#but it also feels so childish???

[buckys-estrella]

I hate to admit it, but I have a crush on someone

[fiendishartist2]

redraw of this post from bunnyfarm's release

kofi|instagram

[amberluvsbugs]

I don't know if this has been asked before, but I'm curious what about Sun and Moon do you like so much? I'm not judging. I'm just curious as for me, I simply just saw them as unique animatronics with a nice nod to jekyll and hyde. Also thanks for answering my prior question.

[roomba-mangga]

Curry pt. i // Curry pt. ii

yeah alright okay. fine. cool. alright. yeah

[elfcollector]

BALDUR’S GATE 3 (2023) — developed by larian studios.

[tricoufamily]

i wish ts4 packs would stop making such a huge part of the gameplay “this makes this part of the game easier! gain skills 10x faster! never get hungry! make $5000 every minute!” the game is already too easy please i don’t want a magic tree i want a clinically depressed man in a band who lives in the world’s shittiest apartment in gotham city i want him to suffer

[triglycercule]

nightmare viewing the murder time three as little toys but more in like a little spoiled kid kinda way. because it would be funny and if you take into the account that he was like 6 before getting corrupted and do some mental loopholes it would be even funnier. like these are his dolls (killer dust and horror) and this is their barbie dreamhouse (his castle). they all have to stay in one room because nightmare needs to keep his toys in a toy box. the toys only ever come out when he wants to play but oh damn it they keep on breaking out!! silly toys,,, and then he locks them into the room again.

nightmare serves them food with plastic tea cups and plastic plates and there is no food. there is no tea. they have to imagine the food because dolls can't literally eat. there are food containers and stuff in the house but its all just a bunch of empty boxes. horror starts tweaking out after he scavenges the kitchen and finds a cereal box and milk carton that have NOTHING in it (why keep empty boxes?????)

they have to go where he wants them to go. nightmare gets to dress them up in whatever he wants because theyre his dolls they can wear anything he wants. it gets incredibly embarrassing when the trio is forced to wear pink pretty dresses and fight like that. or they have to go around the castle doing stupid fucking roleplays and it gets weird because theyre being forced to reenact a bullying scene and nightmare's giving them the death stare if they don't get it right (is this projection. this must be some form of coping mechanism dust theorizes)

and then you know nightmare's not exactly the best toy owner so he loses a few of his dolls here and there. maybe they get destroyed when he was playing a bit too rough with them! (killer dies in battle for like the 29th time) but its okay because he can just go back on down to the store (something new) and buy. wait no. steal another doll and then put it back in his dreamhouse and BOOM he has a full set again!! so sweet so cute. his dolls don't have consciousness what are you talking about theyre begging to be let go?? that's all just your imagination. what do you mean you're asking about the several slowly dying bodies with removed arms or legs in his dungeon. oh that's just where the broken but not yet destroyed toys go dw theyre fine its humane

[shannonsketches]

Why is the anime so weird, it's not even the same series dude?? It's like,

Anime:

GOKU: I have a great idea to bring peace to the universe, and my leadership and compassion alone will unite us all. I have No Flaws and am A True Relatable Everyman :)

VEGETA: NO! I AM THE BEST AND I WILL CAUSE PROBLEMS UNTIL I AM RECOGNIZED AS SUCH!!!!

Manga:

GOKU: Vegeta what's cornmeal made of? I know it's what the corn eats, but what's it made of? VEGETA: Hey Kakarot let's play the quiet game until one of us dies.

[onceuponagalaxyfarfaraway]

do yall think suvi has the most beautiful, elaborate handwriting (that she's incredibly proud of) or the messiest, illegible cursive (that she's secretly embarrassed by)

[trans-leek-cookie]

i don't follow dungeon Meshi discussions closely and also haven't seen much in depth analysis of the marginalization of halflings specifically but I feel like the Infantilization aspect is focused on without acknowledging the ways they are often also Dehumanized (little weird considering the usage of "human" in the context of the story but I think it fits well enough). Like they are considered unskilled and immature due to their appearance + shorter relative lifespans, but also they are considered shady, used as literal bait (for sirens and succubi), and fucking disappeared when they come into contact with dangerous artifacts. Like both are significantly negative, but one is a bit more Obviously Violent in a way that I feel like is under discussed.

[rawliverandgoronspice]

I don't get why people hate the timeline so much, its not like you can't pretty much completely ignore it when you play the games. The only time it even approaches mattering to the story is when there is an explicit sequel like botw and totk or zelda and zelda 2

Hey sorry your ask got lost in the sauce of my broken tumblr, but: yeah!

I mean, I get why in some sense. It's been a heated point of debate and I think some people understandably resent the space it has taken not only in fandom discourse, but in how people began to understand the game and its narrative aesthetic choices. There is such a thing as over-rationalizing everything to hard logic, and sometimes it's just not the fandom for that --especially when you begin to forget it's all just fan theory and start to forget what the games are supposed to be like and evoke beyond just strict facts displayed in a linear way.

What I think bugs me with TotK in particular is that it both evokes and relies on continuity and the idea of a timeline, of archeology, of history itself, while being so loose and vacant with it that it both is doing Timeline Shit while also completely failing to understand why some parts of the fandom were invested in Timeline Shit to begin with.

But that's just my two cents of course!

[ghostiezone]

"....Ashe?"

"Who's that?"

short-ish fic under the cut because I had to be in the tranches about this :)

The Wards received the invitation only an hour before they arrived.

i know where to find your friend :)

The crumpled piece of paper looked like it had been drawn in crayon. It was stapled to the front door of their home. Their civilian home.

"Aux-" Failsafe started immediately, but Imprint's hand over his mouth cut off the name before he could finish. The boy wasn't in costume.

Imprint addressed him instead, cautious. "Ashe...?" He lowered his gloved hand from Failsafe's face and stepped forward between his two teammates, slowly, like he was approaching a cornered animal.

Wraith had been a stoic, silent presence since they entered the room, but Failsafe could feel the tension rolling off of him in waves.

The boy sitting on the edge of the desk looked.... young. Younger than he should. The shirt he had been put in was too big for him. Not in the same way his dad's jacket was too big for him- he used that like a turtle shell, something to retreat into, pull over himself like a shield. It was safe, warm, all-encompassing. Despite the issues they knew Ashe and his father had with each other, the love was still there. No, these clothes... they hung loose on his already skinny frame, making him look exposed. Vulnerable. They were monochrome, pale in a way that made him look washed-out, almost ghostly. He sat with his legs crossed, hands holding his ankles. He wasn't wearing shoes. One of the sleeves threatened to slip off his shoulder.

He tilted his head as they entered the room. The movement made Failsafe think of the stray puppies he used to feed in the alley behind their house.

His hair had been washed recently.

Something was very wrong here.

Ashe's face was devoid of all emotion. Though he was looking at the three of them, making eye contact, something seemed... distant. Failsafe reached out with his power and found... nothing.

He felt his heart seize in his chest. He frantically grabbed Imprint's hand before he could take another step forward, and tore his gaze away from Ashe to lock eyes with Wraith He hissed under his breath, he didn't trust his voice not to shake "guys, hes-"

"Breaker state, yeah. I know." Wraith finally broke his silence, voice stony and cold. "Don't get any closer to him."

At the sound of Wraith's voice, Ashe's eyes locked onto him. They were burning with an orange glow.

His head bent further to one side, and his face split into a wide grin that looked almost painful. Failsafe felt Imprint tense, fingers twitching like he was getting ready to reach for a weapon. He squeezed the wrist he was already holding. "Don't. We can't. That's still Ashe."

In that brief moment of distraction, the boy on the desk began to laugh. It was a broken sound, distorted, not like anything they had heard from him before. That deep orange glow in his eyes shone even through his closed eyelids. Wraith's cape billowed as he stepped in front of the other two, barking a clipped "Incoming!" as the space behind the desk began to distort.

Wraith's own warping powers sprang up in response, a translucent blue barrier forming in the air between the wards and their friend. As they watched, unsure of how to act, a rectangular shape began to appear in the air behind where Ashe was sitting, growing clearer and sharper as it eventually formed a sort of doorway. It was hard to look at directly, the light in the room seeming to bend toward the corners. The walls and floor buldged and sank in response to the tear in reality. The door itself was more like a window- a vague, distorted cityscape slowly coming into focus on the other side. The barrier began to ripple, as if it was made of water, as a figure stepped through it into the room.

Ashe's laughing was suddenly doubled as it became clear that whoever had just entered was cackling as well. It was an eerie echo- they were taking the same pauses for breath and short hiccups between giggles. Their shoulders bounced in matching tempo and their heads tilted back toward the ceiling at the exact same time.

The new figure was dressed in a long purple-grey patchwork coat, sleeves torn off and bottom hem ripped to shreds. He wore a darker purple scarf up to his chin, which flared out behind him into a tattered cape. The coat was sinched at the waist with a faded green belt, the end of which swung loose around his legs to give the appearance of a long tail. He wore some sort of blood-red bodysuit which concealed every bit of skin that would otherwise be showing. His darkened silver hair flared out around his head in wild spikes. Over his face, a circular mask concealed any distinguishing features. The mask may have been white once, but was now more of a tarnished brown. Two horns curled upward on either side of the face, which consisted of a cudely painted-on cartoonish black smile with squinted eyes.

"Why, if it isn't the Wards of New Haven!" The figure exclaimed, suddenly dropping into a deep bow. "You can call me the Trickster. Oh, I've been waiting so long to meet you!" There was a sort of childlike excitement in his voice, but there was a strain to it as well, as if holding back the laughter was causing him mental pain.

He turned his head toward Ashe, who was sitting motionless again on the desk. The figure cleared his throat, then in a harsh voice, snapped "You'd best show some respect in the face of such powerful heroes!"

As if dragged down by force, Ashe bent forward, nearly losing his balance and falling face first off of his perch. When he sat back again, his deadpan expression broke into a wide grin again. The smile didn't reach his eyes.

"What are you doing to him?!" Failsafe snapped, voice cracking with the panic of seeing his friend so vulnerable.

"Who, me?" The villain straightened back up, bouncing on his toes as he did. He flung a hand up to his chest in an overdramatic show of offense... and Ashe's hand made the same motion. In a cheap imitation of Ashe's voice, the Trickster echoed "I wouldn't hurt a fly!" As he did, Ashe muttered the same words.

"He's some sort of Master." Imprint's eyes were locked onto the figure, tracing his every move. The subtle shift in his posture put the image of a panther in Failsafe's mind. His next words were directed at the villain. "What do you want with Ashe?"

"Better yet, what do you want with us?" Wraith added. The strain of holding up a constant shield for this long was starting to take its toll on him, hands starting to shake. Even though the Trickster wasn't outright attacking them, knowing he was a Master with this kind of power was enough to keep them all on edge. They didnt know his limitations yet. "You were the one that sent us the note, right? Why bring us here just to stand there and laugh at us?"

The villain started cackling again, bending at the waist with the sheer force of his laughter. "Ashe?!" He straightened back up, mimed wiping a tear from the corner of the eye of the mask. "Who's that? Never heard of them!" As he stood up to his full height, he ran a hand gingerly through Ashe's hair. The boy didn't move, didn't react, despite Failsafe's immediate short burst of anger at the action. The Trickster clicked his tongue, continued to run his hands through Ashe's silvery-purple hair. As his hands moved, a glow began to spread from them. The same orange glow emanating from Ashe's eyes was surrounding the Trickster's fingertips. As he waggled the fingers on his free hand, little orange strings no thicker than spider silk extended upwards from them, seeming to disappear into thin air. The strings reappeared, wound around Ashe's arms. There was a loop around his neck as well, giving the sickening illusion of a collar.

"I just wanted to introduce the three of you to my Muse." He put an odd emphasis on that final word.

It was a name.

"And, to let you know he's mine now, and you can't have him back!" The static smile on the mask somehow looked devilish. It was such a childish statement, as if they were fighting over a toy on the playground, but it sent chills down all three of the heroes' spines. "Finders keepers, he came to me first! That means I get dibs." His voice dropped an octave on that last sentence, suddenly becoming threatening and deadpan. "Try to take him from me if you can. It'll be fun."

Suddenly, he spun on his heel, facing the doorway he came from. The rippling effect was starting to get more pronounced, more unpredictable. "Ah! But it seems like playtime's over for now. We'll see you soon, Wards."

Before he stepped back through the door, the strings around Ashe's limbs tightened, and he was dragged by some nearly-invisible force toward the doorway. He moved stiffly, as if the puppetmaster hadn't gotten used to moving him yet, but eventually he was pulled through the fading doorway.

The Trickster gave them one last mock solute before ducking through as well. The lingering echo of laughter hung in the room around them.

And Ashe- Muse- was gone with him.

[kokoasci]

every time i post i am reminded that some of my irls follow me on twt/instagram (not here afaik. thank goodness) sorry guys for being way too invested in a manga based on dead authors. i may be cringe but i am free

[hamartia-grander]

Guys I'm going to my first gay bar with friends tomorrow night someone tell me to stop being naïve and hoping a girl kisses me there

[forcedhesitation]

I definitely do not have the time for a full essay's worth of commentary on the Casting of Frank Stone, but I definitely could give you that if I did. There is...a lot to take apart there. I am certainly...fascinated...by some of the writing & gameplay choices they made, to summarise my thoughts somewhat vaguely.

A few spoilery comments under the cut.

Like I said, I don't really have the time to offer extensive analysis (a full paper) of the game, but I do want to say a few things.

First and foremost: Do not purchase this game. In the words of Mr. Otzdarva himself: Go and watch someone play it instead. Your play through will be 95% the same as theirs. It is not worth your 50 dollars. If you still want it after you've viewed someone else's playthrough, that is your own right.

I honestly became annoyed with the writing much faster than Mr. Otzdarva did, and at first I thought it was because I was spoiled by BG3's infinitely better writing. But no, it's rather that he was being very patient. He finished with a rather negative opinion of the game, after thoroughly going through it to test just how much control you as the player really have.

I will be fair-- It is certainly a visually stunning game, as far as Supermassive titles go. Much better looking than The Devil in Me. The music is also incredible. And some of the voice acting was well done and added much needed life to otherwise bland characters.

But good grief is the writing utterly nonsensical!! Even if you respect the "a multiverse exists, so anything is possible" fact which is canon to Dead by Daylight itself, it still doesn't make any damned sense. I mean, is it ever explained why there is time travel involved? Or how it is even possible? Did they simply expect people to just assume that Augustine figured out time travel in a certain timeline? Does it have something to do with the Entity, since it can clearly traverse time? If so, why was Sam able to voluntarily time travel to Madi & elder Linda's timeline? Why and how the FUCK is Frank Stone first bound to the mill and then camera using what is clearly the same magic as the horologium, when we know the Entity has not yet been brought to that timeline??

And playing the "anything is possible" card would be fine to explain certain things, I will concede, but it really starts to feel meaningless when you realise just how many massive plot elements are never explained and that none of your choices really have any impact on the ending of the game. The story literally ends the same no matter what you do. And to be fair, I do not think it is a bad ending at all. Barring the corny "trial starting" sound that they jammed in at the last second, I thought the ending was one of the better parts of the game. It works great to make you feel hopeless, and like there is truly no escape from the Entity. I just feel that this format of a "your choices impact the outcome of the story" game was the incorrect format for the story they wanted to tell. Because it truly doesn't even matter if you get everyone killed, or you save everyone-- everything happens the same way and the world's fate is the same.

There are other things that bothered me, too. I thought having Frank Stone appear as this corny, glitchy spectral monster for most of the game was...a terrible choice, both design wise and writing wise. Now, I do not think killing him in the opening was necessarily a bad decision. I honestly thought it was a bold choice that functioned well to surprise the viewer and urge them to continue, so they might discover how the story plays out after the death of the titular character. But keeping him as this ghoulish creature, that honestly looked as though it were from some solo indie developer's first low budget horror game, was awful. He did not feel threatening whatsoever, just wildly out of place in a visual quality sense. I hate the final design much less, it is certainly much more threatening and much, much more gruesome, but it still does not make sense as to why he looks that way. The Entity still had not taken him, why did he appear as this inhuman monster before his entry into the Fog? They should have kept a more humanlike design until the very end of the game, when the Entity arrives. Then, a transformation sequence where the Entity mutates him should have been restricted to the ending where no one from the cast is seen in the Fog, so players at least get something different in that allegedly "unique" ending. After all, if a cast member does get taken, at least you get to see visions of what followed the 1980s storyline.

Also why did Augustine work alone when she is clearly part of the Black Vale? The excuse of "the cult didn't exist yet" doesn't work here, because she can time travel and is fully aware of the multiverse she exists in. Like... I thought elder Linda's mention of secret passages being for staff "so they are seen as little as possible" was foreshadowing for Augustine having fellow cultists aiding her, but it just went nowhere. Another thing that goes nowhere is the baby that Sam can save at the very beginning. Should the baby live or die has absolutely no impact whatsoever on the story, which feels like an enormous mistake to me. That baby should have grown up to be a character that the cast could have interacted with to gain...oh I don't know, some piece of important knowledge, or an item, that could then later change the fate of the cast. This way, the player's choices in the 1960s segment actually have an impact on later gameplay, rather than meaning absolutely nothing.

I'd also love to know why the hell elder Sam was sent alone to prevent this situation from occurring, when the Imperatti (I think they were called? The parents of the Pariahs, or something, right?) would have surely realised the gravity of this situation? Like, how does this make any sense? And this is far from the only moment that makes no sense at all.

Why do Jaime and Robert have almost no relevance whatsoever after the 1980s segment concludes? Robert is guaranteed survival of this segment, as that part of the game is written so that two characters always survive-- be that Linda and Robert, or Sam and Robert. As annoying as Stan was, I didn't hate him because he had great dialogue that pushed other characters to have different dialogue than what we were used to. But it felt scummy that Robert was just given this sad, offscreen death instead of being included in a lot more meaningful way.

Not going to lie, it reminded me of how in Stranger Things 4, Patrick was the one teenager whose trauma wasn't really explored or given the same respect as the others. It's like the writers went, "Guys, guys! It's okay! We still have the other Black guy! This makes our game Diverse, and therefore no one could possibly complain!" Meanwhile, we get an entire cutscene about Madi's nightmares, and elder Linda's movie career and associated trauma is talked about numerous times. But all we know about 2024 Robert is that Stan took advantage of him, and then he later died, utterly miserable. Also, Sam somehow knows about this and he and Stan know one another, despite this Sam being from a different timeline than elder Linda, Madi, and Stan himself.

And Jaime, poor sweet Jaime, he really just feels like he's there as someone they can conveniently kill to shock the player. The first chance he has to die results in a horrible, very graphic death (although not the most graphic in the game by a long shot) that I feel many players will encounter because they see it as reasonable to visit the curiosities shop first, and then to later attempt to save Chris (even though her fate is the same here, regardless of what you do). And even if you should keep Jaime alive through that first confrontation with the spectral Frank Stone, it's not as though his survival impacts following events. He can die again, when fleeing Frank with Bonnie and an injured Linda. Why they have Linda, who has a gaping hole in her shoulder, attempt to pull Jaime up the platform alone while HIS OLDER SISTER just WATCHES is beyond me. But writing his death, whether it be here, or earlier, to have no impact on Bonnie's fate, or any future events, is plain bad writing.

You cannot save Bonnie, no matter what you do. And this scene makes no sense. When Frank grabs Bonnie, Linda points the camera at him, which should work. There really isn't any reasonable explanation as to why this should not work, or should not even momentarily distract him (Which could have led to a different ending where Bonnie lives and Linda dies instead?), because in the storm drain, so much as yelling at Frank causes him to abandon whoever he's attacking to seek out the new target. I suppose, at the very least, 1980s Bonnie's death does serve some kind of purpose in the 2024 storyline, because it serves as foreshadowing for Madi's potential fate. But just like Robert, 2024 Bonnie is given a sad offscreen death and we never really learn about how she or Jaime survived that night at the mill.

And I will say, it just feels shitty from a player point of view, to make it so you cannot save certain characters. Like, I'm sorry, is that a canon event? Where is Mr. O'Hara? Because Madi must be a god-damned anomaly, being Bonnie's daughter!! And Chris- god- Chris who mysteriously travels through time...I really do hate this part of the story because understanding its purpose can only happen if you manage to get the secret ending where she goes through the projector screen and DOESN'T burn and die. Which would require you to not have taken the pocket mirror or given the "protective" amulet to her. This unlocks a secret ending where she goes back in time to the moment where she, Jaime, and Linda were inintially shooting in the mill, right before Sam interrupted them. I took this as the writers trying to show us that there would be one timeline in which Frank Stone is never released (not sure how he ever was in the first place, really), likely saving them from the Entity. But other than the player somehow luckily getting this ending, I really don't see the point of Chris' time travel, because she can also be sent immediately back in the horologium, which does nothing meaningful. And why does it have to be Chris? Why not write it so it could be her or Jaime, so that maybe the player's choice to have her and Jaime breakup or not actually has some kind of impact on the gameplay?

One of the worst things about the game though, and I cannot stress this enough, is how badly the references to DBD are integrated. I love a good reference-- it can serve to add a little playful flair to a moment, or even go so far as to have the viewer look at the piece from a different perspective they had not previously considered. Buuuut... this is only if the reference is done well. And, well, what this game does could hardly be described as tolerable, even. In was so heavy-handed, it felt almost as bad as product placement in a Michael Bay movie. Many of these "references" felt out of place to the degree that someone with no knowledge of DBD would be likely able to pick them out, because they heavily disrupt either the game's aesthetic or the gameplay itself! One generator was funny, and honestly expected, but THREE of those damn things? Clunky, corny, and honestly? Lazy.

Unfortunately, I feel those three adjectives describe how I feel about the game overall. I feel bad for the people who put hard work into making it, because there is potential there for something great. But it really felt as though they were pushed to release this game as quickly as possible, so BHVR could sell us a 50 dollar, five-to-six-hour advertisement for their next DLC chapter. Hard to think anything else, really, when completion of the game is followed by a a literal ad for it.

All I can say is-- I really hope we get 2024 Linda as a survivor. It seems more likely that it will be Madi, but it is possible we could have a two-survivor chapter (unless they specifically outlined in the roadmap that there are no upcoming 2-survivor chapters?).

Madi and 2024 Linda would be cool though. We have no older women as survivors, despite having more than one older man. I think it's about damn time. And I love the mother/daughter bond that can sort of develop between Madi and 2024 Linda in the game.

[northern-passage]

i wrote a 500 word dynamic poem for neo-twiny jam :-)

i rewrote this in a few different ways with a handful of different drafts before settling on just doing a poem; this originally came from a full branching narrative i've had stewing for a while, and i might come back to it one day. but for now i enjoyed channeling that into this poem, which has also been very influenced by the fact that i've been writing hungry vampires for almost 2 months now.... it was also my first time messing with audio in twine, which ended up being way easier than i expected (i'm sure it helped that i only used one audio sample tho)

faith does contain sexual content, and while not super explicit, it is the main theme of the poem.

anyways hope you enjoy and check out the other entries here!