#definitely have to illustrate that moment between them at some point

[petite-sami]

What was that noise? 😟🐸 In a world where monsters and cryptids exist, it was only a matter of time before a young Briar came across one in the woods. It was such a terrifying moment, she was sure it was her imagination spurred on by all the tall tales and ghost stories told by the campfire.

[darkcircles4lyfe]

it's a story about hands (reprise)

Yeah, okay, today's the day.

I gave my blog that title for a reason, you know, and it has loomed over me for years because the hand motif is absolutely everywhere and you could go on about it forever.

Maybe that's something I'll never actually attempt to do, but this chapter, we reached a breaking point.

Before I continue, I need to give a big, big disclaimer: I do not have a physical disability, so I'm not able to speak about that from the standpoint of representation as a first-hand perspective. I have at least listened to enough disabled people to know that fictional characters who become amputees only to miraculously gain their limbs back is, um, a trope. Disabled people in general being "healed" is a conception we would really prefer to avoid here. Not to call people out, but I don't think we're giving enough space to acknowledge that.

I don’t feel comfortable making the judgement call about what should happen. I’m leaving that open. I also don't want to downplay people's emotional reactions. Honestly, I don't know if I can accurately define the line between acknowledging real pain vs. ableist pity. But I’d like to talk about the possibilities of what could happen. Other characters have definitely gotten permanent disabilities as a result of their hero work, or even just the side effects of their quirk. But, for better or worse, I don't think this case is really about representation. Not that Horikoshi won't do that justice. He might. What I'm saying is that's not his purpose for having Izuku lose his arms. It's meant to be symbolic, so we can explore what it means. The other thing I’m keeping in mind here is that Horikoshi is notorious for playing with our expectations, like, alllllll the time. I mean, just take a few chapters ago for a classic example. Eri appeared at the end, and we all assumed she was about to take some sort of action to save someone with her quirk. Then, immediately following, we were given an explanation for why that wouldn’t be happening. And now it’s clear he wanted to do that “fake out” not just as a silly cliffhanger prank, but specifically so we would know not to suspect that Eri could be the miraculous solution to Izuku’s loss of his arms. Rest assured, there is no easy way out of this.

The expectation at play in this particular instance is an old one. It’s very understated, but its subtext has burned so brightly, you’d be a fool not to notice it. It sits with anticipation like one half of a call and response. Man, I was so certain. Lots of people still are. I was really looking forward to printing the panel where it happened onto a t shirt and wearing it proudly. All the hand motifs in this story radiate thematically from a single moment, the one that started it all for Izuku.

It raises all kinds of questions about the act of saving, who needs saving, why, what does it mean, what are the dynamics of power, politics, honesty, exploitation, compassion, pity, disdain, sacrifice. Katsuki has dealt with many of these since he first rejected Izuku’s hand. While Izuku was the one who was convinced Katsuki would keep on rejecting him…

…Katsuki was the one who kept that moment in his mind all these years and eventually came to regret it.

Katsuki is the one yearning for that hand-hold, the one who has imbued it with so much more weight than it ever originally had. Izuku, in contrast, does not allow himself to dwell on what he wants. To illustrate this difference, we need to look at another piece of foreshadowing:

Ugh, do y'all remember when lots of folks were complaining about how there never seemed to be actual consequences for Izuku's destructive treatment of his own body? I don't blame them, I was concerned and confused about it too. There were several "fixes" along the way. Recovery Girl healed him, but left a physical reminder. Then he started training to fight with his legs… sometimes. Then he got support items. All of these were unsatisfying non-conclusions because they didn't present Izuku with a lasting enough impression to change in a meaningful way. They didn't address his core, his origin.

Of course, that all changed this chapter. Now it looks like our frustration was inflicted intentionally. With the current context in mind, all of these moments look more sinister, like this day was always gonna come because they kept putting bandaids on a deep emotional and psychological wound. The problem is pretty much spelled out for us here:

As Katsuki put it, he just doesn’t take himself into account, ya know? He doesn’t care what happens to him. And he lies about it, to keep others from worrying, to keep them safe. To keep them from returning the favor and putting themselves in harm’s way for his sake. His motivations are noble,

…but what about the little boy inside Izuku? Who saves him?

This is all about Izuku giving himself up to the point that he literally has no more to give. The thing is, I bet he saw this coming. He knew his limits and decided to keep going anyway, because his personal safety and wellbeing are not important. Now that way of thinking has come back to bite him because the fight isn’t over yet, and he’s already made his sacrifice. So now we know who will be more distraught over this. Not Izuku—Katsuki.

It’s not about Izuku becoming disabled, it’s about how Katsuki wanted to use the intertwining of their fingers to communicate that he would never let go. Never stop valuing him most. Never let himself make the mistake of rejecting him again. Never let Izuku be so reckless with his life. To say: “we are in this together.”…if only Katsuki believed he deserved to be able to say such things. To reach out his hand would have been the ultimate way to simply imply them and let Izuku be the one to decide. Then, to feel their hands clasped together would be more than either of them dared hope for, but so beautiful, so right. A moment they’ve waited their whole lives for.

Yeah. That’s what we were expecting. We’ve been so comfortable. Horikoshi gave us all the signs. He tempted and teased us over and over. BUT. You know he does this thing were he gives us a desirable, completely plausible and simple thing to look forward to, and then he snatches it away. And THEN he replaces it with something much better, something we were not expecting at all because it seemed too good to be true. That’s exactly what happened when Himiko snatched Izuku away, and we were robbed of the chance to see him and Katsuki fight together. In hindsight, though, I’m glad things went a different way because now there’s so much more depth and angst on display. Likewise, in the present moment, we may consider how, as one door closes, another opens.

As wonderfully meaningful as the hand-hold would have been, perhaps it is still too simple a resolution for Izuku, for his and Katsuki’s relationship. Tbh, it could have been done like 100 chapter ago. At this point, there’s so much more potential. There are a couple of ways it could go. If Izuku stays armless, Katsuki will be forced to use other methods to get his point across. He’ll have to do something else, or say what he means, or both. Yes, I’m talking about what you think I’m talking about. If I say it, I just might jinx it (lol), but I mean it. I’m being serious. Either way, if Izuku did get his arms back in the end, I’m sure that it wouldn’t be an easy fix. It would be hard-won against Izuku’s self-destructive mindset, and/or by Katsuki’s conviction. Again, I say this knowing it is not meant so much as a representation of disability, but as a representation of Izuku’s greatest character flaw taken to the extreme. I know this might sound harsh, like, hasn’t he been through enough? I get that, but… I’ve said it before and I say it again: Izuku is stubborn as hell.

I wish I had a resounding final note to end this on, but I kinda don’t. I’m not sure what’s best. Now we just have to wait and see what Horikoshi has in mind.

[bonesy-doodles]

TELL US ALL OF YOUR GHOUL HEADCANONS ‼️🙏💕

I mean, you asked for this!!! This is probably not all of my headcanons, just the ones I could remember off the top of my head, as this is all still a work in progress for me!

I will also include the Ghouls pictures again so people can refer back their designs cause I do touch on design choices for them as they, to me, are included in headcanons as every makes their ghouls unique on some way.

Okay, first up!

DEWDROP!!

There’s a lot for this man. So, Dewdrop used to be a water ghoul, however he’s not a multighoul like Swiss, Sunshine and Aurora because his element was transmuted during the binding ritual when he was passed from Terzo to Copia. So, my brain thought “what is water-like fire” and it landed on magma! So that’s why he looks volcanic. His gills closed over and became lava cracks, his fish scales became reptilian, and now he runs hot like a furnace. His ears are pointed like fire ghouls, but have points kinda like fish fins still. Dew also has fire manipulation and can essentially ignite fires (commits minor arson constantly) but that’s how he lights his cigarettes. He still has retained a great lung capacity and can hold his breath long enough to almost rival Rain’s infinite breath. The biggest trouble maker of the Ghouls and the worst influence on newer ghouls (i.e Phantom). He’s the shortest of the dudes, but makes up for it by setting you on fire if you make short jokes.

Also!!! I am a defender of the dark-hair Dewdrop design!! I know it’s very common for him to have blonde or white hair, but it was just not giving for this design. I tried, I promise! (I’m glad I’ve been seeing people love it though! My agenda is spreading!)

For fire ghoul visuals, I definitely focused on emulating glowing flame visuals, using red, orange, yellow, and white to give that effect with browns and blacks to make them look crispy. Scales and long pointed ears that go upward are also common for fire ghouls.

PHANTOM

Quintessence Ghouls are basically space and/or ghostly types of ghouls, as quintessence to me is everything between the elements and makes up everything (like stardust!!) Phantom, as a Quintessence ghoul can “see beyond the elements” with what I call aura reading at the moment, like seeing vibes and emotions. They can also float! Or slow their falls essentially. Not really fly like air ghouls. Phantom is actually, to me, one of the three most chaotic ghouls, alongside Dew and Swiss, and causes a lot of chaos at the Ministry. My favorite joke with my two wives who I discuss all this lore with often is that Phantom once pissed in the Unholy Water Bowl in the West Chapel right before a midnight mass, which caused a lot of problems for the Ghoul Den Overseer. Just to illustrate the shit Phantom pulls at the Ministry.

But specifically for Phantoms visuals, he reminds me of the moon, the tone of gray, his swirling vitiligo-esc patches. He has really dark eyes which is not very common for Quintessence ghouls.

AETHER

The second tallest and most beefiest of all the Ghouls. I mean, have you seen the arms on that man!!!! Like Phantom, Aether has the aura reading ability and is the expert at floating and slowing his falls (it’s how he achieves all the wild jumps on stage, like dude gets air time). His freckles actually form constellations, and on his shoulder you can see the Big Dipper cause he’s a big guy (yes that’s the joke, that’s why I gave him the Big Dipper). Aether acts as one of the minders of the Ghoul Den, kind of like the exasperated dad of the group. Tries his best to fix the chaos the other Ghouls cause to lessen the work of the Ghoul Den Overseer, put out Dew’s fires, etc. Also a fuzzy guy, which is uncommon for Quintessence ghouls, like he’s so soft somehow.

For Quintessence Ghoul designs, I really wanted to focus on the space aspect. All of them have space freckles, and their horns all swirl in some way (Phantom and Auroras swirling physically, and Aethers have swirling grooves/markings on them). Also, their ears are bovine-like in someways, cause I’ve always categorized Aether as like a space cow in my head. Their color palettes usually veer towards magenta, purple, and indigo (cause those are my favorite colors and Quintessence ghouls are my favorite).

RAIN

As a water ghoul, Rain has gills, fins on various parts of his body, and webbed fingers and toes (it’s a bit freaky). Also, serrated teeth like a piranha. If you’ve ever touched a fish, that wet feeling of their scales is how it feels to touch him. He can breathe underwater with his gills and will often be found in the lakes on the Ministry’s grounds when he needs to chill. His tail is a bit thick than other ghouls, as well as finned to help with swimming. Also water manipulation abilities! (It’s giving Cleo from H2O). He’s also bioluminescent! His scales and the lighter markings on him all glow

He does participate in problem causing sometimes, but is also exasperated mom of the group (cue his disappointed mom pose of hands on hips). Aether and Rain are the duo that hold Dew up by his arms while he’s trying to sprint towards trouble. Rain often has his hair pulled back in pony tails, or braided as he has a lot of hair, and it’s gets in the way while he’s swimming.

Water ghouls in general have everything above that I’ve already mentioned for Rain, all the fish like aspects. They tend to be blue toned and have a variety of scale coloration, often green, blue and purple in tones (duochrome, iridescent, pearlescent, etc).

MOUNTAIN

Biggest of the Ghouls and third beefiest! He’s also fuzzy! Mountain has a connection with the earth (duh, all earth ghouls do), which allows them to feel the “heartbeat of the earth”, gives them that killer rhythm on the drums. He’s big into growing plants and taking care of the Ministry’s gardens, which he excels in as Earth ghouls also can affect plant growth as well as other earth things like soil. The flowers behind his ear in the art are actually Belladonna, also known as Deadly Nightshade!

Mountain also has two ways to shift himself, one being normal legs and his most natural ghoul state is hoofed/goat legs, which is why he doesn’t like wearing shoes (it’s a weird feeling). His horns are gigantic as Earth ghoul horns tend to be, and have a cracked earth/clay patterning (his very first design iteration had cracked clay skin, but I did not like how it looked). His coloration and markings are very deer like, along with his ears. Mountain is very quiet compared to the rest of the Ghouls, he gives cryptid energy while at the Ministry.

Earth ghouls in general tend to lean towards more green and brown tones, with the previously mentioned giant horns. They can also have a variety of mammal like variations to them, but the most common is forest animals like deer, beer, wolves, coyotes, etc. They tend to be the fluffiest of the ghouls, and also the biggest. It’s just natural for them to be tall.

SWISS

Being a multighoul of all elements, he basically is a shadow ghoul (mix all paint colors and you get dark brown/black was my idea). He’s the third tallest and the second beefiest ghoul. Swiss has shadow manipulation abilities and can kinda merge into the shadows, which he uses to sneak around, cause problems and prank people. Also as a multighoul of all elements, he can kind of emulate abilities of other elements, like him being able to hold his breathe underwater longer than natural, his singing voice is siren-like similar to air ghouls, etc. He’s also fuzzy!!

Also, Swiss is the biggest accessorizer and has the most piercings of all the ghouls. He likes how it gives him some pizzazz. Also has gifted every ghoul at least one set of jewelry they are ornamented with (thought it was funny to get Dew the upside cross earrings).

And Satanas, the shit this man gets up to. There is a reason he’s on his stage of shame most of the time. Swiss enables all of Dew’s chaos with a giant smile on his face. It’s like winding up a toy and letting it spin.

Little side note about Multighouls, there are only two all element Multighouls in the Ministry, one being Swiss, the other actually being Phil! The Special Ghoul! He was once seen playing several instruments, signifying his elemental range, but tends to keep to himself compared to Swiss.

AURORA

The newest multighoul, and second multighoulette! Aurora is dual elemental, Air and Quintessence which together makes her embody an Aurora Borealis (her name sake). With her two elements, she gets her skin coloration and patterning, eyes, and swirling horn from her Quintessence aspect. Her space freckles are a bit more on the bluer side due to the air aspect however, as well as her second set of horns as air ghouls often have two sets of horns or two pronged horns. Her ears are bovine and bat-like. She has smaller wings compared to a full air ghoul, but her floating ability also helps. It’s a very interesting combo to watch. Also, her hair is just naturally like that, no hair dye involved. Don’t ask her how it changes color as it grows, she doesn’t know.

Aurora is probably the most energetic of the Ghoulettes, and is besties with Swiss. Is constantly helping him get into shit. In general is an accomplice to Swiss and the Ghoulettes. She loves being involved in the shit they all pull. And despite her stature, as the shortest of all the Ghouls, she will body a bitch (the shorter you are the closer to hell you get)!

CUMULUS

The biggest, fluffiest hair. It’s so long and so much and it’s her pride and joy! It’s how she got the name Cumulus because of how much it reminded Copia of cumulus clouds. As an Air ghoul, Cumulus has large bat-like wings that allow her to fly. They can be folded and retracted if need be as they can get in the way. In the Ghoul Den, the Air Ghouls have a loft only accessible to those with wings, or if you tempt fate and get someone to throw you. Cumulus’s air ghoul horns formed in the shape of crescents, so she doesn’t have two sets, instead is categorized as two pronged.

As previously mentioned, Air ghouls have siren-like voices (referencing Greek myth sirens being bird women) and Cumulus is the epitome of this ability. Can get people to do her bidding just by whispering sweet words into their ears.

Cumulus and Cirrus are a duo, as they were summoned together and bonded over being Air Ghoulettes, if you see one of them, the other is not far away or far behind.

CIRRUS

The tallest of the Ghoulettes and somehow the chillest comparative to the others. She’s still a ghoul though, so the chaos scale is broken anyway. As previously mentioned, she is Cumulus’s other half and visually is opposite of her on many ways. Darker, straight hair which is uncommon for Air ghouls, along with darker eyes. She also has the biggest wing span of all the Air Ghouls, and is the fastest with Sunshine a close second. Her vocals are second to Cumulus’s however. Not nearly at the level of controlling, but she can still bring anyone to their knees if need be.

Truly, Cumulus and Cirrus are a power couple amongst the Ghouls because their siren abilities affect Ghouls as well, just to a lesser degree, so if need be (with a good enough bribe) they can put a pause on the chaos if it gets too out of hand. The bribe has to be really good like, they like watching shit get crazy.

SUNSHINE

Finally, Sunshine. The first multighoulette summoned, and her dual elements are Air and Fire. Her fire like appearance veered away from volcanic like Dew to being like Sun Spots (areas on the sun that are darker than the rest of it) and that’s why her scales are rounded compared to Dew’s. Her wings are also smaller like Aurora’s, still bat-like but also gives dragon because of the reptilian aspect of Fire ghouls. She does have two sets of horns which she likes to ornament like Swiss.

Sunshine and Aurora bond over being air based multighoulettes and also have joined the multighoul secret club with Swiss and Phil. What do they do there? Well, it’s a secret of course. It wouldn’t be a secret club otherwise!

Also, there have been several cases of arson that have been committed that were blamed on Dewdrop, but were actually done by Sunshine, but she’s a great liar and loves getting Dew in trouble. She like orchestrates that shit.

Now that I’ve touched upon all of the air ghouls, basically, air ghouls tend to be either teal or yellow in tone, usually with cloud like markings (however Aurora and Sunshine’s dual elements change that). Their ears tend to be bat shaped, along with them sporting the large bat wings that give them the ability to fly. There have been cases, however, that air ghouls have feathered wings, the only known case being the first summoned keyboardist, aptly named Air. No one knows why he’s the only one, he just claims it’s cause he’s cool like that. Also mentioned the siren like voices, it’s not a universal Air ghoul ability, some more attuned with it than others, but it’s quite common seeing as all four Ghoulettes along with Swiss possess the ability to some degree (Air does not because he’s not cool like that).

GHOULS IN GENERAL

Kind of wanted to go into some general stuff for the ghouls within the Ministry and the Summoning process.

When a Ghoul is summoned by a Papa (the only person really sanctioned to summon ghouls with some exceptions of course), they are bound to that Papa, with some sort of mark to signify this binding. For the Papas, they each use their individual grucifixes as this marking (Copia’s ghouls were for a while marked with the basic Grucifix because he was initially a Cardinal. Technically, during that Era, the Ghouls should have been bound to Nihil, however Sister Imperator pulled the exception card for her little Cardi. Once Copia became Papa, the binding ritual was redone to remark them with his new grucifix). All of the ghouls do have grucifixes essentially tattooed onto their body in different locations, but there’s a lot of development for that and some still undecided so that can’t wait until I’ve drawn full bodies for all the ghouls.

Also, mentioned a few times in this was the Ghoul Den Overseer, who is actually a Sibling of Sin character of mine (because I over indulge myself and this is my lore interpretation anyway, I do what I want). Their “confirmation” name (christened? Sataned?) is Rigoria/Rigorian, last name Mortuous. Yes, it’s a play on Rigor Mortis but my name is literally Bones. I will be drawing them as well at some point so I can show you guys my interpretation of the Siblings of Sins in different Papal Eras.

[itsabouttimex2]

A Brand New Journey:

Part Two

(Part One) (Part Two) (Part Three) (Part Four) (Part Five) (Part Six)

“…hey, MK.” Pigsy’s voice snaps MK out of his stupor, causing the boy to whip around and face him. Looking for a chance to get out of doing chores, he throws the mop in his hands aside and eagerly heads over to the counter his boss is standing at. “Yeah, Pigsy? Something up?”

The chef wipes his hands on the towel around his waist, freeing them of sweat and grease. Then he snatches up the leatherbound book that you left behind, flipping through the pages.

“Y/N left one of their books behind,” he says, his brows slowly knitting themselves together. “Musta been in a real rush. You mind holding onto it til they come by again?”

“Yeah, sure! Give it here!”

MK grabs his boss’s shoulder with both hands, hauling himself up and over it to snatch the hardback from him. Slipping off of Pigsy without much grace, MK plops himself onto a stool and throws open the pages.

Though he’s eager to start reading it, the delivery boy notably slows down when he sees the precise, neat handwriting within. Several anatomical illustrations are paired with the pages, pointing out the weaknesses; both confirmed and theoretical, of every character in the tome.

“Looks like your friend’s been hard at work, kid. Maybe it’s some kind of school project?”

Flipping a page further, the delivery boy takes note of what you’ve been using to hold you place.

MK holds up your book in confusion, pulling the strange bookmark from between the pages. Holding it between two fingers, he shows it to his boss.

“Whatcha got there, MK? Is that a piece of your bandana?”

“Uh, it’s not mine. It was in Y/N’s book. They’ve got this real dirty… cloth… thing? And I think they’re using it as some kinda nasty bookmark.” MK waves it around erratically, watching the tattered cloth dance like ribbon as he pulls it this way and that.

“Hey- stop fiddling with it, kid! It might be important to Y/N!”

“I don’t think so, Pigsy. It kinda just looks like… I dunno, garbage? Maybe I should replace it for them. I mean, finding something better than this can’t be so hard-“

“Kid, listen- Y/N ain’t a ‘just cause’ sorta person. If they’re using this beaten up old… rag, then it’s probably important to them. Just put it back before the thing tears.”

Conceding Pigsy’s point, MK replaces the tattered red fabric in it’s former position, snapping the heavy tome shut to keep it from falling out.

“Well… I guess I’ve gotta go find a safe place to put this in my room, like… real soon- laterPigsybyeee!”

“What- hey, MK! Get back here! You still have to mop the floors!”

———————————————————————

“This book is absolutely one of kind. I made it myself, actually. Promise me that you’ll take good care of it.”

“Of course I will,” you had quickly declared, taking the weighty novel carefully into both of your hands. “If it’s important to you, then I’ll definitely keep it safe!

“Why would it be important to me? It’s yours to keep. It’s a gift, Y/N.”

A gift. It had been a gift. You would have been beside yourself with worry and shame to know you had left something so precious and heartfelt behind, sitting on the counter for anyone to take if they pleased.

You would be beside yourself right now… if you had noticed.

As it stood, you simply trekked on through the slowly dimming streets, barely noticing how light your backpack was without the book inside.

There was a little bit too much on your mind right now to notice something so inconsequential. You had downed your noodles and rushed out the door the moment you realized that your concealer was flaking away.

It’s not that you didn’t trust MK and Pigsy with seeing your bruises- in all honestly, you worried that they might get the wrong idea and try to intervene in some way.

Before you took to wearing concealer, there had been more than a few concerned strangers that had pulled you aside and offered help, directing you to several sources of aid- and no amount of explanation soothed their worries.

In an attempt prevent drawing any further attention to yourself, you had turned to using makeup, freshly painting over your myriad wounds each morning.

And, speaking of all the bruises that training was leaving on you…

You really need to get back to your mentor.

Actually, now that you think of it… maybe you should bring him something to eat. Sure, you could head back to Pigsy’s Noodles and order some 20% off takeaway… or maybe it’d be good to try something new?

[ruinofchimera]

It’s more convenient for me to analyze these arguments in depth in a separate post, so here we are. 1.

This is almost exactly what I’m suggesting, but you’ve managed to twist it. I wonder what exactly was so funny about Severus being attacked, humiliated, and threatened. In addition to this whole very “comical” situation, he was her friend. Let’s not forget this little detail. If this reaction seems absolutely reasonable to you, well, I wouldn’t envy your friends. I would never forgive such a reaction to my public humiliation, but maybe we have different standards for what should be called friendship.

In fact, she did join the mockery. Doesn't the use of a derogatory nickname, in addition to the mockery of his clothes, illustrate this enough? No, of course not, because she was just acting on emotion.

2.

Yes, I’m implying that Lily should have handled this situation with complete grace. Why shouldn’t she have, if she is the saintly and morally pure person you make her out to be? Why wouldn’t anyone expect her to be completely calm and polite in this situation? You expect exactly the same from a guy who was bullied and threatened in front of everyone. What are these double standards? Let’s make up our minds whether people still have the right to let loose emotions when they are being mentally destroyed, or whether there is no such right.

You state that Severus' words are not just a random insult, but a full attack on her identity and a bold sign that Severus associates himself with blood purists. You believe that this outburst of anger defines Severus. It doesn’t matter that he’s mentally broken at the moment. No. He had to behave with grace. He had to remain calm and polite. However, how he acted instead is seen as nothing more than malicious intent and a calculated situation (lmao, him being a mudblood too—and yes, anyone except pure-bloods is considered a mudblood by blood purists—definitely only confirms that his insult was well-considered and all). But does Lily play by some other rules? Doesn’t the same logic apply to her? Interesting. And I ask you to stop underestimating the power of bullying and abuse. That’s hardly on the same level, huh? If you're going to go into the emotional damage that Snape caused Lily with his insult, I can do the same. Severus’s mental state, already fragile from years of bullying and struggles with identity, was crushed even further by the realization that his only friend used the same cruel nickname his bullies had used to degrade him for years. Oh, and somehow she even managed to come up with a brand-new mockery to double the pile of bullying. She witnessed his public humiliation but joined the abusers at the first opportunity. And, of course, Severus’s trauma doesn’t mean anything. Only Lily’s trauma counts, given your constant highlighting of her hurt. 3.

No, that’s where you’re wrong. I don’t think she’s a hypocrite for rejecting Severus’s apology after everything. I implied that she was a hypocrite because she forgave James, who never even apologized for his behavior. And this whole idea that she started dating him only after he changed and became valiant is not supported by anything at all. Sirius and Remus pointed out that James continued his bullying—just not on dates with her, but behind her back. Anyway, I don't really care about Lily's love choices. She has the freedom to believe in James' redemption, just as she has the freedom to reject Severus' apology. And she was not obliged to stick around. I've written this I don't know how many times, and I have little faith that this will be the last time because you people are still ignoring it. I wasn’t talking about their reunion; I was talking about a sense of remorse. Whether Lily forgave Snape or not, he felt guilty about his behavior and apologized. Lily never did. She didn’t think she had done anything wrong, and this is a significant difference between them. They both followed their emotions and hurt each other, but only one of them repented. Such things, whether you like it or not, say a lot. 4.

I hate to judge something by how it’s talked about. Show, don't tell, you know? The characterization of anything will vary greatly depending on the narrator and their biases. We explore the story through Harry’s eyes and hear the perspective of his father’s friends. If we were to study the story through Draco’s eyes and hear his father’s perspective on the events, I’m sure many things wouldn’t match. And this is the natural state of affairs. So forgive me if I don’t remember a single scene where Lily behaved like a good friend, and therefore I’m skeptical when someone proclaims her to be one. The fact that she justified her friendship with Severus to others can have a very double meaning. The fact that she defended him is also very questionable if she did so in the manner shown in the only scene of her "heroism." For me, this is all unconvincing, especially when, in contrast, we have the precedent of Sirius and James' friendship, which in some ways mirrors the situation of Lily and Severus, except for the differences that actually define the concept of friendship. Both Sirius and Severus grew up in abusive families, both had dark tendencies that were just expressed in different ways. But Potter stayed loyal to Black after the Prank, even though James was forced to sort out the situation by himself. Apparently, for James, the bond with Sirius was more important than punishing him for his recklessness, and this bond wasn’t broken. When Sirius finally decided to run away from home, he ended up with the Potters because he knew that James was fully aware of his family’s atrocities and, more importantly, ready to shield him from it. I could go into this for a very long time, but my main point is that I have no doubt James was a good friend. And I don’t even need to hear Sirius praise him for this. Show, don’t tell—this is exactly the case. Everything that has been shown of Severus and Lily’s friendship seems disturbing, and not just because of Severus' actions. That was the point of my previous post. 5.

Well, I started my original post with the phrase, "If you want to talk about her toxic friendship with Snape, don’t try to erase her contribution to the equation." Toxic friendship (mind that I didn’t say that only Lily was a toxic friend) and contribution to the equation (not her fault for ruining their friendship) are the key words. Lily Evans was the focus of my thoughts, but not the scapegoat. Don’t confuse these things. I didn’t delve deeply into Severus' contribution (though I haven’t ignored it in my post) because I’m not new to the fandom. In the more than 12 years I’ve been here, I’m well aware that the incident with the slur has been covered as much as possible.

Moreover, it is actively used as a way to shut down any discussion about Snape, conveniently omitting that Lily was, in fact, an active participant in this unhealthy dynamic, not a victim. And yeah, she wasn’t a good friend.

Although it depends on everyone’s understanding of friendship, I admit that some may consider her approach to friendship to be worthy. But again, you need to make up your mind: if Lily has the right not to be held accountable for her emotional outburst, then Severus does too. If the circumstances don’t mitigate words spoken in a state of distress, then Lily is responsible for her sudden bullying. Otherwise, it’s hypocrisy. I’m not going to be convinced that Lily was a suffering friend, if only because I’m fortunate enough to know what real friendship and support look like. Their friendship was toxic, but not solely at Severus' hands. He misstepped, and so did she. He apologized, she did not. That’s pretty much the whole story.

[toaarcan]

C3E107 Thoughts

Okay first point of order, obligatory screaming about Abubakar flying an ocean to do a surprise return as the Arch Heart, you love to see it.

The Arch Heart's plan is interesting but I think they've either not telling the whole story or they're making a mistake. They assume that, in a moment of panic of Predathos being released early, their siblings will all flee. Except we know Melora would stand and fight, and we know that two of the gods are not Tengarian and therefore they have no past track record to base that thought on. They've got no clue what RQ and Vecna will do when the chips are down.

Of course, it's possible that the Arch Heart is hiding the truth. They said themselves that they are sneaky and that they were there without the knowledge of the other gods. They also kept stressing that they were being honest. Which could well be a lie. DC30 on the Insight check to see through any bullshit. The gods may have a different purpose for putting Predathos into a person.

The reality they've claimed is that the gods are currently in argument over what they should do about the Predathos situation, and the Arch Heart believes that if they have time to come to a conclusion, they will choose to fight. Whether that means war with Predathos or war on the people trying to release it, who can say. Either way, if they all come back, inevitably the Betrayers will try to kill mortals again, and the Primes will fight them. Calamity 2 will happen if mortals take too long to stop Predathos.

Ultimately the idea of cramming Predathos into Imogen or Fearne does not seem like a good one. We just spent the better part of 103 episodes watching Laudna struggle to keep Delilah under control. Delilah is the soul of a mortal fucking wizard. And Downfall illustrated the vast gulf between mortal mages and gods. It also showed max-level mortal bodies being disintegrated by the raw power of an unbound deity forcing its way out from within them. And the plan here is to cram a more-powerful entity into a Lv.13 Sorcerer or Druid and expect Predathos to not immediately escape or hollow them out and wear them like a cheap suit?

Then again, given the way it was being talked about maybe they are aware of this and recognise that whoever becomes Predathos' vessel is functionally or literally dead and doomed to chase the gods across reality for eternity, and that's a sacrifice that some have decided they are okay with. Either way, not a great plan.

The two members of BH that are most happy with the Arch Heart's idea are Dorian and Ashton, who are reacting to it like the perfect answer has finally been given to them. But it's not Dorian and Ashton who are going to be tasked with becoming the vessel. Imogen really does not want Predathos released. Fearne is more curious but Zathuda is actively trying to groom her into the perfect vessel and Shardgate was born out of Ashton convincing her to go with her gut and give him the Shard instead of taking it for herself, and I worry that with them on one shoulder and Zathuda on the other, Fearne may end up going with the plan and dying for it.

As for who the deity that agrees with the Arch Heart is... I don't think it's the Matron. The Arch Heart's words around her appearance are "You've heard my side," as if to imply that she represents the other. She was also one of the more reluctant gods when it came to leaving and building the gate, and she was consistently the "Stop doing hubris" one during Downfall.

The Arch Heart definitely did not have an answer for whether Predathos will harm mortals accidentally in pursuit of its meal. Also there's a probably-god chilling in the heart of the planet who isn't going to be running anywhere so that's not a great sign.

Zathuda and the Unseelie's dissatisfaction with Ludinus speaks to one of the bigger flaws in the Ruby Vanguard's plan. We've seen the gulf between mortal wizards and gods in Downfall, but Ludinus assumes that if he kills the gods then mortals will sit atop the food chain. Except they won't. There are a lot of entities that live in the gulf between mortal and divine, like powerful Fey, and also the Fiends the heroes keep running into. Zathuda evidently looks down on Ludinus and intends to betray him. To chase the gods away will open up the throne they've abdicated again, and it will not be a mortal wizard that sits it (nor should it be), it will be a devil or a demon or an archfey.

[theflyindutchwoman]

So, did you have something you were gonna ask me? I can't remember. Don't make me hurt you. Do you want to go out on a date? Yeah. I do.

| ANATOMY OF A SCENE - CHENFORD EDITION 5.09 - Take Back

There is something deeply romantic, dreamy even, in the way this scene is directed… The dimmed lights, the heart eyes, the hushed tones… All of this just give off this very intimate feel… this mysterious and exciting ambiance.

Now add the imagery of Tim playing with a piece of glass from the scuffle, examining it like it's a diamond or something equally precious... Of Lucy saying 'I do'… Bookending this scene with these two moments is certainly bold, but it does paint a clear picture of their level of commitment. There's also the ever present motif of the door : the one left, literally and metaphorically, open by Chris' departure... and the one in Tim's office, left open as well, for Lucy to come in. Not to mention the symbolism of them starting this new journey together in their Watch Commander's office. A not so subtle reminder of the last obstacle standing between them : having Tim and Lucy take that step there definitely underlines how they don't plan on letting the chain of command tear them apart. As it is, the fact that Lucy barely waited after breaking up with Chris to come back to the station and talk to Tim, dispels any doubt that she might have had second thoughts, like he was worried at first. Like he still worries when she shows up, a bit hesitant before walking in… or when she mentions Chris… But it doesn't last long.

And then, add the body language, the movement of the scene. Like how Tim and Lucy mirror each other flawlessly, emphasising how they are both on the same page… Or how they stand on opposite sides of the office, gradually coming together. First with Lucy, entering the office slowly. Then Tim, getting up to meet her halfway. There's still a gap between them though, and it coincides with their discussion about Chris. By this point, they're facing each other, hands clasped in front of them, a gesture made to appear more confident while feeling vulnerable : they know what this means now that they're both single… It's as scary as it is exciting. They just need to take one last step. Literally and figuratively.

That's when the atmosphere turns really electric… And Lucy being the one to take the leap this time, looking around to make sure no one is paying attention to them, subtly telling Tim she is ready, is perfect. Her bedroom eyes when she invites him to ask her out again… She exudes so much sensuality here. His look of surprise is endearing, as if he can't believe her forwardness to do this at work, in their boss' office, where anybody could see them or walk in. As if he can't believe they're finally there… The way he has to rile her up, something he loves doing, by pretending he doesn't know what she means… Or how she simply threatens to hurt him, introducing a new love language for them in the process - and taking a page from his own playbook, when he used to threaten her as a rookie… This is the perfect combination of old and new… A subtle way to illustrate how some things never change… And some do. How their dynamic will remain mostly unchanged.

They are both so excited to start this new relationship. Her smile… The intense look on his face… The longing, even more apparent than when he was about to come in her apartment… Walking slowly towards her, maintaining eye contact, and taking that final step - literally - to join her… Properly asking her out on a date this time, not just have dinner, looking all smitten… Her smile and twinkle in her eyes… 'I do'… They're beaming and glowing and ecstatic… And it's such a good look on them. This is both soft and sizzling at the same time. That final shot of them looking happily at each other, their position still mirroring the other, without a care in the world on who might be watching, is gorgeous. They're just enthralled, spellbound… And this time, there's no interruption, they get to have this moment just for them. To bask in it. As they deserve. As we deserve.

[tokiro07]

Undead Unluck ch.231 thoughts

[Do You Remember~ The 17th Night of November~]

(Topics: criticism - pacing/narrative focus, character analysis - Gina/Feng/Julia/Billy, speculation - Soul/Ruin)

Juggling Glass and Rubber

Damn, Tozuka, you weren't lyin', that Unjustice can sweep the Master Rules!

I'll admit I am a little disappointed by this turn of events because, like I was saying the last several weeks, I expected there to be an extra wrinkle that kept Unjustice from trivializing all of the MR fights, especially the ones that hadn't actually happened yet!

Yusai I was always pretty shaky on, and since she never got much characterization going in, I'm not exactly surprised, but the rest were definitely bummers

I've said before that I'm fine with skipping the Sick fight since Rip and Latla's climax already happened, but it's not like there was nothing to be done with it, like focusing on Sick's desire for revenge or having Rip look back on the mistakes he made in L100

Same thing with Billy and Tatiana's reunion - technically the climax of their joint arc was at the end of L100 when they promised to stay by each other's side until death, but I always thought of that as the setup to an upcoming payoff, not the payoff itself. It's definitely still salvageable here, but I think having Tatiana come in to save Billy when he's having trouble would have felt a lot more cathartic if it was focused on and analyzed rather than just...happening. Some insight as to why Billy was having trouble using Unjustice, like perhaps being overloaded with too many new Rules or reconciling with the choices he'd made, would have given Tatiana something internal to save him from as well as something external

I guess my issue here is that we're not really getting to see the effects that Remember is having on the cast as a whole, which I think would have better served as the focus here. I don't know if it's that Tozuka has been given a set number of chapters to work with by Jump or what, but it seems likely that Tozuka had ideas for how he wanted to execute everyone's arcs and fights but had to prioritize who to give the lion's share of the focus to for the sake of maximizing narrative impact

Case in point, the characters who he did manage to analyze here each had a pretty unique interaction with Remember

Remember Who You Are

Despite how brief their scenes are here, I do think that Gina and Feng's moments illustrate Remember's value remarkably well

Gina starts referring to everyone by the old nicknames she used for them in L100, only to amend "L'il Lucky" back to just "Fuuko," directly demonstrating the mental gap between the present and past. Gina naturally picks up her old habit, but isn't restricted by it. The respect and love she has for Fuuko goes beyond what can be expressed by a cute nickname, and those feelings were forged through L101 Gina's relationship with Fuuko. It's subtle, but it's a nice little cherry on top of Gina's arc

Feng, meanwhile, is noted to be getting stronger as Time ages him. This could be taken two ways: either he's stronger because of Remember and Time misread the situation, OR because Feng knows that he would have spent his time training and improving, his body, mind and soul are developing proportionally rather than being aged in a vacuum. The latter is thematically appropriate to countering Time's philosophy that age's function is to weed out those who have outlived their usefulness, while the former is a direct result of all of Feng's accumulated years across loops compounding simultaneously. Could be a little of both, honestly

What's even better about Feng's moment, though, is what he says in response to Julia's help: "I'm not deserving of your charity." In the past, Feng definitely would have been mad about getting help, resenting the idea that anyone thought he couldn't hack it on his own, but that's not what he said here. He believes he's done nothing to earn Julia's aid, that whatever Time was going to do to him, he had coming, and this is certainly because he remembers what he did. All of the people that he's ever killed, the lives that he ruined, especially his own son's, he now knows and can look back on from the perspective of having just abandoned the mentality he had back then

If Feng still believed in individual strength before receiving Remember, he probably would have looked back on the failures of his past as the results of his own physical weakness, not because of a flawed philosophy. Instead, Feng has already proven that he's stronger now after learning the true value of his age and legacy, so while he can still improve thanks to the lessons he can learn from his past self, the current Feng is able to retain his new outlook because he has an objective point of comparison that this was the farthest he ever made it

These are the sorts of subtle advancements I wanted to see from the whole cast, and again, while we still can see them, I think having a chapter dedicated to showing each little vignette would have been more effective than either breaking them up like this or showing such a notable imbalance between them

At the very least, though, even without being the primary focus of the chapter, Julia's interaction with Remember is far and away the most interesting one

Welcome Back, Juiz

Julia's behavior just before and after Fuuko actives Remember easily provides the most contrast of everyone and best demonstrates the tremendous growth rate that Remember allows

Prior to Remember, Julia was only able to use Unjustice involuntarily. To great effect, mind you, but still by accident: first when she stopped Soul's attack, and (seemingly) second, when she used it to reduce the damage of Soul's attack and ride it back to the surface. It's not explicitly stated that that's what happened here, but if Soul's intention was to kill Julia with that, he really dropped the ball, so I choose to believe that his bloodlust was negated by Unjustice

Afterwards, Julia was using Unjustice like a pro. She dropped War down a phase, got Time to bring Feng back to his prime, and even got Death to take out Luck, a feat that Fuuko objectively wouldn't have been able to accomplish with Unluck alone since Luck would have been able to avert Death's inadvertent attack with his good fortune. The most impressive part to me, though, is that she was able to channel Unjustice into her soul!

By putting Unjustice in her saber, Julia effectively injected Unjustice directly into Change's body, ensuring that she couldn't live by her own philosophy of constant change, even if Julia wasn't physically there to make visual contact. Juiz never learned soul manipulation, and Julia only just now mastered Unjustice thanks to her memories, so the fact that Julia was able to integrate those two abilities into such a high level technique is proof that her current self has in no way been overtaken by Juiz's memories, the most major worry that everyone had for Remember's use

That's not to say that none of Juiz's experiences made it to Julia, she still did remember Juiz's entire life after all. Beyond just Juiz's techniques and physical abilities, Julia went from panicking over Soul's attacks and Victor's injuries to calmly and confidently taking out the MRs one by one. She knows now what she's capable of and the weight that she carries, and she remembers what kind of relationships she had with everyone else. This is likely why she went to Billy first - both to give him access to Unjustice to make him stronger and to remind him that, despite their pasts, they aren't enemies anymore

The look of shock on Billy's face suggests that he was paralyzed by the realization of his past actions, and it's Julia's words that snap him back into the present and bring a smile back to his face. That's really what I was talking about earlier; giving Billy an internal conflict with his memories would have provided an angle that no one else really had while also allowing him a stronger character moment with both Julia and Tatiana

Still, even if it's a weaker moment than it could have been, I do appreciate Julia's direct acknowledgment of Billy as an ally, as it at least subtly harkens back to their previous encounter. Where previously Billy stole Unjustice and lost the ability to use it after Juiz had some time to think about his motivations as an enemy, this time Julia is willingly entrusting Unjustice to Billy as an ally

Actually, I wonder if perhaps that's why Tozuka had Billy fail to use Unjustice on Sick, because he is still fighting that internal conflict...for now, I'll choose to believe that Tozuka has that in his back pocket, but I won't be redacting any of my criticisms until he makes good on that, as this review is based on my immediate interpretations and I don't want to erase all of this and redo it...

Along the same lines, not only does Tozuka still have a backdoor for analyzing Billy, he also still has one for giving us some more cool moments for the rest of the Master Rules as well

Put Me Back in, Coach!

Despite one-shotting seven MRs all at once, Julia didn't actually manage to clear the field. The Union's gearing up to face Sun, but they seem to be forgetting: they didn't actually beat Soul. He's still in the Roundtable Room, and he's undoubtedly more pissed than ever

I'm not sure if I would have caught this on my own before seeing their post on this, but Webmantis on twitter pointed out that the MRs' souls must all have been sent to Subspace, the cosmic waiting room that all souls go too between loops. They note that, since Soul hasn't entered Phase 3 yet, he'll most likely be able to bring everyone back

However, they also note that doing so would be an odd narrative choice, as it would make Julia's steamrolling seem kinda pointless. Why bother killing off a bunch of characters just to revive them in the next chapter?

Fortunately, I think I've come up with the perfect answer to that very question!

Firstly, it's to show off Julia's post-Remember Unjustice; we were promised a sweep, and Tozuka made good on it in spectacular fashion. Second, and more importantly, their deaths are necessary for Soul to reach Phase 3

Fuel for the Fire

You may recall from a few weeks ago that I described the mechanism that the MRs use to reach Phase 3 is absorbing their Rule directly: Change absorbed the change in her shape when she was cut in half, Time absorbed Shen's lifespan, War absorbed Billy and Tella's violence, Justice absorbed Yusai's resolve, etc. This is why Death only just now reached Phase 3, because no one was dying the entire battle until she was forced to personally kill Luck, and Luck was likely being prevented from absorbing any fortune by Unluck

So now that all of the MRs other than Soul are dead, their souls are free of their vessels. I don't know if their vessels were actually preventing Soul from accessing their souls, but since he seems to consider the others his friends, he probably didn't want to resort to absorbing them either way, but now? It doesn't matter if he could or couldn't before, now he has to, otherwise it's all for nothing

Now, the question may be how he'll be able to reach them. Webmantis' proposition was that reaching Phase 3 would give Soul access to Subspace, but I'm saying that he won't be able to reach Phase 3 without the souls that are there - that's a pretty clear logical paradox

Well, not to speculate too much, but I think we already have our answer to that one too: Soul's finally going to change

Another topic I've been going on and on about lately is the stagnation and inflexibility of the Rules, the most notable being Soul's rejection that souls are connected. However, Soul saw that new facet of his Rule be added in real time, by Negators that aren't even his vessel. The only one who should have control over his Rule is himself, and yet he's seen others interact with their souls through reinterpretation time and again (Andy vs. Ghost, Gina vs. Change, etc.). In other words, he should know full well by now that his Rule isn't as set in stone as he once thought, and if everyone else can control their souls through their perspective, then why couldn't Soul himself?

With the lesson that Julia just taught him about souls, Soul can connect himself to his fallen comrades and drag them back from Subspace (or prevent them from reaching it in the first place), and achieve Phase 3 by adding their souls to his own. Whether this would mean gaining power over their Rules or reviving them is another question, but at the very least it would show tremendous growth in his character

I'll go into more detail on this if it comes to pass, but Soul learning to change his perspective on his Rule would make him more like the Negators, more like a human. This would also make him the most well-rounded and developed UMA to date, which I think would more than make up for any loss of characterization among the rest of them

Now, I would definitely prefer that he brings back the MRs, if only so we can see Luck's Phase 3 (c'mon, he's Fuuko's foil for cryin' out loud!!!), but even if he just integrates them into himself, I think that would create the perfect parallel to give the final member of the Union a chance to demonstrate his growth

The Man Who Would be King

While fighting Soul, Sun and Luna are all clearly the most important boxes to check off right now, there's still one more that Tozuka alluded to in this chapter: Ruin's return

How Remember will affect him exactly, I won't speculate on, but I think it will give him the final push he needs to join the Union and help fight God. If my previous speculation about Soul comes to pass, then that would make Soul the ideal matchup for Ruin

Not only would they have the parallels of being "multiple souls in one body," it would also be the ultimate payoff to Ruin's designation as The King of Negators. If Soul is Master Rule #1, then it's Ruin's destiny as the Negator King to negate all of the Master Rules in his reformation and rebellion against the God he so thanklessly devoted his life to

This would also present the opportunity for Ruin to reform the MRs too and unify both Negator and UMA as I've speculated on before, but again, I don't want to go too far into it here. As it stands, this is just me making things up, and I don't want to either raise my hopes too high OR preemptively run out of things to say, but the parallel is so interesting that I can't help but get excited by the possibility

Conclusion

As always, it's entirely possible that I'm wrong about all of this. Maybe Soul's gonna try to go Phase 3 and self-destruct because of Unjustice; maybe Soul is gonna fuse with Sun in Phase 3 and they'll become "SOL;" maybe Kururu's going to use Unchaste to aggro Sun into shooting Soul dead. I don't know. There's always a chance that what we get isn't as interesting as what we envision; the best we can do is be open to what we do get rather than insisting it has to be the way we want

If there's one thing I hope I've gotten across with this review, it's that I don't want to get hung up on the negatives, but I also don't want to just ignore them either. I am disappointed that certain plot points are being glossed over, and that's a valid response for any of us to have, but I'm not going to go so far as to say this was a bad chapter because of it. Good things definitely still happened within this chapter, and there's plenty of chance that good things will come out of what this chapter set up

As I said, all there is to do now is be patient and open-minded. If this ends up just being a lull in an otherwise fantastic finale, so be it. If it ends up being the start of a rushed mess, so be it. The only way to know is to be there to see it

Until then, let's enjoy life!

[chiprewington]

Out of curiosity, is there an interaction between Perry and Chip that you think about constantly?

Like just.. A favorite interaction of theirs that randomly pops into your head on occasion over and over again for no apparent reason other than you just enjoy the mental (or physical, if you'd drawn it before!) image?

Oh cog, there's a lot to choose from- but honestly, there's one that specifically comes out to mind and is something I really would like to illustrate at some point.

As a warning, I'm not a writer! A lot of this is probably gonna be very. Rambly. Part of this is also genuine headcanons, while another part is silly nonsense between Perry and Chip.

To start off with background context, Suits have the ability to sort of "link up" with one another, establishing some kind of wired connection (probably a specific cable located in the chest indicator) between two individuals that allows them to transfer memories and emotions. It's an immensely reassuring thing for individuals who may struggle with reflecting their emotions or struggle with understanding emotions from others. This cable probably is also used for receiving firmware updates and installing necessary software as a fallback if wireless connection isn't feasible.

For Chip, this meant everything. He fits that bill on both ends and used this connection to be able to better understand that his friends do genuinely give a damn about him.

Come the Override, however... this isn't possible. Or at least not fully. He is still capable of receiving information from someone else linked up to him, he can still receive firmware updates and what have you. What he can't do is give information about himself. The moment someone tries to connect to him, they would be immediately overwhelmed by a sheer amount of garbage noise that would make it incredibly hard to focus on the information exchange. Theoretically, this does mean that Chip can still be told he's loved by a dear friend as an undeniable truth, but it just doesn't seem worth if when it's impossible to convey that you feel the same. Despite it being therapeutic for him in the past, it's yet another thing that was ripped away from him by the Override.

That's when Perry comes into play, far into their bond with one another. After taking eir time researching into Suit structure and building to better understand how to conduct repairs on Chip, ey would eventually come upon the whole wired connection deal and be curious. Of course, a Toon doesn't really have cables or need to be plugged into anything. However, ey definitely had an idea on how to make it work (with telling Chip in advance, of course. He was a bit skeptical of the idea- but was convinced to give the connection a try again after all this time).

Cue Perry waltzing into the back room with a TENS machine, prompting immediate confusion from Chip. Ey have an idea. Ey don't know if it'll work, but ey sure have an idea. In place of one of the cables, Chip instead plugs himself into the machine while one of the electrodes is slapped onto Perry forehead. Ey look a bit silly with it. Turn the machine on, and...

Perry heavily winces. It works! ...But all Perry hears and feels is garbage noise. It makes em scattered, of course leading Chip to becoming concerned, leaning towards wanting to call this off, but this toon is a stubborn one. Ey still pull through, able to send information to Chip about how much ey love him, truly. Allow him to peer into careful choices of memories, able to feel what ey felt in the moment, even if certain ones were oddly... incomprehensible, for some reason. Still though, the moment wasn't as good as it could be, knowing that he couldn't reciprocate the gesture.

The constant having to actively Not think about The Grey however, but with the barrage of awful static filling eir ears, Perry would start to feel a disconnect in that moment, and that disconnect would surprisingly play the cards in both their favor.

For just a moment, everything was suddenly clear. Perry had the wind knocked out of eir lungs. Ey could feel eir eyes immediately start to water. Ey couldn't speak. Ey could only reach up and hold him by his face.

And then the garbage noise was back.

This session ended shortly after that. Perry kept holding onto Chip for the rest of the hour until he had to return to work.

It was nice. But it was so, so awful at the same time. ...This is yet another routine these two would incorporate into their schedules.

[pynkhues]

"especially given, y'know, what Sam wears in his day-to-day lol, I get the impression off the rack doesn't do much for him"

I don't usually pay close attention to men's fashion, so I was wondering if it was normal to have a shirt that seemed to fit well in the shoulders have SO much extra fabric around the waist lol

Do you remember any specific things that Carol said re: Sam? :) I've really loved reading her dives into the Louis/Claudia/Lestat Mardi Gras costumes and Louis and Claudia's 2.1 costumes.

Haha, it's kind of hard to tell, because the oversize fit for men is definitely in fashion right now, but his proportions do end up leaving him with so much fabric around the waist - he ends up looking a little concave when he sits back. I don't think it helps that he seems to like big, loose jackets too a lot of the time.

Carol's so great! I don't know if she's talked specifically about dressing Sam, but she talked a lot about the costuming for Louis, Lestat and Claudia in her AMC Q&A after s1 aired, and a bit in her more recent interview with TV Guide. They're both worth reading - the second one I found particularly interesting in what she said about Armand's neck always being exposed as a sign that he's at the top of the food chain and knows it (really contextualises a lot of the choices for other characters too!) and that Louis' muted style in Dubai is something Armand would see as Louis being able to relax with him, but is really a sign of Armand's control because Louis as a character likes, and is influenced by fashion.

Which feeds so nicely into the things she said about him and Lestat with their s1 looks in the AMC interviews. My favourite bits:

For Louis starting out, he had several iconic looks. His fashion showed how he was struggling between two sides of himself when Lestat found him. He had a Booker T. Washington look, a look that showcases the entrepreneurial spirit and celebration of education and Black business owners, and it was a more austere look. Then for his nightlife look, I was inspired by Black vaudeville. Not what the men were wearing on stage, but what the men were wearing in their lives, which Louis would have been aware of. They were extremely dapper men, and they had a celebrity air to them. In order to survive, Louis has to be impeccable. He has to have a showmanship about him that serves as a layer within his defense mechanisms. There were so many pieces to the puzzle that got us to where we were visually with both of Louis and Lestat.  For Lestat, he's coming from the mid-to-late 1700s and that was during a real explosion of dandy fashion for men. It's like Beau Brummel, the most widely known male dandy fashion plate. As we move forward with Lestat, I looked at icons like Rudolph Valentino. We have to remember that Lestat is coming from a time when clothing was a lot more restrictive. He wears modern clothes, but they almost fit him like corsetry, even his suits.

And another quote below the cut!

As we got to know these characters, as the work progressed with Sam [Reid] and Jacob [Anderson], we would present them with different styles that I felt "this could be Louis," "this could be Lestat." We reached a point where in fittings it was like we instinctively knew "in this time period this is how Louis would actually wear it" and "this is how Lestat would wear it." So just in working with the actors, so much presented itself in what direction to go with each of the men. There was some really fun stuff of course, like when they first meet. They have very distinct looks and then Louis pulls Lestat into the present day, right? They have this moment – it's like their first honeymoon moment – of their friendship where Lestat is very influenced by Louis's fashion and he's going to Louis's tailor. They really feel in sync and that moment is largely illustrated by a very famous menswear illustrator, J.C. Leyendecker. He made famous the Arrow Shirt Man and he was the male standard of beauty. He became such a big thing that he sold millions of shirts just because everyone wanted to be that man in his illustrations. And the whole first two episodes, their style sense in many ways is a love letter to Leyendecker. Some things are just perfectly pulled from – like their formalwear, their tuxedos that they wear to the opera in 1917, and the black pinstripe suit with the green tie and the white boutonniere that Lestat wears to the du Lac family home for dinner – those are from a Leyendecker illustration. The thing that was so amazing about Leyendecker himself, was that the Arrow Shirt Man, his model, they fell in love and it was just a beautiful love story between these two men that they could not be public with. So, to throw in very pointed Leyendecker references in places of great struggle for Louis and Lestat was amazing. What I always think of as their second honeymoon is in the '20's when Claudia is running wild, and you see them and they’re like these two fabulous bachelor dads. That was a lot of fun! There's this one image – and there's been a fair amount of fan art – with Lestat in the cardigan sweater. That was so tongue-in-cheek! They're the perfect two dads with their little wild child. Putting those looks together was amazing. It was all about following the story and ripping them apart, and then putting them back together, and then ripping them apart and putting them back together again.

[ordinaryschmuck]

Quick Thoughts on Nimona

Based on the graphic novel by the creator of that She-Ra reboot no one likes anymore, Nimona is a movie that is well-worth the wait.

For those who don’t know, this WAS originally a Blue Sky Studios produced movie intended to be in theaters. They got about...80-90% done before Disney shut down the studio and forced Nimona to be indefinitely shelved until someone wanted it.

And it turns out that Netflix wanted it. And boy...Blue Sky REALLY dodged a bullet with this one.

Oh, not because the movie is bad. Again, it is VERY well-worth the wait.

The animation is stellar, having a unique style that sets it apart from other animated movies, as well as having fluent movements and bombastic facial expressions. The most it shines are in the action sequences, which are fun to watch even if there’s not many of them (really wish there were, though).

And the characters are also pretty decent. Ballister has a very tragic beginning to his story, as well as a character arc that’s pretty endearing.

His boyfriend Ambrosius is also endearing, having a decent conflict that makes you understand his side and why he’s always willing to go back and forth on what to do.

And the main antagonist, who is a surprise that’s cleverly revealed halfway, is a great villain representing the flaws of authority and why the people who make the laws actually have zero value on human life. It IS easy to tell they’re the twist villain, and their motivations are a little lacking, but you can let that stuff go if its thematically appropriate, which it is.

But then there’s the real star of the film: Nimona. At first, I found it a little weird how she’s top billing with how much of the story’s conflict is based on Ballister, but the film really picks up with Nimona, who is the heart of the movie. She’s definitely that character who some are going to love while others are going to hate, but I find her wild and violent tendencies entertaining and her chemistry with Ballister to be on point. Plus, her backstory and attitude towards how people see her really helps to endear her.

Seriously, I wasn’t expecting too much drama from Nimona, but BOY does it deliver with a few heart-clenching scenes that almost got to me a few times.

Not to mention that the themes of...I guess anti-police is the best way to put it. It’s made pretty obvious that the knights and their director are to represent the police system, and the movie does well to illustrate the flaws of it. Not EVERYTHING is perfect, but it’s...good enough.

Any real complaints I have towards the movie is the pacing and the jokes. The movie knows when to slow down for when it’s important, but there are some scenes that fly by, particularly some bonding moments between Ballister and Nimona and the development of their relationship. And the jokes can be hit or miss. When it hits, it’s REALLY funny. When it doesn’t, it’s REALLY awkward.

But that’s about it...So, WHY do I say that Blue Sky dodged a bullet with this one?

Because this is a movie that’s very against police and VERY supportive of the LGBTQA+ community. Nimona makes it clear that the bad guys are the ones who kill what society deems as monsters, even though some of these monsters got that name because all they did was exist.

If Disney didn’t kill Blue Sky, the amount of homophobic and conservative parents demanding that Nimona got pulled from theaters WOULD.

People already aren’t alright with the gay and mind-changing stuff that’s on TV nowadays. Hell, I saw on Twitter that a guy destroyed his sons Funko pop collection AND TV just because the kid was watching THE OWL HOUSE. There are VERY bad parents out there who would do anything to “protect the children,” and Blue Sky would have undoubtedly went down for a VERY brave stand to take.

Which is a shame because Nimona really is that good. It’s a solid 7/10 film that left me entertained throughout and should be seen by everyone. Bit of a warning, there’s a bit of an attempt to self-harm/suicide near the end...but thankfully it was only an attempt.

Still, check out Nimona. It’s fun, it has heart, and it’s pleasant on the eyes. You won’t be disappointed by this one.

[samobservessonic]

The main story of this big issue is the second part of Countdown to Disaster, brought to us by the usual Kitching & Elson dream team. To be fair on Knuckles, this would also be my first question if I saw a robot duplicate of some guy I knew

Sonic has no idea how a robot he previously trashed is back, but I’m more concerned with the swing and miss he’s had with giving Knuckles a nickname here. But don’t worry, Sonic will indeed keep calling Knuckles “Red” from now on

It’s a coincidence that I’m blogging about this one the day after the trailer for the third Sonic movie has come out, but damn - Knuckles is having a bad time being beaten down by Sonic doppelgangers lately!

Oh, that was your brother! The family resemblance is striking!

I thought it was probably a good idea to include the first mention of the Brotherhood of Metallix, because that’s certainly going to be a big plot point that I know a fair few people cite as their favourite part of StC (I don’t have the sources, but current writer of the games, Ian Flynn, has mentioned a few times on his podcast, the Bumblekast, that it’s his favourite part of StC)

We get a fight scene between Sonic and Metallix, before Sonic figures out that he can get a boost from the Master Emerald as well. But this is StC, so you know what that means…

…It’ Super Sonic time! And with him comes an instant KO!

We cut back to our two villains, with Grimer managing to effortlessly deflect a Robotnik tantrum by pointing out that, even if Metallix lost, they still got the Master Emerald out of it

This continues to be a bad day for Knuckles meeting new(ish) hedgehogs who want to beat him up

That’s pretty embarrassing to come around and realise that your alter ego was punching your crush who already isn’t that into you

But Knuckles brushes off this explanation, because the two of them falling to their death takes priority right now. Not only that, but I’m sure we’ve all got a pretty good idea what that ominous something that’s about to break through the clouds is

…This story was epic! Even if it’s the second part of an ongoing story and may or may not have intentionally been put here for the 50th issue, it feels very worthy of it. We’ve got an iconic moment from the game being illustrated and adapted beautifully, featuring some big fights between hard-hitters from the games themselves. Fleetway Super Sonic was even there! These are the kind of stakes I want to see in a big milestone issue. I feel like StC’s 50th issue isn’t talked about nearly as much as Archie’s End Game is, but I’d definitely recommend it for this story alone. It truly feels like a love letter to the Sonic series at the time!

[rachthepoet]

Meet Me in the Hallway Analysis

Another of Harry's songs gets underappreciated for the sole reason that people do not grasp the profoundness injected into it. This song is a masterpiece in uncertainty's devastation, utilizing time and setting for the emotions' amplification. The somber sound itself offers a perfect way to orient the listener to the delicate curation of HS1, making it one of my favorite openers, too. It delves into themes of longing, heartache, and an all-consuming desperation for reconciliation. Additionally, we are introduced to a theme that weaves itself fervently throughout HS1 — reflection and grieving. Too often, it's stuck side by side with self-regret and destruction, too.

Here's a deep dive into Harry Styles' Meet Me in the Hallway, from a poet.

Metaphors, baby, Metaphors!

The title itself is a metaphor and a core one at that. The term Meet Me in the Hallway purposefully mirrors the saying Meet Me in the Middle. This song has an intense tinge of a plea — specifics, the plea to reconnect and resolve unfinished business, to find a compromise. But, one party is always hurting more than the other. Per usual though, let's go a bit deeper. A hallway is a temporary, empty place to be stuck in. It's used to reach a destination but is never the destination itself. This is such a key detail in the perspective of the song. It's torturous, to be stuck in this limbo, never reaching the point he longs for, always being pushed back down on this hallway floor. It's a form of stagnancy, and one can easily spiral if left to their own devices in such circumstances.

There's another metaphor at work, a pretty big and overarching one — comparing love to addiction. I definitely think Meet Me in the Hallway is about love, but, more so, the loss of it. As many have vocalized one time or many, love can feel like a drug. Enveloped in the moment, it can make one see the world differently, and maybe it can even take your pain away. But, so easily, one can become reliant, and dependent, finding themselves immersed in the withdrawal pains when it's snatched away from them all at once. Essentially, that's what this song encompasses and illustrates — the withdrawal. Partnered with the bargaining, standing in the metaphorical space between closeness and distance. Trying to find a way to meet halfway physically and emotionally in a desperate effort to take the pain away. He needs them, and can't live without them, even as they mutilate him.

A last thing to mention is not really a metaphor, but more a running theme across his works that is always going to be prevalent — miscommunication. There's a significant struggle with lack of communication, now also highlighting bad coping mechanisms. Both, as one comes to see, find themselves in recurrence of this debut album of his.

Lyric Pull Apart

[INTRO] Two, three, four...

Something so decadent to the ear, but simultaneously so devastating to the gut. I love how this song — and the debut album — starts off with a hushed counting off. Starting with a hushed tone gives an intimacy to it, something so intriguing, as this opener chronicles a loss of intimacy.

[VERSE 1] Meet Me in the Hallway Meet Me in the Hallway I just left your bedroom Give me some morphine Is there any more to do?

Meet Me in the Hallway: Again, this is a rearrangement of the plea to meet me in the middle. Stopped at this first line to digest, but this is only the first in many moments of begging to work it out, interwoven with many pleas of wanting to get better and get better — but still finding oneself stuck in the hallway, stuck in the in-between, with no direction as to where to head to get to the destination at the end. A small detail I feel like people always miss is how his vocals echo, solidifying that particular image of him down and out. Sitting out in the hallway, back up against the wall, maybe with the head tilted back too — pleading in withdrawal.

Meet Me in the Hallway / I just left your bedroom: Just like the hallway is a metaphor, the bedroom is one as well. Take the setting and turn it into poetics. The bedroom is considered an intimate space, yes? The speaker's walked out, there's been a separation of intimacy, and is on his way out into the cold, but isn't all the way out. Remember, the hallway is an in-between space, always a method to the destination but never the destination itself. He's stuck in this agonizing leeway, and maybe he keeps returning back to them on his own or they keep convincing him, even with the knowledge that this addiction is detrimental to him on all levels.

There's some hidden detail just in the way it's phrased. I just left your bedroom gives some backstory. They were recently together and intimate, maybe an unwritten this will be the last time we do this (but they said that the last time, and the time before that). Inserting an emotional distance, but concurrently physical. And, back to bouncing off the bedroom metaphor, the relationship could be in such a place where the speaker feels like a stranger, like he's no longer welcome. Lost intimacy.

I just left your bedroom, this specification of "yours", as it's not his or theirs together. Again, lost intimacy. Marking the bedroom as the other party's in turn sets the other one's rules in place. The speaker has no sense of control, which can serve as a double meaning. No control in the relationship, but, at the same time, losing control of the self. The hallway is something more neutral, less intimate, a stark contrast to the bedroom — and that's where the speaker's been thrown.

Give me some morphine: Morphine is not only a pain medication, but it's also extremely addictive. Could this be him begging for it as the only close substitute to come close to the effect this person's love has/had on him? The love that's been ripped away? Here, and written in the undertone of the song's beginning to end, is a sense of hopelessness. This person's love is a drug to him, so he's bringing in another addictive drug to try and supplement. And, like much incorporated in this song, it's injected with metaphor — a simple one, more broadened, trying to search for the supplement to ease the pain. A supplement to the other who left him in urgency for something to take the pain away. It suggests that the speaker has fallen into a state of desperation, seeking any form of escape from the agony, even if unhealthy and just as destructive.

Is there any more to do?: Hopelessness! This song chronicles a moment of anguish, grasping at straws to try and salvage the intimacy and relationship, not wanting to lose the one who's taking the pain away. Even with the knowledge it might not be healthy, and even with the knowledge it's only a temporary solution. He's become dependent. And finds himself in the weakest state.

[CHORUS] Just let me know, I'll be at the door, at the door Hoping you'll come around Just let me know, I'll be on the floor, on the floor Maybe we'll work it out I gotta get better, gotta get better I gotta get better, gotta get better I gotta get better, gotta get better And maybe we'll work it out

Just let me know, I'll be at the door, at the door / Hoping you'll come around: I see this chorus as a surrender, a fall from grace on the hallway floor. The chorus' repetition captures this essence, I believe. He's ready to take the person back whenever they are willing. He's right at the door — trying to get closer to the past intimacy of the bedroom — ready to try and work it out, to try and meet in the middle, and push down the pain they've caused him. But will it ever really be forgotten? And he's hoping, even whilst drowning in hopelessness. It's on the other person to come around, for maybe he has run dry, exhausted. Stuck in the silence, the waiting.

Just let me know, I'll be on the floor, on the floor / Maybe we'll work it out: He's on the hallway floor, as all of his guards and dignity have fallen limp. Not putting up any fights to the withdrawal and pain, but rather letting himself succumb to the emotion. Surrendering himself to an addictive love, even if it's destined to harm him in the end. And he's saying maybe we'll work it out. Hoping, maybe, very tentative and insecure in his diction — like he's been in this same spot of desperation before. He's experienced the come down from the high too many times. Yet, a small part of him will still go back. He'll still fall to his knees if the other party welcomes him back in. Again, still a small part of him that tries to hope amid the hopelessness.

The lines before these and the two here now mirror each other, and there's an intention to that. When one's in despair, spiraling within yourself, you can repeat oneself over and over to try and communicate the tortured spot one's in. Repeating the same point again and again, even if phrased a little differently.

I gotta get better, gotta get better [x3]: What was that about repetition? It could be just for rhythmic purposes, granted, but it feels like it's something told to himself, repeating it like a mantra. A mantra that reflects both a personal struggle to heal and a stronghold on the aspiration to improve the situation with the other party. And it's sung in almost a yell, and very self-chastising. He's placing himself at fault, this confession into how he feels — and, because of the urgency the repetition evokes, it could be something that's been plaguing him, weighing him down to the floor. Maybe he knows he's not been handling things well, like one would with a drug addiction, and needs to get better to work it out. Even if it's not a guarantee. And, once more, the repetition, in this section and in other moments of the song, pushes forward the feelings of hopelessness, desperation, and even submissiveness.

[VERSE 2] I walked the streets all day Running with the thieves 'Cause you left me in the hallway (Give me some more) Just take the pain away

I walked the streets all day / Running with the thieves: These lyrics continue along the path of melancholy and introspection, and the sense of solitude is further painted. The speaker is wandering hopelessly, searching for something to replicate his drug — much like how substance abusers spend their days walking the streets looking for more. Then. Any saying that includes "running with the..." implies associating oneself with a group of people without necessarily identifying within it. A thief is someone who seeks something they don't possess. In this song, he's waiting desperately for someone who isn't returning back to him, so he feels the connection to the thieves — he seeks something he no longer possesses.

There's also an air of reminiscence to Liam Sparkes' quote in Another Man, speaking of tattooing Harry's butterfly:

"The butterfly on his torso is based on an old French prison tattoo inspired by Papillon. Traditionally, it would mean the wearer is a thief — something to do with the double meaning of 'Je vole', which translates as both 'I steal' and 'I fly'." — Liam Sparkes

This can bring in some more theorization of symbolism, as butterflies can represent someone's yearning for freedom or metamorphosis. He's been trapped in this metaphorical prison, in the hallway setting, for so long that he dreams of running with the thieves as a sense of freedom. Even if that freedom is self-destructive, it would still be freedom from this hopelessness and melancholia. Then, the illusion of metamorphosis, where he thinks these bad coping mechanisms will give him the feeling of open wings, but he's just shot down instead. The dichotomy and this could be a stretch, I fear, but I like sharing anyhow.

Running with the thieves could indicate he's let himself get carried away by things around him, to take his mind off the pain, engulfing himself in self-destructive things. Almost like he's fallen into the dramatic justifying thoughts: What's the point of anything if this love is lost? If the one I love won't let me in, might as well throw my entire self away. With this withdrawal of losing intimacy and connection with the other person, there's a lack of meaning to anything he does. So why not go and run about? Indulge himself in a self-induced ticking time bomb?

'Cause you left me in the hallway (Give me some more) / Just take the pain away: He points the finger to the other person as the cause of his agonizing isolation in the hallway, as they've neglected him in the limbo, for he has no indication of where they stand. He's been left somewhere in the middle of an unfinished relationship, hoping for more. Hoping for the person to take his pain away. And, through all this, I feel there's an indication that he's the only one holding out hope anymore. He blames his irresponsible actions from the lines before on the fact that he's been, again, left in the hallway, framing anything he does destructively as a cause-and-effect phenomenon. Again, the hallway is such a temporary and empty place to be, a way to get to the destination but never the destination itself. If one's standing endlessly in the hallway, especially in a moment of stagnancy with no direction out, you're nowhere meaningful — and that can be torturous.

I love how Give me some more plays off the earlier Give me some morphine, which can be both an emphasis and a branch off, diving deeper into the desperation. Screaming into the echos of the hallway "Give me more!". More effort from the other person, some more hope or signals that would make him believe they're working towards making things better too. And maybe this will take his pain away. Even if that soothing is superficial, he's desperate for something to take it away.

[CHORUS] Just let me know, I'll be at the door, at the door Hoping you'll come around Just let me know, I'll be on the floor, on the floor Maybe we'll work it out I gotta get better, gotta get better I gotta get better, gotta get better I gotta get better, gotta get better And maybe we'll work it out

The chorus returns, with the spiraling repetition and aching. We have the metaphors of the hallway, the bedroom, but what about the door? Each piece of the setting listeners have been placed in holds such symbolism to it. The door could be a metaphor for entering back into the relationship, for the door is what separates the bedroom (intimacy) and the hallway (isolation). He's waiting for their permission for him to open the door and enter the room — circling back to how the speaker's the only one who still wants this companionship. He's the one having the desires, this desperation, a need — but the other person is failing to even meet him in the middle, to meet him in the hallway, even as he's now collapsed on the floor, overtaken by the pains of his withdrawal and melancholy.

[OUTRO] We don't talk about it It's something we don't do 'Cause once you go without it Nothing else will do

We don't talk about it / It's something we don't do: Here we go again, this man and his communication issues. I've said it before, and will probably say it a million more as it's inevitable to come up —struggle with communication is such a common theme across HS1, across his discography entirely. The two of them don't talk about their issues — maybe they're scared that if they start talking about it, it'll be like tugging on a loose thread, only a matter of time before they both unravel. There's a fear of loss, and a fear of having to grieve the companionship, as the love has grown — say it with me now — addictive.

'Cause once you go without it / Nothing else will do: Once he's had a taste of what this person could be for him, how they can take the edge off, he feels that anything and anyone that follows will pale in comparison. Drugs, such as morphine, are so highly addicting that people often feel like they can't live without it and nothing else is as good — after they've felt that surge in their body, or the relief, even if it was illusionary.

Within the confines of Meet Me in the Hallway, in its somber after-hours feel, themes and conceptualizations were set up to be returned to throughout the debut album. This song also has a lot to do with the self, which is fitting to lift the opener of a debut and reintroduction. But this relationship with the self isn't healthy all the time, and I think it's beautiful that we do explore darker themes often in his work. Writing songs can be a form of catharsis, and we are the gifted to be able to hear it, and maybe find our own release.

Thank you for reading, you’re absolutely incredible! If there are any songs you’d like me to make an analysis of, please send your request to my inbox! along with any questions or insights you might have yourself!

[jichanxo]

how different is your creative process between writing and drawing (and in which areas)? do you have a different approach in each artform? if you have an idea, you first think how you'd write it or draw it?

This is definitely going to be long so. Cut.

Just to preface, obviously both writing and drawing are a form of art, but I tend to use the word “art” when I mean illustration or drawing, so that’s what I’m going to do here. And of course a disclaimer that I’m only speaking to my subjective experience.

Tbh I don’t think my approach to both is that different from each other, which is odd, because I’m used to thinking of them as very different processes. Probably because the mediums themselves are so different. But like with my writing, I tend to improvise. Feel it out, see how things go, throw ideas at the wall. I would probably say that I’m more willing to experiment with/scrap my art than my writing. Probably because I’m more confident with my art than my writing, so I find it easier to make judgments like that, or because I’ve made so much that throwing stuff away when it isn’t working is very easy. I get a bit more precious about my writing. I always want to keep it or at least try to adapt it into something less bad, lmao. I’m also just not as confident in my ability to judge what writing is worth keeping or worth permanently deleting. I just haven’t polished that skill for writing as much as I have for art.

With regards to planning my art – I definitely do sometimes, because I consider art my Serious Hobby, which means I do like to have a go at more serious projects as opposed to just improvising all the time (a contrast to my writing where my only “serious project” is senseific, and I fell into that by accident). The things I plan out are the idea/s I want to convey, and what imagery would express that. (like this IW art, and the second one in this umineko post) Or sometimes the imagery gets stuck in my head and I work from that. (yagami’s hair clinging to his neck here)

I actually find that planning too much can be detrimental to my art process. That is to say, not in terms of figuring out ideas/themes, but doing too much drafting. I find it very difficult to do things like clean lineart unless I’m having a Weirdly Good Art Moment, so I just don’t. Hence a lot of my art is very sketchy. I’m just not good at capturing the same looseness with “proper” lineart than with my sketches, so I keep them. Not worth fussing over. This is what works for me.

(even in this, and the first image here, you can see a lot of breaks and incomplete looking lines. not to say necessarily that this is a bad thing of course, but you can see that even in what I consider my “polished” work, I won’t use “proper” linework, but instead a high quality/detailed sketch. I imagine some other artists would have their proper linework stage after these sketches, but i choose to stop here)

this probably reads like I’m talking myself down, but that’s not really what I’m meaning to say – my point is that I don’t figure out details even for my bigger pieces, and that with drawn art I have a better time judging where my time is best spent. I don’t think I have a strong understanding of my writing by comparison, so I can’t decide how to play to my strengths or anything like that, I just have to see how i go.

For writing, either it’s “i’m in the mood for it” or “i’m not in the mood for it”. For art, it’s “today is a good day/bad day”, “today’s a painting day”, “today feels like masking”, “today I just want to sketch”, “today I’m too loose for what I want to work on”, “today I’m too stiff”. You can see the difference in my ability to judge, yeah? So a big difference is to do with just my own (relative) inexperience with writing as opposed to drawing.

I think the other major factor is the differences in the mediums themselves. A fanfic is sequential. There’s a change in time. Illustrations are by nature a single moment in time. Big difference there. Of course, there are comics and animatics and other art that’s both drawn and sequential, but since I don’t do a lot of that, just count that as exceptions for now (and in a way, those are kind of like a combination of writing and illustration, aren’t they?) I find there are some ideas that are conveyed easier or better through writing, and others where the better option is art.

So to answer your last question, often ideas come to me pre-packaged as a “writing idea” or an “art idea”, rather than having to decide that separately. In the case that a sequence is better conveyed with a visual element, that’s when it’s comic time. The gorillashipping comic is a great example of this. The punchline is at its best when it’s not explained in words, and the expression of the final panel does all the heavy lifting. I pitched this idea initially in words (as a joke on discord), but the comic version has more punch.

Comics are also great for when you want to avoid explaining context, and for when you want to force the reader to take a specific pace. Here’s the example I’m thinking of.

The visual space dedicated to the fighting forces you to take time to process, and that time is important for the buildup to the punchline. This wouldn’t work as well if we cut this down to, say, the four panels of the last example. So yeah, timing. And then my other point – context – why are these two fighting? I don’t know. Where are they? I don’t know. It’s not necessary for the joke. The same is true of the gorillashipping joke. How did the relationship between kiryu and kaito happen to make this even remotely possible? I don’t know. But I don’t need to explain it in a joke comic. With writing I find that it feels more necessary to make context clear to the reader so they understand what’s happening, but with illustrations, it’s a lot easier to skip over that. Obviously this isn’t impossible in a written format, but that’s just my personal opinion.

Admittedly I think this second example is doable with just pure writing (replace all the panels with descriptions of the fight that take long enough to simulate the time it takes for the reader to digest the build up, then make the punchline a wham line, yknow), but it varies on a case to case basis. Also I would not want to write fighting. Lmao. I’m not… any good at that. So I guess it is also just in part about playing to strengths.

Anyway, enough comic side tangent. I’ve already started talking about it there, but was going to do a comparison between writing and art as mediums. The main thing, I find, is that they have different strengths. More than strengths/weaknesses though, the mediums themselves convey some things with ambiguity, and other things with detail.

Like I first mentioned, time: it’s easier to convey the passage of time with writing than with illustration. And like I said before with comics – conveying context – because an illustration captures a single moment in time, it’s a lot easier to avoid context entirely, while it’s harder to avoid in writing. I’ve drawn kuwagami cuddles before, and there’s no background, nothing discernable as to the lead up or any other detail. And that’s great! I don’t want to have to invent a plausible reason for them to end up hugging. I can just do it, right? But sometimes it’s the context that makes things significant, so you do want it there. A better job for writing. Writing allows you to be detailed with your context, while illustration leaves it ambiguous. Different strengths. You just pick which best fits the situation.

It’s a similar case for a lot of different factors – they're conveyed differently through both mediums, and depending on your idea, some results are more desirable than others. Rather than explaining, it’s probably better to do a direct comparison. (If it makes any difference to your curiosity, I did the drawing first then the writing. You’ve caught me on a good art day, what a nice sketch…)

I’ll try not to talk too much because I think the comparison and table say enough, but you can see how, despite depicting basically the same thing, these two things feel pretty different from each other. The mediums do different things. The mood of both is similar, but not quite the same. It’s these differences that inform the choice of mediums instinctually. (but again. points at disclaimer. as is true with all “rules” about art, none of these are absolute. you can make an illustration that conveys a strong context. you can write fic that favours describing facial expressions and leaves the intended emotion ambiguous. i’m generalising to make a point here.)

I guess the other thing is that it’s pretty easy to do writing in bed on my phone compared to my art setup, lmao. Convenience and timing also play into it probably.

[oddygaul]

Scavengers Reign

Holy shit, good western animation that’s not comedy and actually has a focus on aesthetics, setting and craft??

Seriously, I still can’t believe something like Scavengers Reign got made. This feels like a student thesis film you’d see on Vimeo, not a full 12-episode series with a healthy production schedule.

I loved this show. The artstyle is a clear rip of Moebius, but that’s… fucking sick? I mean, given how little that style has been successfully adapted for animation, I’m all for it, especially when it’s done with this much care and skill. Seriously, some of the longer environments shots could genuinely pass for later Moebius illustrations. The colors are also gorgeous throughout, managing to make each biome feel distinct (and thus sell how far our characters have traveled) while maintaining a consistent, muted vibe over the course of the story.

The star of the show, obviously, is the ecology and creature design. Even with no added context, the designs are all very cool, from the little rolling polyps we see everywhere to the stampeding ungulates. But the thing that sets this show apart is the clear ecological niche we’re shown for each species. Nearly every creature we see, we learn something about: their source of food, their natural predators, the unique behavior they’ve adapted to thrive in their environment. And the comparison to nature documentaries doesn’t just stop there - they even directly ape the style, editing and content of documentaries, like when the show focuses on territorial disputes between members of the same species, or highlights a predator taking advantage of its prey’s weakest moments to strike.

Some of my particular favorite ideas: 1. All of the various white-coated creatures near Azi’s desert encampment that blend seamlessly into the spires for camouflage 2. The seafaring creatures sucking up their young for protection during the lightning storm, and the parasites that come in to gorge themselves while they’re defenseless 3. The fact that the little Grey-looking gecko-apes (Hollow’s species), given their intelligence and powerful telekinesis, could clearly become apex predators and take on prey many times their size… but instead use their hypnosis to force other species to get food for them, because it takes way less energy expenditure. That’s nature, baby!

The show definitely drags a bit around the halfway point. The start of the story is explosive, as we follow the viewpoints of 3 different groups of survivors and their drastically different situations. The character dynamics are great in the beginning - Ursula and Sam’s early mastery of the wildlife during their expeditions, Azi’s reticence contrasted with Levi’s developing personality, and the slow horror that unfolds as Kamen is taken in by Hollow. For the first few episodes, we have no idea where things will end up, and it’s exciting watching things play out.

By the midpoint, we’ve basically lost Kamen’s point of view, as his arc is put on ice until the end of the show, so we’re just bouncing back and forth between Sam & Ursula’s perspective, and the group Azi finds herself falling in with. Sam & Ursula’s narrative feels like it gets stuck in a rut here, as Sam gets infected with two different parasites back to back; I really feel like they should’ve committed to one (preferably the plot thread about the previous survivor) rather than trying to land the same emotional beat twice in a row. On Azi’s side, while I understand what they were going for with Kris and the other newcomers, their story never really got compelling for me. Scavengers’ strength is the planet and its bizarre alien life. Levi, with their dawning sentience and growing connection to the natural world, really fits into those themes; replacing that with a ‘Humans were the real monsters scavengers all along!’ subplot is a tough sell, especially when the characters driving it are about as charismatic as a puddle and have some of the most awkward acting / writing in the show.

There’s even some form issues in the middle section. In classic anime fashion, the visuals take a bit of a hit; there’s less standout background work in the 2nd act, and the character animation suffers at times. I also found the editing distracting in this section; with only two points of view to go between, the constant cutting between the A and B plot started to feel artificial and distracting. Also, since we more or less have an idea of how the stories are going to come together by this point, there’s a sense of inevitability to the proceedings.

Fortunately, things come back together in the end; Ursula leaving Sam behind is every bit as bittersweet as it should be, Levi’s resurrection by the planet-flowers is fascinating, and the sequence where Hollow is returned to its natural self, courtesy of a Levi-supplied Total Perspective Vortex, is just goddamn gorgeous. Seriously, if anything can become iconic anymore in the constantly shifting hell that is today’s media landscape, it’s this breathtaking animated montage of life germinating and evolving on Vesta. Well, that and the buckwild life-to-death flower pollination sequence in episode 3. Fully expecting to see those posted as captures on random forums one, five, ten years from now.

Here’s hoping for season two, or anything more from this creative team! They can’t leave us hanging with the fuckin Imperium of Man showing up at the end like that, can they?

[calamitaswrath]

Cal Lucia plays Fire Emblem Path of Radiance: Chapter 8

Just two stray thoughts before I get to the actual chapter - one, for as much as I enjoy the game overall thus far, I have to say that music isn't really all that remarkable. The track that plays on certain maps when they are almost cleared is nice, but it's the only song I really enjoy (which is probably not surprising given that it also made it into Smash). The track that plays when Daein generals like Petrine are on screen meanwhile is just. . . silly.

Not to constantly compare the game to the modern FEs, but with Greil in particular, I feel there's def a comparison to be made with Jeralt in Three Houses. To be more precise, I just feel that Greil's death has more weight to it since the first seven chapters (plus prologue) of the game really took their time to not only set him up, but also his connection to the mercenaries, and how they play off of him. Jeralt, by contrast. . . he doesn't really interact that much with anybody, and since Byleth is functionally mute in 3H, the impact of his death solely hinges on the connection the player forms with him. It really works just better in PoR, and not just because Ike isn't mute.

Ouh, case in point! A flashback (that seems to take place in the exact spote where Greil got killed), a CG illustration of Ike and Mist at the tombstone. . . that's the good stuff.

Ahhhhh and Titania putting her own grief aside the moment she notices Ike showing up! Ike apologizing to her and Soren, thanking them for sticking with him!

And exit Shinon and Gatrie. Shinon was just about expected, but I am lowkey surprised that Gatrie left with him. From a gameplay perspective I can understand it, since he also was a pre-promote, but from his writing, he always seemed more onboard with Ike than Shinon did. But then again, given the 🏳️‍🌈 vibes between them. . .

Oh, the way Ike assumes responsibility. . . it definitely reminds me of Chrom taking over as exalt in Awakening. And, given that Ike doesn't have to share the protag status with two other characters, I hope that unlike Awakening, this gets properly resolved and developed

Soren is pretty humble here, huh? That's some of the basis for their chemistry then, I take it

Ahh, finally stuff like the convoy, buying items and supports get introduced. . . really rather late for my liking, but at least it neatly ties into the story here

Only got one support unlocked so far, which is the C support between Ike and Oscar. Good found family content in that one, though! And lol @ Mist's cooking.

"Info". . .? Not quite sure what to make of that menu point. But Aimee and Muston! I've definitely seen Aimee before, in one of those "Ike doesn't care about affection from women" posts. I'll gladly take her affection though

Jorge and Daniel. I have no comment. ...No, literally. They don't stand out enough in any way

Huh. . . the more I look at it. . . is this "Info" point just little bonus scenes? Just saw Titania's. . . woof. That's good content.

Ahh, bonus experience! I've heard a bit about that gameplay mechanic. . . and also already learned that I missed out on a lot on that escape map when I had Ike escape first. I hope that future chapters actually tell you what these bonus objectives are. . .

I levelled up Mia once with this and she got stats on everything except for resistence???

Well, doesn't that just look like another defend map!

Mist's medallion is glowing again. How unimportant.

Why, an enemy unit who's a cute girl and not the boss? She's definitely not important.

Three clear chokepoints, and enemies that just approach you one after another. Pretty doable. The cleric with the fire jewel tried to escape, but I managed to track him down with Titania and get the thing.

Mist talking about wanting to die alongside Ike?? Holy shit, that's dark

Oh my. Big buff cat man Mordecai. . . I remember a post about somebody wanting to fuck him, and then needing to clarify that they didn't mean a cartoon bird by the same name

Lethe! Honestly surprised that it took this long for them to introduce a catgirl. And she doesn't immediately trust Ike and the others. . . that's neat.

Ah. Soren does a racism. I did wonder why he's more divisive among some people, so I guess that'd do it

You know, for how antagonist Lethe was just a moment ago, she did calm down very quickly here, mission or not