#and done for Incredibly Specific purposes in general

[rookinthecrownest]

Endgame thoughts! (Generally positive), spoilers ahead

I'm gonna be honest chat, I liked the Varric twist. When I realized it, it was like a gut punch in the best way. Am I sad one of my favourite characters in the series is dead? Absolutely. Do I think the idea behind what they wanted to accomplish was generally done well? Honestly, yeah. The fact that I suspected nothing until I replayed all the interactions with Varric in my head, and retroactively realized that NO ONE interacts with him? Fantastic. Muah. *chefs kiss*

There's nothing that would trap my character in a prison of regret faster than getting her mentor and friend killed (she encouraged Varric to talk to Solas in my playthrough). And having to deal with that regret in Fade Prison? Ouch.

That being said, Bioware could have done something absolutely incredible, as an ode to Origins (I understand why they didn't with rewrites and constrains and stuff - this isn't critique, just wishful thinking).

Bring back faction/origin specific opening sequences. We hear briefly some dialogue about how you meet Varric and the circumstances surrounding that. Sure it works to establish some kind of relationship, but the hurt of losing Varric is mostly predicated on you knowing who is and caring about him from playing the previous games.

Oh man.

If they made Varric the Duncan of this game? The mentor who comes to recruit you for a specific purpose, and you play through a faction-specific quest at the start of the game? You spend time with him on this mission, you get banter, you get attached.

And THEN you realize you got him killed?

That shit would've HURTED like a million times more.

[antirepurp]

help minecraft unfiction is seducing me it wants me to make some myself even though im mediocre at best at video editing and also have no particular story to tell with such medium

[theres-whump-in-that-nebula]

There always seems to be one kid who just screams like a tornado siren, all day long, at any given opportunity. Like, kid, I love you, you are precious and deserve all the happiness in the world; but please for the love of god shut up. There are people trying to learn here and you’re not helping them or yourself.

[leonardcohenofficial]

there’s a great write up by someone on here that i will have to search for in which they discuss how the ultimate evil for david lynch is sexual violence against women (even more severe than murder, which is often auxiliary to that type of specific violence); twin peaks is incredibly soapy—on purpose! lynch and frost are playing with form and content on purpose to examine incredibly difficult subject matter through a (for lack of a better word) more palatable format—which most of the time i think works to its advantage and makes those moments of visible horror so much more effective (i use “visible” rather than “true” or other similar adjectives because the horror is always there, it’s embedded in the entire town, shows up in every generation we see in screen and we watch them grapple with it in different ways, but that’s a separate post)

however—and i’ve talked about this before—i find that once you’ve watched fire walk with me it is so much harder to watch the show because the ignorance of nearly every single member of the town (yes, including cooper) pervades the way the action unfolds. twin peaks viewers knew the premise of the show going in and we get to discover details and information alongside the characters. when albert rosenfield comes in as the only voice of reason and reality, it’s set up to be jarring to both the townspeople and to the viewer. why?

sheryl lee said in an interview, “fire walk with me was very difficult for me to watch… and, emotionally it’s a reminder: this is a movie, but this continues to happen every day and how can we stop it? when i watch fire walk with me now, as a mother, i watch it and i think look at all those signs that were being exhibited. this girl was in danger, and look at all these people that were in her life. what would have happened if someone, somewhere, somehow could have helped or stopped it? that’s hard to watch.”

much has been discussed critically about fire walk with me and whether or not it’s exploitative in the ways that it portrays sexual violence against women. while lynch does not shy away from making that violence visible, it is done so in an attempt to make the viewer examine their own relationship to that violence and how it shows up in their own lives. the audience is forced to think about the ways that they are complicit in how and why these violent acts occur and what they can do to stop it, which is why for many it is an uncomfortable watch. for others, it is a painful (and speaking from my own perspective) necessary watch because lynch didn’t make a horror movie, he made a documentary.

fire walk with me is necessary (in my humblest of opinions) to understand why the pieces that lynch and frost put into twin peaks work. there’s so much backstory to how they weren’t originally going to reveal who laura palmer’s killer was until ABC made them, lynch wasn’t around during much of the second season so things got a little off the rails storytelling-wise, etc. etc. but fire walk with me allows them to tie difficult, often horrifying threads (ben horne unknowingly attempting to have sex with his daughter, the townspeople’s distancing of albert, the hands of random townspeople trembling as BOB attempts to claw back into the material world, the list goes on and on) back to the central thesis of “sexual violence is the ultimate evil, it is completely avoidable, and you have a responsibility to recognize the signs and stop being complicit”

[msbigredmachine]

Butterscotch & Chocolate (Roman Reigns/OC/The Rock)

What’s better than a hunky, rich and powerful Samoan boyfriend? Why, two, of course! 😉🤤

Pairing: Roman Reigns/Black fem reader/The Rock

Warnings: Smut, Threesome

Word Count: 3.5k

A/N: I planned to post this as far back as April at the peak of the Final Boss arc. Sorry I'm late 😭. Based on the Jimmy Fallon interview before Wrestlemania 40.

Enjoy!

-----------------

It’s always amazing to witness your man’s ease in swapping personas for entertainment purposes. From the feral, bloodthirsty beast that rules the wrestling ring to the dapper, charming gentleman currently chatting it up with Jimmy Fallon on his late night talk show in Manhattan. Seeing up close how one of a kind Roman Reigns is, is something you never get tired of experiencing, whether it’s in the ring, in front of the media, or behind closed doors, specifically between the sheets…his favorite place to be with you. Now here you are, in a swanky dressing room in New York on a Wednesday night when you’d normally be at home, probably working. This is a welcome, more glamorous change of environment all thanks to your boyfriend.

He’s also made dinner plans for after the show, which is why you’re all dressed up in a daring little slip dress and a pair of open-toed stilettos, with your toenails painted white, his favorite color on your feet. The dress has a thigh-high slit, which is perfect because you want him to have full access to the goodies tonight. You wonder what he has planned afterwards. Are you fucking tonight? You’d better be. He’s been away from you for weeks, and FaceTime sex, as good as it is, is not sufficient for your horny little self. 

The door to the dressing room swings open and Roman walks in, a cute smile curving those lips you love to kiss. "All done! You ready, baby girl?" he asks.

The term of endearment coming from such a deep, whiskey-smooth tone like his always makes you shiver. You nod eagerly and get to your feet, smoothing out the sleek satin fabric of your dress. He makes his way to you, drinking in your appearance with smoldering eyes and a low whistle that warms your bronzed cheeks.

"I can’t get over how beautiful you look. Give Daddy a twirl, baby." He lifts your hand in the air, pleased as you oblige him, then tugs you close to meet his lips. You sigh softly as his free hand immediately finds your round derriere, giving it a generous squeeze. You love how you never seem to get enough of each other, always need to touch each other. 

And you’re not the only one who notices.

“Jesus Christ, get a room.”

Roman laughs softly against your mouth before turning his head with a happy grin. Your heart lurches inside your chest at the sound of the other deep voice, your cheeks growing warmer as your boyfriend's new partner in crime locks eyes with you from across the dressing room. You inwardly hope Roman cannot feel the shiver that caresses your skin.

Dwayne Johnson has more or less become part of your life since his Final Boss angle for Wrestlemania was signed off at the start of the year. The first time he showed up at Roman’s doorstep, you freaked out. It was The Rock, after all. You had a huge crush on him when you were younger and initially, you found his size and status intimidating. But he’s turned out to be a sweetheart, always checking up on you, providing support whenever you need it. He seems to genuinely care about you, and Roman thinks the world of him, too. But as your friendship deepens, so have your feelings. Though you’ve done a good job of keeping them at bay, it’s become more difficult each time he stares at you like he wants to fuck you where you stand, which is all the time now.

And secretly, you like it.

"We should get going guys, I'm getting pretty hungry…" Dwayne drawls. You don’t miss the heat in his eyes as they rake down your frame. You can’t help but stare back either; he looks incredible. The definition in his arms, chest and legs is on display through the silver satin of his garb. He and Roman are such babes; gorgeous, sophisticated older men that appeal highly to your tastes.

Your next destination is shrouded in mystery. You have no idea where you are going and Roman gives nothing away. Seated between the two huge men in the back of a sleek G63, you snuggle close to your boyfriend, sharing soft, sweet kisses with him and enjoying the comforting circles of his fingers on your hip. Dwayne seems to take the PDA in stride, accustomed to it. But feeling him so close makes you wish he can touch and caress you too. 

As Roman answers a phone call, you check on the other man, not wanting him to feel excluded. “You good, big guy? You’re quiet,” you say to Dwayne, resting your hand on his knee. You feel him tense at your touch, his eyes shutting for a brief moment.

“I’m fine, sweetheart. Don’t worry ‘bout lil ole me,” he simply answers, his hand brushing over the top of yours in a gesture intimate enough to send shivers of desire down your spine. If Roman notices the exchange, he doesn’t show it. 

The car eventually arrives at a harbor. The illuminated boardwalk welcomes you to a sizable boat and all its luxury. Roman’s much larger hand engulfs yours as he leads you onto the yacht, with Dwayne right behind you, most likely staring at your ass. A maitre'd guides you to an exquisite table set laden with the finest plates and cutlery that glint from the lanterns on the red tabletop. Soft music plays quietly in the background. The atmosphere reeks of opulence and romance. Your man knows how much you love the fancy, finer things, but this feels above and beyond, like a team effort pulled off specifically by the two men you're in the presence of.

Having an entire boat to oneself has its perks, particularly with the stellar service as well as not having to wait long for the food. Sat again between your boyfriend and your crush in the plush, booth-like seats, conversation flows easily among all three of you as you dine together. However, you observe that Dwayne sits much closer to you, on purpose too it seems, without the tight confines of a vehicle as a ready excuse. Roman is on your left, also pressed to your side. It’s not uncomfortable at all. You're in the middle of a very appetizing sandwich and you wonder, just for a second, if either man, or maybe both, would like a bite.

After your plates are taken away, Roman puts his arm around you, and you swoon when he links your fingers together and kisses the back of your hand. “You look so beautiful tonight, baby girl,” he gushes with a smile.

“Thank you, Daddy,” you respond. He’s been affectionate all evening, even more so than usual. He’s showered you with compliments, along with a bouquet of white roses and beautiful luxury jewelry, and you feel love-bombed in the best way. You wonder if there’s anything else in store tonight. Sex, you hope.

“I agree. Very beautiful,” Dwayne chimes in, surprising you. 

"I—" you stammer, looking at him, taken slightly aback by the intensity in his eyes. “Thank you.” 

Roman's hand moving down to squeeze your hip refocuses your attention on him. “So, babe…I know it’s been a long couple of months, and I’ve seen how hard you work at your job, yet you always manage to make time for me. Time for us. So I wanted to show you my appreciation by giving you something…extra special tonight." 

It's then that you feel it; a tension that was present before but has somehow heightened, a nagging feeling that you’re out of the loop on something, but it’s difficult to pinpoint exactly what it is.

“Okay…” You glance back and forth between the two men, your eyes fixated on their Adam's Apples, fighting the urge to moan out loud at the sight of their strong throats working. You almost miss it, but Roman catches Dwayne’s eye, exchanging a knowing look. Something is definitely going on.

Then, in a move that totally stuns you, Dwayne reaches out to touch your cheek, running his thumb along your skin. Your body washes with heat at his unexpected caress, but common sense tries to prevail as your head snaps over to Roman, anticipating some kind of outburst at his cousin’s forwardness. But nothing comes. If anything, he looks…calm. Like he saw this coming.

"I know you want Dwayne, baby. I’ve known for a while,” Roman says softly, and your heart drops. Have you been that obvious? Did you do something or say something that gave you away? As you frantically wrack your brain for an answer, his next words catch you completely off guard, even more so when he smiles. “And it turns out, he wants you too.”

"W-what?" What is going on?! 

"It’s okay, my love," Roman shushes you gently, brushing his thumb back and forth across your lips. “I don't mind at all. It just shows that my cousin got good taste. And speaking of taste…”

“Roman and I talked, and we decided we want to give you exactly what you want,” Dwayne interjects. He’s smiling, making him even more attractive if that’s even possible. He puts his hand over your own, his light brown eyes piercing your soul. “We want to please you, sweetheart. Together. And not just tonight, but every other night.”

“We wanna take care of you, baby,” Roman continues. “We’re yours now, and you’re ours. You call on me, or him, or both of us, for anything you need, and we’ll be there.”

You’re at a loss for words. This has to be one of your wet dreams gone haywire. Now acutely aware that you’re firmly trapped between them, you gulp audibly, feeling nowhere near as brave as you usually do when you find yourself in this position in your fantasies. Flustered, you grab your glass of wine and knock it back in one go, almost coughing as the strong alcohol burns your throat in protest. “Are…are you sure?” 

“Positive. But only if you’re sure that this is what you want, too,” Roman assures you.

Dwayne nods in agreement, and you break into a slight sweat despite the outdoor sea breeze, blowing out a breath as you fan yourself. These last few minutes have honestly left you shook. But the fact that they’ve essentially confessed that they both want you is a huge turn-on. They’re the most beautiful men that you’ve ever laid eyes on, and you feel honored that they feel so strongly about you. 

Emboldened by this, along with the influx of alcohol in your system, you straighten in your seat and turn to the Great One with your most seductive expression. “Anything, huh? Well then, I just got one question, Mr Final Boss.” You trace your index finger from his torso along his broad chest, and stop at his bottom lip. “What dat mouth do?”

Dwayne smirks, purses his lips against your finger. “How ‘bout you come closer and find out?” he retorts.

Your eyes widen, your courage wavering. “Right here? Now? But what about…” You wave your hand around, reminding them that you’re not exactly alone on this boat.

“There’s a reason you ain’t seen nobody in a minute,” says Dwayne as Roman grins slyly, “They show up when we tell them to.” 

Power.

You glance over at your boyfriend again, seeking, needing his consent. As tantalizing as all this is, you can’t do this without him. He merely stares back at you, his eyes cloudy with that familiar look of lust you’ve seen so many times. “Go ahead,” he encourages. He seems mesmerized by what’s unfolding before him. 

Dwayne tilts your chin up, studying every little detail and emotion on your face, seeing right through the bravado. "I bet you taste incredible..." His hands span the length of your sides, holding you in place as he kisses your lips. His are surprisingly soft, moving gently against yours, taking his sweet time to enjoy your sweet taste. You press your body closer to his and run your hands up his smooth, shaven face, moaning into his mouth when his tongue whips skillfully against yours.

Behind you, Roman’s large hands are on your shoulders, massaging away the tension he knows is there. He knows your body so well. It helps you relax more and savor the firm pressure of Dwayne’s mouth. His kiss is different from Roman’s yet just as intoxicating. You gasp when his hands slides down your body, caressing your chest with care and attention. A sigh escapes you as Roman’s lips meet your shoulder. Right away your head lolls to the side, encouraging him to explore like he likes to. In the meantime, Dwayne has navigated underneath your dress and is parting your inner thighs, stroking the soft skin dangerously close to your apex. Warmth spreads throughout your body, ignited by their kisses, their touches, the knowledge that two beautiful, powerful men want you as much as they do. It’s an overwhelming feeling, scary even, yet it's all you want to feel from here on out. 

A startled moan bursts from you when Roman bites down on your skin. It’s a familiar, pleasurable pain, one that makes you squeeze your thighs together. But Dwayne is not having it, nudging them back apart with his big hand. Both men are in complete control and obviously aim to make you lose yours. As Roman makes out with your throat, Dwayne fingers the straps of your low cut dress, easing the material down your arms, exposing your ample bosom inch by inch. Instinctively, your hands rise to cover yourself, but he catches your wrists before you can and holds them down.

"Don't hide, baby, let him see how pretty you are," Roman rasps in your ear, nuzzling his beard against your cheek. You shift restlessly, the throbbing between your legs intensifying with every passing second. You’ve daydreamed about a moment like this more times than you can count, and now it’s actually happening, with more to come. 

What is life?

"Good girl," Roman smiles, watching Dwayne kiss on the swells of your heavy breasts spilling over your red lace bra. He drags your dress down further, resting it beneath your breasts. As you thank your lucky stars for opting to wear your prettiest bra tonight, Dwayne pinches your nipples through the lace, making you gasp out, your head tilting back with pleasure. He groans his approval as he pulls the bra cups down and kneads your naked breasts with firm, eager hands, the skin on skin contact sending shockwaves to your core. "Damn, girl. Look at them perfect titties," he praises.

"They nice, huh Uce," Roman purrs, his breath fanning your cheek, his hungry eyes affixed on your exposed chest with a growl that sends a flood of heat through your loins. Your back arches against your man's strong chest. You’re unbelievably wet, the lace of your panties already soaked through and clinging to your pussy lips. Roman takes over toying with your nipples while Dwayne descends, moving your dress up to your stomach as he comes face to face with your lace-covered treasure. 

"What do you want, sweetheart? Tell me," Dwayne kisses your belly, looking up at you from where he’s now crouched down on the floor. The view before you leaves you on the verge of a nervous breakdown.

Dwayne fucking Johnson. On his knees. Asking you what you want. Good lord.

"I…I want you to eat my pussy," you manage to gasp.

The two men laugh, Roman’s deep chuckle vibrating through your half-naked body. "I think he can do that," he whispers, sucking your earlobe into his warm, wet mouth that has you panting out an expletive or two. Dwayne tugs at the waistband of your panties, prompting you to lift your hips so he can pull them off, rendering you open and exposed. You’re practically on Roman’s lap now, and you hear him moan as your ass wiggles directly on his crotch. Desperate for some kind of anchor, you reach up to grab his head, running your fingers through the silky locks of his hair, watching through heavy eyelids as Dwayne rubs two fingers along your slit. Roman refocuses on massaging your chest with those big hands of his. "So perfect," he mumbles into your hair, “The things I wanna do to you right now…”

Beneath you, Dwayne dips down to drag his tongue along your folds, tasting you for the first time. "Oh yeah, wayyy better than I imagined," he murmurs against your sensitive flesh, the small movements of his mouth making your pussy clench tight in anticipation. Not to be outdone, Roman gathers your breasts in his palms and grinds his hips against your ass. His thick, hardened length rubbing against your backside feels amazing. With a moan, you lift your head up for a kiss. He plunges his tongue in your mouth, dancing sloppily and noisily with yours, demanding the same energy you're receiving.

As you're caught up in Roman’s oral skills, the People’s champion decides to demonstrate his. He pushes his tongue deep inside of you, somehow managing to synchronize with Roman’s, filling both ends of your body. You find yourself also gripping the back of Dwayne’s head as he flicks his tongue against your folds rapidly, reminiscent of the way he utters his famous 'If You Smell...' catchphrase. The sensation has you crying out his name and your eyes rolling back. Then, he proceeds to trap your clit between his lips and suck heartily, then lap the protruding little nub and work it in circles.

"Oh my god," your voice cracks in a sob as he pushes your legs further back, spreading you wider, allowing him better access. The man is deep-diving in your pussy, feasting, as though the stuffed lobster he consumed just minutes ago was not satisfying enough. Your body is electric, your pussy spasming every few seconds as ecstasy beckons. His tongue is magical, and combined with the expert attention that Roman is providing, it’s almost too much to bear, so much so that you’re forced to tear your lips away from Roman's, moaning and panting heavily, your wide, hazy eyes staring up at him with a look of shock and almost helplessness from the barrage of pleasure.

The lust in the Tribal Chief's eyes as he stares right back reflects yours, and he keeps twisting your nipples, making you twitch and squirm in his arms. "You gon' come for us like a good girl," His voice is low and rough with desire, emphasizing his command with a particularly sharp pinch to your swollen, sensitive nipple that makes you squeal. "Come in his mouth, babe, make him taste every drop of that sweet ass pussy…"

On cue, Dwayne suddenly begins sucking you hard. Firm. His mouth wet and hungry, determined that you give them exactly what they want. He slips two long, thick fingers inside your dripping core, curling and twisting them, pumping them roughly inside you, and you’re gone. It knocks you silly, your nut, and your eyes squeeze shut as you scream, pussy clamping down on Dwayne's fingers, hips jerking on his face, Roman having to anchor you down as the pleasure ravages you. Dwayne never takes his eyes off the euphoria washing over your beautiful face, lapping up everything that pours from your weeping pussy. Roman lowers his hand between your thighs, swiping at your mess and bringing it to his mouth, groaning pleasurably at your taste he’s since known he can never get enough of. 

"Mmm. Good girl," he murmurs against your throat, hugging your waist as you float down from your incredible high. His kiss on your cheek is soothing, loving. Proud. “You did so good for us, my love.”

It takes you a good thirty seconds to open your eyes, and you’re met with the most amazingly erotic sight. Dwayne’s handsome face smeared with your essence, his tongue gathering the remnants of your orgasm into his mouth. "I think that’s all the dessert I need tonight. I can eat your pussy forever, baby," he smirks up at you.

You feel yourself blushing profusely, retreating to your shy ways. "That was…unbelievable," you breathe, amazed that you can even speak.

"That's what we like to hear," Dwayne smiles, standing up and sitting back next to you. He draws your dress back down and makes a show of tucking your discarded panties into his back pocket. “That’s mine now,” he announces with a haughty wink and a shit-eating grin, and you’re certain you’re wet all over again. He tugs your bra and the rest of your dress back into place, patting your breasts fondly before kissing you softly. You can taste yourself all over his mouth and it’s the hottest thing ever.

"Um, would you like me to return the favor, Daddy? I can," you ask, already rubbing on both their thighs, your voice small and hopeful.

Chuckling at your newfound neediness, Roman swoops down to steal a kiss, "No, baby. At least not yet. This was all about you."

Damn. It feels unfair to not reciprocate such a tremendous gift, so you insist. You’ll be damned if this ends here. "Fine, maybe not here. But when we’re back on dry land, I’m fucking the shit outta you," you tell Roman, grabbing his chin and sealing your promise with a sensual, breathless kiss to his lips. You do the exact same thing to Dwayne, determination shining through the lust in your eyes, “Both of you.”

THE END

-------------------

So how was it? Please leave comments! I love comments! 😁

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[pankielovesfan]

ii16 spoilers under cut

MORE talk about fan similar to the other post because there is still a lot to say. This is more about what fan means to mephone

Compared to most of the other contestants, Fan wasn't originally created to BE a contestant, which I find most interesting. Fan was quite literally created to be a fan of the show and randomly appears in season 1 (and he also delivers food I guess). Even if Mephone4 consciously made Fan or not, his appearance and creation obviously meant Mephone wanted appreciation for the things he was making, as is Fan's main purpose and service to Mephone. Fan is technically a manifestation of Mephone's love for the show itself, but he is also expressing vulnerable happiness of which Mephone feels like he could not express properly considering his issues with vulnerability. This might be why he is so outwardly dismissive of Fan's strong emotional enthusiasm for the show!!

So Fan technically is a support Mephone desperately wants, but he can't respond well to- but this definitely means Mephone appreciates Fan's dedication as he quite literally wished for Fan to exist as he is, being such an engaged Fan. He expresses passion for the show in a way Mephone couldn't do himself! Fan gives Mephone support as complete opposite to what Mephone feels Cobs would have! And you know what else Cobs does that Fan has an extreme well known trait of disliking and being scared of? Change. Cobs constantly reinvents, makes new things, discards old things, but Fan latches on. He observes patterns, he begs for predictability, structure and consistency.

Another notable trait of Fan is his defensiveness. Even if he's not good at it, he's incredibly stubborn to protect his passion and love to no end, being incredibly irrational about it. Cobs is well. Yeah. Massive Passion Disliker. He don't gaf about that. Fan might've looked up to cobs and meeple, but god if he's not possibly a parallel that's the opposite. I'm going to walk into the ocean. Im forever gonna think about how fan was created to be a support. like his entire goddam purpose is to love something so much!!!! and give it so much attention! and he is having so much fun doing it!!! IT IS MAKING ME CRAZY!!!!

I'm not sure if the characters are partly "extensions" of Mephone or if they're Mephone projecting specific parts of himself, I believe most of all they are created from his desire (like, wanting a specific thing and that thing just appears for him if this is done unintentionally,) but either way I enjoy thinking about what each trait that manifested for Fan's character specifically would resonate with Mephone's experiences and why he would create him with those traits. or something.

My working theory is that Mephone labeled each character in his mind as one thing, such as "the jerk" for Knife and nothing more, letting the contestants take their own shape and personality as they gain more experience on the show, which I feel is validated through Lightbulb saying "I don't think we were all there yet" once seeing the season 1 contestants in alternate reality show! They build more of their personality as it goes along. I think Mephone has minimal control of the contestants personality wise after he's generated them, but i do think he influences their memories or experience with time or something?? I dont know. guess we will all see. Also this somehow isn't about fan anymore wow that's weird actually who am i where am i

relevant drawing. Time to collapse to my knees over this shit again

[mel-addams]

Get Started Drawing...

...even as a complete beginner!

In my efforts to help some friends who are only just starting to learn to draw (as adults! glorious!! <3), I kept digging around for resources that cover things I remember learning in the various art classes I've taken...but that does a better job than I can of laying it all out in a comprehensive, but not overwhelming, manner. (I am far too prone to rambling as you can see from this post, and bounce around topics as I remember them, rather than in a sensible order.) I've found a few guides here and there that cover one thing or another decently well...but I've finally found a free site I'm really keen on as an overall source if you're just starting out with learning to draw!

It's incredibly clear and concise, whereas many of the other sites and books I found could sometimes be overwhelmingly detailed. It's arranged in a way that reminds me of the flow of art classes, starting at the very first steps--how to approach art if you've never done it before, and the fact that you only need basic tools to begin with. If you go in approximate order, it then establishes that you should start sorting out a solid foundation by practicing simple lines and shapes--the same way you learned to write letters so you could ultimately make words, sentences, stories... This includes some neat little practice exercises with questions to consider while you do them, so you also learn to see and observe things like angles and proportions, which are critical for being able to accurately draw more complex things.

It evolves from there into how to take those basic shapes and turn them into simplified human bodies--and from there, how to consider more complex 3D versions of the shapes to give those bodies a sense of dimension and physicality. It even touches on things like composition, silhouette, negative space, and line of action--all in a quick, straightforward manner. It plants the seed of understanding for these more complex illustration concepts, which you can then research further, armed with relevant terminology to dig up more in-depth resources as they catch your interest!

The style itself is usually simple, but even if your aim is to draw with a more detailed style, this one can serve as a base sketch to add that detail to. (Combine learning this base with photo studies, plus more detailed style guides for wherever you want to take your art, and you could use this as a base for comics, cartoons, anime, realism...the core concepts and skills remain the same!) There's also examples of how to adjust for varied body shapes, so it provides more flexibility than some drawing guides do, which often only focus on one "ideal" body type. (This style can also be used for that, if it's what you want--you just adjust the proportions of the basic shapes as you need! But this provides examples of how to handle variety, which will give you a better foundation for drawing people and characters so they don't all look the same, instead of having to figure out how to adjust for it later on.) The Shape Dolls for reference are also incredibly delightful, and a great cheap way to have a little pose reference mannequin of sorts!

There's also links to sources if you want to dig into concepts more deeply--available both as a general source page, as well as some specific topics including relevant sources at the bottom of their respective pages. There's also a patreon with some extra thoughts that is fully accessible for free, but has a paid option if you want to support Tan for providing such a lovely resource! (Also they have a legit vegetable farm?? How cool is that.)

So yes! If you have any interest in learning to draw--whether you've ever tried before or not, and no matter your age--try looking through this site, and let it guide you through the process!

[babybinko]

My second batch of venture bros genderbends are finally done! :D [first set here]

PLEASE LOOK UNDER THE CUT!!! I made all these nice drawings and doodles of them and I want people to see them without this post being super long! :') [My thoughts on the designs and doodles will be under the cut as well]

Okay NOW I'm going talk about my thought process on some of these:

Baby Rusty: I love the baby Rusty, the frilly socks and sleeves were a must. I actually drew her with the original set of genderbends but I turned off her layer and forgot about her 💀

Jonas Jr: not much to say about her, I tried to make her like Rosie the Riveter. Her little bandana has the Venture logo on it :)

Jonas Sr: I wanted her to be a hot bitch, her outfit is maybe a little scandalous for the time era they were in but I think it fits, canon Jonas is a whore. I think everybody would want her and that every celebrity, politician, and anybody with any power would chase after her so badly.

Blue Morpho: I made her so incredibly slay. I fucking love her outfit, I found the inspo for the outfit on Pinterest but I changed it up a bit. Also her gun has the bayonetta butterfly wings on it as a charm because I HAD TO.

Colonel Gentleman: Not a lot to say, I wanted to give her like horse riding esque boots and I gave her a purple flower cause she likes the ladies. I know generally WLW flowers are Violets and Lavender but I wanted to draw a rose so, Purple rose compromise <3

Dr.Boyfriend 2: With my last round Dr.Boyfriend was the only one people had complaints with. I think people wished he was more Masculine and I agree but if I switched up the design too much it wouldn't look like Dr.Girlfriend. I hope giving him armor and making him look like a knight helped him look more masc. I made the sheer wings cross over his chest to make it look like it was holding up the shoulder armor. Also his guild book is insanely high quality because I was procrastinating drawing his armor.

Goofy and Goober (Watch and Ward): I think they ended up really cute, I tried to make their hair colors close to Doc and Jacksons since I heard they are supposed to be like their "main" self inserts. With Ward I had a really specific idea for her hair, I kept thinking about this haircut from my sims and had to do it. It might be hard to see but her ponytail holders have skull charms on them. I also purposely gave them both some sort of ponytail hairstyle so they would match but be slightly different :) (They are absolutely prank calling or trolling their clients on that phone btw)

Shoreleave: OH MY GOD I LOVE SHORELEAVE. I kept turning her folder back on just to keep looking at her when I was drawing the other characters. She is so captivating to me, she looks so soft and human. I want to take a bite out of her thigh. My biggest inspo for her was Cammy from Street Fighter, I felt like her dressing a bit skimpy works for her since canon Shoreleave kinda does. The girls out for the girls.

Alchemist: I love her design so much too. I wanted her to look like some kind of nun or priestess. She looks like if a Zelda fire temple was a person. I kinda gave her like a weird little hime cut under the hood. Also I put the Triad logo on all three of their designs (+ Triana).

Jefferson: Had a lot of fun with her, I didnt change her design much from canon though so there's not much to say. I did give her more flared pants though. Drawing her hair was a really fun change of pace, I very rarely get to draw textured hair.

College Rusty and Monarch Drawing: I love this one, Monarch turned out so hot dude. You can tell what character I like more LMFAO. I made rusty very obnoxious 80s while keeping the colors of the original college rusty outfit. Monarch kind of looks like postal dude but its fine because shes slay.

Hereditary Venture Family Dinner Drawing: This was one of the first drawings I started but the second to last one I finished. I wanted to draw the family doing something together but I think I really truly just wanted to draw Dermott again. 😭 Nobody has said anything if they noticed but I did give hatred the shirt from these edits. (I believe the one on the left is from reddit and the one on the right is by SquashFold on Twitter)

Dermott piercing Dean's ears drawing: Even though its messy its in the top 3 favorites I did, It was also the last one I did. I just love the idea of Dermott giving goth Dean at home ear piercings. At first I didn't know if I wanted to make Dermott giving her piercings at the mall where she works or at home but the mall idea was too much work for a last minute sketch. Dermott is so mean older sister who shoplifts and works at the mall.

Drug bathroom drawing: Another one of my favorites, its based off a specific deleted scene from Invisible Hand of Fate where Pete and Rusty talk at the bar but Pete comes out of the bathroom sniffling at the start. I love the way I drew Pete pushing the hair out of her face and both of their expressions.

Bdsm 21 drawing: Okay first of all, The little devil Monarch was so cute I was screaming, crying, and throwing up while drawing her. I fucking love her, shes the smallest part of the image but my favorite. I also am quite fond of the bdsm 21.

Quizgirls Pete and Billy: I tried looking up Vanna White dresses to base Pete's outfit off of but I couldn't find one that Pete would actually wear so I just had to make shit up. Billy's design is really basic but the bow in her hair is actually from one of my rejected main Billy genderbends.

Me and The Bestie: I put a lot of effort into this one for no reason. Literally the moment I saw Jonas in the problem machine I thought he should be made of like blue slime. When I was working on this I kept thinking about Momopatchi's Hatsune Microbe drawing so this Jonas was definitely inspired by that. I gave Jonas makeup because she was having a party movie night on gargantua and I felt like she would still have makeup on thats like completely fucked up and deteriorating on her face after many many years. Vendata's outfit was partially based on Marguerite Chapman's from Flight to Mars, never seen it but I was looking up old sci-fi movie costumes to work with and I thought it would look good :)

[empydoc]

hush headcanons

because i haven't listened to a redacted audio in weeks and idk if i will

when he smiles it's gradual. you can see the progression of it on his face. he doesn't smile out of politeness or societal expectation, so there isn't a need for him to smile immediately or without purpose.

when learning something new he'll question why things are done the way they are. he'll test it himself and then, only when he understands why something is done the way it is, he'll settle. he's done this before when making a specific sort of food and it went horribly because he didn't follow most of the instructions.

he doesn't really notice when most people are looking at him- at least, when they pose no threat. however, when doc is looking his way, he seems to be incredibly aware of it, no matter where or when it is.

he prefers songs without lyrics in them. he hasn't really heard many songs in general, but there's something about a song with an added layer of lyrics that messes with him...

doc feels that maybe hush's eyes visibly soften when he looks at them, but they can't tell for what reason he'd knowingly- or, unknowingly- do this. when they asked once if he was aware of 'the way he looks at them', he sort of just avoided the subject.

finds great interest in what constitues an animal as 'pet worthy'. why dogs and cats, but not a raccoon? not a fox? hm.

hasn't fully recognised his own will yet. his wants, his desires... he doesn't realise them. he knows his 'responsibilities', but is he really responsible?

[creetchure]

one thing i really dislike about "claudia was fridged" is the fundamental lack of understanding of what fridging even means. ignoring entirely why iwtv was written.

fridging is a very specific thing, that denotes a lack of agency in the death (and in general). that death is wholly about someone else (a man), and not something she could have done anything about. It comes from a green lantern, where kyle rayner heads back to his place and finds his girlfriend murdered for the sole purpose of hurting him. It' also often offscreen and irrelevant to the narrative in an of itself, apart from "i need to find my wife's killer".

claudia's death isn't that. if there is one thing to remember about her, one trait about her character, is that she has a will to move, a will to do things, that drags louis forward. Her agency is the main driving force for leaving lestat, her wanting to be able to make her choices for herself. she's the one who makes them go to paris, she's the one who wants to join the coven, she's the one who wants to turn madeleine. claudia's death is something that she's earned, brought upon by enemies she has made. lestat goes along because she's the reason louis left him. the coven goes along and cheers because she's a cog in the machine, someone who wont let them turn her into something she's not. she won't settle for anything less than absolute freedom as a vampire, and that is the reason she dies. it's also an incredibly graphic scene. there is nothing forgettable about her death, about the very image of it. claudia goes out in a blaze of rage and fire.

to call it fridging is removing her agency, and her very active role as a driving force in the story. claudia's death cannot be fridging, because she's never been passive a day in her life, from the very moment we see her on screen to the very last. she's earned her death as a character, rather than as a woman

[drbased]

another thing I'm getting from this history of satanism video is how quickly and effectively society responds to feminism and redirect attentions away from men as a class.

second-wave feminism brings to light recognition of rape in the public consciousness as something done to all women -> satanic panic (rape is done by certain evil groups), stranger danger (rape is done by unknown men), serial killers (rape is done by specific, very bad men). the satantic panic one is especially interesting because it's such a clear diversion away from recognising where child abuse actually comes from: instead of recognising child sexual abuse as something done by men - any man from any background - to establish dominance over the family unit, child sexual abuse is redirected into something that happens under some evil corrupting force in a shockingly organised form. instead of it being random, it's done as a ritual; instead of it being patriarchal, it's done as a rejection of healthy patriarchal norms.

now we can look back and see that the psychiatrists who championed 'repressed memories' were agenda-driven and unprofessional, but the their motivations are never really given enough focus, and neither of the motivations of the general public, who were so ready to accept these now entirely debunked ideas. religious fears are the oft-cited reason, but as with all attempts to explain historical events without feminist analysis, the questions of why invisible, trauma-inducing child sexual abuse was the central fear are left on the table. feminist analysis makes the connection clear: as with any societal upheaval, there always needs to be a backlash, a re-establishment of social norms, an attempt to cram in the genuine rebellion of feminist ideas back into something palatable for the patriarchal society. recognition of rape as something done to cause harm and instill dominance makes a connection between rape of women and rape of children that society wants to ignore; the traditional view is that rape is of something erotic and adult-oriented, leaving child sexual abuse to be something rare and an aberration, and therefore scapegoatable.

so when feminist activism brought to light the inescapable connection between rape and patriarchy, the 'satanic panic' was a panic of patriarchy much more than anything - professionals, clients and society alike were so desperate to create a connection between child sexual abuse and literally anything other than patriarchy that they were willing to invent false memories of it. child abuse was once again recontextualised into an aberration that could be scapegoatable. and then within a relatively short period of time the ideas of both satanic child abuse cults and false memories were very rapidly debunked and dropped; they lasted for as long as it needed to to quash patriarchal fears, and then its cultural legacy was the implicit belief that you can't always trust people (women) who claim to be victims of sexual abuse.

as every cultural idea of its kind, there's a kind of dual purpose that serves as a two-pronged attack on feminist ideas: feminists bring to light criticism of a certain aspect of patriarchy -> invent a right-wing version of it that's farcical and absurd on the face of it -> debunk that idea as soon as needed so that the feminist critique is lost and forever tarred with the implication of extreme right-wing absurdity. of course, it's always impossible to say how much of this is deliberate; but leftist analysis always seems to uncover just how beneficial even seemingly damaging societal attitudes are to the power structures that perpetuate them - what's most likely is that these things are happy accidents and that power systems are incredibly adaptable. but also we see in our personal lives just how purposeful and knowing people can be in their actions in a way that seems unknown to them (freud brought to light the idea of the 'unconscious'), and it seems that this translates inter-personally/culturally as well. it seems to be hard-wired in us to seek out and perpetuate things that benefit our sense of self-preservation, even if they harm us in other ways. self-harm wouldn't be so attractive otherwise - people will come to the end of a journey of self-harm, depression, substance abuse etc. and say 'oh, I was doing that because my father left when I was 3' or something to that effect. we're creatures of narrative, and seem to desire to live according to it, and we're also social creatures who communicate with each other via narrative, creating a collective narrative. so it makes sense to me that societal patriarchal narrative-making would be as purposeful, arcane and self-destructive as individual narrative-making.

[utilitycaster]

I'm curious about your judgement of the success of the various format experimentations in Campaign 3. If you feel like saying a bit more, I'd be interested to hear your thoughts on which are the most and least successful, and why.

Sure! So as I said earlier today, I think a big problem is that the format experimentation and the moon plot are directly at odds. Pulling off the moon plot, with all the NPCs from past campaigns and payoff of various canonical setups requires a pretty firm hand on what the current canon is, and also really did require a firmer hand in the character creation than there was. On the other hand, the point of experimentation is to let other people play in the space and introduce their ideas. This comes together in what I have referred to in the past as "Not Now." Like, the Crown Keepers showing up just as the party was grappling with FCG's death? Not bad as a concept, but Not Now. Abubakar playing Corellon? Incredible performance, but the fact that he was given free rein in a plot that's already shedding viewers left and right for its lack of direction? Not Now.

On an individual level:

I think EXU Prime either needed to be fully standalone, or Matt needed to provide a slightly more rigid direction to Aabria and therefore really couldn't play Dariax. If it's going to get woven into the main plot of Campaign 3 it needs to set that up (including giving Liam and Ashley a heads up beforehand). My personal vote would be for the former, to allow Aabria to tell her own story without it having to serve like 20 different functions, but what's done is done. If I recall, Liam and Ashley had the option to play different characters for Campaign 3 and I do wonder what would happen if they had decided differently, because you could still have Dorian pop up as a guest but I wonder if the Crown Keepers would have shown up in the same way.

Similarly, as stated, the general concept of the Crown Keepers interlude during the campaign as a means to bring in Dorian? I'm not opposed, though I think this is by far the hardest thing to coordinate generally and for a plot as demanding as Campaign 3 probably not a great idea. But it's hard to judge because the timing was truly the worst timing possible given the events of episode 91, and even delaying by like an episode or two would have at least solved that to the point that I don't understand why they didn't just...do that. (and, just to head off this particularly stupid argument at the pass, this would not have in any way affected Sam's ability to take time off for cancer treatment; it would have just shifted things around, and a lot of this experimentation was planned WELL in advance). [sidebar: I haven't listened to the WBN interlude yet but I do have thoughts because I think interludes from different GMs can be done, but the premise of Campaign 3 is particularly hostile towards them unless the main GM has a very heavy hand in their creation or unless they are light on things relevant to the core plot and mostly for the purpose of worldbuilding a la Song of the Lorelei.]

Solstice split was excellent and I think it's because it was not actually anything you wouldn't see in how people frequently play D&D at home. You have a few players who won't be available for a few sessions in a row? Great, find a reason to split the party, bring some other guest players in, and run some side quests!

Downfall was great because it was diagetic. It was a story within a story that Bells Hells was seeing and responding to, and because it took place so long ago with such specific characters, while it may bleed into how Laura, Taliesin, or Ashley feel in game (impossible to prevent, people bring their own feelings to the table), Matt still has room to decide how the Raven Queen, Wildmother, or Everlight feel a thousand years later. I also feel this had the most direction from Matt, which the other things really needed.

As said, bringing in Abubakar to DM as Corellon is something that again, this plot simply doesn't handle well. It makes for a fantastic scene, but within the 107-and-counting episodes of this story, giving the reins to someone else after you finally have a clear plan and letting them throw another curveball is a terrible idea narratively. I think this again would be fine in a story with a looser plot.

Echoes of the Solstice and presumably the upcoming Vox Machina Malleus Key/Mighty Nein Weave Mind concept is again pretty good. This also fits into things that D&D home games have been doing forever - run a one shot or mini campaign following different characters but DM-ed by the same person that have an impact on the current plot but aren't too closely interwoven. Basically this is like the solstice split in concept.

Essentially: I think playing around with the format within a campaign but having the same GM is pretty easy to do. Once you introduce other GMs acting within the world concurrently (rather than as a story with a foregone conclusion a la Downfall, or for that matter Calamity) you need to be extremely careful if you are trying to tell a specific story with a lot of moving parts, as Matt is with Campaign 3. It's one thing to improvise based on things your players do or say; it's another to do so based on improv by a major NPC or someone doing extensive worldbuilding mid-game that you now need to incorporate. This wouldn't be an issue in a more sandbox-style game; Campaign 2 might have been able to withstand it more gracefully, though I'm still not sure. But Campaign 3 was the wrong place to do it. Again, it's trying to converge in some places and diverge in the others and as a result it's just kind of flopping around in place.

[funhouse-mirror-barbie]

What it should mean to support ALL survivors—Fandom discourse and the depiction of sexual assault in media.

So. Okay.

Below is a video that, in my opinion, is a very well thought out and respectful critique of the writing decisions surrounding Angel Dust’s character and purpose in Hazbin’s narrative.

The author of the video does a great job clearly stating their thoughts and opinions, and put a lot of effort into explaining their reasoning in a concise and easy to understand way.

I really recommend giving it a watch—(TW for discussions of rape, sexual assault and abuse. )

However, one of the most important things about this video though, is that the author, Limus, takes the time to specify that the video is only her opinion, and that she does not want to invalidate the feelings of other people or survivors who like or feel represented by Angel Dust. (More below)

In their conclusion, Limus states, “…If you enjoyed “Hazbin Hotel” and Angel Dust as a character, that’s fine. I don’t want you to walk away from this thinking your opinion is less than mine. People have their own reasons for liking media, and the discourse surrounding this show and the harassment that people receive just for liking it is unacceptable. You can have your reasons for disliking a show, but people can also have their reasons for liking it as well. Everything I have said in this video is in relation to my own personal life…”

I was REALLY glad and really relieved that Limus took the time to specify this, because one of my biggest grievances with the discourse regarding Hazbin’s depictions of sexual abuse, assault and rape, is that I see a LOT of people, both critics and fans, disregarding the experiences and feelings of survivors with opinions opposite to theirs.

Specifically, I saw a LOT of people talking about the portrayal of sexual abuse in Hazbin, and media in general, as if it was something that could be judged as being OBJECTIVELY “good” or “bad”.

And then proceeding to argue with people over their opinions and feelings as if they were in some sort of debate and the other person’s beliefs could be disproven.

This was really frustrating to me, because I’m hyper-aware of how media is extremely subjective especially when it comes to serious topics like sexual assault, violence, substance addiction, abuse, etc. etc.

So, I’m going to talk, in detail, about what I see as a lot of hypocrisy within fandom and critical spaces.

This really started in January of this year (2024) when a trailer (or maybe a leak? Sorry I can’t remember) for Hazbin came out, and a scene from Poison was shown.

There were a lot of people who were really concerned with the way Angel Dust’s abuse was shown in the preview, a good amount of them survivors of sexual abuse themselves, and from there the discourse got pretty out of hand.

Worst of all though, people, both fans and critics, allegedly started demanding “proof” of survivor’s assault from those they disagreed with.

This was very gross behavior, and I don’t care what your opinion on Hazbin Hotel is, NO ONE should have done that. It’s not only incredibly invalidating, but also potentially re-traumatizing.

Seriously. I hope ANYONE who engaged in this behavior, REGARDLESS of if they love Hazbin and think it’s the best thing in the world or if they hate it and think it’s the worst piece of media ever, were able to take a step back and realize how hurtful and inappropriate their actions were. And hopefully grow from that.

What disappointed me the most though was seeing Hazbin’s creator’s reaction to all of this. It was, in my opinion, very hypocritical and set the stage for the sort of harassment that is continuing in the fandom today.

A Disclaimer—this is going to be one of the ONLY TIMES I talk directly about the creator of Hazbin Hotel, Vivienne “Vivziepop” Medrano. I’m doing so because she was engaging directly and openly with this discourse when it was happening, and I think it’s important to talk about her actions and reactions because it provides some context for the background in regards to the ongoing conversations surrounding Hazbin’s SA depictions.

I generally do not like publicly talking about or making judgements on creators as people based on the art they create, because while a creator’s art is almost always influenced by their personality and experiences, it’s not a good way to judge someone’s ENTIRE character. All people are multi-faceted, and the art or media we create usually reflects only part of someone. Additionally, people use art, fiction, and media to explore all kinds of things, including things they would never do or want in real life, and that’s valid and normal. Obviously.

But when a creator publicly expresses an opinion in regards to ongoing discourse, of course people are allowed to discuss it and have their own opinions. Especially when that creator has a lot of fans who look to them as a role-model. Not saying that Vivziepop is responsible for actions of her fans, but when you are a public figure like she is, I do think it’s important to be as mindful as you can about your influence.

With all of that said. Yeah. I was. Incredibly disappointed by Vivziepop’s reaction to this. Because, I actually do agree with a lot of the things she was saying about supporting survivors—

I 100% agree with this. Everyone processes trauma differently, and that should be respected. We should not judge survivors for how they cope or process their trauma.

If this statement was made in response to the all judgement and struggles that survivors generally have to deal with, I would not have any issue with it whatsoever.

But. It wasn’t. Vivziepop said this because people were criticizing Hazbin Hotel—specifically there were survivors who were upset and triggered by scenes from the musical sequence “Poison” that leaked prior to Hazbin’s official release.

Now, obviously, I can’t know her true intent or beliefs. But her bringing all of this up after she had received criticism from survivors about her show leads me to believe that she doesn’t really care about supporting all survivors. Especially since after she said this, she proceeded to dismiss the concerns that several survivors brought to her because “the show hadn’t come out yet”.

To me, this is just hypocrisy.

Now, to be fair. Im also an artist. I understand feeling like your art or story is your baby, and feeling really protective of it. In some ways I was conflicted when all of this was happening back in January, because I get the frustration and hurt that comes with people not liking your art or not giving it a chance.

That can be very disheartening, and definitely feels unfair. I can empathize with Vivziepop in regard to that, because I don’t know how I would handle the amount of criticism her art gets. I’ve had my art criticized pretty harshly online, and it does really hurt. I really can’t imagine how emotionally taxing that is on such a large scale.

But with all of that said, at the end of the day, as creator, especially a creator making something for widespread international audiences, you have to learn how to be okay with the fact that your art, whether it’s music, visual arts, storytelling, or whatever, will not be universally loved. That’s pretty much impossible, and it’s also okay.

And while you obviously don’t have to listen to EVERY bit of criticism you receive, I do think it is vitally important to listen to criticism and concerns when they come from a whole group of people you are trying to represent.

This was Vivziepop’s response to survivors of sexual assault who asked to have their concerns about Angel Dust and the portrayal of his assault also taken seriously:

In my opinion, these replies are all really dismissive. I agree with everything Vivziepop said about survivors who felt represented being spoken over was also wrong. But these are survivors being open about how Vivziepop’s show has already affected them negatively, and the fear that their reactions to and opinions on the show will be, or in some cases—have already been, invalidated and called into question by the Hazbin fandom.

Vivzie’s response to them is that the show hasn’t come out yet, so they are getting upset “preemptively”. It really comes across like their concerns did not matter to Vivziepop, and like it didn’t matter to her that they had already been triggered or felt as if the handling of the scene was fetishistic based on what came out.

She states that her fans are “speaking out on their own experiences and reminding that the scene isn’t out yet”. I’m not denying that some fans do feel represented, but to me, it doesn’t, and didn’t matter if the show hadn’t come out yet.

The full episode can’t magically “take back” the fact that a lot of survivors saw this small clip on its own and it was enough to affect them. And that is just as valid of an experience as people who felt represented.

And listen. No group of people is a monolith and that includes survivors. People WILL have many differing opinions about the way sensitive topics are portrayed, especially when it’s as traumatic as sexual assault and abuse.

I am not saying Vivziepop should have somehow magically concocted a show that handles sexual assault objectively perfectly and pleases every survivor ever. That’s impossible, and I would NEVER ask or expect ANYONE to be able to do that.

But, it’s very clear to me in the interactions above that the people who were upset only wanted their opinions and experiences to be heard and respected as well, and they were essentially told that their feelings didn’t matter.

And to me, Vivziepop’s reaction to all of this was really giving Sia circa 2020:

I really think that, a lot of this could have been mitigated if someone from the Hazbin team, not even necessarily Vivziepop, had just acknowledged, “hey, you’re absolutely in your right to not like the scene and those feelings are valid”.

But there is a very strange sort of hypocrisy that is almost like. Tinted with virtue signaling*??? About listening to all survivors voices, while simultaneously dismissing the voices of survivors that are saying they have already been hurt.

THAT is what bothers me the most. It really seems like the only survivors that a lot of people involved in this discourse, including Vivziepop, were willing to listen to or validate were the ones that already agreed with them.

If you are going to support survivors you DO have to ACTUALLY SUPPORT ALL survivors. Even if they disagree with you.

If you’re still with me, I really really appreciate it. I felt I had to go over all of this to add context, because the concerns those survivors talked about over 10 months ago, foreshadowed the EXACT situation that some people in the Hazbin fandom have now put Limus in.

All because, after the episode came out, they expressed their honest opinions on the subject matter and the way Angel Dust was written in a way fans disagreed with.

I find it really disturbing that, the whole point of Vivziepop’s dismissal was that the show hadn’t come out, and that she said she would “respect” if people had concerns AFTER it came out. But I haven’t really seen any acknowledgment from her that survivors, who after seeing the whole scene, were still negatively affected.

The below is a tweet Vivziepop liked shortly after the episode came out in full.

I agree that any survivors who felt seen by Angel Dust and the show and were invalidated and had their experiences dismissed and questioned by others deserve apologies. But I can’t help but think about the fans who didn’t feel the same, who were hurt, and triggered by the depiction of SA before AND after the show released. I don’t want to read to much into likes, because people like shit for all sorts of reasons, but Vivziepop liking this tweet saying she deserves an apology too does rub me the wrong way, especially after she was told that survivors have ALREADY been hurt.

Don’t those people deserve apologies too? Or at the very least just an acknowledgment that their hurt and concern was valid?? It just comes off to me as a confirmation that Vivziepop doesn’t really want to listen to ALL survivors, just the ones that haven’t criticized her and praised her show.

To clarify—just as Limus did at the end of her video—I AM NOT SAYING THAT SA SURVIVORS WHO DIDNT LIKE THE SHOW’S HANDLING OF SA ARE THE “CORRECT” SURVIVORS AND THAT PEOPLE WHO FELT SEEN AND REPRESENTED BY ANGEL DUST AND THE SHOWS WRITING ARE “WRONG”.

The WHOLE POINT of me going over ALL of this is to take a look at the hypocrisy of many people both in the fandom and outside of it who SAY they care about ALL survivors feelings and experiences, but then call those experiences into question the MOMENT a survivor has an opinion different than their own.

And sadly, I personally believe the creator of Hazbin also contributed hugely to this hypocrisy.

When we look at what happened in January, it now feels weirdly prescient. People are treating Limus’ opinion as if she is personally attacking them, or saying that their experiences are invalid. She did not do that.

It also seems like a lot of people who like Angel Dust and feel he represents them are taking Limus’ critique of the character writing decisions made for Angel Dust, who is not a real person and does not exist, as personal attacks on their real lived experiences. She did not do that either. She was extremely clear that her opinions were in regards to the way Angel Dust was written as a character.

But because Limus critiqued Angel Dust, her experience with abuse has been called into question, just like the above survivors that were concerned about all of this way back in January. This is absolutely fucking unacceptable.

I am saying this to CRITICS AND FANS of Hazbin Hotel and Helluva Boss, and fuck it, honestly ALL fandoms—If you have engaged in this sort of behavior, you have got to stop. I think the love and passion you have for the art that is important to you is beautiful and wonderful. But NOTHING justifies treating other people this way. It does not matter how much you love a certain character or how much they comfort you or what solace you find in them. There is NO EXCUSE for bullying and harassing someone over this shit.

I am saying this fully aware that it may cause people to get mad at me and want to send me hate. And honestly that’s fine. I will deal with it if it comes. But I couldn’t sit here and watch so many people shit on someone for talking about their experiences and opinions again.

Please, if you find the tweets/threads I referenced in this post, DO NOT ENGAGE WITH THEM OR HARASS THE POSTERS. This whole long massive post was all about why we should NOT do that.

When these conversations happen, I often see people just. Putting words into other’s mouths like it’s an Olympic sport. If someone says they don’t like the way Angel is written, they are not saying your experiences are invalid. If someone says they love the way Angel is written, they are not saying you have to love him and feel represented by him too.

Please. Please try to empathize with each other. Or at the very least, maybe just take some time to sit with your feelings instead of harassing others. I’m using Hazbin as an example because it’s a fandom I’ve had experience with recently, but this really does apply to all fandoms.

As I final note—if you love Angel Dust and think he’s the best written character and feel really represented and seen by him, that’s wonderful and I’m really happy to hear that the show was cathartic or comforting for you. Genuinely.

And if you hated the way Angel Dust was written and the show triggered you, I am so sorry that happened. It is so painful to re-live trauma like that, and I hope any that pain you felt from being reminded of what happened eased quickly and gently.

Both of your experiences and opinions are completely valid, and you have every right to express your opinions to others. Your trauma is real, and however you process it and cope with it should not be judged by anyone.

I just ask that we all be more respectful, and try to be curious about other’s perspectives regarding this stuff.

Thank you again for bearing with me through all of this. I hope you have a great day or night.

*I really really HATE the term “virtue signaling” because in MOST cases, I only ever see it being used to dismiss minorities and allies concerns about injustices. But, given the circumstances of this situation, I do think it’s actually appropriate here, given that survivors where expressing their concerns to Vivziepop and she was justifying her dismissal of them by saying the show hadn’t come out yet, and then went on to say that all survivors mattered. I don’t know whatever word I should have used, other than it just being hypocritical. Again I hate that term, and wouldn’t be using it here if I didn’t really believe it was appropriate and accurate.

[sandyferal]

Admitting that Tootie and Timmy are the only version of the “girl is obsessed with boy and he doesn’t like her back but they end up together eventually” that I’ve seen done right was painful. I mean I think it’s the truth for the most part but it’s hard to give credit to FOP for writing anything well because they ruin basically all of that in the later seasons. Like they demolish it.

They literally just brought in a random weirdly designed pretty perfect new girl for Timmy to actually successfully woo… when it feels like the whole fucking point was that him disliking Tootie and being attracted to pretty perfect girls without considering their character was a symptom of his immaturity and superficial view of relationships. Also in general what was it with the fucking later seasons only letting girls be perfect or evil. (Except Wanda and Timmy’s mom. Who are literally just “nagging wife” and “mother.” Not much better.)

It’s incredibly funny to me too because I feel like they got so close to making Chloe from the later seasons an actually decent character (outside of her first ep.) Like she was kinda unhinged and flawed and it would’ve been so so easy to reveal that her outward “perfection” was the result of her holding herself to ridiculous standards that actually made her miserable. Crazy that even her saying “no one wants to be friends with me” when that was obviously false could’ve been good writing. Showing her perception was so warped that she thought her not being fully perfect meant she was an awful person and everyone secretly knew and hated her for it. They could’ve still portrayed her parents as good loving people who accidentally implied that they only loved Chloe because they didn’t see her flaws. But like no. The reason she’s “miserable” is just stupid, and she’s not a good enough character that the audience can overlook that.

That’s not even mentioning Trixie. Don’t get me started on Trixie. This show did a lot of character flip flopping even during the good seasons, but Trixie was just. Something else. Like the show really felt like it was actually trying to set up that she was a genuinely nice girl with good values that got buried when she was under the scrutiny of her popular friends, but then it did a turn and decided she was just shallow and/or crazy. And they continued to flip flop on whether Timmy pursuing her was even a good idea. Like man none of the characters actually GOT lasting character arcs but she specifically felt like she was in a position where it would’ve made the most sense to have one.

Insanely grateful character arcs are allowed to exist in A New Wish. I’ll admit, the girls still haven’t particularly benefited from them as much, but at the very least we have Dev. And at least Hazel is a likable character and not just slotted into one of the old “girl” stereotypes. Hell I’m glad ANY character is good. Like just. I cannot believe how bad the last seasons of FOP got. It was that serious man and the girls got it so bad. They really refused, like straight up didn’t try to bring back Trixie or Tootie for a love interest episode when that was Trixie’s entire purpose in the fucking show. But I guess they wanted to give him a win for once. Man.

And importantly, Wanda and Cosmo not only have a better relationship in New Wish, but Wanda is NOT a punching bag. Like it may be a slight exaggeration to call her that, but fuck man, some of the later season eps thought it was so fun to beat her up for literally no reason.

[triluvial]

There are whispers, stirrings.

There are rumours that Arrakis' control - for so long solidified in the pearlescent hands of the Harkonnen family - was wavering. That the emperor was already seeking out a replacement family.

Their first hint of this was Duke Leto reaching out and flat out telling them that the emperor had offered his family control over Arrakis and the entire imperial spice trade. While the Baron pretended very, very hard that this wasn't information that was blindsiding the entire family, Leto went onto explain that he didn't want to move off of safe, plentiful Caladan while the mother of his children was so, profoundly pregnant. Duke Leto doesn't want to start any shit with the Harkonnens either, so he wants them to hear the truth from him even though "I'm sure you're up to your ears in reports from your network of spies."

There was no network of spies. Who tf would risk their lives for a house that would be twice as likely to kill them themselves? Baron Vladimir successfully pretends otherwise for the rest of the video call.

However, that gives the Baron an idea of how to proceed. They can't trust the Atreides on their words, but they cannot ignore such a serious warning.

However, it would all be too suspicious - if the risk of losing the control of spice was real - for random Geidi Prime natives to show up at the Emperors home. He had a truthsayer, and they couldn't exactly blend into a crowd. But there was a better plan, they would join with a different house, one friendly with the Emperor and be invited alongside them to the Emperor's side. It would be an insult for the Bene Gesserit assistant to the crown to start questioning the staff of a beloved guest.

So Feyd joined a small battalion. Not even as the leader, though he could hear the other men shifting in anxiety whenever he sighed in a specific way over the general's decisions. And they were sent to bring that month's trading products from Pallosan III to Geidi Prime.

Feyd and his team arrive late on purpose. The ruling family had no choice but to offer to let them stay the night. They humbly accept, feigning the quiet servitude that Harkonnen servants are famous for.

Under the cover of darkness, they fake a break in. They fake an assassination attempt. Then the eight, perfectly normal Harkonnen servants fight off the attackers before the citadel's alarms are even raised.

Reader's family is overjoyed. Baron Harkonnen is even more overjoyed to receive and approve their request for the eight 'heroes' to stay on Pallosan Three until the reason and origin of the assassination attempt is found and eliminated. Vladimir is so glad that his people could be of use to such dear, treasured allies, and if his heir had been there Feyd could have probably fought off the assassins single handedly, but it's good that the relatively unskilled fighters managed on their own.

This bolsters the Harkonnen reputation, not only is their noble family incredibly dangerous but even normal servants sent to transport food are more skilled than most family's trained guards.

Feyd knew this would be a long mission. He'd never done anything like this, but a Harkonnen had to be present to make hard decisions and he was the least-recognisable of the three ruling members of the family.

Three weeks later there's a real break in. It probably wasn't an assassination attempt but as he is the only one alive when the guards and royal family come running in after the alarms go off, Feyd can tell whatever story he wants.

Later that day, the youngest princess comes and brings Feyd a drawing of him in thanks. He's monstrously tall, towering over a terrible depiction of the citadel. The sun is black, apparently the only thing the child knew about Geidi Prime.

Feyd looks over the shoulder of the child at where her older sister was standing. Then he feigns being moved by the drawing. He's rewarded by two smiles, one gap-toothed and the other as beautiful as the dawn. He feels his stomach flip awkwardly. He folds up the drawing and puts it inside his armour.

"You made her day, you know." Princess Irulan's closest friend says, sitting next to Feyd as he sharpens his sword later that afternoon. "She's right now bugging our captain of the guards so that he'll teach her swords so she can be a Harkonnen when she grows up."

"Uh..." Feyd manages.

"Of course, that's not how it works, but she's young." She allows, and she's sitting close enough that Feyd can tell her dress isn't just solid blue but actually embroidered in the same colour with shiny silk thread. "You're an amazing warrior, the Baron said only his na-Baron was skilled enough to fight an assassination team alone but you were barely sweating."

Reader runs a hand down his bare arm, as if to demonstrate where the sweat would be. Feyd has had sex with his harpies on his balcony, where any citizen could look up at them. Yet, somehow this makes him feel more exposed.

"I have to leave the citadel tomorrow and I know it's during the time that you normally train but I wanted to ask if you, or some of your friends would accompany me for safety. I cannot order you as you are all just guests here, but with two attempts on my life I am a little frightened." Reader either smooths her dress down, or wipes her sweaty palms on her skirt - Feyd isn't sure which.

"You know my training schedule?" Feyd asks, a grin on his face. He'd never seen her watching him train with his men but from the maroon flush on her cheeks he was now sure that she had.

Reader looks down, embarrassed. And that's when Feyd remembers he is not the Harkonnen heir right now, able to flirt and propose to any highborn woman he sets his heart on. He's a lowly servant and may as well be an earthworm pining after Shai-Hulud.

This is going to end in tears.

He agrees to go.

Ok this was supposed to be a quick idea where Feyd had to pretend to be a commoner while spying on Reader and her family, and Princess Reader fell for him while thinking they could never be together but the uhhhh political thriller explanation for why he was spying got a little out of hand. That's my bad. (also Political powerhouse Reader is maybe my fave trope atm as evidenced by 1, 2, 3 and now 4)

[desos-records]

alright let’s talk about Lockwood & Co vs Adults

(mostly about the show, I started the books before the show came out and I’m not done, be nice)

Lockwood tries so very hard to act older than he is and he essentially Had To after losing his family. We aren’t told the specifics, but he doesn’t seem to have any adults in his life. Or many people in it period. George has only known him for a year, Flo used to live with him but hasn’t for at least a year if not more, and Kipps is. well. Kipps.

But other than that he seems to have been alone: he’s the one who takes care of the business and the finances, finding new clients and recruiting new agents (he has a mortgage and insurance and he can’t even drive yet). It fits with the overarching theme of the older generation not just failing the newer one, but exploiting it too. Lockwood was abandoned by the generation that was supposed to take care of him (on purpose or not)--just like all the kids of his generation, George and Lucy included.

It’s a little simpler when it comes to George and Lucy. They both left their families by choice; they chose to be the mature ones, to do what they had to so they could feel safe and at home. George left parents who loved him, but didn’t understand him. Lucy left a physically abusive mother who exploited her for money. They’re both mature in very concrete, measurable ways that are natural extensions of their characters. George cleans and cooks and handles research. Lucy is emotionally mature, holding both boys (and people in general) accountable for their actions and making her able to pick out incredible nuances in emotion (of both the living and the dead).

But Lockwood’s maturity feels a little more like play-acting than the others. Partly, I think, because he didn’t get a choice. He’s been functionally an independent adult for god knows how long. He dresses in suits and is entirely too formal (in the books it takes forever for him to stop calling Lucy ‘Miss Carlyle’). But you can tell that it is definitely an act. His tie and trousers are too short, his coat is too big, and, god bless him, he wears the most beat up pair of sneakers I’ve ever seen.

His interactions with actual adults become a flashpoint. It’s most obvious in his interactions with adult men (partly just because most of the adults in the show are men), who he is trying so hard to look and act like. But in every case, they call him out on it and he’s reminded how young he is and almost always in a way that hurts.

The most obvious are Fairfax, Winkman, and what’s-his-face with the gold sword and guyliner, who are trying to kill him. In all cases, Lockwood can’t physically overpower them (Fairfax and Guyliner have guns, Winkman has an electric chair) and his words don’t mean anything to them. And Guyliner is even more dangerous because he knows his parents, knows something about the story behind Lockwood’s armor.

But what’s more interesting are the adults who aren’t trying to kill him.

Barnes picks apart the arguments Lockwood throws up in defense of himself and his agency, not with posturing, but with genuine (although rather harsh) concerns for their safety. For Lockwood, Barnes is a Captain Hook figure, but Barnes acts more like a disgruntled school principal than anything else. He’s working to protect a whole city full of kids that are, by necessity, thrown into harm’s way. And you can see it when Lockwood says that Barnes doesn’t like them much and it throws him off-guard.

The DEPRAC agent at the auction tells them to leave not just because he thinks they can’t handle it, but because they shouldn’t have to

Jesus, you’re children

Yes, he’s aggressive and antagonistic about it, which only makes Lockwood bristle more. Lockwood steps towards him trying to act with authority, even threatening, but all the agent does to break his armor is grab him hard by the shoulder and push him back. But despite that, he is trying to protect them. And he dies to protect them. It is the only instance of someone truly seeing them for what they are: kids. Not agents or weapons or meal tickets.

But it’s jarring. Lockwood can’t process any of that and that’s not his fault. In the world we’ve seen so far, Barnes and the DEPRAC agent are an anomaly. Most other adults don’t care whether they live or die (so long as they’re useful). Lockwood has every reason to believe that every adult is an obstacle at best and a threat at worst.

And it’s painful. All of it. And a little too close to home, this story of children only valued when they’re useful.