#and i will gladly answer questions about them

[makiitabaki]

Finally answering this:

Thank you, @saintjustitude for asking me to rant—I adore doing just that :]

(First of all, thank you to everyone for waiting. I know I took a lot of time to write this, but I had only around an hour free every day, and I usually spent it searching for sources. My knowledge is limited; the play isn't available. I rely on memoirs, interviews, and reviews. 

My inbox is always open, and if anyone has any Wojtek questions, I'd be absolutely delighted to answer them. And I mean it. It can be anything. 

 Every quote was translated by me. All my sources are listed.

Unfortunately a part of it wasn't saved, and I don't have access to some info anymore but this post will probably serve as the beginning of a longer thread.)

And now: “Sprawa Dantona” (1975).

1. How did it all come to be? Why was ‘The Danton Case’ and not any other play?

When I say ‘Danton’ directed by Wajda, most probably think of the 1983 version, a political metaphor: Comsal representing the Polish government, Dantonist representing Solidarity. Was it like that originally? Was Wajda just calling for a fight with the government, transforming Przybyszewska's work to fit his own narrative?

In short: No! (At least if we're referring to the 1975 version, the film is completely another story; I'll gladly make another post about it.).

Zygmunt Hübner (I have mentioned him already in this post) chose Wajda to direct the play even though the latter was a relatively young director; something was telling Hübner that giving the play to him would be absolutely necessary. Pszoniak later referred to that event as Wajda being cast in it as much as he himself was.

The play was simply a way to introduce the artistic team Hübner created. There was none of some “noble patriotism’ or 'anti communism'. (None of what Wajda described as the purpose of the later film.)

Why was that play in particular chosen? That is unknown.

“The idea [of exhibiting that play] came from the fact that Hübner was looking for a play (…) that would present his artistic team as a whole, which he assembled with great imagination and intuition.”

At first, Pszoniak laughed into Hübner's face when offered the role. He thought it fine, intruiging, but the character of Robespierre was so foreign to him that he couldn't give anything from his own person or his own experiences to his Maximilien.

He asked for the role of Danton; that role seemed to fit him way better with "his [Danton's] sensuality, his dynamic physiognomy, and his balls."

Wajda and Hübner were quite insistent and more or less forced Pszoniak into the role.

“Hübner and Wajda were so stubborn that they did not take my objection into account. Nothing there [in the role] suited me; there was no starting point for the role. I had no right to play it. But they convinced me for so long that the whole situation with ‘The Danton Case’ became a dead end.”

The transformation from simply a good play to something entirely political in Wajda's eyes was very slow but steady. On that a little later.

2. Pszoniak wasn't ready to play Robespierre? How did he prepare for the role then?

It's very important to note that it was not bad will that made Pszoniak initially refuse the role, but the theater typecast he was put into and which he almost got used to. All of his power and stage presence were connected to his own physicality, to this sort of mobility and expression that he had to (presumably at Wajda's request) abandon while playing Robespierre.

Wojtekspierre getting his hair cut from a man with surprisingly modern glasses

Whether he was in a tragedy or comedy, it was the unique liveliness that made him so different. Suddenly he was offered the role of Robespierre, a man he only knew from unfavorable history books, portrayed a certain way by Przybyszewska, and he's made to stand before the expanse of that character's personality in a try to make him someone physical.

While it might seem quite shocking, when preparing for the role, Pszoniak didn't even read any Robespierre biography. Why? According to him:

“I didn’t think at all about a historical figure, and besides, you can’t play any historical figure. I put aside the books on the French Revolution. I read them much later, when, years later, in Paris. (…) I didn't want to portray a historical figure, so I didn't judge or evaluate him. I simply tried to get closer to him, to understand him as a person. Przybyszewska herself made it easier for me. The text of the play clearly indicated that she was fascinated by him. (...) Przybyszewska constructed this character in an unusual, enigmatic way. I clung to this fascination, it was a reason for treating Robespierre with empathy. This is a necessary condition for creating a character, without empathy you will never be able to get closer to the man you are to become on stage. Wandering through the labyrinth of his emotions, motives for action, opinions he expresses, I became so strongly attached to him, he took over me so much, that as a result I became Robespierre-Pszoniak.”

Pszoniak admitted he didn't want to play a politician [but, of course, as we all know, he was later forced to in ‘Danton’ (1983)].

The preparations took time and patience (especially from his wife - Barbara). Pszoniak tends to describe it as a painful process. Robespierre's physical expression was compared to being bound tightly by his own flesh, almost imprisoned by it, but freed by his mind. Pszoniak realized that all of the power in portraying Robespierre could only be gained from a deeper reflection. How to show a mind on stage?

That Pszoniak didn't know, and so he made the decision to show Robespierre's determination and faith instead of simply a calculated brain. To show a path, an objective. That's why the last scene was so hard to play (conversation between Robespierre and Saint-Just after Danton's death); he even asked Wajda for a white cloth as a makeshift shroud. To Pszoniak, that scene meant the symbolic death of his character. Robespierre (described by Pszoniak as a “very intelligent man") feels that inevitable peril awaits in the near future. The actor often described a feeling of mourning something or someone after the performance.

The challenge of creating the role, in the words of Wojciech Pszoniak:

“I started to control all my reflexes morning till night; from waking up to falling asleep, I was destroying myself. In everyday life, even the smallest activity, I slowed down; I was reducing and cleaning up [every one of] my habits. Torment, the absolute torment of controlling yourself, of managing yourself. Zero spontaneity, the phone rings, my first reaction—run to answer it—I stop myself calmly, in control of every slowed-down gesture. I imitated Zygmunt Hübner's focused gait; I noticed how he placed his feet. And I started walking like that myself. That's how I set a different, more controlled way of moving. After that, I turned to gestures, head movements, the way of getting up, and gesticulation. I felt that I was different. Acquaintances and friends both asked where this change came from. I suppressed the dynamic, extraverted myself.”

And

“I was pushing the boundaries of supervision [over myself], checking how I would behave after drinking a larger amount of vodka. One day I went out with Basia [wife] and friends (...) After a few bottles, at four in the morning, they were amused, cheered up, asking if I was sick because I was behaving like a machine. After three weeks of suffering, I reached ground zero. This happened during the rehearsals. A conversation about Robespierre and Danton. I joined the discussion, exclaiming, 'I disagree!’ - and suddenly I saw that my hand was no longer my hand, that it was not the hand of that Pszoniak that I am, but that it was already a hand—the beginning of someone else.”

3. What of Danton?

Here the problem with the play began. The man cast as Danton, Bronisław Pawlik, was just... terrible.

He was a good actor in general, definitely, but in short (explanation for the anglophones), it was like casting Danny DeVito as Danton.

He was short of stature, weak of voice, much older than Pszoniak, and simply unfit for the role.

He didn't have a stage presence; his voice was silenced by the other people on stage, and Pszoniak kept acting as if there was some great, dangerous opponent when there wasn't—the audience seemed to notice it.

It all added to a kind of feeling of resentment after preparing so long for the role of Robespierre.

Danton (Bronisław Pawlik), Camille (Olgierd Łukaszewicz) and Westermann (Franciszek Pieczka) celebrating

Pawlik was more concerned with the position of the props or the costume instead of conversing and shaping their roles. To Pszoniak it was the role of a lifetime, to Pawlik it wasn't.

“The audience was sitting on the stage because the entire theater had been transformed into the Revolutionary Tribunal. Here, a powerful voice and a [kind of] broad gesture were needed... Pawlik's charm disappeared in the feverish crowd. What consequences did this have for the play? Enormous, Danton was deprived of the strength [for both the audience and actors] to believe that he posed a deadly serious threat to the revolution. And this lack bothered me terribly...”

4. How did it become political then?

As I have previously mentioned, it was a slow, steady process. Even Wajda himself didn't think much of the play; it was the audience that began the change. 

As the first example, Pszoniak recalls a scene when Eleonore comes in with tea but not sugar—in the audience at first only a few laughing, but gradually along with the many performances it turned into the whole audience cackling. The play was exhibited just when a time of increasing problems with sugar supplies began in Poland (food stamps for sugar were introduced).

Pszoniak admitted that the cast would often laugh along with the audience. It seemed almost absurd—a tragic play blending with the real world. 

When it comes to Pszoniak himself in that time, the more he played the role, the more it felt like “punching the air.” Instead of having a genuine conflict, he had no support, no reference point in Pawlik as Danton or the audience. For the role to have meaning, to be something, it all had to be a matter of life and death. His co-actor was slipping into comedic grotesque while playing the second main role. 

"The success of the play was huge, but the audience was eager to read the play [only] in the context of political allusions. (…) The audience felt that something was happening [on and off stage], (…) the tension grew."

The audience's reaction seemed to be a direct answer to the Danton shown on stage. Instead of a political opponent, there stood a sad, tired victim of the committee who seems completely and utterly innocent, all his words said with a kind of saddened charm (doesn't that remind you of a certain film Wajda made later?).

5. What of the other actors?

Here is where I have the least information. If anyone has any more sources of information, actor memoirs, etc., feel free to reblog this post with additional info or simply contact me about it so I could make Part 2. :]

The cast.

I have to tell you something shocking... Wajda is capable of giving actual, normal characterization to secondary characters (gasp, thunderstrike, wolf howling).

Or perhaps that was just the actor/Zygmunt Hübner (I guess we'll never know).

The most information I could gather was about Saint-Just (played by the excellent Władysław Kowalski).

Based off the limited amount of reviews I could gather, he was a positive character in general. Described as “a man gifted with exceptional warmth and [someone] unconditionally devoted to his cause” or “full of raw passion."

AND HE GIVES MAXIME FLOWERS IN THIS VERSION AS WELL, EXCEPT IN THIS ONE ROBESPIERRE (KIND OF) SMILES!

I couldn't find much on Eleonore, Louise, or Lucille, though I've searched and searched for a few days. All I could find is that the actresses were excellent—that is, unfortunately, no source of any relevant information. Frankly speaking, since Wajda, in kind words, doesn't excel at writing women, I don't have much faith in their characterization on the director's part.

Camille played Łukaszewicz is usually called a “complicated youth"—that is, of course, an opinion—or “spontaneous in reflexes"—that's a bit better of a description. As you can see, I am limited by the fact the play isn't available, and I must depend on biased or subjective sources.

Worried Camille Desmoulins (Olgierd Łukaszewicz) - I do think this Camille looks quite nice.

6. And did the critics like it? Was it well directed?

In short, it was a very, very liked play by both the critics and the audience. It ran for 5 years; it ended around 1980, when many of the actors simply left Poland.

About critics and reviews written by them: What surprised me immensely is the fact that most available reviews (written before the release of the film ‘Danton’) of the play weren't anti-Robespierre. The play is often described as something of a moral discussion, something for the viewer to assess, a work that doesn't suggest one solution to understand the conflict, or revolution (in other words, a great play).

A thing I've noticed is that along with time, the descriptions of the main characters seem to change. Danton—in earliest reviews described as “absolutely repulsive," then later as a tragic man, someone who adores life. Robespierre—in earliest reviews described as an absolute “marble statue," an idealist, someone pure, then in later reviews as just a fanatic.

 

7. What about Wajda? Did he change the text much? What about the scenography?

I was surprised to learn that Wajda absolutely could make a good, Przybyszewska-accurate play.

 

From all I could find, there is not much I can accuse Wajda of when it comes to ‘The Danton Case’ stage adaptations. It was made very well. What most likely contributed to the later change in people's mentality when met with the play is the fact that the audience was sort of a part of the performance. How? Like this:

“It [the play] takes place on a stage placed in front of the audience; on the actual stage and in the rest of the audience sit in rows of chairs rising upwards. Everything encompassed by the scenography is one theater. This played out brilliantly in the second parts, in the beautifully composed group scenes, where the audience not only looks at the stage but is drawn into it as an extra audience at the hearings of the revolutionary tribunal.”

And

“Wajda made "The Danton Case" as if against himself—against his previous self: he gave up on visual effects, music, and symbolism. He built a spectacle—a spectacle indeed!—raw and beautiful. (…) During the (…) presentation of "The Danton Case," seats for viewers were also installed on the stage, which was fortunately spacious, the audience surrounds the actors, the actors are among the audience, on the balcony, in the passages.”

If Danton or Robespierre were so close to the audience, I think it really did influence the people's opinion of it later on. Pawlik was terrified, jumping like a fish out of water from one audience member to the other, and there was Pszoniak, white and still under his shroud just a few meters away. That did certainly change the performance's reception.

8. Where can I watch this?!

As I have mentioned here: the play isn't available online, but most certainly is somewhere in the archives (confirmed by Pszoniak), when it was supposed to have a TV debut the martial law was introduced, and a few years later everyone seemed to have forgotten about it.

So, erm… Who's raiding the archives with me? (By the way, fragments of the play exist online, but only 10-20 minute excerpts, so if I find the time, I'll try to track them down.).

Sources:

Books:

Aktor. Wojciech Pszoniak w rozmowie z Michałem Komarem, Wydawnictwo Literackie 2009;

Maciej Karpiński, Pszoniak, Wydawnictwa Artystyczne i Filmowe Warszawa 1976;

Małgorzata Terlecka-Reksnis, Pszoniak. Fragmenty, Wydawnictwo Poznańskie 2024

Photos used and play reviews (pardon the rhyme):

http://encyklopediateatru.pl

[adhd-coyote]

Shiver was terrified.

There was a sleeping tubie in his arms, a too-small cadet clinging to his pants, and a pair of teenagers wracked with growing pains scurrying behind him. He was praying to the little gods his ori’vode had told him about that the tubie would stay asleep, because if any of them made too much noise, it was going to be over. Shiver could not let that happen.

He’d memorized schedules, camera positions, and multiple routes to their destination, and stuffed bags full of supplies in preparation. Honestly, for how hurried this plan had been, it was a good one, or at least he hoped it was. It had to be.

Step one: Pack everything he could carry into a bag stolen from one of the trainers.

Step two: Figure out and memorize a route, make sure to have back ups.

Step three: Go oldest to youngest- grab Cabu and Mirda, then Circuit, then CT-7814.

Step four: Get the hell off of Kamino.

And somehow do all of that without getting caught.

He’d managed the first three steps. Step four would likely be the most difficult. Shiver wasn’t even going to think about what they were gonna do once they were actually off planet. Right now, his only goal was to get them to the hangar, grab a ship, and leave. He could worry about after that later.

He’d already picked out a ship and slipped a carefully-measured sedative to its owner. Combined with Trainer Stilgor’s drinking habits, they’d have at least six hours before he woke up, and even longer before he realized his ship was gone. Plenty of time for Shiver and his hangers-on to steal it and be well on their way, so long as they reached the hangar without issue. Everything had gone smoothly so far, but Shiver wasn’t optimistic enough to think things would keep going that way.

He hated that halfway there, he was proven right.

Labored breathing drew his attention to Circuit, whose steps were getting more unsteady as he struggled to keep up. Circuit had always been weaker than the others - the result of some sort of genetic defect - and that day’s training had been hard on him. Shiver wished he could have given Circuit more time to rest, but they needed to leave as soon as possible.

Without speaking a word, Shiver handed the tubie over to Cabu, made sure the cadet was holding him right, and then pulled Circuit up into his arms. Circuit wrapped around him, legs around his waist and arms around his neck, and held tight. They kept going.

Miraculously, there weren’t any more issues. They made it to the hangar, which was blessedly empty, and Shiver used the stolen remote to unlock the ship and lower the ramp so they could hurry onboard. Shiver set Circuit down in one of the back seats of the cockpit, while Cabu handed the tubie off to Mirda and took the copilot’s seat to help prep for takeoff.

Shiver let instinct take over, grateful that medics received flight training and that their chosen ship was one he could fly. They were ready in no time, and after making sure all of the cadets were buckled and Mirda was holding 14 tight, Shiver grabbed hold of the yoke, took a deep breath, and took off.

[robinfollies]

AAAH PANDERITY INTRODUCTION POSTTTT. Super excited to have this done and out there!! There’s still so much to The Panderity Chapter that I haven’t shared yet and hopefully I can reveal a little more of it in due time hehe 🥹🫶

[burningcheese-merchant]

The fankid designs look sooooo good and adoooorable! They are very pretty!

Say. Does Burning Spice train his kids to fight and be the strongest? Does Pepper Jack or Matar Paneer enjoy fighting as much as their dad? How does Golden Cheese deal with this kind of sheganigans? Do the parents favor a kid more over the other?

I'm very excited for them sorry for all the questions in one ask.

No, don't apologize, ask away! Ask a thousand questions if you want, I probably have an answer for them all because I genuinely did go way too hard crafting these little critters lol (and thank you so much for the compliment, level 0 artist here but I tried)

Spice absolutely trains them to fight lol. Him and Golden both make an effort to build them up as capable warriors. Everyone does, tbh: they train with the Golden Cheese Kingdom's army, they train with the Wild Spices, they train with the other Ancients and Beasts (although they're not Beasts anymore at this point, they all reformed alongside Spice in my canon here). Pepper Jack starts training a little extra with those who also use polearms like he does, while Matar Paneer trains more with melee fighters (the specific katar she uses were a gift from Cilantro Cobra, who is also responsible for training her to use them). But they're encouraged to learn a bit of everything alongside their respective specialties. The best warrior is a well-rounded one.

They train for real, but they also spar just because. It's one of the ways Spice likes to try to bond with them lol (he never loses his love of battle, even as a better man). Pepper Jack spars more to blow off steam/seek some form of catharsis than to have fun (not that he doesn't have fun most of the time), while Matar Paneer is all in on the fun lol. She's got the same destructive tendencies Spice has and sometimes she needs that outlet to unleash them, and Spice is happy to help (he's so proud, honestly). Golden is ok with this, she likes to spar with her husband and their children, too... but they MUST do it either in the colosseum or outside the kingdom. She will not tolerate any damage to anything. (Paneer has gotten in trouble multiple times for damaging or destroying things lol. She doesn't MEAN to, it's never done out of malice, she just... she's kind of reckless and gets caught up in the excitement, that's all)

I wouldn't say either Spice or Golden favor one kid over the other. They love them both very, very much, and equally. It's more like... they relate to/understand one a bit more than they do the other. Paneer is basically a Mini Burning Spice, so Spice naturally relates to her better. Same deal with Jack and Golden tbh. (Jack is kind of a mama's boy and Paneer is a daddy's girl lol. It's the opposite thing here, it's the kids that seem to favor one parent lol).

Not to say that they don't get along with the other kid, they do. Paneer adores her mother and vice versa. They like to have girl time and girls' days out together (with Auntie Mozzarella, too). But they can really clash/butt heads sometimes; Golden kind of has an issue with wanting to impose her wants/will on her (not maliciously, it's just the way that she is, she doesn't even really notice half the time), and Paneer is crazy stubborn and can be extremely difficult and resistant to authority, or anything that opposes her own will/wants in general. That sort of conflict that you see with mothers and their daughters. They both think they know best and they bicker a lot. It's Golden's greed VS Paneer's greed, and boy is that a tough battle lol. But they still love each other without a doubt.

It's a little tougher with Spice and Jack. They're quite different from each other, in both looks and personality, so being at odds in some way isn't that uncommon. There's an insecurity on Jack's part that Spice doesn't like him, that he's disappointed in him, and that he's not good enough to be his son (which is NOT TRUE in any way, Spice loves his son to death and both of his children are his pride and joy). There will also come a time where they come into HUGE conflict over Spice's past (nobody ever hid the truth from the kids, they told them that their father used to be a bad person who did bad things and hurt people... but they never told them the WHOLE truth, they just left it at "he was a bad guy once" because they wanted to wait until they were older to give them the full explanation. This turned out to be a huge mistake, because Jack found out the whole story on his own and in a very unfortunate way, and his relationship with Spice takes a massive nosedive for a while because of it), so that won't really help anything... The main issue between them overall is communication, really. They often don't know what to say to each other or how. Not for lack of interest, they both want to get along and understand one another, it's just... not always knowing how to go about it. They BOTH often end up going to Golden for advice about how to approach each other, because... you know. When in doubt, defer to wife/mom lol

[vicsy]

currently sitting in Baku airport and letting the past weekend sink in. wanted to share with you my many notes and emotions ♥️

Azerbaijan GP in general:

- in my opinion, perfect place to kind of get introduced to going to actual races. I met many people who’s first gp was this one.

- great organization overall. probably the only downside is the amount of walking you have to do because of street closures.

- price range is rather compared to the seats/options they offer is pretty good actually! especially if you book in advance. they also release GA tickets about a week or so before the gp, so anyone could enter the fanzone without having a grandstand seat. although there aren’t many places you could see the track from but there were many screens around!

- Baku is a rather small city, not too complex to navigate. I really liked it tbh.

- merch prices felt illegal but what else is new? they accepted catch (local currency) and any and all credit cards.

- volunteers were really fun to hang around with! I made friends with a couple of them for next year.

- the entire area was huge and had so much to offer for adults and kids alike. many options for food and drink.

- +30 degrees Celsius was a bit harsh but I’m good at surviving heat. you definitely get an extra tan on the grandstands ahahahah

Drivers:

- to me Daniel was taller than many people say he actually is. and broader? very solid. very beautiful. very…. beautiful….

- Charles up close was like a deer from a magical forest. very nice. was seen sprinting to the hotel on Sunday cause I think he was running late.

- Fernando did not approach us but I felt his aura even from a distance. he’s also very square and small but stocky. and super handsome.

- Liam smelled nice when he stopped to take a selfie with a couple of us standing at the gates on Sunday.

- Carlos was very present, signed a lot of stuff to so many fans, sometimes had his dissociating face while doing so. also smelled very nice. his hairy arms….. I shall not speak.

- Alex was a sweetheart <3 tall and smiley. very welcoming even if some people tried to swarm him. very friend shaped.

- I will protect Jack Doohan with my entire life, he’s so sweet and shy. will kill and maim for him. he’s also really tall but somehow tiny. saw him in his biking gear that left nothing to imagination.

- also saw Valtteri biking in his lycra (?) suit, 10/10 ass right in front of my face.

- also saw James Vowles exiting the paddock. he got swarmed by so many kids asking for his autograph, it felt like he was there to sign them to Williams. which is ironic.

- Jonathan Wheatley was in his phone while going out, wheeling out his little suitcase. I looked at him longingly. silver fox indeed.

emotionally it felt… like nothing else. I’m very keen on preserving the child-like wonderment inside of me and seeing F1 cars on track live for the first time reignited that unadulterated happiness that many of us are constantly chasing. it may not have been the best outcome of the race but I understand the appeal of watching a gp in person. it truly feels differently and, to each their own, somehow it’s better than just watching on screen.

the entire ordeal with getting to the fanzone stage first was worth it. and getting a card signed by Yuki and Daniel + Aston Martin posting me twice on main is just proof of that ahaha but honestly. great way to see the drivers up close for the first time. they felt so real.

Monday felt weird because I got used to only wearing f1 merch and constantly sprinting to get myself places. the comedown from such high intensity emotion even knocked a couple of tears out of me (allegedly). I definitely want to try and attend races more often now.

to be very honest with you, I wasn’t done being happy. and I really want to go back to the beginning. but we go on. so vicsy gp is signing off (for now). hopefully not for too long!

[microraptorreactor]

Constantly torn between the fact that I want to yell about my Destiny OCs and the fact that they are tied to a written work now. Like before I can post about Dogteeth I need to get anything about Dogteeth postable. THe writer's curse.

[roboyomo]

i might not be able to ocpost in form of a new drawing today (fucking damnit) but.,,,, have this more than a year old drawing of the oc lore mc,, (his name is yaku, or okazaki yaku if you wanna use the full name). pls hold this little critter as i try to give some tiny bit of oc lore info about this guy and the main antagonist below the cut

Yaku is more of a confused and anxious guy at the start as he literally knows nothing (he just died and got to afterlife, let him have a moment to adapt). Which then gradually turns into being more serious and (mostly) collected in specific situations, while also being a big overthinker that is nervous about anything sudden happening. He is a 20 year old man that slowly forms a family bond with like. everyone at his now "forever" job (Except for a few). That same job being fucking hand-picked out of the billions of people out there to become one of the warriors at the top company of what would be "Hell" to take on many different tasks and requests, as well as the protection of the world he now belongs to. Though at the same job, Yaku is considered as 𝘵𝘩𝘦 weakest employee/warrior, literally weaker than the fighter that is a child (All because of a certain lore mechanic for those same warriors or fighters but it is,,, too much to explain in one post). All the employees were supposed to be blessed by the Gods as to truly be worth of the role that grants great responsibility for the billion of souls living in the same world they are in, and Yaku did get his blessing, Blessing of Thunder.

Moving a bit further from that, Yaku has very big attachment issues in a way that he will get emotionally attached to someone a bit toooo hard if he truly enjoys their company (literally what happened with him and all of his coworkers he loves them all so much). The problem is that one of those of coworkers is quite literally the main antagonist, Kenix or Yi Dal if you prefer his real name (has lore mechanics attached to him based off one of the Deadly Seven Sins). Yea Kenix's and Yaku's relationship is fucking complicated, especially since Kenix is Yaku's uncle (i don't have the time to explain the confusing family tree okay)

Kenix has a brain rot going on, in the quite literal sense (He is cursed and with each day, he loses his sanity and detaches from himself more and more to the point of not being able to have full control over his actions if he is just. a tad bit more insane than usual), so he treats Yaku very badly in the first story arc. He wants to feel guilt over his actions, he desperately wants to be able to feel empathy for his nephew - but with every passing day, he is forgetting about his morals as he is losing 𝘩𝘪𝘮𝘴𝘦𝘭𝘧. Despite all that, Yaku is already way too heavily attached to Kenix as he is his relative (some heavy found family shit is going on), so he tries to see the best in him, give Kenix a new chance each time to prove that he can get better. But that is not happening any time soon, Yaku,,,,

anyways ending the ocpost at this. I am sorry if this is a cringe premise for the lore but i swear. i poured my heart into this for more than two years and it means so so SO much to me it is my most comfort thing ever, it will make sense later on with more posts like these [screaming and crying] (and if you wanna,,, you can send asks about specific oc lore parts you want to know or just the ocs in general,,, just saying)

[aceofspades-sml]

How does it feel to have lived my dream of seeing Lindsay as Katherine-

Can I ask for details abt her performance? What was her Katherine like, how was she different from Bronte or Bobbie? :0

Hi ! Sorry this took me so long to answer, I just had two big days and needed to organize my notes about the show

And so, Lindsay Katherine. I wasn't expecting to enjoy her as much as I did but she was truly incredible. She was also very different from both other Katherines (I am mostly familiar with Bronté's Kath so will mostly talk about how Lindsay's is different from her but from what I know about Bobbie I can just tell you they are not the same at all)

Even physically speaking she is established as different from the others, her dress isn't cut the same way and is a very dark blue with white stripes and she has lighter curly hair (I used to have doubts about curly haired Kath but oh my god she was perfect). In my opinion she looks a bit older as well, both physically and in her behaviour.

One of the differences that struck me the most, because I remember it already struck me with Bronté, was that while Bonté's cast is openly extremely sarcastic, always mocking and mimicking other people, especially in act 1, Lindsay Kath was very sarcastic as well but in a really deadpan way, both in her voice and her facial expressions. Her delivery of lines such as "Cheeky boy gets nothing for is trouble" and especially "What was the last strike you organized ?" really showed that, she just looked Jack dead in the eyes and delivered. In the same way, I think she made way less large and expressive gestures than Bronté's Kath, which was mostly obvious in Watch what happens- she moves less and everything is in her voice (said voice is absolutely amazing btw)

Maybe that's due to this but she also seemed extremely serious, though not in a strict way- my friend and I tried for hours to put words on that and failed so bear with me here, she was extremely invested in her job as a reporter while also genuinely caring about the newsies and their strike

All in one this Katherine seemed to express her emotions way less than Bronté's... until act 2. In Pulitzer's office she seemed to be desperately trying to justify herself, and despite not talking her face was clearly begging for Jack to believe her, to know that she never intended for things to go this way or to cause the newsies any harm and she just looked so sad-

And the scene on the rooftop before Something to believe in was absolutely heartbreaking as well because I had gotten used to that serious and deadpan Kath and here she just broke down, she was incredibly emotional and her voice broke at multiple moments when she was talking to Jack. Which was also the case with any other Katherine but it was particularly strking with Lindsay. The song itself was then really sweet and soft because she had let her walls down and her relationship with Michael's Jack was played really well in my opinion, once again really different from that of Bronté or Bobbie but absolutely perfect and very cute regarding her personality ! (I would love to see her with the other Jacks tho because I am really curious what her relationship with them would look like since both George and Matt are very different from Michael never gonna happen now haha *cries*)

To sum it up Lindsay was very different from every Katherine I have seen until now, she decided to show a whole other part of her personality and I honestly really liked it ! Not to mention that Lindsay herself was an absolute angel and was clearly incredibly happy she got to play this part. Good for her honestly because she slayed

[risingsunresistance]

since we're talking about the dungeons journals now, i just want to let everyone know. lathrop is porhtal. ya know, the guy in the rift. with all the eyes. reminds you of a certain other eye... porhtal is just lathrop backwards :)

also dr. emmet in the mirrorverse is the same dr. emmet that raised lathrop, the one that was studying the breach on the mountaintop and was presumably living where scoop is now... :)

[fedoraspooky]

We miss Charlie it's been so long since we've seen the poor lad.

Oh trust me I miss drawing him too ;w; April has been a surprisingly busy month for me freelance-wise but once I'm done with work I wanna draw him again.

[cosmoknightchaos]

YOUR TURN!! 3, 6, and 29 :)

HI BESTIE

Answers below the cut!

3. What ideas come from when you were little?

Redrawing old art to see how much I've improved is SUCH a hobby of mine

Back in the elementary characters, I had a handful of characters I made up that, looking back on it, lead to so many of the characters, themes, and stories I've made today. Darker stories, ghosts, possession, eldritch beings beyond mortal comprehension, gods manipulating mortals for funsies, and the will to stand up and be the light in the dark, helping guide others through the night until they get to safety.

And also long clothing. My obsession with capes/trenchcoats started then too

6. Anything that might inspire you subconsciously?

If I can't relate it back to a western musical theatre song then it's not my work

29. Media you love, but doesn't inspire you artistically

Most media inspires me! If I can't/don't want to draw things relating to a certain media but still like it, I'll often incorporate elements of it into other medias I like drawing more. For example, I hate drawing Ultrakill characters with a passion. But, I love the style of the album art, so I've mixed that with other interests and am currently working on Horalo AU drawings in the style of the albums (No preview, sorry!)

So it's hard to say I'm not inspired artistically by something because so much inspires me, sometimes it's just to take some style elements and use them with other things.

The one exception to this is Undertale. The original game has not once ever inspired me.

[monmuses]

btw, last ooc post for the night, but i want to emphasize real quick that i am VERY open to multi-verses and having my muses be apart of any universe of any sort of franchise.

you want our muses to interact but one comes from a more fantasy-like world and the other is straight out of a horror game? dw, i gotchu. i can GLADLY write up something with how mine is apart of your world. anything and everything is on the table when it comes to interactions. hell, i will gladly write with any muses that come from more serious shows or franchises with my more goofier ones!

never let the invisible walls of fandom keep you from writing with different muses. i'll gladly accept them.

[how-to-cast-your-mana-comics]

On today's informational on the cast of How to Cast Your Mana, I'll discuss Wilderin's mentor.

Upon arriving in town, wilderin was rather swiftly taken in by an Archmage by the name of Bane Arcan. Despite the name Bane is a rather kind older gentleman who's just as eager to help wilderin as he is to study him like a bug under a microscope, of course as much as wilderin will allow he takes care as to not overstep personal boundaries.

You may be puzzled though as to what an Archmage is in this world and simply put it's a title given to mages that signify that they're well experienced in this world's magicks and is able to perform spellcasting with expertise. Most Archmages go on to work alongside nobles, lords and even monarchs in the world's various kingdoms. Though those days are behind Bane as he's come to enjoy a more simpler life in the settings countryside town, where he can pursue his own interests, at his leisure.

Bane also has quite the large family mainly in having 11 younger siblings, and he's since estranged himself from his parents. Bane also has an adoring wife and 3 kids, twin daughters and an adopted son. He cares very deeply about his family and would move mountains and even kill to protect them.

But for now he's just wilderin's mentor, wilderin works under him as an assistant and most usually is out and about doing tasks for Bane which he is paid for at the end of the day. However this leads to some shenaniganry as most things do around wilderin and his magical curse.

[transformersloversworld]

I had an unexpected day off today so I finally finished the art of my OC that I want to share with you all :)

Her name is Titania. She's around Rung's height. Her personality is a mix of an old and experienced warrior who fought in many fights and saw lots of death with cheerful and friendly life attitude. In her old age she tries to do something else for once than just fighting. She engages in activities she didn't have time for before, like dancing, singing, painting.

But what's more important about her - she isn't actually a Cybertronian. She was an… organic lifeform. Her body got badly injured and she was dying. She got rescued by the Autobots - Ratchet built her a new body. He tried to make it resemble her old body.

If you ask in which continuity it's happening - in my own! I got inspired mainly by at least three different continuities and I'm working on fusing them into one story. But she will end up on Lost Light for sure :)

As for the eyes/optics... they were highly inspired by optics of tfp Optimus but instead of being mechanical they are more like Earthspark Megatron's optics with their iris/pupils made out of white light. I hope you know what I mean 😅

[official-bunbun]

@churchydragon

You'll learn more about that later!

Best I can say without spoiling, not exactly

[meowchela]

ok im not qualified enough to write up a guide on it or whatever (might do it anyway though bc autism) but i REALLY feel like a lot of lpstubers dont like the roblox game because they just. Dont get it??? like i'm a longtime roblox player and to me a lot of things about it are kinda obvious but i can definitely see how newcomers to the platform would be confused + the hype around lps coming back in general set expectations kinda high and kinda made people forget this is a kids brand so a lot of people got disappointed when they saw what the game really was

the games not bad though!!! like personally i'm able to find fun in it because of its simplicity....i like to play it while im on vc with friends as a sort of background thing and i feel like its one of those games thats best played a little bit each day

idk i just dont want people to dismiss the game outright because they dont understand it :( like i'll be the first to admit it doesnt explain things well but ive also seen people Ignore the tutorial right in front of them bc they want to get to the code without understanding what its even for. like if they just actually paid attention theres explanations for everything ppl are confused about. i dont even care if people like it or not once theyve played i just want them to Understand and then form opinions based on that instead of being like "i dont get this so its bad"