#but yeah these are my two cents

[burned-lariat]

Okay...okay.

Hmm.

So Cyrus is in charge of Mason and Austin, which leads me to think that his "mob" never really disbanded. So the Renault mob is reborn again...I guess. If the goal is to kill Sonny, and Cyrus is now some born-again Christian who wants to fight off evil, killing Sonny makes sense in that lens.

Do y'all remember when I said we should have another cult storyline, like doomsday or religious, and Cyrus should be the head of it-

I see a lot of people calling Cyrus the head of Pikeman and...no? Like not even close. I thought it was clear that Mason and Austin were wanting info on Pikeman, meaning they're not part of it. We still don't know who's in charge of Pikeman, but supposedly it's someone "familiar." 🐸🍵

[an-established-butt-dent]

"What have they done to you,

Old friend."

Trapped in the fade, Solas comes face to face with the remnant of his spirit.

The Dread Wolf was his wisdom, mirror to his pride. In the wake of the wrathful Evanuris, it too, has succumbed to their taint.

Or, where I'm making wild plot speculations surrounding Solas trapped in the fade. while turning my brainrot into art pieces and gifs. I'M PACING MY ENCLOSURE. Looking for crumbs and scrabs of Veilguard. Please Bioware I'm begging, feed me. 😭

[cheekylittlepupp]

Everyone likes to poke fun at Astarion when he mentions his nails but you do know why he's like that, right?

He had to punch a hole in his coffin and claw his way through six feet of dirt after Cazador turned him.

Or maybe the time when he was locked inside a tomb for an entire year, months of which he spent scratching his hands raw, desperately trying to carve his way out.

It does make sense why he doesn't want to "ruin" his nails, I doubt he wants to remember either of those moments, and those are the ones we know about.

[erinwantstowrite]

crazy how people will see bruce not wanting to kill because he knows he wouldn't stop and eventually would get out of control because he's severely mentally ill and they think "wow what a selfish asshole"

[pensbridgerton]

In defense of Eloise, I think her "you must tell Colin you're Whistledown" comes from a place of anger and hurt, but also a place of love for Penelope and Colin.

Colin said to Eloise in the first episode that if he ever finds out who Lady Whistledown is, he "will never forgive her" and that he "will make sure that's her life that is ruined". I think she might be scared that if he finds out after the wedding, they'll both end up miserable and stuck in a marriage they can't get out of.

[shoot-i-messed-up]

Was always worried about the angst of unrequited love, had never realized the sheer amount of comedic potential that it has.

Imagine one-sided Superbat where Clark is fully aware that Bruce has a crush on him but is being his repressed self about it, and Clark is just like, “I’m not gonna touch that :) you’re going to figure that out for yourself, buddy, and in the meantime, I’m just going to have a good time and be best friends with you as you inevitably pull yourself together enough to either fall out of love or to confess :) and I’ll just let you down gently because I care about you :)” but he absolutely 100% is using it to his advantage in the meantime. His puppy dog eyes had never been so effective before. He’s gotten out of Monitor Duty three times in the past month.

[roychewtoy]

"raiders at the gateway to paradise" - helene schjerfbeck | "there's something in the water" - víctor clemente | "seated figure beneath the rocks" - euan macleod | stills from "a visitor to a museum" dir. konstantin lopushansky | "not waving but drowning" - stevie smith / kendall roy

[royalarchivist]

Pac: You know Ramon, maybe one day you can start doing farms here? I would appreciate it! And I can pay you in chocolates and diamonds, you know?

Ramon: pay me by marrying my dad

Fit: No, hey– [Stammers] Ramon! Ramon!

Bagi: YES!!! Yes, Ramon, yes!

Pac: [Laughs] Nooo, Ramon! You got me- you got me right on the spot!. Dammit! Ok... I will consider! I will consider. [...] Let's make a deal: I will do that when you become a dragon. 😉

Ramon: 😑

Fit: [Laughs] Yeah, when you become a dragon, Ramon! That sounds good to me!

[ Full Transcript ↓ ]

—

Pac: Yeah, Ramon knows about Create. You know Ramon, maybe one day you can start doing farms here? I would appreciate it! And I can pay you in chocolates and diamonds, you know?

[Fit and Bagi laugh]

Fit: That's a good reward, yeah!

Bagi: Chocolate and diamonds!

Pac: Yeah [Laughs]

Ramon: pay me by marrying my dad

Fit: No, hey– [Stammers] Ramon! Ramon!

Pac: "Pay me by marrying my dad"? Oh– [Stammers] Ramon! Ramon! Ramon!

Bagi: YES!!! Yes, Ramon, yes!

Fit: [Fit uses his chainsaw to break the sign and accidentally hits Ramon] Oh, sorry– I was trying to break the sign, I'm sorry, Ramon.

Pac: Ramon! [He does the "falls to pieces" emote]

Fit: Baby steps, Ramon! Baby steps!

Pac: Baby st– Ramon, remember–

Bagi: Yes, Ramon, yes!

Pac: [Laughs] Nooo, Ramon! You got me- you got me right on the spot!

Fit: [Laughs]

Pac: I'm gon– props- props on you, you know? It was a good– yeah. Dammit! Ok... I will consider! I will consider.

Ramon: [Nods repeatedly]

Fit: Yeah, you can't rush these things Ramon, you know? Like, it's- it's– You know? I mean– plus, you know, w– we got our own things we're working through!

Pac: [Leaning into the mic] You can't rush on love.

Fit: Yeah, exactly! Like– yeah. You know? We're working on ourselves. Yeah.

Pac: Yeah.

Fit: [Weakly] Yeah...

Ramon: [Spins in a circle wildly]

Pac: Baby steps!

Fit: Baby steps, baby steps.

Pac: One day– ok, let's make a deal: I will do that when you become a dragon.

Ramon: [Stares at the ground, resigned]

[Pac and Fit both laugh]

Fit: Oh yeah– Yeah, when you become a dragon, Ramon! That sounds good to me!

Ramon: [Tosses a potion of swiftness on them]

Pac: Woooo! Baby steps no more– I'm just kidding.

Fit: [Laughs]

[mimiaguilar-bansheebender]

*phone rings at 3 am*

Dick *picks up mid patrol*: sup!

Damian: HOW ARE WE NOT YET DISEASED ?!

Dick: umm… what?

Damian: *goes on a fully caffeinated/sleep deprivation fueled rant about how while studying for his mid terms at Med School he has encountered several cases that mention patients dying/being permanently maimed/disabled because of botched or unsanitary practices that they definitely performed in the field while crime-fighting, more than once, in less than sterile environments and with the equivalent of a swiss knife*

[mohntilyet]

i read the wigmaker job recently and there’s an idea that really stuck with me, which may well have been discussed before, but it’s really been itching at me. it came from this exchange near the end –

“i don't want to quit.” / illario sat back. the distance between them suddenly felt much wider than a table. / “even if it kills you,” illario whispered. / “death is my calling,” lucanis stated, matter-of-fact. “just as yours is to become first talon.”

(the bits before and after this give important context, too, but these specific lines are what gnaw at me)

i. really wonder if this conversation – and the long-standing beliefs held by both of them that it’s indicative of – contributed to giving lucanis to zara.

like, illario coming to terms with the fact that lucanis really just will. not. stop. for ANYTHING. his cousin WILL get himself killed doing this and lucanis won’t have any regrets. he’ll leave illario to go this alone. (no one to follow after anymore.) combined with the envy of knowing that lucanis is and always will be caterina’s favorite, and she will likely pick lucanis to be first talon even tho lucanis does not want this At All…

i wonder if he thought that, well, if lucanis is going to die anyway… maybe it’s better to have it happen sooner, rather than later. why put off the inevitable? especially if this is the one thing that could shift caterina’s gaze to illario and give him what he’s wanted – what he’s earned.

lucanis wouldn’t be happy as first talon anyway (honestly, illario seems to see that what lucanis is NOW isn’t so much ‘happy’ as it is ‘obedient and content to accept the scraps that gives him’), and he’s GOING to get himself killed doing this, anyway… and sure, they COULD wait it out. wait for lucanis to do something foolish enough that he can't just walk away from it. maybe he’ll even last long enough to be made first talon (if caterina can ever bear to loosen her grip from the title) and be miserable for a while. years even, maybe. before he, again, does something he can’t walk away from.

OR. or. or illario could cut through all the pointless waiting and get right to the point. go straight to where this was always going to end up.

(and maybe part of it is an extension of anticipated grief, too – the loss will be agony. if illario controls when and how it happens, he can control his grief. …except he hasn’t accepted the inevitability of lucanis’ death quite as well as he’d thought and when he gets sloshed at the wake, real grief seeps through the cracks)

i dunno. something about both of them viewing lucanis’ death as a foregone conclusion and how illario Might have had that shape his decisions.

YEAH . YEAHHHHH. i do also think the “to reason” exchange is what solidifies it in illario’s mind. lucanis is like 'this has been a productive if tense talk with my cousin. surely he sees sense now.' and illario is like ‘what the fuck. i think he wants to die’ <- okay im exaggerating a bit but i do absolutely see the end of wigmaker’s job as the start of lucanis-illario’s downward spiral. there’s a reason that it’s something lucanis is stuck on during inner demons, and the exchange that you have very nicely broken down is what he hears echoes of, this is where he knows it started to go wrong

probably the worst part is lucanis WOULD have worked himself to death and it takes the series of events in veilguard for lucanis to see other options for his life, and still he ends up being shoehorned into first talon by the end of the quest. i thought his quest would parallel iron bull’s, in that rook shows them that living outside and away from crow influence is possible, and that he is much more than the weapon they turned him into, but it ofc doesn’t go through like that. it’s genuinely a bit heartbreaking that lucanis finally has support and like. FRIENDS. but with the way the game ends he’s pulled back into the crows and to a life that will be about protecting a cousin that the organisation he runs hates, and for as long as caterina lives, unable to say no to her. and meanwhile after lucanis has made connections outside of the crows, illario has absolutely nothing left (prison of his own making i get it but i still want to get his ass out of there. 😭) so the codependency that they used to share is gone as well. maybe lucanis has a foot out the door but i genuinely have no idea how illario goes on after this

[galacticlamps]

ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--

But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.

And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.

That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.

Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.

And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"

So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.

Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.

[tiredbired]

Okay I'm gonna be posting one thing and one thing only about Epic: The Musical because my guy Eurylochus is getting done Fucking Dirty by a misunderstanding in the fandom. This will be long, but to make it short:

Eurylochus knows his Captain is going to sacrifice him and their men for himself. "But we'll die." is a last shred of hope for his friend Ody to reconsider.

Like listen to his voice in that part of the song. It's not surprised, it's not upset, it's not pleading, it's just.....broken. Empty almost.

Fuck, that bit in Mutiny basically confirmed that he knows they're not making it home. The man has accepted his death. He just....didn't want it to be like this. With his FRIEND showing so plainly that he'd betray them if it meant getting home. With or without them. (the man just saw a side of his friend he never thought possible he's processing some things leave him alone)

After the Scylla fight, he realized Odysseus was no longer above sacrificing his men, but seeing him try to rally them out of the Land of the Sun God before the consequences caught up to them showed that he still cared to protect them out of battle (I can't think of a better way to phrase this atm but you get it).

But once Zeus said "You or your crew", Eurylochus probably already knew the answer.

He's a broken and defeated man who tells his Captain, his friend, Ody that he's condemning them to their deaths. And Eurylochus knew the response before he even said a word.

But hey, I can't blame y'all for not getting it. After all, the line between naïveté and hopefulness is almost invisible lmao /j

[iwritenarrativesandstuff]

Chapter 105.5 Thoughts: Control, Manipulation and Partnership

Or, how Chuuya is actually the most qualified character to land a victory over Dostoevsky.

I just want to preface this with: I think Chuuya has woken from the brainwashing. We can't see his eyes, he's holding his hat again, and look at the progression of his face and expression from the last few chapters with him (these are in order btw from left to right).

I'm not completely sure how he did this, but I chalk a lot of it up to sheer stubborn determination on Chuuya's part, mostly because it's funny and he was clearly fighting back before Dazai's speech. However, I find it likely the speech did contain some kind of code - others have pointed out how "Goodbye!" might be a reference to the original author's last unfinished book and we know skk's codenames for things generally are based off their real counterparts' works so, maybe he'd already broken out of it, maybe there was something in there that gave him the final push - who knows at this point honestly? Either way, it means Chuuya had the capacity to break out of the vampire curse on his own and that's incredibly funny to me for many reasons but mostly:

Fyodor: "Bold of you to assume Chuuya's ability can't overcome flooding."

Dazai: "Bold of you to assume Chuuya's personality can't overcome brainwashing."

But really, this highlights something interesting here, both in what Chuuya's role is ultimately intended to be in this arc, and in the way Fyodor and Dazai manipulate and value others in very different ways.

I've said it before but it bears repeating: we already know that Fyodor is an excellent long-term planner, while Dazai is effectively able to counter him because Dazai shifts into thinking like his opponent. They're foil characters for a reason; they're both highly intelligent, manipulative, and willing to play the long game for the sake of winning against their opponent.

Thing is, I also stand by the idea that personality-wise, they're not similar at all - and that has serious implications for the people they are connected with. The build-up to the prison escape arc really highlights this. Some examples:

Chapter 46: Fyodor believes that all people are sinful and foolish and that his goal is to remove sin. Dazai believes that all people are sinful and foolish but asks what's so wrong with that.

Chapter 64: They decide to have a "super-happy chit-chat" about their problems. Dazai's solution to Fyodor's issue with his lazy subordinates is to get them to think lazing around is a bad thing so they will put in effort of their own. Fyodor's solution to Dazai being unable to woo the waitress is to isolate her from her job, house and family so that she can only rely on Dazai.

Chapter 77: Fyodor believes god is perfection and harmony, and thus that the people capable of change are the superior ones with most control. Dazai believes god is the accidental and illogical and believes it is the ordinary people who fight and live in that uncertainty who create the greatest change.

So, what's happening here? Fyodor's manipulation is shown to be very exacting and direct. He leaves no room for error and regards people on a hierarchy - God above all, himself as a servant of God's will, and the sinful and foolish humans he has little regard for. Dazai's manipulation involves manipulation of the situation, and is often indirect. It involves people coming to the conclusion he intends for them to on their own. And from his later dialogue with Sigma, we see he doesn't regard the world in that same kind of hierarchy.

Now, look at the way Fyodor picks an item and Dazai picks a person when starting the game. Look at the way Fyodor refers to Chuuya respectfully but brainwashes him entirely and mocks Dazai for not being worthy of "using" his ability. Look at the way Dazai is a complete ass to Chuuya but ultimately lets him make his own choices (begging people to take note of that moment in Stormbringer where Dazai cuts himself off to correct his referring to Corruption as Arahabaki's true power to Chuuya's true power).

So, the actual strength Dazai has over Dostoevsky then, is not really his strength at all, it's the strength of others and their choice and willpower to act in the way they believe is best. It's the only means of getting a leg up on Dostoevsky, otherwise they will continue to go around and around in circles forever.

And Chuuya is the best candidate for finally throwing Fyodor off his game.

Firstly, let's just establish something: no matter how mad he is at Dazai, he's not going to side with Fyodor, not willingly. Fyodor threatened the Mafia in the Cannibalism arc by attacking Mori, first of all. I doubt he's forgiven him for that. Secondly, Fyodor embodies everything Chuuya can't stand about Dazai, at the very least, younger Dazai - the manipulation, the lack of consideration and connection with others, the callousness and lack of regard for life.

Well, perhaps he's not quite as irritating. +1 point for Dostoevsky I guess?

But lastly, it is more advantageous for Chuuya at this point to help fight against Fyodor, especially since most of the Mafia has been vampirized by his organization. Helping the Agency stop the terrorist plot will help the Mafia by extension by undoing that. And we know from Stormbringer that no matter how much Chuuya is personally hurt, he considers taking out the threat to his people a higher priority. Always.

(You could make the argument that he was told whatever Teruko told Atsushi and decided to join, but not only do I find this wildly out of character, but if that was the case then there would've been no reason to brainwash him.)

That said, I don't think this was preemptive "Dazai's master plan #3057", and in fact, I stand by the idea that Dazai had no idea Chuuya was going to be in the prison. It is very, very important to me that for the rest of this arc, no matter what Chuuya does, that his actions are his own. Not Fyodor's, not Dazai's, but his. And not just because I hate that he's being controlled right now and that freedom of choice has always been important for Chuuya.

But because it makes narrative sense.

The vampires are a bit silly, yes, but they represent the way Fyodor and Fukuchi think - humanity will commit atrocities. They cannot be trusted to make their own decisions. They want to make a world that is free by... mind-controlling people so their plans work without a hitch. In short, they choose, on behalf of others, to sacrifice human autonomy for peace. So, if we are going to turn this arc around, we need to have characters breaking out of that control and thinking for themselves, in spite of the uncertainty of the outcome.

We already see this with Atsushi in the last chapter! He finally takes initiative and makes that choice to leave the room when he doesn't exactly know what the right thing to do is. And this is also why I don't think Teruko is wholly convinced by the DoA either - she lets him go. She gives him the freedom to choose what he does with that information.

Another one of the focus characters here is Sigma. Sigma is a guy who has no past, whose humanity is questioned, who keeps being used by organizations for his valuable ability, who has no home but desperately wants one... oh wait. Remind you of anyone's younger self? This could go one of two ways: Chuuya fails to assert his autonomy, leaving Sigma to learn from that failure, or, Chuuya succeeds in asserting his autonomy, leaving Sigma to learn from his success.

I think it, by necessity, has to be the latter. Sigma's at a tipping point right now, and I think seeing someone try to assert their freedom only to fail would damage him greatly. And I think it's a waste of Chuuya's character honestly.

Chuuya needs to assert his autonomy in this arc. Not just for thematic reasons but because I can think of no one else who can effectively break the "super-genius stalemate".

I keep hearing "Dazai knows Chuuya" in response to Fyodor calling their bond shallow, and that is absolutely true! But Chuuya also knows Dazai. Incredibly well. Odasaku knew Dazai's soul, but Chuuya knows Dazai's mind, knows his strategies and ways of thinking without even needing words. What's more, Chuuya has thrown off Dazai before and done what he didn't expect him to.

Which is nifty, because Dazai and Fyodor think a lot alike. Chuuya is in a unique position to thwart Dostoevsky because he may actually be able to predict him to a degree. Chuuya can absolutely land a victory against him, and it's excellent because it would be completely unexpected to Fyodor, who apparently thinks Chuuya's strength lies only in what his ability has to offer and not much else.

But listen. This also can't be skk's plan. I need Chuuya to sideline both of them. Both for the sweet, sweet catharsis of putting those two idiot geniuses in their places and also because I need Dazai to have screwed up. He wasn't wrong about people making their own choices in uncertainty. People need to assert their autonomy to create change. Dazai can't be wrong in this regard.

But with going ahead with the trap to drown Fyodor despite also having to drown Chuuya when he promised not to let him get killed... this needs to have been a mistake, otherwise the value of Dazai's emotional speech to him is diminished.

I want Dazai to try to laugh it off. I want him to say he always knew Chuuya would escape and then for Chuuya to deck him because "no, the fuck you didn't".

I really think Dazai hoped Chuuya would make it. Do remember that Chuuya was one of the first reasons young Dazai decided to try giving life a chance. The fact that he flashbacked to all his key memories with Chuuya says a lot. But his survival was no guarantee and it seemed very unlikely.

So, Chuuya is faced with the fact that Dazai nearly sacrificed him to kill Dostoevsky and save his new Agency friends.

And I hope he finally gets mad. I hope he finally expresses hurt on his own behalf for once. I hope they are forced to break their status quo that they have carefully maintained by not talking about anything ever. I hope they are pushed to uncomfortable places and that it is Chuuya who finally spurs this development.

Let Chuuya break the stalemate between Dazai and Dostoevsky. Let him shatter the status quo that him and Dazai have kept going for year after year.

Autonomous action in the face of uncertainty is necessary for change.

[kindlythevoid]

I was rewatching Mary Poppins today, as one does, and I think I figured out how the Nannies are summoned.

A family (accidentally) summons Mary Poppins when the parents need to get their shit together.

And a family (accidentally) summons Nanny McPhee when the children need to get their shit together.

[scarewulf]

I think one of the biggest sort-of unpopular opinions I have when it comes to being an artist is that, unless they are used in moderation, using things like references, tracing, and other little tips and tricks to help you will actually hinder you at some point if you use them too much

If you rely too much on these tools you will eventually lose the confidence and the ability to use your artistic know-how to fill in the gaps yourself....and those "gaps" could be anything from proportions and anatomy to things like dynamics and even coming up with an idea for a drawing in the first place

Using too many pinterest images for your poses will at some point result in stiff art, and unless you already know how to manipulate it in your own style (the ones who do this already know how to fill in the gaps when it comes to anatomy), drawing 1:1 from a reference pose will just make your stuff look a bit boring most of the time. If you use 3D poser programs and you trace those poses all the time so you feel more comfortable with them, then at some point, again, your stuff is just going to feel stiff and a bit boring

At some point an artist has to know how to draw a hand without a reference. At some point an artist has to learn how to draw an arm without a reference. The same goes with the rest of the body, and the same goes with posing as well

[sobredunia]

Cakeverse

If you don't know what that is, it's basically omegaverse with cannibalism

There are 3 roles:

Human/plate -> normal people lol

Fork -> someone who can't taste at all, except for a cake. Cakes taste and smell absolutely delicious to them

Cake -> someone completely normal, except for the fact that they taste delicious to forks. For everyone else, cakes taste like normal human meat. Cakes don't tend to know they're cakes until a fork tastes them

NOW, I'D LIKE TO ADD/SUGGEST AN EXTRA FOURTH ROLE

Knife -> someone who can taste completely normal, but when they bite a cake, it will become the best thing they've ever eaten, becoming nearly like an addictive drug. once they've bitten them, though, they will lose all sense of taste, including to other cakes. this tends to drive them to madness