#at least the set and costume designs look good

[cyanide-sippy-cup]

Waited until after the strike week to talk about this but I had like a whole post about how we should be positive about the new ATLA and then uh.

We got the Percy Jackson special. Shitty live action movie. New streaming adaptation that promises it will be more accurate and well written and what the fans want. And then it comes out and it's... not that.

Well at least we can go back to the trailers and pretend the show's not out yet while we enjoy the vibes presented there.

[eternalstateofoctober]

i dont know if i made a mistake but i’m so stressed out right now damn it

[aw-bean-s]

For anyone else who has been capital O obsessive over Wednesday's prom dress it's Alaia's 2020 fall ready-to-wear collection specifically look 8. If you were wondering.

[deconstructthesoup]

One thing I absolutely adore about Dead Boy Detectives is the immaculate costume design. Specifically, how it perfectly encapsulates who the characters are, both as a whole and who they are in the moment.

From the very first scene of the show, we know immediately that Edwin is a bookish, somewhat stuffy guy from the Edwardian era who attended a boarding school, and Charles is a punk from the 1980's who's most likely the wildcard between the two of them, just going off of the way that they're dressed. Both of them have distinct color schemes and different styles, but the general shape of their outfits is actually relatively similar---both of them have collared shirts (Edwin's dress shirt, Charles's polo), something over those shirts (Edwin's vest, Charles's suspenders), a jacket of some kind (Edwin's suit jacket, Charles's flannel thing), a longer overcoat (Edwin's traveling coat, Charles's peacoat), something around the neck (Edwin's bowtie, Charles's necklace), slacks, and nice shoes. They're distinct, yet matching, two clearly defined separate characters yet part of a set.

Edwin's prim, proper, buttoned-up personality lends itself to the way he dresses throughout the season---in the first episode, he only dresses down when he's in the office with Charles, aka his safe place and his safe person, and he doesn't really dress down like that again for a good long while after getting stuck in Port Townsend (though, if my memory serves me correctly, he does take off the suit jacket while watching TV with Niko). But in episode six, he's changed up his usual look for a cozier, casual-looking sweater and a little bit of collarbone, and in episode seven... well, he's in his nightclothes, and he's about as open, raw, and vulnerable as you can get. Edwin's color scheme is also predominately blue, which lines up nicely with his logical and practical, yet deeply sad and closed off personality, and the only time he really wears anything other than his normal blue-and-brown outfit (willingly, that is) is when he's in that green sweater in episode six. And, uh... all I can say is that it's quite telling how blue and green---or, well, teal---are the main colors of the gay/mlm flag.

Charles, by contrast, dresses down a lot, and that makes a lot of sense when you consider the fact that unlike Edwin, he feels comfortable pretty much anywhere. On any given episode, he goes from wearing his peacoat to just wearing his flannel to ditching the flannel to not even wearing the freaking polo---though, again, the latter is something that only happens when he's in the office with Edwin. Safe space, safe person. And, well, plenty of people have analyzed Charles's polo shirt going from red to burgundy to black over the course of the series, and there being a little bit of red under the collar of his coat that's only visible when Edwin fixes it, and then it goes back to burgundy, and then it's red again when Edwin's out of Hell... for good reason! It's color symbolism at its finest! Not to mention, the red and black not only perfectly contrasts Edwin's color scheme, but it also lines up with Charles's personality---he's a rebel, he's hotheaded, he's bold and brash and loud... and yes, he's angry, but he's also so, so loving.

When we first meet Crystal after she loses her memories, her outfit choices feel very deliberate. They're stylish and vaguely trendy, they're arty and a little bit witchy---pretty fitting for a psychic who's also a showbiz kid, even if she doesn't know that last part. But all of her clothes appear thrifted, or at the very least vintage, and the patterns and the general vibe all feel natural and comforting. Her makeup's always fairly simple, her hair's either down or up in a couple of cute space buns... overall, this Crystal looks like the kind of person who'd make you tea when you're in a bad mood, who'll listen when you just need to vent, and who may not always know the right thing to say but will understand what you're going through. But when we see her in the flashbacks, her clothing's flashy and prioritizes high-end trends over comfort, she's either got her hair up or has it straightened, and she not only has dramatic makeup, but acrylics. This is a girl who talks shit about you behind your back, who's bitter and cynical and wants everyone to feel the same way, who makes up for the lack of love and stability in her life via material things. It's also worth noting that Crystal's color scheme has a lot of purple, which is a color that connects to wealth and luxury, but also creativity and magic---which, yeah, fits her two conflicting sides pretty damn well.

You cannot talk about Niko Sasaki without talking about her outfits, and the meaning behind each of them has already been talked about at length. However, one thing that really stands out to me is that the reason they're so iconic isn't just because of the monochrome color schemes, but because they're out there. They're weird, they're eclectic, they're a little mismatched in style sometimes, and they're so unapologetically her. Niko wears heart-shaped sunglasses, unironically. Everything about the way she dresses speaks to how, even though she's a recovering shut-in who initially doesn't want to be perceived, she's still very sure of who she is.

Jenny's design, like Charles and Edwin's, is a design that gives you the key information you need the minute she first appears onscreen. The dark makeup, the silver jewelry, the leather apron, and the hairstyle all point to a person who's tough, doesn't take anyone's shit, and has long since given up on caring what other people think---in other words, she's a badass. But the butterfly tattoo hints at a softer side, a side that we see time and time again throughout the series as she shows that she cares about Crystal and Niko, and even the boys... eventually. Also, Jenny's design is perhaps one of the most clearly queer-coded in the series, to the point where her being a confirmed lesbian is pretty much a no-brainer.

Esther's design oozes camp, from top to bottom. The fluffy coat, the bustier, the boots and the cane and the everything, speak to a woman who's kept with the times and yet has seen it all. There's really not a lot I can fully say about her design, other than what Charles has already said: "She looks like a witch... like, kind of a sexy witch, who smokes a lot." (Or maybe I'm just tired and running out of steam at this point, idk, I love Esther's design and I can't really put it into words.) It's also pretty fitting that her color scheme has a lot of yellow in it---after all, she's always striving for more, so what better color for her than the color of gold?

Everything about the Night Nurse's design speaks to a woman who follows rules and discipline above all else, from the pantsuit to the pinned-up hairstyles to the tie to the heels. She's also the most muted out of the main cast in terms of color, dressing mostly in browns, dull greens, and duller browns---and while I don't have a lot to go into detail about there, I feel like that's kind of a symbol of her narrow-minded and bureaucratic worldview.

And the animal characters... Jesus Christ, I fully forget that they're all being played by human actors. Tragic Mick dresses like a man who's always spent his life by the sea, layered denim and all, and it's never a stretch to see this sad, bushy-bearded, baggy-clothed fisherman and imagine him as a walrus lounging on a beach. Monty, at first glance, seems to only wear black, which would be perfectly fitting for a crow, but when he's in better lighting, you see that he dresses in layers of red and blue, calling to how he envies Charles and Edwin and clearly longs for something more---and this might just be me, but I think that even though his outfits seem fairly normal at first glance, they feel kind of like a costume for Monty more than anything else, like he's trying to emulate a teenager that he's seen on TV more than someone in real life.

The Cat King fits this just as well, with all of his outfits aligning perfectly with whatever his cat form is at the time---when he's a fluffy ginger, it's always sequins and fur coats and clothing pieces that are specifically designed to take up space and call attention, and when he's a black shorthair, it's sleek styles and shiny leather and pieces that are designed to cut an intimidating yet more subtle figure. And while I could go into detail about all of those, what really stands out to me is how clearly queer everything is---more than Jenny's alt lesbian attire, more than Esther's campy coat and corset. From the very first scene he's in, he's wearing a skirt, and it looks natural. Nothing about the way the Cat King presents himself is exaggerated, nothing about the way he dresses is played for laughs---he's flamboyant and feminine and flirty, and he looks so fucking hot while he does it. It's gorgeous.

So... yeah, uh, all the awards for the Dead Boy Detectives costume designers!

[leporellian]

actually i could write a whole essay on why referring to opera productions as '''traditional'' is not only a nonsense term but an actively revisionist one when concerning the history of opera.

when people SAY 'traditional', what they actually MEAN are productions that employ late 19th century standards of realism. while realism had existed as an art movement starting in 1848 (the year everything happened), the conceptualization of it applying to theatre really started around the 1870s. the realism movement, in opera, became what we now call verismo. (there's some kind of lesson here in how even the verismo operas have batshit premises like murder clowns and flowers that kill you, but that topic of conversation is for another day.)

anyway, so if you're staging something like tosca which was part of that verismo movement, then yes, you could reasonably stake the claim that going about it from the angle of 'everything is meant to happen as if it were happening in real life with real people' is the traditional one. but that leaves 272 years of opera history in which 'realism' didn't exist, and therefore... there were 272 years in which 'traditional' productions as we know them didn't really exist.

let's whip around to an opera that 'traditional' staging is particularly egregious to apply to: our good old, fairy-tale-potential-allegory friend, the magic flute!

'what the fuck is happening in that image? is it racist?' no, IN THIS CASE the magic flute is not being racist. those dubious dark shapes are meant to be animal costumes. this is part of a set of early engravings by the schaffer brothers of the first magic flute production, which are invaluable both in researching this opera and opera production history as a whole. this is the scene in which tamino charms the animals with the titular flute, in the year of our lord 1791, and they decided to have it look like this!

anyway, once romanticism kicks into gear in a couple decades magic flute productions start taking a turn with it. remember at this time 'the magic flute is meant to happen in egypt' was still something everyone was sticking to, so we end up with these interpretations of magic flute set designs:

you've probably seen at least a couple of these before because that one on the top left is one of the most famous opera set designs ever. anyway, the design philosophy here between these productions, because there's at least two included here, is weird. there's like 3 things going on: you've got the aptitude for spectacle, this vague orientalist approach towards ancient egypt that was influenced by then-recent discoveries but still very obviously rooted in exoticism, and the cosmic abstraction you can see both in the famous hall of stars and sarastro's temple.

all very interesting! but still not 'traditional'! these, at the time, were a radical re-interpretation of mozart's work- compare them to the above engraving. but because these illustrations have a gorilla grip on the public consciousness they superseded the original 'a bunch of skintight suits constitutes animal costumes' production, and now when an opera company wants to go 'traditional' with their magic flute they do this:

hello my good friend august everding! anyway this is seen as the 'traditional' production out of the two magic flutes in repertory at the berlin staatsoper and yet this isn't what the opera originally even looked like- this is a negotiation with the later early romantic illustrations of the work. sure, it's 'traditional' in the sense that you look at that and immediately know what opera that is meant to be. but at the same time was it ever mozart's intention to stage the magic flute on this grand a scale? is this 'traditional' production really in the spirit of the mozart opera designed for a much smaller stage and with a much smaller set? famously mozart is dead so we will never know.

but then that brings us to the question of What would an actually 'traditional' magic flute look like? well we have multiple options here. first, we have ingmar bergman's film version of the opera, which is sort of the equivalent direction-wise of an opera nature cam. modeled after the drottningholm theatre, this recording tries as hard as it can to emulate the magic flute as it might have been seen in the 18th century:

i mean that does look very 18th century, and wouldn't be out of place with the above engraving. but there's still a fatal flaw here: the magic flute was written as an opera for everybody, and was performed not in the drottningholm (which belonged to the swedish royal family and which resides in their palace) but in the theatre auf der weiden, which was, while certainly impressive (trap doors! fly systems!) also a commoner theatre where everyone could just go hang out and watch fairy tale operas. this is a great snapshot in time of what a 18th century magic flute should have looked like. but what would a 21st century magic flute that still adheres to the original 'vision'- no grand sets, no massive theatres, performed by a cast that isn't even entirely opera singers, done with a bunch of jokes meant to appeal to an everyday audience- look like?

well the good news is we might have an idea with the matchbox magic flute, which is on tour right now and which i hope continues to run on said tour.

the matchbox magic flute is the magic flute. it's also not really the magic flute. this is technically an adaptation. it's also not really though. this is the closest i have ever gotten to being in a theatre, watching this opera (which i have seen many times at this rate) and thinking 'shit, yeah, this is what the theatre auf der weiden must have been like all those years ago'. the matchbox magic flute scales down the whole thing into a very small orchestra and ten singers, who alternate roles like crazy. it is designed for very tiny theatres. most of the cast do not sing opera! they have a few classically-trained singers in there but it's actually sung, in modern english, mostly by musical theatre performers. the jokes are regularly updated; since i saw it in chicago, there were jokes about the evening commute on lake shore drive. parts of the plot are entirely updated or worked around.

and yet, it reflects the original design vision of the original magic flute and what mozart and schikaneder set out to accomplish so perfectly, i almost WANT to say that in some way this too is traditional.

(also, they should put tamino in a dress forever and ever. he gets to twirl it even. really good.)

So, what have we learned here. well for one thing 'traditional' productions, as a catch-all category, don't exist. is a traditional magic flute the one based on the early 19th century designs, or the one based on what 18th century theatre would have been like exactly, or the one that tries to reflect its original spiritual vision?

It's all of them because traditionalism as a term is an inherently reactionary term that upholds a time in operatic history that never really existed and which rapidly changes meaning based on the personal values of who is ascribing it, often forgetting that every opera production represents a negotiation and not a reproduction and that the notion of how it ought to be is one of the most dangerous ideas someone in the arts can have. Go watch who's afraid of modern art by jacob geller on youtube and come back to me.

[junipernight]

I redesigned Yangchen's outfit!

... I actually designed a lot of outfits for her, because I am Extremely Normal about these books, and also I like costume design and learning about historical clothing.

Short disclaimer: These fantasy clothes aren't culturally or historically accurate, just historically and culturally influenced. I don't have any expertise in East or Central Asian culture or clothing, I've just been clicking around on the internet a lot the last two weeks learning things because that's my idea of fun lol. If you wanted to talk to people who actually know things you should check out @atlaculture or like @ziseviolet, both of whom's blogs I referenced while drawing.

I only designed two alternates for the outer robes. The first is based loosely off the robes Buddhist monks wear (loosely, because drawing draped fabric is hard ^^') especially the Tibetan zhen robe. This garment is just a long wide rectangle of cloth which can be draped across the body in lots of ways (versatility ftw!).

The other garment I drew is a Chuba, a traditional garment from Tibet and the Himalayas. It's a robe, but it highkey reminds me of kilts and hoodies, in that it a) can be worn over one or both shoulders or just as a skirt and b) it makes a giant pocket over the stomach. The long sleeves can be folded up or tied back btw.

I spent the most time on the middle layer, because I was thinking it has to be something she could comfortably fight in while also being suitable for diplomatic meetings, meditating, espionage, and possibly sleeping.

And like. You can fight and hike and whatnot in loose skirts, but it's annoying how twisted up they can get while sleeping. ALSO, YC does a lot of flying and leaping, so my girl needs pants. My faves are definitely the Xiaolin monk pants and the yellow wrap pants Aang wears. I tried dhoti (Indian wrap pants) because that kind of looks like what the giant statue of Yangchen meditating might be wearing, but I think it looks odd paired with a highwaisted shirt instead of a long tunic. Maybe I'll do some more drawings with her in a tunic and dhoti or a monk's dhonka and shemdap later, idk.

As any good historical fashion nerd knows, foundational garments are everything (◡‿◡✿).

But also, there's a scene where Yangchen and Kavik pretend to be lovers, and are "discovered" by a maid sleeping in the same room, with Yangchen in a state of partial undress (gasp!)

I am living for this fake drama; I need to know how scandalized the maid was lmao.

When the maid walks in, Yangchen immediately wraps herself in a bedsheet before ushering the maid back out the door. Maybe all she did was take off her outer robe... but why would she need to wrap herself in a sheet if she was wearing a long-sleeved high-necked gown? I got the sense from both the book and cursory research about buddhist monks that walking around without your outer robes was socially acceptable, at least in casual settings. I think it more likely she was in her underclothes, which historically (in the west anyway) would also double as sleeping clothes.

"The Aang" is censored because this is Tumblr-dot-com. Its mostly a joke, but also, I know other countries are less uptight about bººbies, so like, maybe it's a valid option ¯\_(ツ)_/¯

The ~Water Tribe~ look is based off Sokka's swimwear and not Katara's, mostly because chest binding seems antithetical to airbending.

All the other undergarment designs are based on hanfu neiyi, because that's what I could find reference photos and romanized names for.

I'm tired of typing now. Lemme know if you have questions about something, or want me to post a larger version of a specific outfit. I am open to feedback and tentatively open to requests.

[enteringdullsville]

I got bored so I made a thing. Modern Nick AU featuring a handful of the child protagonists, a chibified SpongeBob being their chaperone? A summer camp setting, perhaps? With everyone save for Danny, Jenny, and Dora having their ages fudged to be closer?

Sure, why not? From left to right:

Sanjay Patel

He may or may not have snuck Craig into his cabin, and Craig may or may not have started charging people for “sage advice from the talking snake”

Sanjay’s a relatively good kid but kind of a hellion. Manny spends much of his early life in a moral dilemma. Having them be partners seemed like a logical decision

His bowling pin head was really hard to adapt to my usual style without utterly mangling his face, but I think I did alright

Manny Rivera

He’s wearing the boots and scarf from his El Tigre costume

Bessie thinks he’s the coolest thing, but his and Danny’s egos clash almost immediately

This presumably takes place after he’s settled on heroism, but that doesn’t mean he’s not a troublemaker

April O’Neil

She’s quite possibly the only person getting any actual work done in camp

She’s ostensibly the least insane person in the group, but she’s prone to egging on the others’ antics and starting bets on how much things will escalate

Her age has been dropped a couple of years, so she’s often with Lincoln foiling Dora’s whole escape artist routine

Tommy Pickles

Still on his filmmaker career from All Grown Up! He has a lot of footage of a lot of things in a lot of places

Normally mild mannered and agreeable, but being given “strict orders” instantly makes his good mood vanish

His mind tends to wander when he’s bored, and it has no regard for its curfew

Lincoln Loud

He’s a weeb canonically, so he’s been given a vaguely animesque appearance

Whatever camp this takes place at, I can guarantee at least one of his sisters had been there prior. Since most of the characters here are the Everyman type, Linc’s cunning and trickster attributes are played up a bit

Has no regard for the fourth wall. Tommy has no clue what he’s on about and thinks he’s insane

Aang (Just Aang)

Whether or not he can bend is based purely on what’s funniest at the moment, especially since he and Dib make it impossible for this to be canon compliant

He’s definitely living in an AU with a less horrific backstory. Less responsibilities, less issues

Wouldn’t hurt a fly, but he’d definitely give a wasp a warning shot if it was being a jerk

Danny Fenton

Danny, and only Danny, is actually a little older here. He and Jenny are the counselors. Lucky them.

Doesn’t even bother with the secret identity since Bob’s the only one dense enough to not connect the dots

Being able to turn invisible is really helpful when Dib has questions he doesn’t feel like answering

Jimmy Neutron

There he is, officer. That one’s the ringleader

Aang’s existence is a constant source of frustration for him since he can’t come up with a scientific explanation for all…that

He’s right off the heels of Nicktoons Unite and is wondering when and why SB became so serious

SpongeBob SquarePants

The only adult we see at the camp for some reason, and the only nonhuman besides Jenny

I messed up his scaling, he was supposed to be small enough to fit in someone’s hand, hence his overly simplified design. That’s the height he is in-universe

Ironically and disproportionately strong. Not Jenny’s level, but about as strong as he is in Unite…without being adjusted for size. In other words, he can easily pick up and throw the campers like rag dolls

Jenny Wakeman

The only nonhuman kid at camp, as well as the oldest/youngest at 16/5

She’s the one thing stopping land bears from tearing the camp apart

She’s justifiably a little wary since she’s not exactly nature proof, but all the kids think she’s the coolest thing

Timmy Turner

A closer look at him reveals three familiar looking trinkets shaped like a wand, wings, and a floaty crowny thing

He doesn’t need magic, anyway. He’ll make everything possibly go wrong his own way

He and Bessie butt heads almost immediately; Timmy’s fine with one hypercompetent overachieving Girl Scout in his life, but he does not need another

Ginger Foutley

Usually found with fellow artsy types Rudy and Lincoln

Riddled with anxieties and restless leg syndrome. She comes of as brooding, but she’s just introspective

Since April’s a menace, she’s the actual least insane camper

Eliza Thornberry

It took her a bit to realize SpongeBob could actually talk to begin with and that everyone else didn’t have the same power as her. In fact, there’s a non-zero chance there are a bunch of animals from assorted Nick shows that are screaming in the background constantly and it’s messing with her head

I gave her just the one braid to make her distinct from the other Elizabeth in the cast

She slips in and out of her father’s mannerisms. SMASHING!

Rudy Tabootie

Mysteriously disappears to parts unknown it’stheChalkZone every now and then when he needs to blow off some steam

I find it funny how stylized I made everyone else while Rudy’s just slightly taller

SpongeBob sees a lot of himself in the kid. Rudy doesn’t know how to feel about that

Dora Marquez

Y’know, I added her as a joke, and she immediately became my favorite

She’s the youngest kid at her canon age of seven, so she’s coddled by everyone else. She HATES it, given that she’s been adventuring on her own for the longest time, so she’s a lot more cynical than usual. Easily the biggest departure from the norm

Constantly tries to escape supervision in favor of wandering the wilderness, but the talking cheese won’t let her

Arnold Shortman

He doesn’t know how he ended up as the “cool guy”, but he’s not gonna fight it

Appears detached and aloof, but he’s more likely just dissociating

Always seems to know what he’s doing to the point of parody. As smart as he is, I must reiterate he’s just improvising

Dib Membrane

Eliza, Rudy, and especially Timmy aren’t too keen on hanging around him for very obvious reasons

The fact he’s with people who are reasonably sane this time around means he’s in much better spirits. Lincoln’s probably his best friend at the camp, although Dib’s still a loner

He and Jimmy always run the risk of killing each other if they talk for more than two minutes at a time due to differing views on magic

Bessie Higgenbottom

The kid most likely to actually listen to the inane drivel that comes out of SpongeBob’s mouth

Since she’s still working on the whole Mighty Bee thing, she’s all over Manny, Danny, and Janny

There are very few campers that aren’t at least a little intimidated by her

There were a few other characters I wanted to add like Nate Wright (Big Nate), Annie Bramley (It’s Pony), Mikey Munroe (Bunsen is a Beast), but I scrapped them for space.

I elected to only use one character per series, causing me to drop Korra, Sheen Estevez, Ronnie Anne Santiago, and Hazel Wells for being spinoff characters (especially since Sheen and Ronnie Anne were around before getting their own shows). It also forced me to remove Fanboy and Chum Chum from my initial plan entirely.

I additionally wanted to keep SB as the only organic nonhuman character due to the inherent absurdity of having him as the sole adult figure, which is why Dib and April represent their series rather than Zim or a Ninja Turtle and why I chose not to use Harvey Beaks.

[the-thing-inside-your-closet]

Trick or Treat…or Else

This is unfinished because I felt like I kept screwing up Jason’s characterisation a bit. Gotta work on that.

Jason glanced up at the clock hanging on the wall to his left, it’s was 2:57 on Halloween. His patrol wasn’t due to start for a few more hours, but something tugged at him that cause him to feel like something was going to happen. He wasn’t sure if it was a good or bad feeling just yet. He just knew that whatever is was put him on edge.

“Haven’t you taken enough pictures, Danny?” Tucker laughed through the screen of the computer Danny had set up in a four way call between himself, Sam, Tucker, and Jazz.

“I could never have too many pictures of my little princess!” Danny retorted as he snapped another photo of little Ellie in her Halloween costume.

“Ahem!” Ellie puffed out her chest and put her hands on her hips. The pose made her look even cuter, Danny thought.

“Oh my apologise,” Danny grinned cheekily, “my little badass.” He corrected himself.

Ellie, decked out in her mini Red Hood costume. The child sized leather jacket had been a gift courtesy of Sam, while the mini Red Hood helmet had been designed and built by both Tucker and Danny working together to ensure it would be perfect. They might have gone a little overboard however, since they’d managed to incorporated a real working com unit, an air filtration system in case of a gas attack, night vision, heat vision, and an emergency beacon should Ellie wander off and get lost that only Danny or Tucker could access. Danny had also hand painted two nerf guns for her, and gave her hand painted ‘grenades’ that were just glitter bombs. Ellie had insisted, just in case she was ‘forced’ to choose ‘trick’ from Trick or Treat.

“Danny,” Jazz voice held a fondness to it, “if you keep it up with the picture not only will you no longer have any space on there, you guys will be too late for the trick or treating.”

“Oh no! I don’t wanna miss it,” Ellie ran to Danny and started tugging on the sleeve of his costume, “let’s go!” She looked up at him and though the helmet obstructed Danny being able to see Ellie’s face, he could feel it in his bones that she was giving him those big puppy dog eyes of hers.

After a dramatic show of sighing in defeat, he picked up his daughter and said, “alright my starlight, but let’s say bye to the others first though.”

“Bye Uncle Tuck, Aunty Sam, and Aunt Jazz!” Ellie waved her little gloves hand at the screen from her place in her dad’s arms.

Tucker, Sam and Jazz all waved back and said their goodbyes and wishing her a fun time trick or treating. Danny bid his friends and sister farewell and ended the call.

“C’mon Little Hood, let’s go bug our neighbours for candy,” Danny beamed at Ellie as he put her back down and held out her candy bucket which had been a plastic black pumpkin from a dollar store. He’d hand painted a red bat symbol on the front of it for her, so that it would match her costume more. Ellie held the bucket in one hand, and held her dad’s hand in the other as they exited their apartment.

The clock had ticked over to 3:20pm the next time Jason spared it a glance. The trick or treaters would be put and about now. Most cities started later, but in Gotham there was always the risk of a rouge attack, so many parents would go out earlier, just to make sure they were home to avoid being out when it started to get darker.

Jason stretched his arms above his head and marked his page before putting down the book he’d just been reading. He stood up slowly and made his way over to his front door, checking that he had some Halloween candy at the ready just in case someone knocked on his door before he took off for the night. Jason knew that his building had several families with children under 14, so the likely hood of getting at least one truck or treated was pretty high.

When he was satisfied that he had everything in place he returned to the couch, picked his book back up and waited.

“Trick or treat!” Ellie cheered as the door opened.

The middle aged woman who opened the door let out a small gasp, “oh my,” she said with a smile, “Red Hood, I didn’t know you’d be patrolling our building?” Her tone was teasing as she reached somewhere past the door to grab some candy for Ellie’s pumpkin.

“Of course ma’am!” Ellie happily played along, making her own attempt at a deep ‘man’ voice, “crime could be anywhere!”

“Well I certainly feel safer knowing you’re out there protecting us Red Hood,” the woman laughed, “have a good patrol.” With that she closed the door, and Danny and Ellie Bahn making their way to the next ‘civilian’ as Ellie had started to call their neighbours.

Five groups of kids had come to Jason’s door so far. It was getting later, and he knew he’d need to start getting ready soon. Just as he was weighing the pros and cons of heading out on patrol early another knock sounded from the door to his apartment.

[biblicallyaccuratecrow]

in stars and time "method actor" au braindump

the people have spoken! welcome to the method actor au! in which i took the theatre themes of isat and stretched them to their absolute limit!

the premise is that instead of saving vaugarde, the party + major side characters (the king and euphrasie) are an acting troop! and they're telling the story of the saviors through a play. Siffrin is playing The Traveller, and over time in rehearsals has really grown to like his castmates (even the one playing the king- he's actually quite sweet!).

it's the opening night! they're more than prepared for the show!

... until they aren't.

All it takes is a faulty prop from the fly tower, and suddenly siffrin is right back where they started the day before, waking up from a nap in the greenroom before the last rehearsal.

they're back at the beginning. they get a second chance.

after all, you only get one opening night, and siffrin is determined to make it perfect.

...all they need to do is make sure the show goes smoothly!

no stage hazards,

no missed lines,

no injuries,

no deaths,

no mistakes.

and if they have to play the hero to do it?

if the lines between them and their character have to blur so that their parts are perfect?

so be it.

the show must go on.

[notes below the cut!]

[spoilers for isat below!]

so yeah, siffrin takes the term "method acting" way too seriously. out of necessity, though. this is a performance, after all! they have to keep it together for the show, and the best way to do that for them is to embrace their role.

setting

still takes place in vaugarde! except yknow. the king isn't actually happening (yet), so instead of a group of saviors we have the acting group playing the saviors! a bit meta, but it works.

craft and the island still are a thing, and play a major part in the overarching story! this is still a time loop, after all!

all of this is taking place on a stage within dormont's house of change! Euphrasie sponsors, and was more than happy to be included for her very short role! The theatre there has been out of use for decades, but Euphrasie sees it fit to resurrect it just for this show!

The party:

Mirabelle is the playwright, having dreamed up a story like the books she loves to read but for the longest time being too afraid to put it down. Euphrasie encouraged her to go through with it, and they've been building the show ever since! she thinks she isn't a good actor, but she's actually very empathetic as the heroine, since she (secretly) based it off herself.

Isabeau was actually the first to audition- and the only one, at least in the first round. He came in last-minute, and after delivering a solid monologue (with a few puns slipped in), Mirabelle was eager to cast him! He actually loves costume design, but he doesn't dare to reveal this to the party, even if he occasionally spends hours in the House's storage room looking through pieces from older performances.

Odile was a surprising addition to the cast. She was interested in Vaugardian tradition, and figured the best way to learn was through the epicenter of vaugardian culture, at a house. She reccomended some plays to mirabelle from her travels, and after giving some pointers on mirabelle's early scripts decided to join in for the hell of it. She likes horror productions in particular, and contributed a lot to the concept of the king's time craft.

Siffrin was visiting the house, and came to see one of the plays... but got the time wrong and came in during a live-reading of the scripts early draft. he stood and watched for a bit before mirabelle noticed, and after a LOT of fumbling and apologies admitted that he loves theatre. Mirabelle practically dragged him in after that. Given that he didn't have anything else to do, he agreed. Despite claiming he's not much of an actor, much preferring to work on the set design, he's actually uncannily good...

The King is... just a guy, actually! very quiet, very reclusive, but after seeing one of mirabelle's casting calls came in and absolutely smashed the audition. he's been with the group ever since! he's pretty busy outside of the production, but he puts his all into his work! He and siffrin have a kind of kinship, given their shared elusive background and... white hair, i guess.

Bonnie is the younger sister of Nille, who worked on trade classes at dormonts house after the two left Bambouche together. Mirabelle needed someone to help make the sets, and Nille volunteered early on in the production, so long as she could bring Bonnie along. Initially Bonnie wasn't all that interested, but after hanging around the cast a bit grew curious. Siffrin caught them reading through one of the scripts and acting out the various parts on their own. After that, Mirabelle made the time to write in The Kid for Bonnie to have a role thats easiest for them! Fun fact- a lot of The Kid's lines are actually ad libs from Bonnie throughout the production. Mirabelle kept writing them into the script as a sort of inside joke.

Euphrasie is mostly the same! As the head housemaiden, she's had a bit of experience with public speaking and acting, and after seeing Mirabelle having such fun she allowed herself to be roped into a small role as The Head Housemaiden in the production.

the story...

Siffrin's first death is actually to a prop rock falling on top of them. When they wake up, they're back in the green room, waking up from a nap. Isa is out by the favor tree as usual, odile is buying food for the cast party, mira is pouring over her dating profiles disguised as her script, and bonnie is hanging out in the auditorium.

Of course, at the favor tree after the first death is loop. They immediately cast siffrin as the "new director", and from there basically acts much the same as in canon, though a lot of the "memories" are slight improvements to siffrin's acting or the set props.

so, despite all their preparation, the performance keeps getting interrupted in increasingly more and more bizarre ways. A strange array of stage accidents, usually resulting in siffrin's death. They initially suspect that the show is cursed (theyre not that far off), and start to dig into how that could happen. this is where the idea of wishcraft gets introduced. The King seems the most likely to be highjacking the show, but siffrin doesn't want to believe it.

As siffrin performs show after show, things start to get... weirder, somehow. Like the performance is becoming more real with each passing loop. This doesn't just extend to the set, but also to siffrin themself. The line between them and the traveller blurs. As they learn more about wishcraft and the forgotten island, they project this into the story and their performances, and even off set will take mannerisms from the traveller role and use them to brush off the party's concerns.

in later acts, the rest of the cast begins to blur with their own respective characters, to the point that siffrin starts to become irrationally aggressive towards the king, somehow believing him to be responsible. Loop does their best to keep siffrin's handle on reality in tact, but by act 4 they're essentially living out the play. there is no distinction between reality and mirabelle's script- it's all one thing. And the wish makes that true during the performances as well, in ways that even the party can notice- ghosts on the stage, reality warping because of props, even randomly improved sets and staging. The further siffrin descends, the stronger the wish's influence over the performance and their reality grows. by act 5, the wishcraft has transformed the house to reflect that of the play, and everyone to be their characters- or be frozen, as a captive audience. the rest happens similarly to how it does in canon.

the real crux of the issue, like in canon, is that siffrin made a wish. They love their cast, and they love their performance. They want it to stay like that. They want to stay with them. And so they wish at Dormont's favor tree. And it comes true, in the best way the universe can manage- by making it so that the performance never ends. The actual hazards of the set are real- Dormont's theatre is borderline decrepit- but once the wish craft begins to influence things, they become more serious.

i initially had the idea that maybe during the first loop the story becomes real, like what we see in canon, and siffrin is reacting to the actual characters as a literal actor, but i like the idea of the party playing their SASASA counterparts as more base/easily digestible protagonist versions of themselves more. plus like, the idea of it all being literally on a stage is too fun for me

the hilarious thing is, in my mind... the audience wouldn't know that wasnt the intention for the play. in their pov they saw this shit being acted out and not the absolute wacked out acid trip the party saw while on stage. it's an instant success, though the entire party agrees to never put on the show again.

thats about all i got so far? dunno if i'll actually write anything for this, and if i do it'll probably be a one shot or two. but if youre interested in more info abt the au, or just wanna chat about it, feel free!

until next time!

[zara-renata]

Creature Feature with Sylus Qin | ao3 | lads fic masterlist

Summary: You and Sylus dress up for a Halloween gala. This is a short little Sylus series interlude, occurring after these idiots finally get together. Can be read as a standalone.

Notes: Sylus x gn reader, Sylus x mc, second person POV Established relationship This story contains: fluff, banter, two utterly infatuated fools, mentions of alcohol use, smooches

You stand in front of Sylus’s ornately framed, three-paneled mirror in his disgustingly large dressing room, turning your body this way, and then that way, admiring the silver and gold sheen of the full set of plate armor you’re wearing from every angle.

The whole thing fits you perfectly, from the greaves covering your feet with their wicked points, perfect for kicking an enemy while they’re down, to the strangely sexy cuisses encasing your strong thighs, up to the cuirass, the breastplate shining brightly under Sylus’s tasteful spotlights. The pauldrons soaring from your shoulders are huge, imposing, probably designed more for intimidation than for use, but you feel like a badass as you flex your arms. The whole suit is made from what seems to be super lightweight plates, but underneath is a form fitting, incredibly soft leather bodysuit. It fits you like a glove—like the gloves currently on your hands, underneath elaborate gauntlets with built-in brass knuckles. They don’t look brass, but you can imagine punching the living daylights out of someone with these bad boys, even so.

At the edge of each piece of armor, where one plate ends and is layered over another, the silver bleeds into gold. Intricate, savagely flowing designs are engraved into the silver from your greaves to the bevor protecting your neck, and each gleams as if carved and then filled with liquid gold. The engraving of an anatomically correct diagram of a heart, gripped by the uncanny hand of some humanoid monster with sharp claws instead of nails, shines like the sun over your own heart. You stare at the design for a while, in awe of the delicate yet vicious design of the hand, the details of the heart’s chambers, its arteries, its meat gripped by the sharp, sharp claws.

You shake yourself out of your trance and gently touch the hilt of your greatsword. The plate armor is not real; it can’t be, with how light it is. You suspect carbon fiber, or some other strong yet lightweight material that mimics the shine and strength of real metal plate, but without the weight. But this sword… it’s real. Forged from carbon steel, sharp enough to slice paper. The hilt is intricate, encrusted with rubies but not in such a way as to affect the comfort of the grip. You could kill a very large wanderer with this as your weapon, if you could lodge it at the base of its skull or through its heart. You heft the sword with both hands, swinging it through the air experimentally. It feels fucking good .

You hear Sylus’s voice drifting from outside the dressing room.

“Are you ready, darling? May I finally gaze upon your wondrous, surprising form, oh conquering knight of my heart?”

You scowl. Sylus had balked at your insistence that the two of you put on your Halloween costumes in separate rooms, so that you could surprise each other. Well, so that you could surprise Sylus at least a little bit, since he had picked both his and your costume out, while you had no idea what either looked like before he presented you with the elaborate black box, as large as a coffin, tied with a red ribbon and giant bow. The two of you had agreed to go as a dragon-slaying knight and the dragon-to-be-slayed, but you had expected to go to one of those temporary pop-up Halloween stores to get your costume before Sylus surprised you with the coffin containing this exquisite work of art. He has been making petulant, snarky comments ever since you pushed him out of the dressing room and slammed the door.

“It’s not like I am going to actually be surprised, beloved. I did design the thing, after all,” he grumbled. “I’d much rather watch you put it on.”

“Think of it as a test of patience. You like challenges, right?” You twirled your finger, as if to say turn around and go on, now, shoo.

He frowned. “It’s not fun if it means you’re far away.”

“I’m literally right in the next room,” you laughed. “Now, out!” You planted your shoulder against his back and pushed as he planted his feet and leaned back against you with equal force, refusing to budge.

The tendrils of his evol drifted from your ankles, slithering up your legs, winding around your waist—up, up, up, until they brushed against your lips in an insubstantial, shiver-inducing kiss.

“Using your evol to distract me is not going to work,” you gritted out, blowing a raspberry at the tendrils. They dissipated where your breath blew through them, but reformed almost instantly. You decided to switch tactics.

“If you concede, and allow me to put on the costume by myself, I’ll let you take it off me after we get tonight over with,” you offered as you step aside so quickly that Sylus, who was leaning so much of his weight on you that your sudden move sent him stumbling backward with a huff before catching himself gracefully—a falling cat spinning in mid-air to land on its feet. He immediately tucked one thumb into his trouser pocket, the picture of studied casualness after almost falling on his big, fat, sexy ass.

“Fine. But only if I decide which parts I get to take off… while you keep the rest on for me, until I’m satisfied,” he counter-offered, the tip of his tongue sweeping out to lick his lower lip as his eyes raked you from your toes to your eyes.

Eyes which you rolled at him. “Yes, if you’re a good boy for me right now, and get the fuck out so I can pretend that you’re stunned to see me in the whole getup.”

“I can’t believe I let you kiss me with that mouth,” he laughed softly. “Deal, but you won’t have to pretend.” He then disappeared in a whoosh of air, ink and scarlet tendrils, and a puff of feathers. You ran to the dressing room door and slammed it shut before he could change his mind.

And now here you are, dressed as a knight in shining armor. You feel like a real knight, capable of slaying the largest of predators, impervious to fire and claws. You bare your teeth in the mirror and then grin in satisfaction. This costume is so cool that it almost makes up for the fact that you have to wear it to a Halloween masquerade gala hosted by one of Sylus’s business rivals, where Sylus hopes to conduct some shady deal that you asked he not discuss with you in case things go south and you need plausible deniability regarding the aftermath. You grip the sword a little tighter. At least you’ll be armed.

You’d much rather stay at home tonight on one of his big couches in the theater room, stuffing yourself with Halloween candy (full sized candy bars, thank you very much, because your boyfriend is fucking rich and can afford to give away the good stuff), watching horror film after horror film until you’re too sleepy to keep your eyes open. You don’t care what you watch, really, as long as it’s scary. Sylus prefers the classics—films shot in black and white, filled with the golden age of cinema ingenues and actually scary looking vampires. You snort, remembering his reaction to the Twilight vampires after he agreed to watch the entire quadrilogy with you. He promptly got bored, asked if you’d like to play a drinking game with soju shots where you had to take a shot every time Bella bit her lip or Edward stared menacingly. You one-upped him, adding a shot for every time Edward acted like a red flag and every time Jasper looked like he was in pain. You were both quickly tipsy, and the rest of the movie was ignored while he argued with you about what behavior, exactly, qualifies as a red flag, until he gave up in the face of your tirade, nodded until you seemed to run out of steam, and leaned in, licking up your neck, licking into your mouth, and kissed you breathless. You never made it to the second film. 

Tonight, however, you’d just be happy watching the Alien series, or a bunch of indie horror films that you haven’t managed to watch this year. Sylus likes to lie on you, crushing you into the couch underneath him, as he rests his cheek on your stomach, insisting that you pet his hair through the whole movie. If you’re watching something scary and he senses you tensing at a particularly suspenseful part, he’ll gently lift the hem of your shirt and press soft kisses into your abdomen, nosing along your skin. If he is ever frightened by anything you watch, you’ve never been able to tell.

“Are you so desensitized to real life fear and violence that movies do nothing for you?” you asked him once.

He just stared steadily back at you, eyes glowing like fire-lit gems, until he drew you into his arms and kissed the top of your head. “Only one thing scares me, darling.” He breathed deeply. “And when you’re in my arms, I don’t need to fear it.”

You didn’t ask what scares him, and he didn’t tell.

But no. No scary movies for you tonight. No eating snickers until you could burst and tossing almond joys at him for having the audacity to include such inferior candy bars on your Halloween menu. You have to go to a fancy-ass gala full of rich criminal bastards because you love Sylus more than you hate being at large public events and the underworld in general.

You bare your teeth in the mirror again, and then yelp as a whoosh of air, black and red mist, and your beautiful boyfriend materialize at your back, scaring the shit out of you.

You gape at his reflection behind you in the mirror, feeling your heart begin to gallop. His soft silver hair is swept up and back from his high forehead, from which sprout two large … horns? Black, smooth and shiny like obsidian, spiraling up and back, ending in sharp, wicked points. His cheeks are layered with gorgeous jewel-like scales, red and black, slowly blending into the pale cream of his skin. He’s wearing a black leather collar, and a large ruby rests in the hollow of his throat. A black leather harness is strapped over his torso, but it doesn’t do much to cover him except to frame his tits in the most delicious of ways, because most of his chest and stomach is bare. The same pretty scales cover his big shoulders, the thick biceps of his arms, his pecs, his 8-million pack. He’s wearing tight black leather pants and knee high black leather boots. But the showstopper of his costume is the long tail, fully covered in those jewel-like scales, thicker the closer it gets to his ass, thinning towards the tip, which ends in a beautiful, sharp-looking blade the shape of a feather. It’s crimson, edged in black, like the rest of his costume’s color scheme. The tail flicks back and forth, like a cat’s, in a motion that seems completely organic, even though you know that’s not possible. This is just a costume, after all. Right?

“My eyes are up here, kitten,” he teases, and you have a really hard time tearing your eyes away from that swishing tail.

You try to cover your utter fascination with his tail by scoffing. “If you wanted my eyes on yours, you wouldn’t be wearing that harness with your big tits out.” You let your eyes drift to said pillow pectorals. You want to put your face in them, but you’re worried you’ll mess up the.. Make-up? Stick-ons? of the scales. They look so real.

His response is to hunch a little and then flex one pec, sending it bouncing, and then repeat on the other side. “It’s one way to ensure that your eyes are on me all night, instead of wandering,” he says smugly.

You laugh. “As if my eyes aren’t always on you, no matter how you’re dressed,” you murmur, the affection for this man swelling inside you.

“Yes, but tonight there will be lots of interesting costumes, and I know you’ll be fascinated with them, and insist on asking their owners why they chose them, and if they made them by hand or had them ordered, and they’ll be so captivated by your charming interest that I’ll have to interrupt business in order to remind them that you came with a date,” he says fondly. “You look magnificent, by the way. Just as I knew you would when I had this costume made for you.” He sounds satisfied, in the way an artisan is satisfied with his masterpiece.

You feel yourself glowing under his praise. “It’s so badass, Sylus. Thank you.” 

His tail flicks faster. You want to ask him how it works, but he distracts you. “Does the badass costume make up for the fact that I’m dragging you to a gala instead of letting you laze around, intent on giving yourself diabetes and a heart attack?”

“Candy and a scary movie do not automatically lead to diabetes and heart attacks, you big drama queen.” You turn around so you can see him in real life, and not just in the reflection. Your costume is silent as you move, unlike a real suit of armor, and so comfortable and easy to move in. It’s truly a work of functional art.

He opens his arms, and you go to him. He wraps his arms around you, despite your oversized pauldrons. He kisses the top of your head. “I know you’re disappointed though. I will make it up to you, when we get back tonight,” he murmurs.

You look up, luxuriating in the softness of his eyes, the fond smile on his beautiful, and now slightly foreign face. The scales glitter under the dressing room lights. You notice now, from this close, that he must be wearing contacts. His pupils, instead of the usual round shape like any human’s, are now slit like a cat’s or a reptile’s. You admire them for a moment—he really paid attention to the details of his slutty dragon costume, just as he cared for the details of your dragonslayer knight costume.

“Sylus,” you breathe his name. Being able to say it—to roll it around your mouth, the name of this man you love so much—is a joy for you, every single time you say it, and every time he looks at you in response. “I don’t care what we do, or where we are. Tonight, or any night. I just like being with you.”

Sylus’s tail whips back and forth so fast that it knocks over one of the dressing room benches before it wraps around your armored leg and curls round and round, the flat of that blade-like end patting your plated ass in a sharp little rhythm, like it can hardly contain itself.

“How does that thing work—” you try to ask, but suddenly Sylus’s lips are on yours, and he’s kissing you softly, slowly. One big hand drifts up the back of your neck, cups the back of your head as the other drifts along your jaw. As he licks your lower lip, he thumbs it to open your mouth—you part your lips, bare your teeth, and bite his thumb.

“My fearsome dragonslayer,” he says softly on an exhale. You close your lips around his thumb and suck, never taking your eyes off his. “We’re going to be late,” he sighs, not sounding upset at all. You just nod.

He lifts you, armor and all, and in a poof of feathers, a whoosh of air, and the dissipation of black and red mist, he transports you to his big bed, where you make each other very, very late for the Halloween gala.

[whyareyoulookingatmelikethat]

[13]: Twirling Thread

(Longer than my usual stories.)

This took a while, heh. Sorry for the wait in regards of stories, writer's block has arrived at Destination Me.

Not sure if I'll do the rest of the characters, feeling pretty down. Maybe someday.

(Reader is the costume designer for the toons. The names above each paragraph of writing are the names of certain skins in the game.)

Boxten: “Cloudy Dream”

“Almost…almost…there!”

You sat up to lean back and look over your work.The prettiest shade of lavender dripped from a small paintbrush you held, a can of white as well close by.

“Okay, we can let it dry, and then you can take the tarp off. Don’t want your clothes to get paint on them too.”

He reached up gingerly to pat his face down as he normally would, but you grabbed his hand quickly, forcing it away.

“Boxten…”

“Sorry, sorry! It’s a habit…”

Poppy: “Sapphire Dots”

“You’re sure this isn't a bit tacky?”

“I don’t care if it's tacky, what matters is I’m wearing it, and I’m proud!”

“Being proud doesn’t hide a poor sense of fashion.”

“Y/N!!!”

Tisha: “Lavender Maid”

“And to top it all off…”

You brought out the item from behind your back and gave it to her.

“A brand new feather duster!”

She gasped in delight, and gently put it down, then hugged you.

“Oh my goodness, thank you so much! The old one I had was getting so dirty, and I can't really wash stuff like that…”

“Hehe, I’m excited to see you use it! Have fun!”

Finn: “Prismatic Pal”

“MORE SHINE! MORE!!”

“FINN THIS IS GETTING TO BE TOO MUCH-”

“THERE’S NO SUCH THING AS TOO MUCH SHINE, I WANT TO LOOK LIKE THE SUN!!!!”

“FINN YOU’RE ALREADY TOO BRIGHT FOR ME TO LOOK AT!!”

Razzle And Dazzle: “Seafoam”

“You’re doing a lot for us, you know. (Are you sure?)”

“Yes I’m sure! Besides, if you guys are going to perform sometime, you’ll need different outfits, right?”

“She’s got a point!” “(Alright then…but at least make it something simple.)”

“Aw, okay then. How does a mix of greens sound?”

“It won't be something like yellow-green, will it? (Yuck…)”

“Nope, more like turquoise.”

“Oooh, I’m excited to see how it looks! (Sounds pretty…)”

Cosmo: “Caramel Drizzle”

“I thought that maybe because you and Sprout are friends, you guys could have matching outfits! Whaddya say?”

“Really? Oh, yes please! That’s very sweet of you to think of us…”

“It’s not much really. Here, can you turn around so I can adjust your apron?”

Cosmo patiently did as you said, waiting as you secured the warm orange bow around his back. He only turned around again under your gentle pulling motions so you could smooth out his apron.

“And…this might be a bit hot, but please bear with me. It’s caramel after all.”

You took the bottle from the stand next to you, making a quick drizzle motion so it lined perfectly on top of his head.

You poured a little sauce on your hand to dab on his cheeks, then wiped your hands off and leaned down to get the perfect angle to place the stars in, sticking your tongue out as you worked.

He didn’t tear up or hiss at how hot it is though, he seemed to let out a sigh and…melt?

…He actually looked pretty content.

“Warm…”

I guess that confirms it.

Flutter: “Vibrant Monarch”

“Be still, I’m almost done.”

Flutter nervously flapped her wings, slapping you in the face every so often and nearly knocking you out of your chair.

“Please Flutter, the paint will be blurry and won’t look good if you keep moving.”

“...!!!”

“I know you don’t like standing, but you need to right now! You can fly all you want when I’m done.”

“...!”

“Thank you.”

She lightly tapped the floor with her foot as if testing the waters, flinching every so often, before she set both feet on the ground and stood stiffly, anxiously waiting for you to finish.

Goob: “Special Spaghetti”

“I want to commit cannibalism on myself.”

“What-”

Goob: “Fun Partygoer”

“Ooooooh, I get a party hat too??”

“Yes you do Goob, let- let me- adjust it please-! Please stOp BOunCIng!��

“Sorry, I’m just so excited to see how I look!”

“I get it I get it, but pleas-!”

The party hat crumpled under a particularly high jump.

“...”

“...”

You sat down, head in your hands and started crying.

“WAIT NONONO Y/N I-!”

Glisten: “Warm Sweater”

(Based off my opinion! I love blue and white, but THE MAKEUP RAAAAA-)

“I still think the eyeshadow is a bit much.”

“Well, I don’t!”

“But you say you look good no matter what you wear, right…?”

“...Yes…”

“So you shouldn’t have a problem with no eyeshadow because it’ll look just as good!”

“But I- you-!”

“End of conversation.”

(Glisten somehow convinced you to give him back his makeup)

Gigi: “Rainy Day”

“But I don’t waaaaaannaaaaa!”

“Gigi, it’s still an oversized sweater. You’re basically just changing the color of it and adding some drawstrings, okay?”

“Noooooooooo…but…b-but…”

“Yeah I know what a butt is, you have one yourself. Now give me that―”

You yanked the sweater out of her hands, cutting yourself off as you stumbled back, “―Thank you!”

Quickly checking for rips and finding nothing, you let out a sigh of relief, then immediately raised your hand in the air to avoid her grabbing ones.

“Nooooooo, gimme it back!”

You sighed again, walking over to the dresser―well, as best you could with a whiny Gigi trying to trip you― and pulled out a yellow sweater with a hood.

Placing her old clothes on a high shelf so she couldn’t reach it, you turned and picked her up, setting her down to sit on the edge of the dresser and pulled the yellow sweater over her head.

Her crying instantly stopped and she snuggled down into it, content. You let out another(she’s a handful to deal with) sigh and sat down next to her, petting her head.

Sprout: “Salted Caramel”

“And you’re sure that you’ll be fine?”

“Yes, Y/n! Now just do it!”

You hesitantly poured the bucket of caramel on him, covering half of his face bit by bit while also making sure not to get the petals wet.

You let out a sigh of relief as the last drop dripped from the container, making a quiet plip sound as it joined the rest of the warm sauce.

The rest of it settled on the tarp below, collecting in a puddle that stained his feet orange. You’d have to clean him later.

He reached up a hand, messing with the caramel on his face before you slapped his hand away.

“No! I’ll have to put a new coating on you if you mess with it.”

He simply chuckled in response, “Not like I’d mind.”

Vee: “Cosmic Signal”

You sighed in relief as you checked over her mic, making sure there weren’t any scratches.

“Okay…finally done. Oof, that took a lot out of me.”

“I can tell. Making 25 different costumes that actually look good isn’t exactly an easy job.”

You perked up upon hearing this.

“So you DO like Scraps' costume!”

“What!? I-”

“I’m joking, I already know.”

She just glared at you and looked to the side.

[dresshistorynerd]

This is kind of random, but would it have been a struggle for a big busted women to wear fashionable silhouettes in the medieval era? I’ve heard some costume historians discuss that there were forms of bust support, but most of what I’ve seen pre-1500s seems like it would have been a nightmare for any ancestor with a similar bodytype to wear. Am I just from a line of women doomed to horrible back pain? (On the flip side of the situation, I’ve found corsets and stays to be rather comfortable, so that’s not a problem)

As a fellow big boob haver, I have good news for you! There were pretty good Medieval bust supporting garments and I have tested one of them.

With sturdy fabric, tailoring and lacing you can create pretty good bust support. Lacing was popularized first in 12th century in form of bliaut, and in 14th century tailoring became standard for everyday garments. I don't know how well bliaut supported the bust, but since it doesn't fit super snugly, I assume it doesn't distribute the weight of the boobs as well as tailored supporting garments and therefore isn't as supportive. I'm also not actually sure if there was proper bust supporting garments before that, I haven't looked into it. I know Romans bound their breasts with cloth wrapped around the chest, so maybe that technique continued (at least for those who especially needed it) till lacing and tailoring became a thing. For more about how supporting garments developed in Europe through history, I have a post about development of lacing, which coincides pretty well with that history from 12th century forward.

Personally I have experience with Medieval Bathhouse dress, which was used in the Germanic Central-European area roughly in 14th to 16th century. It's called the Bathhouse dress because most depictions of it are from bathhouse settings, but there's depiction also in bed chambers and other contexts, so I think it's pretty safe to assume it was used more generally as an undergarment. It often had separate cups for the boobs (see the only extant garment left of it, the so called "Lengberg Castle Bra"), but not always. Unlike most other undergarments at the time, it was sort of a shift (the lowest layer) and a supporting garment combined into one.

I sewed my own recreation of it (with some alterations because I made it for my everyday use, not as a historical recreation) and did a post about my results, where I go deeper into the history of the garment too. I didn't construct it very well and I did an error in the design of the back, which cause the strain of the shoulder straps to focus too much on very specific spots in the back panel, which eventually made the fabric there break too many times. (There were some other smaller design flaws too, like the waistline is lower than my natural waist so it rose and wrinkled annoyingly.) I did use it daily (except when I washed it) for a fairly long time though and it was super comfortable and helped a lot with back pain (and shoulder pain caused by use of modern bras). I hate that I've had to go back to modern bras because I haven't had the time to remake it yet. (I'll probably make a follow up post once I get around to it, where I go through the issues of the first version and how I addressed them in the next attempt.) Well fitted and shaped bodice which is then laced does surprisingly much even without any additional reinforcements.

I haven't made a Medieval kirtle (though I will some day), but it was the more widely used Medieval supporting garment, which eventually replaced Bathhouse dress in the area where that was used. Kirtle is worn over a shift, but it broadly works similarly. Kirtles could be front, side or back laced depending on the time period and how the Kirtle was constructed. Multiple layers of kirtles could be used and looser overgarments (like houppelande) were often used on top of it. Kirtle was used by everyone, including men, but for those who didn't need bust support, it's purpose was mainly to create the fashionable silhouette. Here's three depictions of kirtles from 15th century. First unlaced, but has lacing on the front, second close up of the side lacing and third shows nicely how both front and side/backlacing shaped the bust.

Morgan Donner is a costumer, who focuses a lot on Medieval costuming and has a big bust, so while I haven't personally tested the supportiveness of kirtle, she certainly has. The kirtle bodice part needs to be patterned to accommodate the breasts by giving it round shapes and the kirtle needs to be a little too small so there's room to lace it to fit well. Lining also helps to reinforce the fabric and make it more firm and supportive. Here's Morgan's pattern from the tutorial in her website and how the kirtle eventually fits for her. (Also look at the handsome boy in his handsome matching outfit.)

She also has a video relating to the same kirtle project, where she explains her method to pattern a kirtle specifically so it's supportive for big bust.

In 16th century more stiffness was added to kirtles, first with very stiff lining and then with boning, but that doesn't necessarily add to the bust support, rather it just allows the kirtle to shape the bust and the body in general more and better support a heavy skirt. Firm fabric secured snugly with lacing is already very good at distributing the weight of the boobs to the whole torso.

In conclusion, at least since 14th century people with our body type were not doomed to eternal back pain and even before that some ways to help with it were probably used.

[mystardustmelodyyy]

@remotewatch HQ’s Election Countdown Day 6: Law Students

Hand to god, it began purely as an academic partnership. Splitting note-taking responsibilities and checking each other’s work, that sort of thing. Sure, Jack was absurdly pretty, but the addictive spike in positive instructor feedback after you’d been reviewing each other’s writing for a bit had much more to do with it. When you started fucking after your study sessions, then before, then doing as much as you could before the ten minute break timer went off between subject blocs, it was pretty easy to justify. Literally getting fucked to sleep six nights a week made it nigh impossible to stay up worrying about what concepts would screw you over on an exam. The more time you spent letting Jack’s tongue lave over you and the longer you let him say he needed to coax you on his fingers before stretching you out over his dick like taffy, the more you struggled to worry about much of anything.

If you had to put a date on it, Halloween was around when you realized a change was going to be necessary.

The whole night had actually been going swimmingly: an Anything But Human dress code for your friends’ potluck was by far the least contrived of the season, and you’d started designing your honeybee costume the second you got wind of it. At your request that he please select a corporeal, non political costume for one party, Jack grabbed some wire, pliers, and black yarn from your craft basket and whipped up a cat ear headband to match the first all black outfit his eyes landed on before he’d headed over.

You, on the other hand, spent the last hour leading up to the party thoroughly saturating two powder puffs in gold spray glitter for your behind the knee curbiculae, leaving him to meticulously glue gold rhinestone smatterings to the black velvet of your dress and taking care to push his head back whenever it dipped too close to the fresh E6000.

Things only started to go south when you had to bend down to draw on Jack’s whiskers with your eyeliner. His patience lasted almost long enough for you to reapply your lipstick and kiss the tip of his nose pink before one finger was curling under your swooping low, gold marabou-trimmed neckline.

“I’m glad I didn’t let you talk me into going commando with a catsuit-“ he murmured, nuzzling his nose over your chest “it would be a real problem when you look this good.”

Soon enough, your legs were hooked securely over his shoulders and any lingering stressors were steadily eroded away with each full-weighted, eyelid-fluttering thrust of Jack’s hips.

When you eventually get out the door, it’s already sunset, and the fading daylight reveals comically dense patches of your pollen glitter reaching from Jack’s shoulders clear down to his navel. That good for nothing spray adhesive hadn’t held shit in place; you’d be amazed to discover any sparkle left behind your knees the way he’s bathed in it.

“This is exactly what I’m talking about! We look like a couple of perverts, and we’re late!” you frantically swat at his chest trying to clear some of the glitter, only working it deeper into the weave of his sweater.

“We’ll fit right in!”

“No, I’m serious! We really need to set some ground rules or something because this is getting ridiculous.”

✨✨✨✨✨

I’m sure you’ve all seen these by now 🤭. I know we talk a lot of the Harris Walz campaign specifically but Jack makes a good point- there are so many other candidates and propositions on your ballot that are just as important. For example, it is vital for us to secure as many GOP seats as possible. Vote.org has a great feature where you can enter your information and get a preview of your ballot to prep for when you vote for real.

Stay informed and stay mobilized, my beautiful heauxs! 👏🏽🩵💋

[mouwrites]

Creepypasta/MH - Doing Halloween Stuff With Them :)

(Characters: Tim/Masky, Eyeless Jack, Jeff the Killer, Nina the Killer, Jane the Killer, Ticci Toby)

Tim/Masky

Hear me out... corn maze

I believe that Tim enjoys a good puzzle every now and again

He loves trying to figure things out (specifically when there's nothing at risk)

Getting to show off his navigational skills is also a major plus

He just likes to impress you, even if it comes off as annoying sometimes

"See? What'd I tell you? The exit's right there."

Though he does like the satisfaction of completing the maze, what he really treasures is that time you spend together figuring it out

Once you finally find the exit, you'll celebrate with hot cocoa :D

Eyeless Jack

This man LOVES carving pumpkins

He goes all out; definitely one of those people who makes the crazy intricate designs that look like they take hours

He'll love it if you help him!

If you have a steady hand, he'll let you do the details

If you don't, he'll task you with gutting the pumpkin/handing him tools

You guys collaborate on multiple pumpkins throughout the month, setting them in random locations for everyone to see

If there's a design you want to do, just show it to him, there's no question he'll be down

If it's too simplistic, he'll try to add more details

"Ooh, Jack, look at this one. Can we try to re-create it?"

"Of course! Though I do have some ideas on how it can be improved..."

Jeff the Killer

Another pumpkin carving enjoyer

But for a different reason... a very different reason

He loves the goriness of gutting the pumpkins

He couldn't care less about making actual designs, he just wants to get messy stabbing the pumpkin and gouging out its insides

That being said, he'll 100% gut your pumpkin if you ask him (he'll probably end up doing it even if you don't ask)

It's honestly a little disturbing watching him work

He just gets this look in his eye...

"You, uh... you doing okay there, Jeff?"

"Hm? Yup! Never better!! Say, can you grab the big knife from the kitchen for me?"

Nina the Killer

You best bet she's the costume queen

Spends the whole year planning matching horror-themed costumes

She'll settle for no less than creativity and perfection

High-quality props and articles only!! She'll even make them herself if she has to!

You can expect to spend at least an hour in front of the mirror while she does your makeup/adjusts your clothes

She's an SFX makeup legend, loves incorporating as much gore into your costume as possible

Don't ask why it's so realistic (it's not like she knows how the wound would look if it was real or anything)

"Wow, Nina... It's almost like I can feel it! It's so real!"

"No, no. If you were feeling it, you would be screaming pretty loud right now."

You can also expect to attend multiple parties where you show off your costumes

You guys dominate costume competitions

Jane the Killer

Horror movies!!

Specifically, making fun of them

You both pick apart the plot, the characters, the dialogue, the special effects, everything

No horror film is safe from your scrutiny

If you're the type to get scared during horror movies, her snide comments will help distract you

"Ooh, I can't look!"

"Oh, come on. Look—I bet they used corn syrup for that fake blood. It's way too thick."

When the movie ends, you're both feeling more amused than scared

She doesn't like to see horror films in theaters because she doesn't get to make commentary, plus she doesn't want to "waste" money on a "stupid tryhard-horror flick"

She'd much rather dig up some old indie DVD/VCR and have a home movie night with you

Ticci Toby

Halloween sweets are his bread and butter

Candy apples, fun-sized candy bars, candy corn, pumpkin bread...

He would perish if you made anything homemade for him

Spends the whole month gorging on sweets almost as fast as he can get his hands on them

He will not share with anyone but you

And even you only get a small portion of his goodies

Robs at least one child on Halloween night, mostly for the candy but also because he likes scaring little kids

"Where did you get all that candy?"

"Got it from a little birdy. By that I mean a kid in Falcon cosplay."

"Toby! ... save me the (favorite candy)."

Thank you for reading! Have a good day/night my spooky pookies <33

(divider by saradika)

[waxesnostalgic]

18th Century Waistcoat

So one of my favorite webtoons, Heir's Game, ended in December and I was so devastated. I didn't want it to end! I decided to make some of the clothes the protagonist wears in the webcomic to assuage my grief. It's set in a sort of fantasy world with 18th and early 19th century costumes that are quite close to historically accurate. I also thought it was a shame there were none of these gorgeous full-skirted waistcoats in the Sims (at least, not at the time I started making this nine months ago... has anyone else made one yet?) However, it's not totally historically accurate as it's also kind of fanart.

But this would probably work for mid-18th century. I recreated a lot of the looks seen in the webtoon and also made some plain swatches for less dapper gentlemen.

Download: SFS (with PSD) | Dropbox

This is a fullbody outfit for teen/adult/elder without included shoes or stockings. (My shoes are located here). More information and closeups below the cut.

There's a lot of embroidery on these waistcoats. The one above I hand drew to mimic one that appears frequently in the comic, but all of the others I borrowed from existing Sims clothing, mostly Indian wedding clothes. Those 18th century Europeans certainly loved taking stuff from India... I had some ideas for drawing some elaborate designs on these, but then I remembered that I'm not really that good at drawing textures. There are a lot of 18th century creators in the sims community who are, so I hope that some of you might recolor this one.

The back of real life waistcoats of this type were usually linen or cotton, sometimes not even dyed, as it was intended to be hidden beneath the coat out in public. However, it does look prettier all in the same fabric type, doesn't it?

The weights on this mesh were tricky, which is part of the reason I waited close to nine months after starting it to finish it. I think it looks pretty good for the normal sims activities, but I found when posing in CAS that the waist area looks strange with a lot of CC poses. I don't think I can fix that without messing up the other weights, so I'll just be leaving it as it is.

Also, please read Heir's Game! It's really good, and you can read it for free on webtoon. Lots of political intrigue, sword duels, violence and it's also very gay.

[mimicofmodes]

I saw a post going around about costube historians analyzing period film costumes for accuracy and it kind of got under my skin, so I'm sitting down and writing ... not exactly a response to it, but a discussion of the topic.

(It would be a direct response except that I don't actually watch costube, because quite frankly I can't watch/listen to people discuss things I already know. And I don't want to be like "they don't do X!" when maybe they really do X and I'm just not aware. But a lot of the complaints hit the same points that have been brought up against fashion historians for reviewing costumes for decades. I would also note that I have looked into specific videos where there were claims of terrible costuber behavior and watched them and found nothing.)

If you're going to analyze a period film's costuming in any way, you should still interact with the historical aspect to some degree. If you want to talk about the use of bold stripes in Tim Burton's Sleepy Hollow, for instance, and you don't mention that they were in style during the period the film appears to be set in, it's kind of weird.

Likewise, yes, if you're critiquing primarily from the angle of historical accuracy, you should also engage to at least some extent with the reasoning behind the inaccuracy. If a reviewer doesn't do so at all, then yes, their review is probably not as good as it could be.

People pointing out an inaccuracy (or many inaccuracies) are not inherently scolding the costume designer. Even if their tone is something other than sweet. Sometimes they are scolding other people involved in the production, like the director who mandated a particular costume, or just a general notion of TPTB. Usually they are divorcing the art from the artist, though, and just reviewing the costuming from their particular viewpoint and knowledge base for a likeminded audience.

Sometimes, yes, they are complaining directly about the costume designer. This is not a crime. Some costume designers (for instance, Sandy Powell) have an incredible grasp on fashion history and excellent taste when it comes to diverging from it. Others simply don't have as in-depth of an understanding and make design decisions sometimes based on stereotypes and myths. Some costume designers will explain their decisions in interviews or blog posts and make it clear that they didn't make a truly informed decision about accuracy because they didn't know enough about the period. It's important for both sides of the equation to stop painting the other with too broad of a brush ("ivory-tower elitists who have no idea of a production's needs or budget" vs. "costumers who know how to sew but not how to do historical research").

If you're allowed to complain about a writer or a director or an actor doing something you don't like in a movie, you're also allowed to complain about a costume designer. You're allowed to have aesthetic preferences, and even to talk about them without hedging every five seconds to make it clear that others can disagree, although some of this is beneficial with any critique. Why would it be otherwise?

This seems really obvious to me, but maybe it's not? But "they costumed that female actor in an anachronistically sexy way because sex sells" is a feminist issue. The assumption that women's bodies should be sites of less-clothed allure while men's should attract by being more covered (with more layers than in modern dress, with cravats, etc.) is sexist. Complaints about female characters being costumed inaccurately are often being made along these lines, and pointing out that the producers insisted on it or something does not mean it's suddenly unproblematic that every female character deemed fuckable has to have low necklines at all times and modern shiny hair.

It's true that fiction isn't non-fiction and shouldn't be taken that way, but it's also demonstrably true that viewers do take cliches in film aesthetics as accurate when they see them enough times. People cite Scarlett O'Hara's 18" waist. They believe there were no bright colors before the 1920s and that women couldn't have put their hair up unless they were wealthy. These beliefs have consequences when it comes to public perceptions of history, and if films perpetuate them it's perfectly reasonable to point out that they support ideas about e.g. gender roles that trads express today.

It's also simply funny when a film's hair or costuming or makeup is supposed to evoke a lack of artifice but actually requires quite a bit of artifice because people don't naturally have perfect hair and skin and so on.

If you don't like reviews of period films that focus on the accuracy of the costuming, maybe ... don't watch/read reviews by fashion historians and historical costumers? At least unless they're vetted for you by someone who doesn't mind that?