us dangerous. Keeps us laughing.

Strategy, or, how to play

We have no interest in talking about identity independent of conversations about strategy. The way we constitute ourselves is conversationally liquid. To rebuke a tranny for their identificatory strategy is to reproduce transmisogyny, to think you know what living her circumstances might take better than she does. We call ourselves what we need to to survive the imposition of gender upon us. Recalling our movements through the social this becomes trivially obvious. Confronted each with your boss, your local tboy callout artisan, the police, a John, your mother, your ex, the gender clinic, who wouldn't call herself what she did only as an attempt to get what she wanted? When we meet others like us then, we cannot presume they know that we would love them whatever they called themselves. They might see a cop in front of them, might see a John, might worry this'll come back around - the local scene might shun a girl for calling herself a crossdresser, even as a joke (let alone for 'real'). So can they trust you? Do you intend to make that clear? But between us, once we know we are among friends, identification is about options, about imaginative flight, about the proliferation of lifeworlds bleeding from the critical harm done to us. Because what could we stand to gain by insisting that girls cannot be faggots? That boys cannot be trannies? Every should've-been-man of us has run, by herself, the labyrinthine complex of gender as domestication. Are you going to begrudge him calling himself a sissy now, after a lifetime of living in the word's shadow? Get over it! You are being invited to play, to walk through walls! Fool that you are, you cannot see the smile on the face of the trannies you claim to love while they call themselves the things you promised yourself it was really unacceptable to be. You have lost sight of the game, and now you come back to your sisters and you ask them to sober up, to get real. After all, we have cisgenders to convince, don't you know? Real people. Why, if they heard you talking like that we'd all befucked! But they are not here. Or at least, they were not here until you started doing their work for them.

There is after all, no real identity. Or, rather, the claim to a real identity is one move among others, and holds no special weight. It is special only in that it invokes the game of the real, the inside of the magic circle, to push others out. This can be great when you are having sex and a tranny tells you that you're not a real woman like her and that you should [do what she wants] about it. Otherwise it's quite fucking boring. If it happens that the world has fallen at your feet in such a way that you find labels more personal to you, that is, they feel like more than social tools for communicating how you would like to occur to others in the world, we're glad for you. Just don't expect us to feel the same. There is nothing we really are underneath this, in fact there is no need for an underneath. What good has the legitimate, the true, the valid done for any of us?

Transmisogynisation, or, how to draw a circle

A popular school of thought sees transfemininity as intentionally performed through a succession of discrete speech acts through which one establishes a relationship with womanhood while cAMAB. More simply - we identify as trans women, or as transfeminine, and so become subject to transmisogyny. This is a hangover from a history of "born this way" queer sloganeering. That we must always have been settled on the inside, and our targetting is a matter of some transfeminine essence. It's bullshit, which is no problem, but the trouble is that it's bullshit with extremely low explanatory power.

More to the point, transmisogynisation describes a matrix of concrete social and institutional processes, through which cAMAB people may become (forcibly) disidentified with masculinity, and become a part of the gendered abject. What the prevailing model correctly understands, is that some of these transmisogynising processes can be willingly submitted to. We might choose self identification as trans woman or other locally prevailing transfemininity, working “as a woman”, engagement with legal or medical apparatus of gender. However, none of these social affordances (that are deployed by social institutions to effect the circumscription of transfemininity) are free from the potential for coercion. If we want access to any of the processes described we experience pressure to present a legible transfeminine gender identity. If you do not call yourself by the terms of the locally prevailing models of transfemininity your access to social, legal or medical affordances is immediately threatened. There is immediately a pressure to be a certain kind of tranny - the institutionally respectable kind, and this pressure weighs on our self descriptions whether we know it or not. Identity, then, is always already under pressure. What would I have called myself, if I had never had to call myself anything for the sake of estrogen, or for a job, or for community? I will never know. Neither will you. What the position outlined fails to account for at all, is that many processes of transfeminisation are straightforwardly coercive, have no choice element because they are inductive abuse. We did not choose our subjection to social practices of violent harassment and exclusion based on perceived difference, for example. Did not choose to be called faggots, sissies, or retards because of the position we were being forced into of not-a-real-man. Did not choose the rape, the beating, the manipulation that othered us from manhood, carried out in sacred silent complicity over a whole lifetime. Every cis woman ex who forced you into a feminised position of permanent care is in cahoots with your dad who hit you is in cahoots with the tboys you gave a bad vibe are in cahoots with the boys in your high school changing room are in cahoots with your rapists. There was, in fact, a conspiracy to forcibly feminise you. It just wasn't glamorous, sexy, or conscious. It doesn't make sense to speak of our transmisogynisation, then, as a matter of our personal identity so much as it does of our being identified. Target lock, y'know? Maybe something gave you away, maybe it didn't. But identifying a boy who's never gonna make it is socially critical, and you were picked. Picked so other boys could differentiate themselves from you, so girls could have you and know you weren't like other boys - they could hurt you and get away with it. So your ejection from your family could be justified. Even if none of them ever once called you a tranny, they were making one of you.

All this to say, the representational force of specific visions of transfeminity cannot be substitute for solidarity along the lines of that we are transmisogynised. Personal identification, pronouns, these things are secondary - and are no substitute for attending to the specifics of our oppression. We can call ourselves what we want, but falling behind the banner of a fixed identity category just limits our solidarity, makes us rigid, makes us easier to kill.

Theory, or, giving the game away

Transmisogyny is itself transmisogynised. Like us, our oppression is always novel, always ready finallyfor a good welcoming into the fold, always unmapped, always a great way to sell a book. Yours could be the first real, definitive, proper text on transmisogyny! Imagine! Over the past decade alone (say nothing of techniques perfected in milennia gone), round after round of coordinated harassment campaign and social media clean up have left us with a legacy of articulating ourselves over and over, hashing out the same points for each new spawning. A neotenised theory, in a forced state of arrested development. Our place in history continues to be the damnatio memoriae.

The kinds of theorisation that tend to stick around share a basic structure - they are outreach oriented, interested in engaging with a "broader" feminist or queer or historical or marxist tradition. Of course the subsumption of transmisogyny as a mere articulation, a phenomena within this or that more important, more material, more real tendency follows.Theory looks to place transmisogyny on terms that others might recognise, fixing some points of reference in order to reach a presumed shared audience. The trouble of course is that now you are looking to share points of reference, an audience, with a cisfeminist, a twerf, a "transandrophobia" spewing tboy. You might tell yourself that this is only in order that you might convince the undecided, to win new people round, so they see the natural integration of the theorisation of transmisogyny into your school of thinking.

These institutionalising desires exact costs. Foremost amongst which is the need to identify a positive transfeminine subject. The identification of this subject (presently, the sID'd transgender woman) ensures that the framework shares identifiable points of reference with rival theories of gender that emerge within hegemony, in order to more legibly engage with them. Put more simply, it makes it easier to argue with the tmra, the cisfeminist, the twerf, if everybody arguing presumes themselves to already know what we’re talking about, but to just differ in attitude. Whether she's valid, whether she's more or less privileged, whether she's really a woman. Such fun!This is the process of theorisation as marketisation - an audience after all is just a cipher for a market. All debate is in fact spectacle, safely ensconced within its academic home. Irrecognisance is complicity.

By entering into the bloodsport of theory we can endlessly defer the practicalities of articulating relations between the transmisogynised that are aware of the endless hatred the real holds for us, and avoid responding to that weaponised reality lucidly. We can foreclose the conversation about what we do, so that we can settle, once and for all who we are. Of course, whoever finds themselves on the outside of our shining new identity (once we've settled it - won't take long) will perhaps lack our enthusiasm for whatever solidarity we seek to build without them after the fact.

I'll concede that I only speak in these terms (not my own) because you are my kin, and I want to reach you. I am a hypocrite. I made my apology already. I believe in you more than I ever believed in anything real, so I'm going to let you make a hypocrite of me.

For the road, or, from the sickbed

I am tired now, and quite sick. I caught what might be the flu, or might be covid the other day. Things occur to me through a thicker haze than usual. So I am going to be presumptive and pass on some things I have learned talking with my friends, as though you’ve any need.

Pay attention to the way that transmisogynisation picks at and worries received views of agency. When girls tell you that their transness is something they affirmed, they are of course right. The same girls are also right when they talk about how this was done to them. Histories are mobile, histories are strategic. Stories we tell about ourselves are social technologies. We never have to be one thing, never have to resolve (scorn anyone who tells you otherwise), we exist with contradictions of coercion and choice. We have to. What does this mean for the possibility of the transmisogynised historical “subject”? What might we have to say about the necessary diffusion of subjectivity experienced by many like us- what kinds of politics is it incompatible with?

Pay attention to the lines along which people draw their politics. What kind of insults do they use? They are telling you who is other to them. They are telling you who they do not feel they need to answer to, and so in whom the stakes of their real will be placed, alongside you. If they speak of lazy stoners wasting their time in queer organisation instead of joining this or that political project - in my opinion, they have told you more than enough. Anarchist or otherwise. These are the lines that need to be drawn so that a politics can be defined. Those who speak this way, our kin not least, hurt themselves. They do this for a cause.

Kindness is never, ever, called for. Will never be called for. It is not politically substantial. People will tell you that kindness is radical and they are wrong. People will tell you that kindness is no part of a coherent politics - not something you ever owe and they are right. You need never be kind. This is because kindness is an excess. Kindness is an inherently unjustified and unjustifiable gesture, an overabundance of care that no politics invested in its own reproduction could ask for. When you meet trannies, I would really appreciate it if you could be kind to them.

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firelxdykatara · 2 days ago

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I think part of what frustrates me about age gap discourse with respect to BTVS specifically is that framing Buffy's relationship with Angel as 'grown man preys on teenage girl' requires that you ignore everything about the context of the show, the context that their relationship occurs within, and also what it means for both of them as characters and for the show as a whole.

It's also just like, really boring?

Like before you get to any of the story reasons why that's just a stupidly reductive analytical framework, you have to start with this: in a story aimed at teenagers, the fantasy is of being special and desired by a sexy immortal, and because the story is aimed at teenagers, the main characters are (or start as) teenagers, since the coming of age narrative that underpins everything else doesn't work without it. Hard to tackle that transition from adolescence to adulthood with a main character who begins the series as an adult!

(And it's not as if coming of age stories for adults don't exist. Phoebe Halliwell is a very good example--unlike her older sisters, she starts off unemployed and kind of adrift and desperate to find a purpose, which she ultimately does as a witch and a Charmed One, and all of this is done while she, as the youngest, is in her early twenties at the series start, because the show is primarily aimed at adults.)

And the thing is, Angel isn't just some adult man preying on a highschooler for kicks because he can't find women his own age. As Angelus, he spent well over a century enamored with Darla and committing wanton slaughter and destruction by her side. As Angel, with the exception of Buffy, all of his love interests are adults, and his love for Buffy is not tied to her youth, innocence, or naivete, considering that it links and binds them so completely that they keep crossing in and out of each other's lives through the end of Buffy's show, with the door explicitly open for a future relationship once Buffy's finished baking.

What draws Angel to Buffy--and what makes their relationship so dangerously compelling and also ultimately spells its downfall as, within the text of the show, it is explicitly a tragedy--is the fact that she's the Slayer.

That's the key point--her status as the Chosen One! He is drawn to her (as all vampires are, to a greater or lesser extent, but it's no accident that her only other truly earth shattering romantic relationship in the series is with another vampire) because she's the Slayer, and because of the soul he was cursed to bear and the guilt he feels for the evil he committed as a vampire, he wants to protect and save her as part of his atonement. He falls in love with her because she brings light back into the darkness he has been cast into since being forced to bear a soul even as a monster. And he would be 241 years old whether he was turned as a teenager and could pass as one of her peers or turned at 26 (the show is inconsistent on the age at which he was turned and it really doesn't matter, since the buffyverse never tries to pretend vampires are 'frozen' at the age they're turned anyway), and yes, part of what is darkly compelling about their relationship is that the age difference is obvious (Sarah Michelle Gellar was 20 and David Boreanaz was 28 during season 1), but the reason Angel being an 'older man' is never considered super relevant (aside from a few lampshades) is because... it really isn't.

The important thing, the critical thing, the thing that matters in the context of their relationship is that Angel is a vampire. That's why when Angel pulls out his 'I'm 241, you're 16' spiel it rings so hollow--because that doesn't really matter to either of them and he knows it. He's trying to push her away because it's the only way he can really protect her, and even then it doesn't work, and they all suffer for it horribly, Buffy most of all. (And even then she can't stop loving him, nor he her, and that makes it all the more tragic when he realizes the only thing he can do for her is leave.)

Also, it really throws into sharp relief the fact that people care so much about Buffy being a teenage girl when it comes to her romantic relationships but not at all when it comes to her being fated to die. Something the show itself is also quite critical of, because that's part of the point--being the Slayer is an awful burden that none of them have ever had a choice but to bear, and Buffy was supposed to die at sixteen years old. The only reason she survives is because she broke the rules by trying to have a normal life in addition to being the Slayer, which is the only reason she has friends to help her and save her, and I'm supposed to look at all of that and care that her broody vampire bf was a 'grown man' when he was turned? Really?

I don't think so. You can't just be willing to take what the show says for itself at face value when it comes to all the fighting and killing and dying but then balk when it comes to sex. That just doesn't work for me. (I mean, you can, and a lot of people do, but it's frustrating, hence this post.)

#buffy summers #angel #bangel #btvs #buffy meta #with a brief charmed tangent #long post #age gap discourse #i keep seeing posts going viral on twitter that have been bugging me so i had to spew words about it

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mysteryanimator · 1 day ago

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Breaking down "Even the Iron Still Fears the Rot" (almost) shot by shot!

The fan-animatic can be viewed here!

youtube

HEADS UP: This is a fan-made content. I am a fan. I just love Castlevania/animation a lot and I love storyboarding nuances and making people cry over character dynamics. Also apologises for any grammatical/spelling mistakes!

I wasn't planning to do another breakdown of my own work, simply due to imposter syndrome but I genuinely put so much love and care into this animatic! I want to talk about it! Also, people have been really open to hearing about my inspiration and notes, and why I take the directions I do for my work, even if it's fan-made, so here we go!

(Also the reciprocation of my animatics has been so kind and uplifting, and I'm really glad that there's a lot of love for them as much as I love doing them! I learn and grow with every single board I make, it's been really fun! I hope I get to shine this much passion in the future in actual work!)

Since this is also an adaptation of a fan one-shot by Aquila, (which you can read here!) I knew I wanted to evoke what they had written and interject some of my own nuances/personal readings to their story to elevate what they had! In turn, kind of created this monster (positive) of a fan creation haha. There are some changes/rearranging the placement of aspects of the one-shot to strengthen the existing tension going on!

With this out the way, let's begin!

(heads up, for any shots I completely skip over, it is because I'm reaching image limits here)

I wanted to evoke that strong halo light you see in a lot of media. Often than not, this visual is used to depict the character as a divine force of nature and/or when a character is bobbing in and out of death. It can also be a very very terrifying image, as, for example, s02e8, Mizrak is literally all dark with a brightly lit background. It is scary- BUT people will say hot because it's Mizrak but hey, look, all I can say is I fully understand haha. It all depends on your intentionality and what follows before and after to give context to your scene!

Mizrak is dead. Well, undead now. Olrox is the so-called angel giving him life and love and this halo of light gets repeated a few times!

By the end, not only do their literal positions switch, but their roles shift too so I hoped to convey that visually by also giving Mizrak that halo glow for the second last shot. At the start, Olrox consumes Mizrak’s love, and then it ends with Mizrak consuming Olrox’s love. Guh I love blood themes in vamprisim.

This shot honestly took me a bit to do, since I was going a lot cleaner than usual, the expression for Mizrak was super important for me to get right. I wanted him to look like he was about to die- yet still have an unwavering amount of life in him. (Also I hadn't warmed up drawing in this cleaned-up style so it definitely was me messing around). It was important for me for this to feel like a POV shot to contrast the first scene so we can get inside the mind of Olrox!

This too is where I only have sound effects since I can't have voice so I limit my SFX to the only most vital things to elevate things I personally find better elevate the scene with audio. It only happens TWICE. The heartbeat. His wrist is shown and from context clues from not only S01 of Nocturne with Tera's turning, but a whole bunch of other vampire media- the wrist is a place where the dead accept their new life of immortality!

Also, the pulse effect was definitely inspired by the transformation of Sekmet! I'm not sure personally if this went to a further stage I'd want to keep this since I'd personally want something more unique for vampire turning, more specifically for Olrox, HOWEVER, I think it still does a good job conveying the supernatural pull for the time being!

Wow who saw this coming HAHA

Immediately when I saw the line where Olrox said he went to straddle him immediately, my mind went to go and try to parallel this scene again! I don't have much to say about this shot rather than the feet are purposefully cut out for animation convenience's sake HAHA.

Jumpscare for sudden Olrox character layout (even though he's really off model and sketchy here HAHA)

I was again, wanting to depict Olrox BATHED in light and since this animatic is purely in greyscale (with accents of colour), I could really push for dramatic lighting when it called for it! This is also why some of the scenes just do not have backgrounds at all. I wanted to make some of the scenes as "heavenly" as possible and for Mizrak to be embraced by the light because Olrox is giving him a new a life.

If this were to ever be animated (I won't be since it would take too much of my time, but it's still a good thing to note when boarding anything... maybe I'll do cleaned screenshots since those are a breeze, or animate ONE scene from this animatic... we'll see what I have time for. I unfortunately don't have proper time to try and figure out the layout of s02e8 bgs and paint them. I did consider quickly doing a 3d mock-up but no haha), the light in the background can probably be lit with candles since it was already pre-established in s02e8! Also, the windows can reflect light into the room so there's that too since Mizrak was backlit in that episode too!

Fun fact, this entire scene was the first thing I ever thought up and why I started even making it. I thought about how cool of a visual it would be to have Mizrak's eye in the reflection.

I wanted to imbue the fact that Mizrak does not fear Olrox holding a blade, hell, he's not even looking at the blade. He's looking at Olrox. What is described as a relic from a terrifying past, Mizrak is not scared. Mizrak is not scared of Olrox.

This is where the heartbeat occurs AGAIN. This is mostly to signal to the audience what Olrox actually has planned. He's not feeding Mizrak from his wrist but from his actual chest, especially with how gently Olrox runs his hands over it.

I debated a lot on where the initial cut should go. The heart, for sentimentality, under the breast in the same way Christ had been pierced, etc etc- however I landed on just dead set in the middle so it could form a cross that would grow bigger and bigger as the animatic went on. (Fun fact, the blob of blood turns into a little heart as he squeezes his chest)

I wanted to put some weight to the repressed catholic guilt, so I thought a cool visual way to showcase that Mizrak has only known how to love is via worshipping God which has consumed his entire being and self. God has given him faith, a companion in the hardest of times when the world has abandoned him.

Now, once again, his world has abandoned him. The Hospitaller Order of Saint John of God is gone. In the face of death and fearing the devil will be waiting. Olrox has given him love, and he will be a companion in the hardest of times. He will not abandon Mizrak.

This aspect of the cross in the animatic gets expanded upon as time goes on. Both literally as the cross literally turns into a pool of blood more closely to the symbol Mizrak bares, but also it slowly expands upon Mizrak feeding off Olrox's love! I'll add some more of my personal notes when we get there!

Also by far one of my favourite scenes I've drawn. It's still rough but it decidedly made me go a lot cleaner with the rest of the storyboard!

This is supposed to be suddenly jarring because it cuts midway through Olrox in a midshot to a close-up of a hand! We need to see him actively halt Olrox for just a moment, but also to show that even when it's sudden- its not hostile, it's gentle.

This shot does a couple of things!

It showcases how gently Mizrak is reaching out to Olrox

It helps to continually establish Mizrak submission to vampirism. He is constantly placed on the bottom from the composition, or we as an audience, are always looking down at Mizrak! Seeing parts of Olrox here really cements this fact as Olrox towers over him to the point we don't even see him fully!

It helps to lead into the Fallen Angel reference!

This shot makes me sob because it is so gentle. Despite being placed constantly much higher in the composition in the animatic, therefore making him the most powerful in this dynamic- in no way Olrox is intentionally made out to be an intimidating figure. He is comfort. He is a companion. He will not abandon Mizrak. The act of turning Mizrak might be read as selfish. It may be read as cheating the natural cycle of life, it may be everything wrong and doomed as your mind makes it to be, however, it is done out of love. Morals, whether good or bad, no longer matters because Olrox is in love. Love has such a strong chokehold on this series, so I'm shoving as much love into these characters as I can. Both literally make these characters so sickly desiring love that it will be their doom and saving grace, but also me as an artist deeply putting love and thought into this board because care a lot about how to convey these complex emotions! Sure it is quite easy to churn out boards without care, but without putting care into your boards, your characters and stories lack life (in my personal opinion).

Immediately, this animatic shook me and told me to put in a reference to The Fallen Angel by Alexandre Cabnel!

Also, how does one portray the soul? EYES. Eyes are the window to the soul. Mizrak’s eyes are also considerably the most important/crucial part of his design. His eyes in both seasons ‘glow in the dark’ due to the highlights in his eyes. Mizrak is considerably really emotive too and that was important to me to emphasize. I wanted to capture his essence, his soul if you will, into this shot.

This is also why this shot is done really prettily if you will.

The reflection of Olrox's eye in Mizrak's is important here! Olrox is here to act to comfort Mizrak. Even when Olrox is not on the screen with us, he is majorly present here. He will not abandon Mizrak. Also, since it is coupled with this line, people can choose to infer what they wish with Olrox! It can symbolize Olrox does have a soul, it can symbolize how Olrox and Mizrak are now intertwined together, it can symbolize Mizrak reciprocating Olrox's love. The list can go on! I give that room for open interpretation (same as the rest of the animatic, the only reason I'm going through, breaking down almost shot by shot is that I deeply care about this sort of thing, and I know other people do too!)

This shot, is deceptively simple but it's here to actually initiate a bunch of scenes I wanted to happen after this!

Firstly, I needed a very nonchalant but easy way for Olrox to let go of Mizrak's hand without needing to overcomplicate. I needed something that gave it just enough importance for the hand kiss BUT not too much where it is the sole focus on the shot.

Secondly, I needed a way for Olrox to lean down to Mizrak and initiate him being way closer to him.

Thirdly, it acts to parallel another shot that happens with Mizrak where instead of going diagonally down, he goes diagonally up!

This is one of the points where I visually slightly deviate from the one-shot! I really REALLY wanted to emphasize Olrox's dialogue here so I chopped up and elongated the scene to make it that much more intense and tender. Which is why we get the next two close up shots!

Look it was very VERY important to me to have Olrox cup Mizrak's face and intentionally cut off his eyes. The important part I wanted to focus on solely was his hand and Mizrak looking up because genuinely, Mizrak's eyes are 'distracting' and it would remove the focus on the gesture! Also I am saving Mizrak's eyes for the next shot haha

After this shot too, you may notice the blood from his neck disappears for the rest of the animatic. This is because, after this, it began to take too much of a visual focus away from the blood on Olrox's chest since it is bright red against greys in the shot. We can chalk it up to Olrox wiping the blood off when he goes to cup him.

"The most beautiful soul a vampire can posses."

It was so important to me that we get a BEAUTIFUL shot of Mizrak. I needed the audience to see his entireeee face close up, unobscured by anything. Olrox is holding a beautiful soul in his hands. He's holding Mizrak. Actually makes me sob.

This shot by the way has been repeated 3 times with slight variations by this point. Yes, this is a very pretty shot so how could I not help but repeat it? HOWEVER, I was trying to make a reference to how Mizrak has said Olrox's name only 3 times in the show with a variation of what was said around it. After that, Olrox calls him my love, basically unlocking a new stage in their relationship.

So here, three times when he looks at Olrox, he's mentally calling out his name. After this, Olrox brings him to a new stage in the relationship.

Also in Catholicism, a lot of things are in 3s. One of the major ones is that three times, Christ fell over carrying the cross. On the third hour of that day, he died and on the third day, he was resurrected from the dead. The three sacraments that welcome someone into the Kingdom of God are Baptism, Communion, and Confirmation as they all build off one another! I could go on both those are the main points AND I feel you might get the gist now!

It was very important to me that when Olrox makes this promise, we HAVE to see his full face. This is why it's a close-up.

It lets for no shadow of a doubt that Olrox means what he says here. He's looking AT Mizrak. He's telling the truth to him.

This is a parallel to a much earlier shot of Olrox! He moves closer to Mizrak by going from top right to bottom left, while Mizrak moves closer to Olrox by going from bottom left to top right! You also both see them exit the screen too!

In this shot, we bring back that halo vibe but also this is a reference to S01E04 and S02E08! The curtain! It is BOTH their first-ever shots to establish a new scene, so I wanted to go “Hey this is establishing a new scene- a new life for Mizrak and Olrox.”

The camera is super purposefully cut just below the eyes. You can see them open then closed, but we will never ever get to see the look he had in his eyes, the single decision in his brain that let him indulge. That’s only for Olrox, and only Olrox will know.

From here on out, A LOT of the shots of Mizrak get segmented/have his face hidden for that reason too (except for one shot, also done intentionally).

When Mizrak actually closes his lips around the blood- it’s on the growling sound in the song. Mizrak has turned into the animal that he’s been calling vampires. In this new life, he is now given the choice to be freed from the man-made shackles of shame and guilt. To be untamed and unrestricted. A wild animal so to speak!

Honestly, I spent a lot of my time here (besides the pretty Olrox frames) because I was super particular about how I wanted to portray Mizrak giving into sucking the blood. The way he accepts vampirism is vital because it sets the tone and mood for how the rest of the board feel since his face gets hidden and you now have to infer from when you saw his face last.

If you have seen my analyses or my work before, you will know how much I enjoy having a frame within a frame. I loveeee my boxes! They're in the box! TOGETHER! THE CENTER TOO! There are no real divisions with the exception of Olrox's head which is important because it's not Mizrak we're focused on at this point in time, it's Olrox~

This is because the one-shot, even in third person, is mostly through Olrox's perspective!

Also, the camera is moving around in this shot, and the following subsequent shots! It hopefully gives off the "hand-held" feel, which often is associated with feeling as if you're right there in the moment with them.

Why pillows?

This is me shaking you to say how the blood-drinking is an allusion for sex if that wasn't already obvious enough. So showing pillows coupled with Olrox groaning really goes "Yes they are technically doing it."

Originally this shot (and the previous shot) was supposed to be way more pulled out, but I was saving it for the very last shot of the animatic so I went to pillows with the tinest hint of their body in the frame to make it seem super scandalous. Like what on earth could they be doing for me to cut them mostly out of the frame? Also also, the pillow was supposed to have an embroidery of a painting from 1790s or earlier BUT, for the life of me, I could not decide what I wanted and I did not want to keep reusing the same references I have had in past work. I didn't want to fuss about it for too long since its more of an easter egg rather than adding to the story. The main point is pillow = fucking HAHA.

Side tangent, you can get away with SO MUCH by having blood drinking be an allusion to sex. Like obviously when you have an age rating you must abide by, you must be creative with how you go about mature topics (my age rating is YouTube hahaha)! Not only is blood drinking in vampirism just inherently queer-coded, but the intimacy of it can convey so much more if it was just a regular ol' sex scene! I actually deeply enjoy conveying nsfw topics into art because you can discuss character dynamics at a much more vulnerable, raw state that literally bares them to just their essence and their current desires/needs. However I am getting off-topic, let's get back to it!

This shot was actually heavily inspired by the statue Adoration by Stephen Sinding!

While there are a lot of differences now simply because Mizrak is at Olrox's chest, I still hope that the vibe of that statue is still imbued. It also gives the sense of not only Olrox adoring Mizrak in this very moment, but Mizrak is too despite not seeing his face. Again quite intentional because it's only for Olrox to see.

Also, a lot of people have been telling me how Olrox is breastfeeding him, and in technicality, they're not wrong, he's feeding blood, from his chest. It is the funniest thing ever LOL

This shot was important to really focus in on his throat and how, much like in the one-shot, Mizrak is literally not taking breaths and is just continually consuming Olrox.

Wet sounds fill the room as his throat bobs with each steady gulp...He doesn’t stop, doesn’t take a moment to gasp for breath.

I also just wanted to make this scene feel very slow in order to contrast with a much more passion-filled desire that consumes Mizrak in this animatic! Also hopefully the descent of blood and the descent of the camera helps to strengthen the idea of Mizrak descending into vampirism!

It felt really cheesy to have this close-up shot of his eye HOWEVER at the time, I thought this was by far the clearest way to convey the immediate switch from gentle devotion to devouring devotion and how suddenly rapid it is. In my brain, the stylization for his eyes open would be textured and pulse in the same way Olrox's wrist did, which is why it's just outlined. I'm once again not 100% set on the pulse look and it probably needs some iterations if I ever came back to it again.

Also, the green hearts in his eyes only come through when he's actively consuming blood from his chest! The heart motif comes back later when Mizrak ends up throwing up the blood!

Here's the cross again, except it is growing bigger. This was very important to me that you see how "gentle" the blood-sucking is at first. A gentle devotion despite the "terrifying" shadow of Mizrak. Also, super an excuse to have kiss marks in my animatic, I love painting them in my art because it can say a lot with placement and how aggressively smudged they are!

Also, I thought it would be SO FUN to have Mizrak's turned self literally have his eyes overlay where Olrox's eyes are. It conveys how Mizrak and Olrox are now switching roles in this animatic! For the first half of this animatic, Olrox has been placed pretty high up in the shot composition, or where the camera looks up to put him in a high place of power! It makes him appear way more etheral and otherworldly, while Mizrak was placed lower in the composition, always looking up at him! Which I'm hoping invokes religious imagery of a God and his worshipper/follower!

When Mizrak's transformation is set, the dynamic switches up. For the rest of the animatic, Mizrak is now placed at a more supernatural/otherwordly position, while Olrox is just there passively, letting Mizrak BE in this position. He does not fight it, he embraces it, embraces how Mizrak reciprocates his love, his desire, and all his messy complications, much like how earlier in the animatic, Mizrak embraces vampirism.

Also if you slow it down enough you can see how I accidentally left my perspective grids in it HAHA, but it goes by fast enough it doesn't really matter! (I guess it's also kind of indicative of my natural style when it comes to digital painting too, I genuinely like having my sketch still peek through into the final painting!)

Wow even more shots to cement the new role switch AND how much much of the passionate need to consume is controlling his urges! Free to consume at his leisure, he is no longer bound by human nature (for now)!

This shot and his leg shot help to really strip Mizrak of his humanity. Faces in a shot really help to connect people to the characters because we see the emote, we see them breathe, we see them live. Especially for a character like Mizrak? He's super expressive face-wise and I'm purposefully not showing you the defining features of Mizrak. Here I am basically going "Mizrak is no longer human."

This is why in horror/thrillers with antagonist characters, we don't see their faces much and are saved for only key moments (usually, again your intentionality matters). It doesn't allow us to connect with the character on a much more human level. Think of Count Orlok from Nosferatu (2024). Purposefully a lot of his character is shrouded in darkness, focusing on his hands and other aspects, never his face, and even then it is really hard to make out because so much of him is obscured. It makes him that much of an imposing intimidating character! Otherworldly and something that we cannot fully understand.

This is a flipped version of Mizrak's close-up eye shot much earlier when he asked if his soul would remain. Again to hark on how Mizrak and Olrox are switching roles in this animatic! Olrox is looking at Mizrak's soul as we speak.

Despite us not seeing Mizrak's face, we as an audience noticing how unhuman Mizrak has suddenly become, Olrox looks quite gently at him and that was important to convey!

Woo! Lot's of horizontal lines here! While the camera is moving towards the left, Mizrak is moving right!

Originally this shot was going to have Mizrak's teeth sinking into Olrox like a very cool Olrox throwing his head back and Mizrak's fang reveal HOWEVER, I want to leave the "carnage" and bloodshed of the feeding out of the frame and only have it show up in very specific moments so I can have those moments actually have their proper impacts. I did not want to show any part of the front of his face at all since it would dampen the effect later on, so I opted for this instead. The legs give a sense of "something is happening but we don't know what, but it's to a point where Mizrak's entire body is moving oh jeez." Won't lie, this looks very sexual and I'm purposefully toying with that line again because blood drinking is an allusion to sex.

Also, I'm continuing the concept of having aspects of Mizrak's face only for Olrox's eyes. What does he look like when he's actively consuming him with such passion? Idk, Olrox you tell me.

This is everything I was building up for when I introduced the small crosses! The physical manifestation of how Mizrak reciprocates.

My thought process here was that Mizrak only knows how to love by fully devoting himself because that's all he's done for God. So he applies it here. He is reciprocating love, but it is FULL ON. It is intense. It is all-consuming.

The face once again is obscured for all the reasons I have mentioned before, but also it REALLY helps to really hard cut to Mizrak choking on the blood after because before it seemed like he was doing just fine. He is literally looking DOWN at Olrox, he takes up A LOT of the screen with just his back and head. He literally gets pulled into full focus while Olrox is blurred in the background. He appears like he is in control of the situation, however it could not be further from the truth.

Also, I was mostly inspired by the insane amount of bible verses talking about blood, so I'll drop some of those here!

John 6:53-56 ESV

So Jesus said to them, “Truly, truly, I say to you, unless you eat the flesh of the Son of Man and drink his blood, you have no life in you. Whoever feeds on my flesh and drinks my blood has eternal life, and I will raise him up on the last day. For my flesh is true food, and my blood is true drink. Whoever feeds on my flesh and drinks my blood abides in me, and I in him.

Ezekiel 16:6 ESV

“And when I passed by you and saw you wallowing in your blood, I said to you in your blood, ‘Live!’ I said to you in your blood, ‘Live!’

Matthew 26:28 ESV

"For this is my [Christ's] blood of the covenant, which is poured out for many for the forgiveness of sins."

Absolute contrast to most of the other shots, not only because I decided to add way more character acting here, but it's because we actually see his FULL face. It's intentional because Mizrak realizes himself now so we need to see him have this reaction. I wanted to show that he is still a person. He still has a soul. He may not be human, but he does have a mind that can think and a heart that can love. He still retains human qualities.

He's choking on all the blood (a physical manifestation of love) and his body is rejecting it. He's not used to consuming this amount of love and he's not used to being self-indulgent. It's deeply overwhelming.

I wanted to say I LOVED drawing blood it is SO FUN, planning the camera movement, and how Mizrak coughs at specific moments was sooo fun. I wanted this to be MESSY AND INTENSE. I wanted the audience to feel the weight of Mizrak's sudden distraught. I wanted to throw him around and to really hark on this line from the one-shot.

What has he done? What has been done to him? What has he become?

It helps to deeply contrast with how still and gentle the next scene is!

Yes, that is right, Olrox's pupils are DILATED :)

Coupled with the fact that the blood splatters are hearts! They're outlined in cyan! Olrox has a massive heart-shaped blood splatter on his cheek while Mizrak has a few heart-shaped splatters BUT there are gaps in his bloodied mouth that create heart shapes as if Mizrak spewed out those hearts!

Firstly this is because Mizrak literally eats at his chest where the heart is. Secondly, I'm again pushing for Mizrak to consume and throw up his love due to how overwhelming it is. Not only is Olrox's love for him literally beyond his imagination, but Mizrak is trying to love back in with that same amount of passion and utter devotion. A lot is happening for this new-born vampire that is pushing and pulling at him. His emotional state is so overwhelming that it is manifested in physical form.

The green reflections are shown to visually communicate Olrox anchoring Mizrak back, as, throughout the animatic, it is one of the things that ease or calm him down. I could not portray it through voice BUT I can portray it via visual (guys walk with me here, imagine the insane combo of audio and visual, it would be so tasty). The sole reason why I did not have hearts in his eyes here is simply because I reserved the heart motif for when he's actively drinking out of Olrox's chest (so he's literally consuming his love) or when he's spitting out the blood!

Also, the reason why I cut to his eyes rather than pan to them is purely because I wanted the violence of his mouth to be suddenly jarring to the gentleness in his eyes. I didn't want the slow reveal, I wanted the "OMG the blood- aw Mizrak...."

"Lulled into a sense of hazy compliance by Olrox’s voice, the former monk carefully lowers himself and continues though not for long."

This final shot was soooo important to me to include. The “musty inn room” was mentioned much earlier during Mizrak’s transformation but there was a poeticism by having what is considerably the blossoming moment of their complicated relationship be the final shot. With the lyrics also ending with "Take me back to Eden" how could I not? Clearly, both the rooms between s01e4 and s02e8 are parallel to each other. The only difference is that s02e8 has the room be both red AND GREEN, while s01e4 is just earthy/green. Olrox has taken them both back to their earthly paradise. This is their Garden of Eden.

Woo ok and we're done! Also yes I do thumbnails for these, it's half the reason why I'm fast (this entire animatic, cleaned and everything, was done in 3 days good lord. Is that fast? I can't tell) I make the barest of bones chicken scratch of sketches to get a feel of pace/vibe, then I do my roughs/cleans and add/take away shots necessary for the story that needs to be told. I normally would not let this see the light of day because these are AWFUL BUT, this post is also half a documentation of my personal process so I'm going to close my eyes and share this HAHA

If you got this far, thank you for reading me geek out about this! I find a lot of joy in the visual storytelling medium. As much as I do enjoy animating, (wow could you guys tell in the name?) I have a deep love and passion for storyboarding personally and I get sit back, and enjoy crafting the entire picture! I still have a long way to go but I'm having fun and I'm pursuing my passions of storytelling!

I desperately want to make more animatics, dealing with different tones, pace etc, but I genuinely have to go prioritize other things for now that will help me build these skills hahaha. I say this but who knows, seeing my current track record haha, look I can do both. I follow wherever my creativity takes me. I may have missed a few things but I have to wrap this up now!

Thank you again! The final takeaway, go watch Castlevania again and go be inspired by animation <33333

#castlevania nocturne #artists on tumblr #mystery talks #i love storyboarding to death it brings me much joy #hopefully ill learn how to apply this to action scenes #all ppl on yt scare me in a positive way they're so nice #olrox/mizrak #castlevania spoilers #olrox #mizrak

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starryeyedstray · 2 days ago

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during the intergalactic space war, cyberlife deploys android soldiers to be used in combat to prevent more human deaths. the rk800 is a specialized prototype sent work with the unit of earth's military that specializes in reconnaissance and intel. he it is assigned to lieutenant hank anderson for further testing.

ramblings and closeups below the cut~!

i have a soft spot for faceless characters. like i think they're just so cute with their nonexistent yet expressive faces. and someone i follow has been reblogging a lot of gabriel from ultrakill (i know nothing about the character or the game but the art is so cool) who is a faceless character so i really wanted to draw one.

and hence this au was born.

connor's design is based off cyberlife's skinless android design and a little bit of viktor's robot followers (from arcane). y'all i am shit at technical drawing so apologies for my kinda scuffed robot design. i am no engineer that's for sure.

anyway i have no other ideas for this au so if someone sees this and is like hey that sounds like a cool fic idea, feel free to write it and just tag or dm me cause i'd love to read it. ALSO, if anyone has any more cool ideas for this i would love to draw it more bc i'm all out ahhahahah. (literally just drew this just to give connor a cute lil robo design LMAO)

#btw i think the connor in the top right is like in my top 3 prettiest connor's i've drawn to date. like i drew that?????#and about the kanji... its intergalactic war i'm sure cyberlife from the usa is partnering with japan to create these guys for earth #dbh fanart #mine #dbh spacewar au #dbh au #dbh connor #connor rk800 #dbh hank #hank anderson #detroit become human #dbh #detroit: become human #d:bh

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saateco · 1 day ago

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I found this post about Sokol very interesting, and I, as a person who really loves this character and, as it happens, is russian, would like to discuss this topic.

I in no way want to seem like I'm attacking or being negative in my post, I just want to express my point of view.

One of the reasons that a lot of people like him, especially from CIS, is that he plays very often on Russian stereotypes, showing off as an absolutely typical Russian dude who rides bears, drinks vodka, plays balalaika and such shit, еhe kind of thing that foreigners usually think about when they represent Russians. It’s even funny how smoothly it works in his case and how often it is taken seriously by others. TO BE A RUSSIAN ≠ CHARACTER TRAIT, no one likes looking at stuff only referred to stereotypes, in which the national affiliation of a character to a country should not somehow affect his perception as a person. The same applies to real people. Again, Sokol often pretends to be stereotypical Russian for his own gain, for example in his pager responses. This strategy does work (speaking as a Russian who has spoken to people around the world) just as well as it works in his case. There is nothing strange in the fact that a person (russian person, since it is so important) combines sports interests and knowledge of some technical sciences. There were a lot of kids at my school who were professionally involved in sports and at the same time had deep knowledge of mathematics, physics, chemistry and computer science. For me personally, this is quite a common set, many guys are interested in sports and technical sciences, and I don't see anything strange in the fact that Sokol could build a BFD. Yes, he did it only once, and I can assume that it was ordered by Bain. It's not like he built some kind of flying thing that can read minds or control minds. It's just a drill, just really big. In fact, BFD is not a new invention that was completely developed from scratch and designed by Sokol. It fell on his shoulders to assemble this drill from a disassembled form. Potentially, if you have the drawings of the BFD in your hands, which are shown during the planning of the Golden Grand Casino, both Wolf and Houston and Chains could assemble it. Most likely, this robbery was his trial and the assembly was assigned to him as a “test task.” He doesn't show extraordinary engineering skills, which is why his dialogues aren't based on that, because it would just be pointless.

The description of Sokol consists of the fact that he is a talented robber, and not just a dumb Russian hockey player who only knows how to shoot and use brute force. “Despite his youth, Sokol has everything to become a legendary player. A gifted athlete, Sokol also has a sharp mind and understands his role in the team. He's fearless and physically strong, and he uses that to get to the enemy, whether it's a hockey team or special forces.”

He also engaged in robbery alone, and never caught the eye of the police until a certain point.

“Like Hoxton, Sokol began a life of crime at a fairly young age. By the time he was accepted into the gang, Sokol had already had many successful robberies of banks and casinos.”

Bain invited him to join the gang, and Bain would not invite a man who is just a hockey player and does not represent anything else.

“Despite this, the Russian police surrounded him. Sokol eluded them, but knew that his time as an independent robber was coming to an end. Only one person had the resources and insight to identify him: Bane. Sokol was offered a place in the Payday gang and a ticket to Las Vegas for the robbery of his life."

What does communism have to do with it?????

“russian which means jacket wouldn't like him”

There was not a drop of negativity or hate in any of Jackett's remarks addressed to the Sokol. All of Jackett's remarks to Sokol are neutral. Besides, the Jacket from pd2 is not a Jacket from h&m, I don't see any reason for him to hate Russians.

If the developers wanted to show that Jackett hates the Sokol, they would have added replicas to it, as they did in the case of Hoxton and Houston. There is an obvious mutual dislike between them, when, as in the case of Sokol and Jacket, Sokol is simply infuriated by the fact that Jackett communicates through a dictaphone.

Overall we wanted to say that every community will be better without harmful stereotypes, since it’s making real people's life worse tbh (at least me and a lot of my friends had a bad experience in different shapes and forms with those stereotype stuff)

sokol is a fucking hilarious character

the purpose he serves as a character in payday 2’s story is so fucking funny his skillset is so god damn funny. but like. not even unrealistic

he has so many gimmicks

hes relevant for three seconds in the grand scheme of the payday story

hes.. russian. he is a professional hockey player. he- he can. build. shed-sized laser cutting drills

why can he do that who let him do that

he never mentions his engineering prowess in any of his voice lines (iirc)

he just. can do that

it gives someone with adhd taking their adderall for the first time and it kicking in right as theyre browsing the wikipedia article for nuclear fission and next thing they know theyre wanted by the fbi

its not like its unrealistic for people to have more than one interest but its just so funny how unrelated and irrelevant sokols engineering knowledge seems when put next to everything else about him. especially since theres already other characters who fill the role of awesome engineer dude already

houston isnt THE engineer but hes the mechanic and wolf literally has his own workshop

sokol made. the fucking bfd.

and his primary character trait isnt even that

its communism

his engineering smarts are like the last thing anyone remembers about his personality and it is the reason in lore why he is in the payday gang

sokols attributes in the order most often noticed by people who get into this game

russian

hockey

russian which means jacket wouldnt like him

burgers

prison nightmare voice lines

HE MADE THE FUCKING BFD..

THE BFD!!

#sokol payday 2 #payday2 sokol #sergey kozak

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oshawottarchive · 2 days ago

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I wasn’t originally going to make my own post on the Iskall situation, since I like to keep my blog page discourse and drama free for my own comfort, but I thought that I should at least say something about the ongoing fanfic I have that originally had him as a supporting character.

I’m not going to talk about the discourse itself (the statements from the victims, Iskall’s video, etc.), one of the reasons being that I don’t have anything to add that others haven’t already said. I also don’t think it’s really my place to publicly analyze anything Iskall’s said or done, so instead I’ll direct you to this post.

That being said, I do not support any of Iskall’s actions.

I’ve had Iskall as more than just an existing presence in only one of my fics, which is my series The Knight Archives. After the truth about Iskall and the reason he resigned was revealed I decided to remove him from the series and replace him with another character, since the role he played was an important one. I will not be editing the already published fics in the series, but I did add an author’s note to the one Iskall spoke in.

I was originally just going to leave it at that and continue on with Xisuma in his former role, but after Iskall’s video and the comment left by Stressmonster, I wanted to talk about it a bit more. I haven’t talked about this fic on tumblr before, which is also true for many of my ao3 fics, but in all honesty I also just wanted to get this off my chest.

I’ve made the decision to keep Stress in my fic series. Maybe this is more of an act of denial on my part, but as long as it’s still a fact that Stress wasn’t involved with Iskall’s actions, I’d like to keep writing and drawing her. I do truly hope that she’s in the denial stage of grieving, and that she will be able to accept that Iskall’s a bad person and move on from him in her own time.

I have personally never lost a friend this way before, but I feel like grieving the person you thought they were is valid. I truly want to give Stress the benefit of the doubt, and I do still wish her well.

If it comes to light that she did something truly wrong or sides completely with Iskall in the end, I most likely will be removing her from the fic.

If you disagree with me, that’s perfectly alright, I just ask that you stay respectful of my opinion and anyone else’s.

Maybe once I process all of this I’ll change my mind and remove her from the story sooner, but I think I want to wait for any other statements on the matter before I make that decision.

If Stress says nothing else, and nothing is said against her, I’d like to believe that she’s a good person, if only for my own sanity.

I hope everyone has a good rest of their day.

#iskall85 #stressmonster101 #iskall situation #Tw discourse

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y0ur-lovrr · 3 days ago

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Hiiii this is my first request so im sry if this is not enough but can you do banda or yaba i love them with a reader that is like dazai this is inspired by what i saw in tumblur and i just was so obsessed with that idea so if you can pls do it tho ofcourse you can not do it!

—Secret alliances

A/n; I’m sorry this is pretty bad imo, but I had no idea who Dazai was and tried to do what I saw on TikTok, so it’s most likely so out of character! 😓

Pairing; Sunato Banda x Reader

—“let’s take a looksy.!” Your voice says in a sing song voice, acting to nonchalant and calm as if you couldn’t basically kill him right now..but you wouldn’t do that, since you’re allies.

Banda just hums quietly, patiently standing there as you lean back to get a look at the back of his collar, grabbing a small handful of his dark locks and moving out of the collars way, ignoring his small grunt in retaliation.

“…and you’re a club.” You hum as you tap the back of his collar to signify your point before letting go of his hair, not waiting for a reply before you turn around, already tugging some of your hair away from the collars way.

Banda huffs quietly in an amused tone, finding it quite amusing how you were always calm and playful, even though you could die at any second-even with how smart you were.

“You’re a heart.” He says simply, copying you and tapping the back of your collar before you turn around to face him again.

“Okay…so that settles another round then?” You muse, showing of that small and Cheshire Cat like grin of yours that he had come so used to over the past few games he’s played with you, including this one-it was as if luck was on his side, really, no matter what game it was, you both would somehow meet up again.

“That it does, and I have a feeling the game will end soon.” He huffs casually with a shrug of his shoulders, noting how empty the asylum looked with how many people have gotten eliminated.

You scoff quietly under your breath-almost as if you were disappointed, or maybe even bored. “That’s disappointing..but thanks to the other guy we secured our guess on who the Jack is.”

“Mhm…speaking off, I’m sure our teammates are probably looking for us now. Can’t let the alliance out yet, can we?” He mumbles with a small smirk, watching as you roll your eyes, but agreeing anyway.

“I guess…you’re dinner to hang out with than chishiya…you actually put up with me and entertain me.”

You huff out, being a little dramatic about it, even though it wasn’t a big deal-but he just quietly chuckles in amusement, finding the thought of you being bored of chishiya.

After saying a few more things, you both decide it’s time to split up and go back to your reluctant partners, you giving him a playful wink as you walk away and head towards the area chishiya was at, while he makes his way back to matsushita.

—“I had a feeling it was you.” Chishiya draws out casually as he walks out from him room, catching matsushita by surprise as he stops laughing, realizing that he’s been figured out.

Before he can sputter out another word, Banda also steps out from a room, hands casually shoved into his pockets, a slight smirk on his face. “Not a lot of people team up with someone like me, you kind of walked right into this.” Banda sighs, amused at the whole ordeal, along with chishiya as he lightly huffs.

“You didn’t even realize that he was acting like he was under your control, he manipulated you in the long run.”

And then there’s more footsteps, you walking out from behind a corner, still alive as well, much to matsushita’s disappointment-he’s had it out for specifically since the beginning.

“Oh, there’s more of use left than I thought there would be..and you didn’t manage to get me out like you wanted to, huh? So sad.”

You mumble out with a feigned pout, but it quickly drops as you see Banda, immediately attaching yourself to his side, almost like a dog as Banda would describe it. Chishiya raises an eyebrow slightly at you going towards Banda instead, but he quickly understands what’s happening, and he can’t say he surprised, so he decides not to mention it.

“Wait no-it’s not me!—“ matsushita tries to sputter out, only to be interrupted by you scoffing, looking at him like he was stupid, watching the realization of that his partner was working with you the entire time, and that he had basically lost.

Banda and Yaba decided to have some fun with him, trapping him in his room and deciding to make some answer about the borderlands come out of him…despite knowing that matsushita would probably fold rather quickly.

And to no one’s surprise, you turn and follow after Banda, staying by his side as yaba stays on his other-you weren’t gonna go with chishiya of all people..and he may have already left the building, so it was too late for you to follow him.

More fun for you and Banda, right?

#aib chishiya #aib x reader #alice in boderland x reader #alice in borderland #chishiya alice in borderland #arisu ryohei #chishiya #chishiya shuntaro #chishiya x reader #chishiya x you #banda sunato #sunato banda #Banda Sunato x reader #sunato banda x reader #fanfic

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starflungwaddledee · 5 hours ago

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masterpost for my oc centric shipping event. featuring my waddle dee oc/sona starstruck dee and her bald empty head, which is apparently totally perfect for putting kisses upon!

2025: shipaganza prompts are open for february!!! please read the rules down below! i will be prioritising catching up on prompts from last year first. for OCs in particular, new prompts (for me to draw) are currently closed to non-mutuals until i finish prior submissions, but people can feel free to submit their own art!

*✩˚ʚ♡ɞ˚‧₊˚ what is this? ✩˚ʚ♡ɞ˚ ⋆˙⟡

the shipaganza is basically a totally self indulgent, oc-centric shipathon. for the month of february i take public prompts and draw art of my oc in cute and/or romantic situations with other kirby characters, both canon and oc. i have a tag for anything even tangentially related to oc shipping on my blog here under #🎀💖, where you can find previously filled prompts and a few other similar pieces! when i first started exploring the possibility of "shipping" my character i was super nervous!! so to get better at it, i asked the community to send me prompts, especially romantically coded ones, and it was a surprise hit! since then i kinda decided that she's just everyone's easy breezy girlfriend. ocs and canon alike, she's free real estate. look at all the folks she can pull by being autistic! peace and love on planet popstar. yippee! cringe but free.

*✩˚ʚ♡ɞ˚‧₊˚ how's it work? ✩˚ʚ♡ɞ˚ ⋆˙⟡

while the event is ongoing, i take prompts and try to draw them. no guarantees! i can only draw what i have ideas for. if you want to submit a prompt, check the rules out down below and trot over to the ask box! other artists are also welcome to draw their OC with starstruck (or starstruck with a canon character, if you really wanted!) and submit it to the event, but please read the rules down below first!! despite its intention to focus on romantic themes, this event is strictly safe for work, and frankly there's a relatively limited amount of actual "romance" involved. this is probably because i am aromantic and broadly headcanon kirby characters as not knowing what a "date" or "marriage" is. but we make do.

*✩˚ʚ♡ɞ˚‧₊˚ filled prompts ✩˚ʚ♡ɞ˚ ⋆˙⟡

divided into canon kirby characters and original kirby characters (characters created by other artists in the community) and sorted mostly alphabetically. just because a character is canon does not mean that the featured interaction/relationship is! all oc ships are sadly entirely non-canon to starstruck's storyline.

canon characters Big Hitters (ie: relationships most important to her canon storyline) first, then the rest just in alphabetical order. full comics are marked with a ʚ♡ɞ

✩ bandee ʚ♡ɞ ✩ king dedede ✩ kirby ✩ galacta knight // galacta knight ii // galacta knight iii ✩ meta knight // meta knight ii ✩ coo the owl ʚ♡ɞ ✩ marx // marx ii ✩ sailor waddle dee (feat bandee) ʚ♡ɞ

original characters includes submissions drawn by other artists, marked with a ✎✧˚. reach out any time to let me know if i missed a piece you drew, or if you want your oc removed from here!

✩ J // J ii (feat galacta knight) ✎✧˚ ✩ fal ✎✧˚ ✩ flower waddle dee ✩ whitolor

*✩˚ʚ♡ɞ˚‧₊˚ rules ✩˚ʚ♡ɞ˚ ⋆˙⟡

please read these before submitting a prompt, especially if you're submitting an OC of your own. prompts that don't meet these rules will likely be deleted! these rules also apply if you are drawing your own art submission!

🎀 ADULT CHARACTERS ONLY. the most critical rule. starstruck is in her 30s. any suggested characters must be adults in a suitable age bracket (28+). this goes for OCs and canon characters. if you think a canon character is a child, do not submit them for this event! additionally if i personally headcanon a submitted canon character as a child (such as Adeleine), i will not draw the prompt! all canon characters i'm drawing with starstruck for this event are adults in my world building.

🎀 no nsfw prompts flirty characters are great! bullies are fun and even violence is okay (something tonally similar to the marx prompt or galacta knight's birthday kiss, for instance). but i have a hard enough time even making the orbs smooch non-platonically; anything more explicit is clearly going to be out of my ballpark.

🎀 this event is Valentine's Day themed, explicitly! my metrics for romance are scrambled by aromanticism and my own experiences and preferences, but it is important to me that the shipaganza is understood as a romantically coded event (even if the characters themselves don't understand romance). while i love and adore character friendships, please do not suggest a character who you think would be "just good platonic friends" with starstruck for this event; i find this really infantilising in this context.

🎀 please don't be rude! yes, this is super cringe!!!! yes, my oc has 50 billion boyfriends! we are just playing with our touys!!! you can block the tag on my blog if you dislike this event or oc x canon stuff!! no shade; i completely understand that this is not for everyone so i make it easy to block! take care of yourself.

🎀 you can ask for a repeat character! this mostly pertains to canon characters, but i actually find this incredibly fun!! kinda like rooting for your fave!! a special rarepair just for you. if you wanna see more of a match-up that's already been drawn for, feel free to send in a new prompt for them and you might get lucky!!

🎀 scenarios are inspiring! for some characters i already have a lot in mind, but if you give me something to work with, i'll be better able to come up with something and feel more inspired to fill your prompt! this applies even more to OCs, especially if i don't know you or your OC well. please please give me some info about your oc and why you think they'd work together as a couple. like, would your oc make a move that starstruck fails to notice? are they accidentally dating? do they share an interest? is your oc a hopeless pining romantic, are they a charmer, are they a bully, so on and so fourth!

and that's all; thank you for reading!! as always feel free to ask if you have questions, but i hope folks will enjoy the event!

animated gradient heart banners from @/cafekitsune!

#my art #starstruck dee #masterpost #🎀💖#i was hoping to get her actual full masterpost done before this event started but february is Already Here!!!#how we doing 2025 gang? did we do january or did we just like.... skip it? i think january was maybe 2-3 days long.#anyhow happy febraury!!! lets go shipaganza lets go!!#i hope this is okay as a masterpost!!

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