#but the energy remains i think

[roostercrowned]

listen. I actually think Prilkop is an interesting and complex character. where are you going

[gunsatthaphan]

#always in character.

[formulanni]

Esteban Ocon as the Knight of Wands:

This person is a man of action - he represents the manifestation of an idea and the passionate pursuit of a vision. Because this person is highly focused on action, he can also be brash, impulsive and unrealistic.

This card embodies high energy, enthusiasm, and a willingness to take on challenges. The Knight of Wands encourages us to embrace our ambitions and pursue work that aligns with our passions. However, it also cautions against hasty decision-making and advises careful research and planning for long-term success.

Tag list: @st-leclerc @rubywingsracing @saviour-of-lord @three-days-time @the-wall-is-my-goal @albonoooo @ch3rubd0lls @brawngp2009

[mamawasatesttube]

thinking abt the kon, bart, and cass (cain) trio again. guys who just never had any semblance of a childhood... i want them to go on a little adventure together. they're just like "we've never done kid stuff let's go be silly for a day!!!" and then kon realizes that out of the three of them, he's gonna be stuck being the closest thing they've got to impulse (haha) control. cass and bart would enable each other about all sorts of things and i need them to get up to shenanigans.

like, i need cass to steal one of bruce's cards so they can go to a theme park together. they're getting photos and kon calls cass "bat-babe" and she calls him "super-stud" and bart's like "i need one of these nicknames too hello??" and cass thinks really hard and goes "imp-ass?" and kon loses his shit. bart's like "that just sounds like impasse. no thanks." and kon looks at cass and says "imp passes," and then breaks into a gigglefit again. bart complains all of the roller coasters go too slow. bart and kon centrifuge poor cass on the teacup ride. she nearly throws up as soon as they get off and then demands to go again. bart challenges her to a candy eating contest and kon's like NO!!!!!!! DO NOT ACCEPT!!!!!!!! HES A SPEEDSTER!!!! so of course cass accepts. and then makes herself sick. bart's still impressed by how fast she can shove candy in her mouth for someone with no superspeed at all though.

also it would be fun if they stumbled upon a murder mystery or something in this theme park. i mean they would be like oh this is fucked up, but i would see it as enrichment in their enclosure or whatever. let cass be a noir detective with her two extremely op sillies as backup. idk. the vibes. you get me??

[swirllemongrass]

(Parkour civ!) Evbo and Lloyd Garmadon live rent free IN TANDEM in my head and they won’t leave. I’ve literally planned out a 16 page comic of “what if Ninjago but Evbo is Lloyd” and it’s all I think about. Imagine Oni Trilogy except instead of losing hope Evbo keeps getting up and getting his ass handed to him. Like brother CANNOT be covert to literally save his life. Oh, and Seawatt is Harumi. Like, you can’t expect me to make Evbo fanart and not think about Lloyd Garmadon, why do they look like that. Why did I make them look the same. Well, not the same like at all but still. They’re literally so fundamentally different from each other but but but but

[pinkytoothlesso11]

Reasons why Jinx is alive– A fully comprehensive evidence analysis

Right. So I've seen a lot of people with conflicting views on if Jimx survived at the end of Arcane season 2, and I have been itching to do a meta post on the subject, so here it goes!

The first piece of evidence that I found particularly noteworthy was the explosion itself. By going frame by frame it was possible to see this:

It's a blink and you miss it kind of scene, but this is right after the explosion, and you can see the clear pink line going into one of the vents. Now why is this important? Well, it's simple, it's the shimmer effect that happens when Jinx is moving very fast! I know that Warwick was holding onto Jinx, but in a explosion its perfectly plausible for her to get out of that grip using the explosion of her monkey bomb.

Then we have the scene where Caitlyn is inspecting the plans for the Hexgates.

There is literally no reason for her to look at these plans. Not unless she thought there was something she missed...

There's no dialogue here, so it's really just based on what she does and how she reacts. Most notably what she's holding.

It's the head of one of Jinx's notorious monkey bombs. What's more, it's clearly damaged and singed. So likely this is the very same monkey bomb Jinx used in the Hexgates. This also suggests that Caitlyn might have been searching for evidence of Jinx's dead body... and clearly didn't find it for her to be holding Jinx's bomb head and then searching on the plans. Which brings me to the focus changing to this:

The vents we see the streak of pink shimmer light go inside correlate to the plans as shown above. The vents connect to the air ducts which connect to the outside. After this, the camera goes back to Caitlyn and we see her look at the monkey bomb head and then smile.

Then we get to the most telling piece of evidence that Jinx survived and left Zaun and Piltover behind, which is definitely a controversial choice on the writers part and does come across that they just want the option to bring in Jinx whenever they want in later stories taking place in Noxus, Ionia and Demacia. Which is very Marvel like lol. This is namely the air blimp at the end shot of the show.

What I find interesting is the fact it mirrors exactly the very first time we see Powder in episode 1 of Arcane season 1 when we see one of these air blimps.

The difference in these shots is that the one from season one is going TOWARDS Piltover, and the one from end of season 2 is going AWAY across the sea. The only difference in the ships themselves is the streak of blue you can just about see on the side of the hull. Maybe a further hint that Jinx is indeed on board that blimp.

Obviously it is what Powder says about the air blimp in season one that truly gives some solid evidence Jinx escaped on the air blimp heading for the sea:

Well, it seems Powder was right about that... the shots being so similar is clearly not a coincidence.

This is made all the more evident with the very last seconds of screen time of the show. It ends with Jinx's signature scribbles taking over the screen for three seconds with the words 'The end' written across.

Some people I've seen commenting on the fact the letter E on 'the' is reversed, but I think that's just a style choice in line with Jinx's graffiti so far. What is significant here is the fact it's so evidently Jinx's mark straight after the air blimp that resembeled the one in the first episode of Arcane season one.

Annnnd there's just one more thing now. I promise I'm almost done lol.

The lyrics to the song Wasteland that plays during episode 8, when Jinx is about to try and end her life are as follows:

This world is a wasteland where nothing can grow

I used to have strength but I ran out of hope

I know it’s my fault that I'm here all alone

This world is a wasteland

Please let me go, go, go, go, go, go, go

But then the lyrics change in the last chorus, they go from Jinx preparing to end her life for good, to THIS:

This world is a wasteland where nothing can grow

If it weren’t for you I’d be here all alone

I know in my heart this is where we belong

This world is a wasteland

Don’t let me go, go, go, go, go, go, go

Don't let me go

I feel it's likely that the line 'if it weren't for you I'd be here all alone' is referring to Ekko. Because it's Ekko who stopped Jinx from killing herself. And then of course the biggest change, from 'please let me go' to 'don't let me go' Jinx isn't ready to say goodbye. She wants to stay living. And I think it's this that plays in her 'sacrifice' scene with Warwick. It's not her giving up on life, it's her accepting that her life has changed and she needs to break the cycle by moving on. Not for anyone else, but for herself.

Let me know in the comments or reblogs your thoughts on this! And thank you for reading if you got this far lol.

[moonshynecybin]

How do you think the public perception of vale and marc changes over time in the fco au and how do they both feel about how both of their legacies are fully tied to each other now?

i think they end up being the beyoncé and jay z of the motorcycle world but sepang is the #lemonade moment because they’re both too obsessed (physically. emotionally. psychosexually.) to consider cheating on each other literally ever. also marc would physically kill them both on track

[aq2003]

omfg . radio play version of much ado with david as benedick from 2001

[000marie198]

Nine getting jealous that some of the other tailses are growing taller than him (poor boy didn't realize that welding a bunch of robot spider legs to his spine might stunt his growth)

Remember how in the show he always kept using them to gain height on others so he'd be taller and more intimidating? Yeah...

[thatscarletflycatcher]

Tumblr isn't letting me find again @fictionadventurer's and my own posts on epistolary novels, but I have been thinking about it again, because I fell down a Goodreads review rabbit hall and I have thoughts again.

So many people dislike the style, and honestly, I don't blame them, because it's so often done... not well. It is in some aspects, a deceptively easy one, and in others, deceptively hard. And because I'm trying to write a novel with this format myself, I have been thinking about what makes or breaks an epistolary novel.

I talked yesterday about TGLPPS, because it is an interesting case to analyze. I have thought many times about it, and cannot think of a single non-merely-aesthetic reason for it to be told in an epistolary style. A lot of it depends on -British- people who have survived some terrible war conditions willingly opening up to a stranger about their experiences, and that's made... even more difficult if the medium is letters? typically writers will appeal to tropes like making the reserved character drunk, or have them share an extreme experience in isolation with the stranger to create sudden intimacy. None of this is possible in writing; if anything, one is much more self-conscious about the things one writes than the things one says; verba volant, scripta manent.

It seems to me the story would have flowed much more naturally if Juliet had been stranded on Guernsey for some reason -like the first author herself!- suddenly Dawsey commenting that he got a book from her library makes so much more sense! Yes, certainly, if you met a stranger out there, and they introduce themselves and you realize you have a book that once belonged to them, you would tell them so! And it is in this way that the epistolary format does violence to a story that would otherwise sound much less contrived.

Another problem is the large cast of characters and multiple settings. For all I complain about Dracula, Stoker manages this pretty well (of course he has the model of The Woman in White, but TWiW has fewer povs), at least on the first half, because structurally the storylines of the characters are converging, and that does a lot to guide the reader in the understanding of the character's relationships. TGLPPS's relationship structure is more of a multidirectional flow chart, and that becomes confusing really fast.

Another novel I read reviews for recently is one set in WWI, composed of back and forth letters between two lovers torn apart by war, and one common complaint was... that the climactic scenes, the times they meet, etc all happen... off-camera. It is a fair complaint, but also one I cannot really blame the author for, because that's what usually happens with real life compilations of letters of that kind. Sure, usually the editor/compiler will fill in the blanks sometimes and add an epilogue of sorts explaining what happened afterwards, and that is possible if you are writing it fictionally too, but some may think it spoils the effect of immediacy and whatnot, which, fair too.

But it makes me think of how aware Jean Webster was of these difficulties, and how deftly she managed them in both Daddy Long-Legs and Dear Enemy. Both novels have aged badly in terms of content and message, but they are very interesting stylistically.

DLL is a bildungsroman with a dash of romance; through Judy's letters to daddy long-legs we can see how she grows as a person, gaining independence intellectually and economically, and as a writer, as her grammar and vocabulary change and grow. Between making Judy an orphan who hates the orphanage where she has lived her whole life, and one where she lived past the usual age of being thrown into the world, Webster does away with the need for letters between Judy and her friends and family: all her friends and family are her college roommates and her benefactor, who is the person she writes to. The benefactor scheme also makes it so that she doesn't have to write dll's replies, which in turns makes it much more natural and acceptable for the reader when Judy writes him the ending's love letter describing the feelings and impressions of their finally meeting in person and in truth; Judy has become a writer, and she is so used to write to him as another person all the time, that it just makes sense for her to write to him one more letter at the point where her benefactor and her lover become one and the same person. She has written a novel where the core is the correspondence between lovers AND managed to include as well all the moments of their meetings that we would otherwise miss.

Dear Enemy is a similar, but longer and more ambitious story. Instead of one relationship-connection (Judy and Daddy's), we have Sallie as a nod of connections: she's Judy's friend, Jarvis' "employee", the boss of several characters, has a tense colleague-boss relationship with the visiting doctor, a boyfriend of sorts in Washington, and a family we have met before. It is, in that way, a similar setup to TGLPPS: a urban girl of means becomes a fish out of water in a different setting till she ends up assimilating to it, and settling definitely through marriage. But Webster does a few things differently to make it click.

For starters, it is clear to her that this is the story of Sallie's maturation -I have sometimes talked of Dear Enemy as a novel where a Mary Crawford-like character undergoes a transformation arc. The happenings and stories she meets and tells Judy about along the way serve this arc, besides standing on their own as case studies to illustrate the problems, ideology and solutions proposed to the secondary themes of the story (education and social reform). I feel like TGLPPS is much more interested in Guernsey's survival through the war, in which case Juliet's story is already a frame, which, again, makes the epistolary format cumbersome rather than complementary.

Dear Enemy adds more correspondents, but it is very austere/economical with them, and narrows the letters we see to only those Sallie sends. YMMV regarding if it was too much cutting or not, but the undeniable effect is structural soundness; you are never confused by what is happening or who is writing to whom. We can guess the Honorable Cyrus Wykoff probably wrote some indignant letters to Jervis, and those would be funny to read, but... would they be worth the break in the flow of the narrative? I don't think so. To this effect, just having Sallie write a line to the effect of "I expect at this point you have at hand an irate letter from the Hon. Cyrus" is enough to paint a picture for the reader. Perhaps a letter or two from Dr. MacRae would have helped develop his character more -definitely a first read of the story obscures how much misdirection there is in Sallie's narration to Judy, which in turns tends to create an impression of suddenness to the closing letter that doesn't come across well to the reader.

The choice of Sallie mainly writing to Judy is, IMO, a really good one too. It not only establishes a connection with DLL, but it also allows for the intimacy that makes disclosure believable (something TGLPPS struggles with, as I mentioned above). When you add a few letters to the doctor and Gordon and Jervis, you also get a better perspective of Sallie's personality, how she deals not only with a friend, but with acquaintances, romantic partners and coworkers.

From all this it is pretty evident that for Webster the main function of epistolarity as format is aiding in showing psychological and moral development. But that's not the only thing the format can be really good for: perspective is another, and Austen uses it to great effect in both Lady Susan and Lesley Castle.

Both stories deal with mainly static characters, but who have very strong perspectives of the same situation, and it is this singularity of setting and story that anchors the narrative to avoid confusion, while the variety of perspective brings interest. In Lady Susan, we are dealing mainly with the marrying off of Frederica and seduction of Mrs. Vernon's brother, Reginald. There where Lady Susan paints Frederica as an undisciplined, irrational and ungrateful daughter, her sister in law, Mrs. Vernon, paints her as a sweet girl and a victim of her mother's ruthlessness and lack of love. Both agree that Reginald is being seduced, but, of course, with opposite goals: Lady Susan wants him to succumb, Mrs. Vernon, to escape, and this is a delicious struggle for the reader to follow!*

Lesley Castle being an earlier effort, and unfinished, does show some of the defects I have mentioned before (mainly, the relative confusion of having several correspondents in separate storylines), but illustrates well this same perspective effect: Margaret writes to Charlotte about the new Lady Lesley, and the new Lady Lesley writes to Charlotte about about Margaret and her sister... and in these contrasts lies the main interest of the narrative.

Some conclusions to these musings, then:

Not every story is suited to the epistolary format.

The epistolary format seems to work the best when it is used for either A) showcase psychological and moral development B) to play with perspective on people and/or events.

One of the main difficulties of the format is finding a narrative element to anchor and structure the letters around.

It must have a core couple of correspondents, or at most, two. More than that will make it confusing (unless, perhaps, the story is very short and about a single event or two).

A delicate balance must be found so that the secondary correspondence doesn't cut the flow of the main one, and if possible it must feed into it.

*It is interesting how Love and Friendship, being such a delightful -and I sustain one of the best ever- Austen adaptation, is by force of the perspective switch towards a more impersonal third person, more about a love story between Frederica and Reginald than a struggle between Lady Susan and Mrs. Vernon. Which isn't dissimilar to how adaptations of DLL end up being more about the romance between the leads than Judy's coming of age in college; tropes aside, I feel like if the epistolary format is well embedded in the story, it's going to be nearly impossible to reproduce the effect in adaptation.

[shirogane-oushirou]

hi hi hi :3c i'm aaaaaaalmost caught up on my dash after a couple of weeks of spotty appearances and a couple of weeks of being Straight Up Offline, and then i'll catch up on peoples' art and fics!! i miss being on here!! hi hi hi hi hi!!!!! 👋🏻👋🏻👋🏻👋🏻👋🏻

(also i have been Pondering over a ren sentient a.i desktop buddy AU while i've been gone bc. i'm a sucker for that shit. dunno if it'll go anywhere but for now i'm playing touys and it's fun hehehe if you see a new tag at some point then that means i'm keeping him sjndfkn)

[ciil]

forgot to post these here but my kids in dunmeshi cosplay hehehe i have been enjoying the anime ! !!!

[hekateinhell]

accidentally took somewhat of a vc fandom break for a while and i come back and it’s almost vamptember lol oops

[lanternlightss]

littol notebook ->📒(For the ask game!! :D)

(ask game)

*sounds of papers being dug through* OKAY. SO !!!

nameless bard and collei, right ?? (technically. actually. this fic wouldve been part of a series where nameless bard came across many many people of teyvat who happened to venture into old mond’s ruins, or the edges of mondstadt, or where simply wandering, and talked with them, about anything, about nothing. this all stemming from ,,, a small hc au thing where a ghost bard takes care of those that venti cannot immediately reach, or when he is preoccupied by something else. mond’s silly little grandpas.)

but back to collei and bard. two characters who have such a relationship in regards to gods. this fic would’ve had collei come swinging by mondstadt for a visit, and, perhaps, got lost in a storm on the way there. ending up huddled into a corner and devastatedly watching as her stuff is tossed into said storm. there, she meets a stranger who looks awfully like that one local bard amber and lisa talk about, who has run in to find her, and take her to safety.

throughout the way there, she wonders. why is it that this storm is so peculiar ?? mondstadt’s winds are never quite this strong !! is barbatos … angry, maybe ? was something done to have upset him ? (did they ever get angry at her, for when she …. )

“is barbatos ever upset?”

“upset?”

“would they ever get … you know, angry at someone, for something. if they hurt people.” (off note, HOW much of mond’s history does collei know, bc i feel like she would be interested in it, and amber would be more than willing to tell her about mond details.)

and bard … pauses. scowls. laughs. it would depend, wouldn’t it ? how are they hurting people ? are they malicious about it ? they are a kind god, see, and often go around to inconvenience those who have wronged them or their city. (they don’t answer, there are times barbatos is seething, times where people are reminded that the reason the mountains around them were halved by this same god, that the wind is playful, sweet—and dangerous, ruthless.)

then bard goes on to be like. why. if barbatos were to be angry at anyone, that honor would go to me !! my, if they knew of all the offerings ive took from them, they surely would smite me. (the entirety of the time, i just want the vibe that bard is assuring—you are not from here, no, but you are more than welcome as a free child all the same, you who have gained your freedom from despair. you who lives her life reaching for each new opportunity given. you are doing good.) also bard slightly. kinda. vagues at decarabian and other gods at some points.

i just think. bard, who lived his life under a god who did not understand them. collei, who lived her life thrown to the wolves, stuck with remains she did not ask for, who felt betrayed by the heavens for how they failed her.

and mondstadt, and barbatos, who may guide their people, but leaves them largely to make their own decisions. barbatos, whose appearances made are when their people are in distress, who would rather cut their wings off than leave mondstadt to burn. and how they would feel about that—about how this city has turned out, how it helped them, or !!!!!! just !!!!! yeagh

[redrobin-detective]

Iruma-kun, the Six Fingers and Humanity

I have been mulling over this idea for days as I devoured the Iruma-kun anime then manga and am still struggling to articulate it. The best I can boil down to is the whole goal of the Six Fingers and the return to origins is, unbeknownst to them, a desire to become more human.

I can understand, in a way, their frustration. Demons used to be merciless killers, where the strong surpassed the weak and magic, aggression and power won the day. Now we see they have idol concerts and theme parks and silly games to help demons safely purge their “wickedness” which is, in reality just another part of their nature. The majority of modern day demons deny a large part of themselves. The whole idea of a wicked cycle is endlessly fascinating to me, like this species has compartmentalized themselves so much that their pent up darker impulses periodically spring out and require them to be handled gently or hidden away. I can see how this practice is insulting and incredibly restrictive of what a demon is.

Now, right from the start, Iruma has stood out in the demon world for a few reasons. First and most obviously, he lacks any practical or cultural knowledge of demonic society. We see Iruma ignorantly stride past social norms and boundaries he didn’t even know existed. If it weren’t for his upbeat, people pleasing attitude he’d be written off as a delinquent but instead he helps foster an environment of change in a bunch of slackers and misguided students. And change is a radical concept in a society that hasn’t replaced the demon king in centuries since the old one disappeared. The effect of Iruma’s very presence, his enthusiasm and attitude and cooperative abilities can be seen so strongly on the Misfit class that its no wonder he’s become such a stand out student.

So I had heard of Irumean when I first started the series and had high expectations of him being a full on bastard. And he simply wasn’t. He was arrogant, reckless, rude at the worst but even those around him commented that his innate, unnatural kindness was still there. I argue because Irumean was never a true wicked cycle. It was Ali-san’s attempt to induce a demonic ritual onto him. But humans aren’t like demons, Iruma is a good, kind, patient boy due to his trauma and strength of character. At any point he could lash out in the most horrific fashion and leave everyone stunned because he is not bound such such strict rules of personality and conduct. His humanity is as much a strength as it is a weakness.

So according to recent chapters, Iruma has traces of Delkira’s energy. My first thought was that it was emanating from Ali-san, which is a distinct possibility but why was the ring attracted to Iruma in the first place? My next theory is that Delkira had some connection to humans as well. Either he’s a hafling or a demonized human or spent a significant amount of time in the human world. Either way, this human perspective is what made him so powerful, such an irreplaceable leader that his throne has remained empty for so long. One could even argue that the energy that the Six Fingers identify as ‘Delkira’ is actually just ‘human’ since the King’s energy is familiar while a human’s is not.

My whole round about point I’m doing a very poor job of explaining essentially boils down to, demons want to return to their origins to have more control over their baser instincts. Instincts and free will that humans, such as Iruma, possess naturally. But while Iruma has the capability for great evil, unrestrained by a set cycle, he also has such an overflowing well of love in him. Delkira, what little we’ve seen of him comes across as brash, fickle and cruel. You may note those are human traits as well. But Iruma also leads with kindness, dedication and teamwork. He will make a marvelous King because the humanity he brings to the table will help all of demonkind.

I do believe as the manga progresses we will see Iruma’s humanity become a  game changer in the battle against the Six Fingers. How he sees the world (both human and demon), how he interacts and inspires others, how he fights. Reaching a point where not only does Iruma stand up for himself but he is forced to cause harm (and by consequence addressing his people pleasing trauma) and behave in a manner not seen by demons outside of their wicked cycle. When he does, years down the road, become King, I believe he will address the concerns of factions like the Six Fingers. Demons are not meant to be fully contained but cannot be allowed to run rampant. With his feet in both worlds, I believe he will be able to balance both opposing views and ‘heal’ the underworld as the prophecy states. Not just from the instability of the Six Fingers but from this bizarre evolutionary cycle demons have fallen into over the centuries.

[dustteller]

The emoji is suspicious right? Right?!??