#designed from the women's angle

[goshyesvintageads]

Crosley Corp, 1951

[neverendingford]

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[tobiasdrake]

Here we go. It's time to talk about my personal fave. As I said before, this is my Main. In Dragon Ball fighting games, this is the character I seek out to play whenever the roster allows. Also arguably the character who's been done the most dirty by just about every form of Dragon Ball, manga included.

The vanguard of a brand new status quo and a brand new direction for what Dragon Ball would even be, washed away by the tides of a status quo resetting to zero.

We're here to talk about the champion of Satan City who carries the spirit of Dragon Ball in her heart: Videl.

(And that is one cookie to @jcogginsa who guessed it.)

Videl was a kid with a chip on her shoulder. I mean. How could you not be? Her father was the legendary world martial arts champion who famously defeated Cell seven years ago.

Don't pay attention to that. He just tripped for a moment. Once he got his second wind, he came right back and showed Cell what for! It was due entirely to Mr. Satan and nobody else that the Earth was spared from the apocalyptic horror that is Cell.

Look, he even said so himself.

Are you gonna call that man a liar? The man who defeated Cell!? I think we can trust Satan's word over yours.

This is the shadow that Videl grew up under. Raised in what had previously been called Orange City, but was renamed Satan City in honor of the world's greatest hero.

Or "Hercule City/Herculopolis" in the versions that edit out Satan's name.

As his daughter, Videl has a perspective on Satan that neither the world nor the audience gets to see: He's a womanizing playboy who cashes in on his world-savior fame for booty.

He also forbids his teenage daughter from dating by putting up the stipulation that any boy interested in her has to be stronger than him, the world champion - A stipulation naturally designed to weed out any possible suitors through intimidation. Wanna date Videl? FISTFIGHT THE MAN WHO DEFEATED CELL.

Oh, but he doesn't teach her a goddamn thing; At least, not anymore, as she does suggest there was once a time when he was her mentor. She's forced to study martial arts entirely on her own because her dad is utterly disinterested in her development in the art.

This is an angle on Satan we never get to see onscreen. Apparently he's pretty shitty about women. You know, I can believe that.

Videl, when we meet her, is trapped in an unenviable position as a martial artist. She hates what the fame of being a legend has done to her dad and wants to knock him down a peg, but she has no foundation to develop her abilities from. The one man who's supposed to be teaching her isn't doing it, and she's been passively discouraged from pursuing more esoteric martial arts because the world champion said that stuff's all fake.

Videl makes for a fascinating foil to Gohan, because they're both children living in the shadows of legendary fathers.

Gohan is expected to be Goku's successor, but wants to live a peaceful life of academia. Meanwhile, Videl is being denied the ability to become Mr. Satan's successor, but craves the opportunity to prove herself.

Nonetheless, both of these kids are prodigies. Videl has a wealth of potential. She doesn't even realize that, despite these limitations, she surpassed her father long ago. Despite being a self-taught teenager with zero comprehension of ki cultivation, Videl hones her skills and developers her art the only way that's available to her: By punching it out with armed robbers in the region.

Backpack Town isn't even her city! She's a one-woman SWAT team for the tri-state area.

As ambitious and driven as she is, Videl is also clever. The anime extrapolates the adventures of the Great Saiyaman into a several-episode arc as Gohan deftly avoids detection by Videl over and over again, but this has the knock-on effect of depriving Videl of one of her best moments.

Because she pegs him instantly. She was already suspicious of Gohan being the mysterious "Golden Warrior", when he tried to use his Super Saiyan form to disguise himself as a superhero.

Which also showed that she was open-minded about the other people who fought Cell. Satan says they were doing a bunch of tricks, but Videl's willing to consider the possibility that there exist people who can turn blond on command.

And then Gohan did this shit.

Because he was raised in the woods by the devil and Goku. Despite trying to keep a low profile, he has absolutely no idea what the baseline for ordinary human ability is.

So. Y'know.

That's pretty fucking suspicious.

Which brings us to Gohan's second outing as Great Saiyaman, and his first meeting with Videl under his new identity. Whereupon she, uh....

Plays him like a fucking sap. It's a great moment that doesn't get its due if it takes several episodes and misadventures for her to reach this point. Videl is exceptionally skilled in the field of paying attention to that time Gohan jumped thirty feet in the air and naturally drawing conclusions from it.

And also his voice and posture and other dead giveaways. Gohan sucks at secret identities.

He's just. So obviously Gohan. There's no way anyone would be fooled by this.

But she's not only adequate at seeing things with her eyes; She's also a legitimately brilliant martial artist in her own right. Due to her upbringing, she's had zero experience with ki cultivation for obvious reasons.

And yet she's talented enough and smart enough to pick up the basics of Bukujutsu in one day.

Oh, don't mind her; That's just Videl making a mockery of Tsuru-senryu by effortlessly devouring their signature technique. This is Goku's first Kamehameha all over again.

She may have started small but Videl learns fucking fast. She has all of the drive and the ambition that Gohan lacks. She wants to be part of this world, she has a ravenous hunger for self-improvement, she's clever and observant, and she picks up concepts insanely quickly.

Videl is fucking primed to be a key player in Dragon Ball's next generation.

...

So now we need to talk about what happened to Videl.

Videl has one major fight in the entire series: Her 25th Tenkaichi Budokai bout against Spopovich.

Which she absolutely dominates. She's stronger, better, and faster than Spopovich. Even the experienced martial artists agree that she's infinity times better than him in every way.

But there's something wrong with Spopovich. He's a decent martial artist, far from the top; He'd competed in the 24th Tenkaichi Budokai and made it through the qualifiers, but was eliminated in the first round. So, y'know, he had no chance in hell against Videl; She's already surpassed Mr. Satan, who won the 24th legitimately.

Uh, by virtue of none of the Kame-senryu or their rivals attending. Mr. Satan is top dog of the same weight class as Pamput from the 22nd.

But, despite being outclassed in every category, Spopovich is also a dead man walking.

He's similar to the Androids in a sense. Spopovich has no ki signature at all, nor does he get worn down by the damage he's taking. This is Vegeta vs. 18 and Piccolo vs. 17 all over again; He isn't feeling the pain from the hits she's landing on him, and so he's able to outlast.

But Spopovich isn't an Android. He's more like a zombie?

At one point, Videl cuts loose and breaks his goddamn neck. Because he's pushing her hard enough that she realizes she needs to go harder, but his body can't take harder. He isn't a match for her. He just. Isn't going down despite not being a match for her.

He can't take this level of force. But he and his ominously vacant absence of ki can put his head right back where it was and continue the fight, no problem. That's honestly scarier than if he'd regenerated.

Also despite not even having the barebones ki signature of a normal person, Spopovich can perform Bukujutsu and fire ki attacks.

Which a fighter of his meager ability shouldn't even be capable of.

All of this adds up to an unwinnable fight for Videl and the setup to... Something. This match has been criticized pretty heavily in the fandom because it gets pretty gruesome and doesn't have a payoff.

We've seen fights go fucking bad for our heroes before. Piccolo once broke all of Goku's arms and legs as well as shooting a hole in his chest, right here in this same arena.

But it's typically building to something. When our heroes get trashed, it's the lead-up to a reversal down the road. Maybe in the same fight. Maybe in a later one. And we seem to be heading in that direction?

After Spopovich and Yamu leave the tournament, we get VIdel a Senzu and she's right as rain.

Spopovich and Yamu steal energy from Gohan and fly off to Babidi's Ship so they can awaken Majin Buu. Kaioshin recruits the various protags to make that not be a thing that happens. And then. Something switches in the narrative flow of this arc.

You can feel it happen.

As our heroes prepare to pursue Spopovich and Yamu, Videl volunteers to join in as well. She's had her eyes opened to a whole new world or possibilities and is hungry to develop her abilities.

And. Then. One chapter later. It's suddenly decided that Videl will not be a part of this storyline after all, and she basically leaves the plot forever.

WHOOPS! Never mind! Didn't want this character here after all. Go home, Videl.

While her adversary Spopovich is unceremoniously unwritten from being a thing that exists.

Babidi just. Kills him. For no reason. Even though his job isn't done yet. Babidi's like, "Oh good, you collected a fraction of the energy we need; That's fine, you can be fired. I don't need anyone to finish the job."

We're just. We're not telling that story anymore. We already threw Videl in the trash; we don't need her nemesis. We're doing a different thing.

Also, because we still have too many characters in this scene, Dabra erases Krillin and PIccolo with magic spit that never comes up again or is meaningful in any way.

You'd think this would be, like, setting up something? Like. Having witnessed it ahead of time, Gohan's able to figure out something about the way Dabra's spit works. So when he fights Dabra in a climactic battle, he can turn this around.

Like when Goku was able to counter Tenshinhan's Taiyoken/Solar Flare in the 22nd Tenkaichi Budokai, because he'd seen it before and understood how it works. That's usually what Dragon Ball does with this sort of advance notice of opponent abilities.

But. No. The most this ever comes up again is that it momentarily costs Gohan one of his gloves. It's just here to winnow down the cast because Toriyama brought too many characters to this scene.

You can feel the burnout taking hold. As janky as the Android arc was, the Buu arc's level of jank is through the roof.

And that became it for Videl. Denied any sort of payoff for her one fight and instead relegated to background character, Videl never got a chance to live up to the intriguing potential she was introduced with. She was the face of a new direction for Dragon Ball, a direction that ended up strangled in its crib as the series reverted to old ideas and old formulae - strangling her along with it.

Videl is a character I look at and can't help but wonder what could have been. What could have been if Gohan got to keep his focus, and Videl got to remain a key player in a story about him? What could have been if we got to see Videl developing her skills at the same fever-pace that she learned Bukujutsu with? What could have been if she got that rematch with Spopovich she seemed to have been promised by the narrative, and then got to stay involved throughout the Buu arc?

But I guess we'll never know.

[be-missed]

Find You Again

Jenna Ortega X Fem!Reader

(pictures not mine)

Summary: Reuniting as stars, former high school sweethearts stage a fake relationship to boost their public image. Navigating the scripted romance, sparks fly. The big question: can this staged connection reignite their real love?

Warning: curse words, notify me if there are any. Credits to the owner for the picture that I used below the cut.

A/N: I'm so excited to write this, enjoy. New series for y'all.

Song: I Can See You // Taylor Swift

Masterlist

Chap 1

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Flashing lights are all that Y/N can see, facing all the cameras in different angles, her name being shout by different people, and different set of eyes are focused on her. Walking the red carpet was one of the things that Y/N enjoys when she is invited for an event like the MET Gala; the other things that she enjoys, well, the women who walks with their wonderful dresses. Men? Not really, but the press and the people doesn't need to know that.

"You are staring" a voice from behind her said—her publicist, Emilia notified her when she was staring far too long to the woman that was in front of her. Y/N just shrugs and shakes her head, waiting for her turn to be interviewed.

A few minutes have passed, she is now the next in line to be interviewed, "So Y/N, what a lovely fit you have. Can you tell us who you are wearing?" the interviewer asked, and Y/N answered, "I am so honored to be chosen as one of Givenchy's Ambassador for this event, honoring one of the most prominent person that anyone knows in fashion..."

Y/N's voice got buried with a loud screaming from the bottom of the stairs. Fortunately Y/N got to finish her answer before she looked down. Then there she was, looking like a doll, dress to kill, looks that can melt; Jenna Ortega was standing in the bottom of the stairs, posing for every camera that she caught.

A smile creeping in Y/N's mouth has been caught by the reporter and the camera, this gave the reporter a chance to segue a hot topic that you and Jenna dance around, answering yet not giving the exact information that the people want, "Looks like Jenna Ortega arrived in the house, there have been rumors going around for quite some time now, that the two of you have a history?" the reporter asked with a malice on his voice.

Y/N smiled and answered "Well, we were uhm, friends way before our careers, so yes, we did know each other and yes I can say that we have a great history, but there's no bad blood between us" and chuckles, that leads to the reporters new question "So, if that's what it is, is she the muse for the new single titled 'I Can See You' that you dropped a few weeks ago and will perform later?"

Y/N chuckles and rubs her chin, trying to think of a way to dodge the question, "I mean, Jenna is a wonderful woman, I can't deny that, WE can't deny that. But you know, where is the fun of writing songs if I'm just gonna admit who I'm writing for, right?" Y/N leaves with a wink to the camera and entering the venue.

"That was fucking close. What's with the media trying to come up with something between me and Jenna? It's been going on for months" Y/N whispered to Emilia, trying to find a champagne that she can drink. "There are photos that are circulating in the internet from when you were in High School with Jenna" her publicist answered.

This statement made Y/N look at her publicist with a questing look "Okay, now what? I mean what can they make out of the pictures? I'm pretty sure Jenna is denying it for sure" and got the chance to seat at their designated table. "Yeah, she's totally not denying it, the both of you kept on giving vague answers. But they are the media and your fans, connecting every song that you write and the events that happens to your life and Jenna's life," Emilia said with a knowing look and sipping a champagne.

"How? I mean, I kept on using a he/him pronouns on my song to lower the connection. Don't tell me they are that smart to know and connect things, don't you?" Y/N said to her publicist, looking so worried about the on-going rumor that can't seem to die.

On the other side of the venue, Jenna was taking a seat with Enrique trying to hide an annoyed look. "What's with the rumors and Y/N, they kept on reoccurring, why can't it die?" Jenna said trying to fidget with pearls that on her dress. "You know that the both of you aren't denying anything, right?" Enrique said to the girl.

Jenna then send Enrique a look that can kill and said "I am denying it, that's for sure. While HER, she keeps on dancing around it" Enrique then shakes his head "Oh no darling, you weren't denying it, the BOTH of you are dancing around it. Please don't deny it" then Jenna answered him so quick "I am denying it, I kept on saying no..."

Enrique just chuckles and said "See, the both of you aren't denying anything. You and Y/N always say that the both of you are 'good friends' and for the record, the both of you are always in the same event" and ended his sentence with a shrug trying to prove his point.

Jenna just rolled her eyes and tries to listen to whoever is speaking. While Y/N got called backstage to get ready to perform.

The host announced that Y/N was about to perform. Lights were dimmed and a shadow in the middle can be seen, the intro starts, and the crowd began to applaud and scream for Y/N's name.

Jenna noticed the intro and looked at Enrique and said "Really, she's gonna sing this? Out of all the songs?" and Enrique chuckled at the comment and replied "Well that's her new song, what can we do but to listen and enjoy, right?"

The performance ended with pyrotechnics in the stage and a wild crowd.

As the host again took over the stage, Jenna decided that she needed another drink, because what the fuck was that lyric, it just added gas to the burning fire, nice move, she thought in a sarcastic tone.

"One sour whiskey please" Jenna said to the bar tender, wanting to seat in the bar stool but sadly, her gown is restricting her. While she was waiting for her drink, whispers can be heard from behind her, not wanting to know the drama she still decided to maintain her focus on the bar.

"Nice dress you have there"

Once the voice registered, her eyes widen and her hand clenches into fist. Thinking if she ignores the voice, it will just go away, because if she faces the other girl tonight, she don't know if she will make a scene. But to no avail, the voice speak again, now beside her.

"I said you look good in your dress, Miss Ortega" Jenna heard, now feeling a smirk plastered on Y/N's face. With all her might Jenna faced the other girl with a tight smile, her hand clenched by her side and said "I heard you the first time, you know?" with an eyebrow raised, "Oh so you were just ignoring me then?" Y/N said now trying to make a sad face.

Jenna's jaw clenched, how can Y/N take this like a joke, "Yes you are right, I am ignoring you" focusing back on the bartender, "But I thought we were 'good friends', right" Y/N answered while trying to tease Jenna, "In case if you didn't notice, I say that for us to have neutral grounds, now can you please piss off?" Jenna answered and thought that it might be a little harsh but she really just want to be away from Y/N.

Before Y/N got to say something, the bartender gave Jenna her drink, and when she's ready to walk away, a photographer got in her way and said "Hey Y/N and Jenna, can you please pose so that I can take a shot"

Y/N greeted the photographer with a smile and accepted the request, she pulls Jenna near her, while Jenna tries to stay her ground, "Come girls closer" the photographer again said and Y/N thought, "This man surely knows how to stir the pot"

The both of them smiled for the camera, closer than they have been for 5 years. This was the first picture of them that they were this close to each other after their career boomed and well, after what they had.

"Thanks ladies, enjoy the night" the photographer said and left the duo. "Okay you can let go now" Jenna said, "For your information, I also don't like being linked to you, so I came here to clear things out, yeah?" Y/N said with a nod in her head.

That surprises Jenna "Okay, I get that, then go on and deny that we had a history" Jenna said challenging Y/N, "You first, you are always out doing interview, unlike me, I don't have any premiere shows or any other events like this" Y/N smirked.

It made Jenna's blood boil again, inhale and exhale, she reminded herself. She doesn't want to make a scene and be banned to this gala, this is her second time, she doesn't want it to be her last she thought.

Y/N walked away and left Jenna stunned with her drink on hand.

---

After the MET Gala, of course there would be an after party, Jenna was invited to many but decided to go to the nearest one to her hotel.

Trying to fix her make-up inside the car that she is on, she hears Enrique say, "Okay, slow down with the drinks, we don't need you going around the place" with a knowing look, Jenna then replied "That was ONE time oh my god, please let that go" with an annoyed tone.

Her car stopped at the entrance, looking outside through her window she saw a dozen of paparazzi trying to get a picture of none other than Y/F/N Y/L/N.

"Fuck, no fucking way" Jenna said to Enrique, still looking at the window, "What? What's the problem?" Enrique asked her worriedly, "Y/N is here, I can't stand another minute of faking smiles with her, every time I see her I fell like my stomach churns and I want to vomit so bad. Enrique please, let's go to another party" Jenna pleaded that earned a shakes to Enrique's head.

"Nope, can't be, your manager chose this party so you can mingle with different artist. I can't say no to that, and you know it" Enrique stated with a stern look, not giving Jenna a chance to say another word.

With a grunt Jenna whispers to herself "Here goes nothing" and exits the car. Another set of cameras are now trying to capture Jenna and her outfit for the afterparty, looking at the entrance, she saw Y/N rolled her eyes, Jenna thought "The fucking nerve of this girl t roll her eyes"

Now that they are in the same vicinity again, the paparazzi wasted no time and asked for a picture of them together, which they don't say no, since they don't want to cause another issue.

Y/N greeted Jenna with an open arm and huge smile, when Jenna got situated next to Y/N, she heard the other girl say "Are you stalking me?" which made Jenna look at the girl, with the heels that she is wearing, she stepped on Y/N's toe that made Y/N jerked in pain, with a worried voice Jenna said "Are you okay?"

With that, the security ushered the cameras away and assisted the both of them inside.

"DO you really need to step on me?" Y/N said, "Oh, I didn't mean to, really" Jenna answered, voice filled with sarcasm. Y/N have a deadpan look not believing what Jenna said "Yeah? You sure there?" Y/N said challenging Jenna, and that made Jenna smile "Of course not, I would do it again and again."

With that, Jenna left Y/N speechless. Y/N thought to herself "Is she that fucking angry at me? What did I even do to her?" and proceeded to enter the party and mingle with other artists.

The party actually went well for the both of them, avoiding each other like a plague, Y/N performing in the party and joining the DJ in the booth while Jenna tries to expand her connections and tries to know new faces.

Another hour have passed and Y/N was now taking a break from all the mingling and faking smiles and went to the bathroom, as if like faith is trying to take the both of them as a joke, she saw Jenna bending over the sink.

"Are you fine?" voiced laced with worry as Y/N walked slowly towards Jenna, "Don't come near me" Jenna said head still hanging low. Y/N stopped in her track and said "You are tipsy... or like drunk? You need to go home."

The statement made Jenna look at Y/N and said "What now, you're my mom now?" Y/N just rolled her eyes knowing that it is impossible to argue with a drunk Jenna. Y/N fished out her phone and texted someone, "Come on, I'll bring you to your hotel, can you tell me where it is?" Y/N asked while staying on her track.

"No, I won't go with you, I don't want to go with you can't you see that? Leave me alone" Jenna said trying to fix her make-up in front of the mirror, "Why not? You clearly can't walk straight I bet" Y/N said and chuckled. Jenna hates it, she hates that Y/N is right, that is why she is in the corner holding herself through the sink and not moving an inch because she knows she'll stumble with her drunk state and her heels so high.

Y/N take Jenna's silence as a cue to go to the other girl and support her. Jenna then said "We can't be seen going home together, I don't wanna be seen with you" It made Y/N's heart ache, is she that fucking bad in Jenna's perspective to the point that she doesn't want to be seen with her? Y/N just swallowed down the pain that she feels.

"Yeah, I messaged Enrique, he will meet us at the entrance and I'll make sure to not be seen with you." with a heavy sigh, Y/N supported Jenna to walk out of the bathroom through the crowd of people inside the party and into the entrance.

"Jenna, Enrique said he'll meet us at the front" Y/N notified and it made Jenna shakes her head "No... Y/N Nooooo" Jenna whined, it made Y/N chuckle, if she can have Jenna like this every time, not wanting to cut her throat, or sending sarcastic comments, she would make Jenna drink alcohol for as long as she wants, but she knows she can't.

But like their situation right now, Enrique can't really enter so they need to meet him in front.

"Jenna, I'm very sorry but we really need to meet him in front" Y/N said and telling to the security that they will go out of the establishment, which the security ushered them to.

Flashes of light welcomed them to the outside world, not far enough Y/N saw Enrique waiting for Jenna. "Thanks, I'm really sorry I can't meet you inside" Enrique said which Y/N answered "It's okay, take care, I'll be back inside"

___

"WE CAN SEE YOU: Jenna Ortega and Y/F/N Y/L/N seen going home together after the after party for the MET GALA"

Actress Jenna Ortega and Singer Y/F/N Y/L/N seen together leaving the after party hand in hand. But before this, they are also seen in the red carpet, fans capturing how the singer look at the actress. They have also been asked with questions pertaining to them being together but the both of them swam around the topic. Another photo of them was released mingling by the the bar inside the MET, having all smiles and flirting with each other.

Their fans have been speculating that they were together ever since High School and just kept it lowkey due to their reputation and their careers. The fans also tried to make sense of Y/N's released songs and connected it to the actress, which can somehow make sense, but we can't be for sure knowing that the singer also have a list of exes.

The fans and the media seemed to not disagree and hate their dynamic, instead they hope that what they speculate is real, knowing and seeing how beautiful they look together.

Stay tuned for the latest update towards our favorite couple, or may I say duo? Who knows, right?

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A/N: Hope you enjoy this new series, thoughts?

Chapter 2

[the-soliloquies-of-sadists]

#383

“Hello, you must be the asseater….  After you pick up your jaw from the floor, c’mon in.  I usually get that result from fag asseaters.  When I’m at home, I don’t wear clothing.  Shut up.  I don’t need to know your name.  I ain’t going to carry on much of a conversation with you.  Besides, your tongue is going to be doing something else worthwhile.

“Follow me in here.  I have my rim chair set up and my porn ready to go.  I had it specially made for my size and my needs.  Seeing that you are going to be under me for hours, I’m gonna let you use the platform to elevate your torso to the right height. 

“What the fuck are you doing?  Nobody told you to strip.  I have zero interest in your naked body, and you certainly won’t be jacking off in my house.  You answered my ad on that fag site looking for an asseater who will eat my hairy crack for hours.  The only reason why I use faggots is that women don’t eat ass, and if they do, they don’t know how to do it right, let alone for hours at a time.  You faggots are willing to do it all.  I don’t have to buy you flowers or take you to dinner.  No, my fat ass is your dinner.

“Get under it.  You’ll see this contraption is made for long term shithole worship.  That netting is where your head goes.  The designer called it a head hammock.  It supports your head as it keeps your face firmly in my crack, angling it to allow the deepest penetration from your tongue.

“This is my favorite part of this chair.  When I sit down, my weight pushes down on this chin guard which goes below your chin prohibiting you from pulling out.  The only way you get out is when I get up.  If I lock it in place, then you ain’t getting out. 

“You get the picture?  You mean nothing to me other than your tongue slurping on my shithole and cleaning my crack for hours at a time.

“You drink piss?  My full time asseater I had in Cleveland drank my piss; he begged me to give it to him.  There’s no way in hell that I’m going to stick my dick in any faggot, so I used a funnel on him.  If you want my piss, I can have a funnel nearby.  He was a total pig.  I assume you are too.

“Look up at my ass.  This is what you are going to worship the next few hours.  I worked out in the yard this morning, then I went to the gym.  It’s going to be rank in there.  And even though I wiped this morning, being as hairy as I am, I’ll probably have some dingleberries for you.  And should I fart, consider that me blowing you a kiss. 

“You ready to be what you were meant to be?  You do a good job, when I blow my load in my hand, I’ll wipe it on my asshole and have you lick it off…. 

“That got a smile out of you.  Now stick out that tongue as far as you can.  I need to have a seat….

“…Don’t start gagging.  You are going to be down there for hours, you get used to it.  Now stick your tongue in deep.  Like thaaaaat.  Fuuuuck.  Oh man.  Fuck yeah faggot.  Fuck yeah….

“I don’t understand why more men don’t use faggots like you like this.  But hey their loss is my gain.” 

[chinesehanfu]

[Hanfu · 漢服]Chinese Late Warring States period(475–221 BC) Traditional Clothing Hanfu Based On Based On Chu (state)Historical Artifacts

【Historical Artifact Reference】:

Late Warring States period(475–221 BC)：Two conjoined jade dancers unearthed from Jincun, Luoyang,collected by Freer Museum of Art

A similar jade dancer was also unearthed from the tomb of Haihunhou, the richest royal family member in the Han Dynasty, and was one of his treasures.

Warring States period, Eastern Zhou dynasty, 475-221 BCE,jade dancer by Freer Gallery of Art Collection.

Warring States period(475–221 BC)·Silver Head Figurine Bronze Lamp.Unearthed from the Wangcuo Tomb in Zhongshan state during the Warring States Period and collected by the Hebei Provincial Institute of Cultural Relics and Archaeology

The figurine of a man dressed as a woman holds a snake in his hand, and 3 snakes correspond to 3 lamps.

Sword of Goujian/越王勾践剑:

The Sword of Goujian (Chinese: 越王勾践剑; pinyin: Yuèwáng Gōujiàn jiàn) is a tin bronze sword, renowned for its unusual sharpness, intricate design and resistance to tarnish rarely seen in artifacts of similar age. The sword is generally attributed to Goujian, one of the last kings of Yue during the Spring and Autumn period.

In 1965, the sword was found in an ancient tomb in Hubei. It is currently in the possession of the Hubei Provincial Museum.

【Histoty Note】Late Warring States Period·Noble Women Fashion

The attire of noblewomen in the late Warring States period, as reconstructed in this collection, is based on a comprehensive examination of garments and textiles unearthed from the Chu Tomb No. 1 at Mashan, Jiangling, as well as other artifacts from the same period.

During the late Warring States period, both noble men and women favored wearing robes that were connected from top to bottom. These garments were predominantly made of gauze, silk, brocade, and satin, with silk edging. From the Chu Tomb No. 1 at Mashan, there were discoveries of robes entirely embroidered or embroidered fragments. The embroidery technique employed was known as "locked stitches," which gave the patterns a three-dimensional, lively appearance, rich in decoration.

The two reconstructed robes in this collection consist of an inner robe made of plain silk with striped silk edging, and an outer robe made of brocade, embroidered with phoenixes and floral patterns, with embroidered satin edging. Following the structural design of clothing found in the Mashan Chu Tomb, rectangular fabric pieces were inserted at the junction of the main body, sleeves, and lower garment of the robe. Additionally, an overlap was made at the front of the main body and the lower garment to enlarge the internal space for better wrapping around the body curves. Furthermore, the waistline of the lower garment was not horizontal but inclined upward at an angle, allowing the lower hem to naturally overlap, forming an "enter" shape, facilitating movement.

The layered edging of the collars and sleeves of both inner and outer robes creates a sense of rhythm, with the two types of brocade patterns complementing each other, resulting in a harmonious effect. Apart from the robes, a wide brocade belt was worn around the waist, fastened with jade buckle hooks, and adorned with jade pendants, presenting an elegant and noble figure.

The reconstructed hairstyle draws inspiration from artifacts such as the jade dancer from the late Warring States period unearthed at the Marquis of Haihun Tomb in Nanchang, and the jade dancer from the Warring States period unearthed at Jin Village in Luoyang. It features a fan-shaped voluminous hairdo on the crown, with curled hair falling on both sides, and braided hair gathered at the back. The Book of Songs, "Xiao Ya: Duren Shi," vividly depicts the flowing curls of noblewomen during that period. Their images of curly-haired figures in long robes were also depicted in jade artifacts and other relics, becoming emblematic artistic representations.

The maturity and richness of clothing art in the late Warring States period were unparalleled in contemporary world civilizations, far beyond imagination. It witnessed the transition of Chinese civilization into the Middle Ages. The creatively styled garments and intricate fabric patterns from the Warring States period carry the unique essence, mysterious imagination, and ultimate romanticism of that era, serving as an endless source of artistic inspiration.

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Recreation Work by : @裝束复原

Weibo 🔗：https://weibo.com/1656910125/O6cUMBa1j

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[fletchingbrilliant]

"FUCK YEAH! I could get used to this shit!!!"

So... I made my own Sinner Adam. My first angle with the outfit design came from inspiration from his angel robe's collar, leading to an Elvis a la Vegas era look. (I really like the inverted A belt buckle) Then we went super fuckboy and just it gooooo and now I realize he's giving a little bit of forgotten Espada member from Bleach.

The mouths everywhere came from the idea that he preys upon and consumes people (especially women, look at Lilith, Eve, HIS ENTIRE EXORCIST FORCE) and making it more literal, and not shying away from how weird and grotesque that comes out.

And he has bone wings because now he can call himself... THE BONE DRAGON

[doobledabbadoo]

Hii! You fucking ate with the TDI redesigns and it wanted to know if you'd make a guide as to how you mimicked the TDI style?

hihi !! tysm !! glad a lot of ppl like em !!

as for the style guide, i am far from an expert at replicating art styles, but having a neo-UPA inspired art style really made this easier for me, even if i did struggle on getting used to some design choices.

DISCLAIMER: I do not condone tracing over other people’s artwork to claim as your own final product. I only trace the shapes from the total drama characters to break down and analyze the art style for educational purposes.

IN GENERAL

total drama’s art style is heavily stylized and takes inspiration from clone high and many UPA-inspired cartoons in the late 90’s to early 2000’s. it uses very thick and bold outlines to define its characters and their individual shape language. a lot of designs use a variety of sharp angles, straight lines, and curved arcs to achieve a balanced character design that works in the total drama universe.

because the shape language is very geometric and simple, it’s surprisingly easy to recreate the total drama art style & reimagine some of your favorite characters in the universe!

BODY TYPES: THE “TYPICAL” WOMAN

a lot of the women in the show follow this base, even more than the “typical” male body type. compared to the men, the women of total drama have cat-like eyes, stylized lips, skinny necks, an hour-glass figure, longer and thicker legs, and pointy fingers. head shapes & features may vary depending on character and/or ethnicity. not all women in the show look like this, though! there’s a decent handful of women with very unique body types, such as beth, macarthur, & emma from the 2023 reboot! it also helps to reference characters from different seasons to get a better idea of the shape language in the show’s universe!

BODY TYPES: THE “TYPICAL” MAN

the “typical” body type for men isn’t as well defined as it is for the “typical” woman, so there aren’t as many examples of what defines the “typical” male body type. However, based on the handful of characters we collected, we can determine that the “typical” male body type in total drama is top-heavy. compared to the women, many of the men have broad chests and shoulders, thicker and longer arms, thicker necks, thinner waists and hips, and shorter, thinner legs. they have flatter, more boxy fingers comoared to the pointy fingers the women have. head shapes and features may vary depending on character and/or ethnicity.

BODY TYPES: THE PLUS SIZED WOMAN

plus-sized women follow some of the same rules & principles as the “typical” woman does, from more cat-like eyes to sharper fingers however, in contrast to the more common body type, these woman have much thicker body proportions and use rounder, smoother lines to emphasize either fat or muscle. head shapes and other features may vary depending on the character and/or ethnicity.

BODY TYPES: THE PLUS SIZED MAN

there’s a pretty good variety when it comes to drawing plus-sized men. while some of them, like ripper, follow some similar principles to the “typical” man, others offer a new, unique design base to work with. their features are generally rounder and wider to emphasize their weight. head shapes & other features may vary depending on character and/or ethnicity.

BODY TYPES: THE LANKY MAN

unlike the “typical” man, the lankier men don’t usually have the same broad shoulders and chest. their limbs are much thinner, & they sometimes don’t have any pronounced calves. it’s more common for the lankier men to have their feet facing in the same direction as opposed to the other, though the latter isn’t an uncommon design desicion either. head shapes and other festures vary depending on the character and/or ethnicity.

BODY TYPES: THE BEEFY MAN

Of all the body types presented to the male characters, this one is the closest and most similar to the “typical” male body type. the difference is that the broadness of the shoulders and chest are exaggerated more, and the shape of the arms can vary between being wider to having more lumps. head shapes and other features may vary depending in character and/or ethnicity.

HAIR STYLES

a hairstyle can tell people a lot about a character. theres a lot of different ways to draw hair on characters, though in general, the appeal to total drama’s art style would be the simplicity and angularity in its shape language and character designs, so you don’t have to give your character thousands of spiky hair strands to make them appealing.

im not good at explaining how i replicate art styles so i really hope these help!!! also im sorry this ask took forever to compile lol i just wanted an excuse to study the shows art style more. heres another helpful video to help understand the process of character design !!

i also recommend checking out harry gold’s channel. he does a lot of art style replication videos & this one explains art style replication exceptionally well!

tysm for ur ask & tysm for ur patience!!

[xxcrystalinerose]

Next up in the Sabzerus designs: Tighnari and Cyno!

I know this is unrendered, but I already committed to not rendering these two until I finish Haitham and Kaveh's designs which, in hindsight, is difficult atm because I have more ideas about Collei's design over them. With the recent release of Sethos, it seems that it would have to wait until I finish his and Collei's designs when I get to them. I'm writing a fic now lol so it the wait is probably quite long.

Tighnari's is relatively easy and I'm so pleased with the results! He finally looks put together and not... odd, palette-wise (to put it mildly). His clothing is based on the traditional dress of the Kabyle people, an Amazigh ethnic group from northern Algeria, with some modernized touches (I used references from modern-day photos of Kabyle dress!). The highlight is the burnous (hooded cloak), originally a symbol of resistance in the Algerian War of Independence and now a garment worn in special occasions such as religious festivals. I think it would be appropriate of Tighnari to wear one for his Sabzerus dress.

Cyno is so far the most difficult one to design. I have 0 references outside of speculative fashion plates and museum pictures of jewelry. I struggled so much with the outfit components, but I persevered and this is the result. His clothing is based on what Ancient Egyptian high priests of the New Kingdom wear. The long shendyt (kilt) and shawl are made from linen, which in higher social classes are woven so finely they appear as though transparent. Not just luxurious, but also airy for comfort against the desert heat.

Previously on: Nahida + Wanderer | Nilou

As usual, close-ups and some more thoughts under the cut:

Tighnari's canon design is incredibly confusing to me, because unlike some other Sumeru characters I have absolutely no idea which part of Algerian (or Arab, but that's a very wide ballpark) dress it's supposed to be based on. Where is that white fabric wrap even from? However, when I looked at his hoodie, I realized that it's probably supposed to be a "modernized equivalent" of a burnous. Probably.

The belt accessory is actually an article I always see on women's robe kabyle, but never men's. I think they look neat and Tighnari wears belt accessories, so I incorporated them. (If any of you seeing this are Kabyle or Amazigh, do tell me more of the nuances. Are they exclusively feminine accessories? I also read that Kabyle women tie their sashes differently depending on marital status, but does this only apply to sashes or does it also apply to these cord belts?)

It's not very obvious, but the burnous has a split back, so Tighnari's tail can poke out comfortably. It's also pretty fun to try and incorporate elements of his official design, such as the paw-print gloves, the boots, and the turtleneck. To me, Tighnari without a turtleneck is unimaginable for some reason.

I've been tentatively calling Cyno's design "the one time Cyno puts some effort into doing his hair". The little braids aside, his hair is actually in a half-up bun. I really should draw these refs from more angles... and this is unimportant in the grand scope of things, but I gave him some beef. My guy deserves more beef (and I apologize for covering his chest regardless).

The wesekh (wide collar) is made from gold and various precious gems/minerals. This one has gold, carnelian, and turquoise. The narrow golden beads on the outermost layer represents beetles, which in turn symbolize resurrection (i.e. Hermanubis' indwelling within Cyno).

I've always been baffled at the fact that Cyno wears mostly black, but would prefer for my design to contain elements from his actual design, so I kept the sash and helmet black. However, I do know that too much dyed linen (and animal fibers) are inappropriate to wear in temples. Unless you are a funeral priest, where you wear a leopard skin as a part of the rites. Then again, Cyno's biggest inspiration is Anubis, so perhaps he could get some leeway here...

To continue with the flower theming, I chose the Sumeru Rose for Cyno and Tighnari wears the yellow flower on his canon clothes once again. It's never mentioned in game, but I'd like to think the Sumeru Rose is among the national flowers of Sumeru along with the Padisarah, so it's appropriate for the General Mahamatra to wear it.

Lastly, I gave them matching double piercings. Tighnari wears them on his right ear (as per his canon design), and Cyno on his left. Another matching set :)

[raven-at-the-writing-desk]

Hey, so you seem to be the the All Knowing in terms of twst. With Glorious Masquerade getting a rerun soon, I was looking at the cards.

So what the heck is up with Jamil's freaking hat? I'm sorry but I can't look at it without laughing. It looks so stupid. The closest thing I can think of that matches it is the combined crowns of upper and lower Egypt, but this is the equivalent of France so that can't be it.

While I’m flattered that people come to me with their questions, I want to take a moment to remind everyone that I’m just another TWST fan like you are! ^^ It’s stressful to be considered “all knowing” or a fandom authority 💦 That puts a lot of pressure on me to speak on certain subjects or to interact in a certain way (since people might put too much stock into what I say), and then that ends up detracting from my enjoyment. I’d rather not be put on such a high pedestal, please and thank you.

Now, onto the question!

According to Rollo in 1-13 of Glorious Masquerade, the costumes the NRC students were gifted are “patterned after designs that are over 500 years old.”

If we extrapolate this to real life, the implication is that these costumes have roots in Renaissance era (14th century to 17th century) French fashion. Interestingly, Rollo’s own hat is similar to a tricorne, which was primarily worn in the 18th century… so technically, his hat is more “modern” than what the NRC students wear 😂

So I browsed through records of hats from the indicated period and guess what? I couldn’t find an exact match—though I did find a lot of hat designs that I found way sillier than what the NRC boys have. Like… sorry, what is THAT 😭

Some headwear which bears a vague similarity to Jamil’s hat are the Egyptian combined/double crown (the pschent), which Anon has already mentioned, and the French hood, which was worn by women in the 15th century.

The actual closest match I came across was the mitre, a liturgical headdresses worn by Roman Catholic officials. If you look at it from the front, it doesn’t look like much, but it definitely has the height of Jamil’s hat. But then look closer and you’ll realize the mitre does not have one single flap of fabric, but rather two.

If you take the front flap of a mitre and fold it back, you would probably get something very similar to what Jamil wears. (Note that the black part of the hat is NOT his hair, but is fabric that is part of the hat.)

Considering that Noble Bell College is styled like a cathedral and that the Renaissance era from which the Masquerade Dress clothing derives is characterized by the rediscovery of classical literature, art, and philosophy… perhaps it’s not so strange to see a hat borne of religious associations.

… Why did Jamil specifically get this hat? Not sure, I’m not religious myself so don’t ask me to psychoanalyze him from that angle 😂

The golden part securing the front is unusual and does not appear in French fashion of the time (at least not from what I could tell?). It’s styled like pschent but more likely is meant to be turban-like due to Jamil’s inspiration, Jafar, having the same feather sticking up in the middle of a bulbous hat. You’ll notice Jamil had a “feather” too, albeit metal:

To summarize, I think the design of Masquerade Dress Jamil’s hat borrows from multiple inspirations and not just one/old French fashion. Yana has stated before in a March 2023 interview with the Apple App Store that the cultures of Twisted Wonderland are unique and that the clothing that appears in the game are not “reinterpretations of existing costumes”. She seems to incorporate elements from both high fashion and from a variety of cultures to arrive at the final designs. For example, there are elements of many Nordic cultures in the Apple Pom outfits, and the Pomefiore uniform has a Japanese kimono-like silhouette despite the dorm being based on the the Evil Queen (originating from a German tale). I assume something similar happened when designing the Masquerade Dresses; Yana and co. wanted to combine elements and make something of their own.

Final comment I'll make, the shape of Jamil's hat looks like a kind of dumpling... It makes me hungry.

[mimicofmodes]

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

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

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

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

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

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

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

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

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

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

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

[miasma-my-asthma]

The convergence is a really good elden ring mod, but I have just one criticism: I think that design change to Rennala was a mistake, let her have her weird moon shaped hat, she already have weird alien proportions this insistance of making women all have the same conventionally attractive limits design so much, the point of Rennala's hat was to look like a moon shaped mitre (pope's hat) that showed how the carian family view the moon and glintstone magic as divine (differently than the golden order) and as a symbol of authority while also visually accentuating the slenderness, "verticality", and counterposing Rennala's weirder proportions.

Here how she is standing uptight and with her hat, there is nothing really off abt her at first glance speacially from this angle

But if you pay attention, she starts looking really odd at different angles:

look how broad her shoulders are, how long her neck and arms are relativetly to a regular person's proportions. Dont get me wrong I love her design and I think she looks really beatiful and find her lankyness interesting way to show is not a regular human and there is something outerwordly going on with her (the moon's influence and the glintstone). And here is how her hat makes her design all come together and make her visual shape more imposing authentic and less goofy:

(I edited on paint dont judge)See how without the long hat her silhouette weirder, like she is wearing some big shoulder pads? how she looks more like a big rectangle with some skinny arms popping out?

Thats why I get mad when they pussyout to gamer bros complaint about her hat making her look ugly and with end up with this:

completely ruined her shape language and removed the mitre part of her symbolism to a generic crown/tiara.

[ronearoundblindly]

Time and Tines (2/3)

Reasons (see previous or series)

Steve Rogers x Villain!Reader

Summary: With the Winter Soldier on your side, Steve races against time to figure out why...and how to stop you.

Warnings for basically DARKFIC: talk of unspecified terminal illness, medical malpractice, gaslighting, revenge, gun violence, not overly graphic death but still death (not of Reader, Steve, or Bucky), and decidedly too-little editing. MINORS DNI. There's plenty for you to read on my Light Masterlist, but this isn't for you! WC 5242 (which is, yeah, way longer than it was supposed to be)

Steve will do anything to avoid a fire fight with the Winter Soldier. There are too many people involved now, and he has to approach this situation delicately from all angles.

Steve just does not understand yet.

After hours waiting with agents in the dark of Doctor Avani’s house, convinced you’ve ordered Bucky to come right over and kill the man with brute force, nothing happened. There was no sign of anyone. Steve has to try something else.

A small army protects Salvatore while he searches your apartment. If the key to activating his friend is here, he needs to find it, destroy that information, and get a handle on why this is happening.

“This can’t be right,” Steve mutters, pushing past Agent Palmer (who drove) for a better look. “It’s too clean.”

Your one-bedroom would pass a white-glove test.

There’s so little…everything. It’s a far cry from the chaos Steve woke to find in the police station. His head throbs at the memory. He forgot what it was like to have his bell good’n’rung.

“Supe says she’s been selling off furniture,” Palmer calls from the doorway, “but he thought it was replaced. Boxes kept coming.”

Steve inventories a mattress with no frame, half a dozen hanging garments, no shoes. What were you buying? Where did it all go?

The desktop is bare. You’ve taken any laptop with you, it seems. That’s a small comfort. You clearly planned contingencies for your attack andor escape; it’s fitting you had the foresight to hide your research on the Winter Soldier.

Steve is still scared, however, because he sat with Bucky many times, listening to horrible tales of being trapped in his own mind, powerless, isolated in the midst of everyone, unable to control thoughts much less actions.

This one’s gonna take a few more beers for the friends to contend with, but with any luck and quick work, they’ll get through without bloodshed. He and Bucky will decompress somewhere peaceful. It’ll be okay.

He hopes.

Steve scans the lone bookshelf. The most curious edition is a history book about WWII, a few flagged pages open to reveal passages about Bucky’s service record, an underline beneath the location where the sergeant fell from the train, and a mail receipt for an address on Forsythe Avenue keeping your page. That’s all.

It’s not even a unique read. The book isn’t any more specific than an average school text. No other notes are made in the margins, so Steve turns the book upside-down and shakes, hoping for something to fall out. He rips the other books from the shelf and shuffles their pages until a picture comes loose—a polaroid of three women.

You’re on the right, fuller faced but it’s you. On the back is scrawled “the girls” with hearts on either side.

The book is handwritten, no label on the cover or spine, only an embossed mandala design. Steve’s stomach drops, but he opens to the front flap.

Property of Faith Williams

He swallows roughly and closes it, unable to step over that line of privacy. At the moment, he needs evidence of where you could have taken Bucky, and slow-reading someone else’s diary won’t give him that.

Forsythe Avenue might, but that’s just one tiny piece of the puzzle. 

Steve checks a different unlabeled book, but it, too, doesn’t have your name inside, just a ‘Z’ fancifully drawn amidst doodles.

Damnit. This is no help.

“Palmer, you finding anything?”

“No, Cap. Bills all paid. Nothing under the mattress. No mention of Barnes on any papers in the drawers. Not even a Cyrillic symbol.”

No trace, just like how you two disappeared from surveillance.

Steve shuts his eyes, head still throbbing from how hard the Soldier landed a blow to knock him out.

The agent wanders through the tiny kitchen. “Fridge is empty. Doesn’t look like she intended to come back here…if…actually, it looks like she barely ate. No condiments, no spices, nothing.”

“How long has she rented here?”

“Over two years.”

Shit. This is a dead end.

“Keep looking,” Steve orders, but he takes the two journals and heads for the car, pulling up your thin file again. You don’t hold any clearances or a government footprint. You were let go of from your last job with a severance package. Nothing overly generous. No medical leave mentioned. Benefits, including health insurance, would be intact. Based on your appearance earlier versus you in the photo, Steve chews on a few wisps of theories, but it’s not solid proof. Without more, Steve has no leads.

“Friday, any connection to properties on Forsythe?”

He adjusts to get comfortable in the back seat of the SUV alone, firing up a view screen.

There’s a low, sad sound that means the AI found nothing in your records.

"For her or him?"

Womp womp, it comes again.

Steve lets out a tense breath, “Where are we with bank statements?”

“Authorizations just came back,” F.R.I.D.A.Y chirps.

“What about medical records?”

“That one’s a lot harder, Captain Rogers. We have to—“

“Just analyze the financials first,” Steve sighs. His head throbs again, and he knows he needs sleep. There’s no time though. If he could just get answers…

Protections exist, of course, for good reason, but Steve feels the frustration of any detective. He’s trying to find a bad guy, and by 'bad guy,' he means you, not the man you’ve taken, not the man you are certainly going to order to kill for you.

Steve rests his head on the chilly glass and pinches his eyes shut. He’ll take a minute, review the money trail, and then interview the doctor. It seems a miracle that man was able to go home to his wife and sleep, even with security inside the room, down every hall, surrounding the house…Steve wouldn’t do it; he can’t even keep his eyes closed long enough for the dry sting to subside.

How could he be so stupid?

You weren’t staring at him from across the room; you were watching your mark, waiting for an opening. Sadly, it occurs to Steve that if he’d just let you inject Avani, Bucky would be fine, here by his side, and safe.

You are the threat, not his friend, but that’s a hard distinction. If anyone else sees James Barnes—who is the stealth assassin Winter Soldier, as far as they know—they’ll shoot. No questions. Steve has to find him first. He has to get to you first.

Bucky is compromised, but Steve won’t let it come to that. Buck shouldn't do anything he doesn't want to do just because some enemy hijacked his mind and body.

“Feel better?” You twirl in the chair as soon as the motel bathroom door opens, steam billowing out.

Winter’s face is shadowed, pointed to the floor.

“Or…at least, okay? Here—“ you offer the seat next to you at the tiny table “—sit. Eat. Let me—I’ve got bandages for your knuckles.”

“Heals,” he grunts, sitting easily but with stiff posture, “fast.”

You let out a heavy breath, muttering, “makes one of us.”

The soldier reaches out for the file in front of you, but your hand pins it down.

“Uh-uh. Food first, and palm up here, please.” You wait for him to flip open the takeout container then blot antiseptic on the split skin. “Does that hurt?”

He shakes his head, focused on the meal before him.

Several months ago, an article was published about Bucky Barnes’ affinity for this one particular deli in Brooklyn, a third-generation shop. It listed his usual order.

You’ve made sure the bread isn’t soggy. You kept the spicy mustard on the side.

He makes a strange face, looking around for your portion.

“Not hungry,” you assure him, “I’m rarely hungry.” You secure the bandage like boxing wraps and spin the file around.

“Eat your food—” The command is soft, encouraging. “—while I tell you the story of how we ended up here.”

Buried in the file you’ve put in front of the Soldier is several lifetimes of horror. Maybe not everyone agrees with you, maybe not everyone cares, but that bastard Avani has to atone. For the next hour, you explain what’s expected of him, glancing every so often at the fancier hotel entrance across the street from your motel room.

It’s too early; you’d be very impressed if the Captain had followed those bread crumbs yet.

You planned so carefully for every obstacle. You anticipated so many setbacks. Men like Avani go down like great stone pyramids, not houses of cards, because their lives are built with safeties.  For him to fall, a thousand others have to be damaged, and each one of them will put up a fight to remain untarnished. That approach—the truth, and nothing but the truth—has gotten you nowhere. Diaries aren’t enough proof. The placebo effect is not a crime. Two women are worth far less than a functional, marketable drug.

Plus, they’re two dead women. The pyramid is now their tomb. Nothing ever changes.

No.

You alone cannot topple a pyramid. You’re too far gone. You’re just one person. For justice, you have to go straight to the top, to the man himself. One on one.

Well, one on one-plus-one. Your addition is the sharp-shooter who can get you the top, the target, Doctor Avani.

Winter’s mission is very simple, but he’s thorough, asking all the right questions, thinking of all the right options. You knew he would be perfect.

“Now,” you clap at the end of your story, rubbing boney hands together, “a rundown of my meds. Sound good?” You grab a zippered case from the foot of the motel bed. “Nothing complicated, but here—“ nudging out a syringe and one glass vial “—this is the emergency one. Use 10 milliliters of this if I pass out. Got it?”

The Soldier takes an enormous mouthful of his sandwich and nods, eyes flickering back to that single bed.

You smile sadly. “I…rarely sleep. I’m keeping watch for now. You’re safe. You’ll need the rest.”

He chews and adds more mustard before his last bite.

“Okay? Good.” Your smile fades, fatigue and restlessness swirling in your empty gut as you remove another medication. “Next is this one. Every four hours, twent—wait, no, I’m up to thirty CCs now…”

“Sir,” Steve grits out with far less patience than he intended, pinching the bridge of his nose as if it will stop the throbbing inside his head, “you realize I am trying to save your life?”

Dr. Avani purses his lips in annoyance. “And you realize I am required to keep my patients’ confidence, right?”

Yes, Steve thinks, he’s said that several times.

“Are they current or former patients?” Steve tries to clarify.

So far, Salvatore slipped up only once. When Steve showed him the photo from your apartment, the doctor muttered something about ‘Faith’ and ‘Ziva’ knowing each other, looking confused, then immediately shut down.

Steve has to switch tactics. He doesn’t have time for this.

“Ok. We found over a dozen hotel reservations made with your assailant’s credit card, so look at this list—” Steve taps the smart screen to lay out a map with the names highlighted “—and see if anything stands out.”

“What have this crazy woman’s travel plans to do with me?” Avani bites out, rattling the tea his wife hands him.

A tremor. Not unlike how your hands shook at the table last night. Steve wonders if yours was because you are ill or because you were lying to him.

“Darling, your blood pressure…”

Steve sighs sympathetically to Mrs. Avani. “Thank you, ma’am,” he whispers, taking the next cup and saucer and clearing his throat. “Doc, please. I’m just hoping you can narrow this down for me. We still have no motive.”

“Insanity. Jealousy, maybe!”

“Jealous of what? Do you know what she might want?”

No answer, but Avani chews his cheek, eyes wide, while staring northwest on the map of hotels. Steve files that away in his mind.

The doctor returns to sipping his tea. “Do you know what they call people obsessed with finding patterns in chaos?”

His wife drops the plate of biscuits unceremoniously down on the side table between the men’s chairs.

“Salvatore,” she snips with the same frustrated fatigue wrapped around Steve’s neck like an albatross, “behave.”

“No. None of these are familiar,” the doctor grunts.

Steve can’t accuse the man of lying unless he wants to risk an all-out breakdown in communication during this active threat, but he’s running out of options. He needs real information.

Usually Steve would have more respect for a man staying within the parameters of his vocation, but this is a unique and complicated situation. This is Bucky on the line. Steve’s had enough of secrets and red tape.

“Any idea why she’d mail something to Forsyth Avenue? Do you know anyone there?”

“Forsyth Avenue? No, I’ve never been in that area before, as far as I know.” Though Avani wrings his hands together, no indicates that’s a lie.

Wonderful. Steve’s never been this unsuccessful at gathering intel, and Avani’s status as the newly-appointed Avengers’ lead physician makes it tricky to push harder.

So Steve recommends Avani and his wife consider staying in a more secure location before he sets off to personally check the hotels in the northwest quadrant of the map.

He takes Agent Palmer, riding in the SUV while the two diaries sit in his lap, knowing now—as sure as he can be—that ‘Z’ is for Ziva, and she knew you and Faith Williams. Those are ‘the girls’ in the photo.

Without Ziva’s last name, he can’t do a general search, but there is a death certificate on file for Faith.

Three women. One confirmed dead. At least two ‘former’ patients of the doctor. All visibly ill in either the picture or in person. One mourning the loss of person(s) and out to kill the doctor.

The pit in his stomach grows. Something very bad is happening, yet while Steve has anything else to go on, he will not be reading another’s diary.

He can only hope that your medical records are finally available once the hotel searches are complete.

There’s even a possibility he’ll find Bucky at one of these. Maybe he won’t have to concern himself with the rest at all. Maybe he won’t have to think so hard about your motives for activating a Soviet sleeper agent.

Steve does think, however. He thinks hard enough to spiral as each reception desk is questioned, as all security footage is combed, as every building is cleared. He has to make some assumptions to make the pieces fit.

You believe Avani is responsible for your friends’ deaths—both of them, since when Steve interrogated you, you accepted his condolences—and believe their cause of death was whatever treatment Avani administered.

It’s sad, of course, but it happens everyday. Experimental treatments are just that. If you’re concerned about gross negligence, the doctor could easily be reported to the Medical Board. Considering the amount of research, forethought, and planning required, the Winter Soldier is one of the slowest possible solutions to your problem.

But…Bucky was just your contingency plan. You had an opportunity to kill Avani yourself, yet you still set other options in motion. You used a weapon theoretically deadly to only the doctor 

Steve still can’t understand, and it’s driving him nuts.

Finally, after the hotel reservations prove fruitless, Steve sees no other choice. He has to read the diaries.

He combs through the pages, growing nauseous as darker and darker layers of the situation reveal themselves, disturbed by everydetail except updates from the units on Forsyth Avenue or those stationed at the doctor’s house. Nothing is unfolding save the landscape in Steve’s mind.

He asks F.R.I.D.A.Y about the disease Faith and Ziva mention. He asks about the public records of the drug trial Avani lead and its results published just six months ago, after the last entries of the diaries. He notices the treatment was a huge success…for those not in the control group. Finally, he can’t continue.

His head pounds while his stomach churns.

In the early afternoon, Steve lays down to rest his eyes and reevaluate, but he’s met with only a blank  canvas and drifts to sleep instead.

He’s woken by a shrill ring of his phone.

“Yeah, Palmer, what’s—what? What do you mean he’s gone?” Steve jumps up, straps on his shield, and races to his bike. “The hell were you thinking letting him make a house call today? Where did agents—“

Steve’s foot slips right off bike for an instant.

“Avani led the driver to some suburban neighborhood. Forsythia Commons.”

It dawns of him just as the garage door squeals open.

Steve never showed Palmer the receipt. No one else saw the numbers to the address. Steve’s rattled brain finished the label with a street name he knew.

He was wrong.

Including battles in Germany way back in the day, he has rarely driven so recklessly, but Steve is nearly a half-hour behind now. He has to catch up.

Palmer tells him Avani went into the residence alone—for patient confidentiality—and after a while, agents couldn’t get an answer at the door. Upon forced entry, they found the woman who lived there bound to a chair with tape over her mouth and the doctor nowhere in sight.

Steve gets lucky.

On his way to exit the freeway, he notices a hole in the noise barrier wall past a slope of grass. He pulls over and asks Palmer what the backyard of the residence leads to, but Steve can hear the reverb of agent comms before anyone is visible through the brush.

“Friday, I need traffic camera footage from my location from thirty-five minutes ago. Were there any vehicles stopped on the side of the road?”

“Yes, Captain Rogers. A standard maintenance truck with the department’s logo shows up and leaves seven minutes later, based on ten second intervals.”

“The license plate, can you read it?”

“Quality insufficient.”

“The highway department, do they have any registered cars out here today?”

A long pause follows.

“Friday?” Steve barks.

“Negative, Captain. Inspection is slotted for the end of next week, not today.”

“Alright, follow that truck on the cameras. Tell me exactly where they went.”

He doesn’t bother to tell Palmer where he’s going because Steve doesn’t want them to know really. He needs a head start to find Bucky—to make sure it’s Bucky who is found and rescued, not the Soldier who is cornered and subdued.

The trail ends at a dilapidated office park near the river miles outside of the city. With his own, short fingernail, Steve peels away the Highway Department magnet slapped onto the white truck parked by one building.

Nobody else is in sight, and the truck cab is empty.

Across the nearest door is sun-shriveled lettering. “-alv—re Ava—, M.D” marks the third name in a list.

Steve doesn’t hesitate. He can’t. He walks right in, eyes adjusting to a cave-like darkness without electricity.

The voices are faint behind another set of double doors, but he hears them.

“I don’t owe you anything, bitch. I hope you die like they did.”

There’s a sharp slapping noise and someone spits loudly.

“Admit it. Admit what you did and you won’t die today.”

You don’t beg him to talk. You don’t plead with him. You sound weak but sure.

“Rot in hell,” Avani annunciates, and Steve flings himself through the doors, knowing what comes after such a taunt.

You give him every opportunity to come clean. He could save himself, but Avani refuses while the camera records behind you. He calls you names. He calls your friends worthless. He says they were ’whores,’ but you will still send him back to the correct authorities if he tells the truth.

He doesn’t, he won’t, and you’re honestly pleased this is how it ends.

You don’t have a choice really; you must honor Faith and Ziva somehow.

Instead of the truth, Avani curses you, though not much could be worse than your current fate, even with Winter standing a few feet away, his gun drawn.

You have readied the syringe in your unstable hand and lift it to the doctor’s throat when—crash—Captain America bursts in and scans the whole room.

“Don’t do it,” he tries plainly. “You don’t have to kill him.”

You’re impressed. That’s faster than you expected, but Steve is looking at his friend to stop, not you.

“Shoot him, you idiot,” the doctor snarls.

As if Winter thinks the order somehow applied to him, he turns toward an open palm and a raised shield.

“SHOOT HIM!”

Winter doesn’t move the gun away from you and Avani.

Steve steps closer. “Bucky,” he starts slowly, “I’m not going to do that. I’m not here to hurt you. No one has to die.”

You need to buy more time.

“Soldat, show him.”

Only then does Winter lower his pistol and reach into a pocket at his chest, revealing the tuning fork that controls his own mind. Doing this will forfeit your exit strategy, but you’ll accomplish you mission. Winter’s mission is now secondary.

Steve’s eyes flicker from the fork to you.

After a tense breath, you give the command, confident the soldier will obey, locking your focus on Steve.

“Fetch.”

Winter sprints to the other end of the room and explodes through a wall and then a window to the lawn banking the river.

Cap makes a choice, his sad blue eyes full of pity, and it’s then you realize he knows.

He read the diaries. He understands what Avani did.

Steve bolts after the Soldier.

The doctor shrieks for his Avenger to come back, to protect him from his earned fate, but the hollow thuds of a vibranium arm and a vibranium shield colliding hum through the hole in the building.

The sound of fighting continues as you return the syringe to Avani’s neck.

Enough. Enough excuses. Enough lies. Enough time has been wasted on this man already. Enough is enough.

The end is more peaceful than he deserves. It’s quick and not nearly as painful as it should be. There’s no time left for suffering.

Salvatore convulses after collapsing on the stained industrial carpet, foam gently dripping from his mouth, a symptom of his condition when mixed with a common resuscitative cocktail, one you have to take frequently, one that spiked Steve Rogers’ adrenaline and nothing more. It kills Avani. His heart nearly explodes in his chest.

If there was ever a human that medicine should fail…

You only know he’s susceptible because Ziva knew. Heart conditions and caring for them are the sort of thing one knows about a person they love.

Avani promised to marry her, to leave his wife, to be with her after the drug trial succeeded. He promised she’d live, but he told Ziva she was taking the real medicine, ensured she took the placebo, and then gaslit her until the day she died.

Ziva spent the rest of her life loving a man who would make her happy and healthy, but instead, Avani made her life as short as possible.

He was not even that kind to Faith.

In her own words, Faith wrote how dying scared her, how she begged the doctor for the actual medication, how she offered anything to get it. Avani accepted. Faith did whatever that bastard wanted for months, all the while told she was healing.

Relief never came.

Faith was bedridden when a package arrived for her—a diary willed to her by a friend she’d lost touch with once you three weren’t gathering in the same hospital suite for the old treatments. That’s when she put it together, but Ziva had passed two months prior. Faith lasted only four more days, just long enough to bequeath the two journals to you.

The victory doesn’t feel as euphoric as you expected. You thought somehow you’d know that Ziva and Faith were proud and at peace, but you’re just empty and tired.

You stare down at Adani’s body, unfazed, when the tuning fork slams against a dangling metal doorframe and Cap shuffles through the rubble.

He’s scraped and beaten which isn’t what you ever wanted, just a necessary evil to fight evil. He watches as Barnes walks in from the grass.

“It’s me, punk. You can put that thing down.”

Bucky doesn’t wait for Steve, snatching the prongs right from his hands and tucking it back in his jacket.

There’s a moment where they almost hug before Steve remembers the doctor and rushes to the man at your feet.

“Call for help! I'm starting CPR.”

Barnes simply holds your gaze.

More sad blue eyes. It brings you hope that he will complete his mission.

You step away from the others to make for a cleaner shot, nodding that it’s okay, breathing a rough but weak “please” for emphasis.

“Buck?” Steve looks up as Bucky points his gun at you again. “What are you doing? STOP. It’s over!”

“His mission was never to kill Avani,” you hiss, unable to take your eyes off the perfectly-centered muzzle directly in front of you. “He’s here to kill me.”

“The hell—“ Steve climbs to his feet “—why would you shoot her?”

“I’m not going to jail!”

“You know what they’ll do to her, Steve.”

Both men take one step closer.

“There has to be another way.”

“I did this because it’s the only—“

“—can understand doctors who taking advantage and manipulating their patients better than anyone—“

“Put the gun down!”

“Pull the trigger! It'll be—“

“—told me he could do better than me,” Bucky barks. “Doc said, to my face, that he could make a better me. He wanted to make soldiers, Steve. More soldiers. Avani didn’t give a shit about what was right.”

You jump in. “If you found the diaries, you know what he was capable of.”

“That’s not how this works. We don’t condemn a man from—“

This time you step toward Barnes. “Just do it. Shoot me now.”

Steve lunges to take your wrist in his hand, your limb comically thin and delicate beneath all his enhancements.

“She doesn’t deserve to rot while they sweep this under the rug,” Bucky adds, voice low and serious.

“This is for the best.” You look at Steve now, and something heartbreaking swims in those morose pools, something unspeakable.

His head shakes, dirty, sweaty hair falling in his face. “What if there’s another way?”

“I don’t want to be saved, Cap. Let me go.”

You offer one final, soft smile, and Steve moves just as Bucky pulls the trigger.

Steve completes his testimony before the panel opposite him. None of the questions are a surprise.

They’ve painted you as completely insane, demented, psychotic, and he can’t argue. What would he tell them? Yeah, but she had kind eyes, so, you know, remember her fondly? No, he can only remain quiet until he has something pertinent to add which is very little. Bucky had far more to offer, and he already spoke.

When Steve steps out of the counsel chambers, Maria Hill is waiting for him.

“Shame she ordered the Soldier to dispose of her body. Took the coward’s way out.”

“You make her sound like a rabid animal that had to be put down,” Steve grit out. 

“No, you’re right,” Hill admits, “but it was lucky she left the sound thing for—”

“Tuning fork,” he snaps, “which I destroyed. No one should have that. No one should even know about it.”

Buck does his best to calm Steve down with a heavy hand on his shoulder. “S’okay, pal. The interrogation footage has been wiped and unless someone with perfect pitch was walking by observation--”

“You know that’s not reassuring, right?”

The two huge men look at each other.

Steve finally mutters, “what about Avani’s widow?”

“All the blackmail sent to his mistress in Forsythia Commons was removed before Gloria even knew Sal was kidnapped, and I think it’s fair to say that lady is so grateful her name wasn’t dragged through the press that she won’t be bothering the wife. Good thing the doctor put her car and house in her name, or legally, this would get ugly.”

“Yes. We’re very lucky he was such a skilled adulterer,” Steve quips dryly. He regrets handing over the diaries for evidence. They weren’t mentioned once in any of the hearings.

Bucky flashes Steve a warning glare that reads, don’t start.

Hill obliviously flips through the folder in her hands, nodding. “All in all, this report amounts to an incredibly long lead-in of ‘use that PTO, boys!’ You earned it.”

“Understatement of the century…and I would know.” Bucky is a much better liar than Steve.

Thank god, they are fleeing to the middle of nowhere indefinitely.

Hill heads back to her office. “We’ll be here when you get back. Keep in touch.”

“No,” Steve counters. “I don’t think I will.”

Bucky and Steve leave in an old truck the next morning. They can’t seem rushed or impatient to get to their destination.

Casually accumulating supplies, Steve loads their bags in the flat bed with space for all repair materials they are likely to need. The cabin needs some work; the guys need to get their hands dirty and live simply for a while.

The team is happy for Steve; it’s been so long since anyone saw him moving forward in life, and, of course, he and Bucky deserve some peace and quiet.

No one else has any idea how hard-won this vacation is.

The drive takes all day because they can’t be in a hurry.

Steve takes pictures at every scenic outlook. Bucky climbs up onto some rock ledges to take selfies which Steve is not into. This earns him being featured as a blurry grump in the background of all of them, purposefully.

Eventually, the GPS-free truck pulls up to the place, a large A-frame style cabin that should be plenty big for two super soldiers.

Parked on the gravel path, Steve is careful not to ding the other car when he swings open his door. As Bucky heaves two duffels from the trunk, he calls out, “got the meds, too” and heads inside. Steve gathers up the remaining bags and trudges over, smelling something hearty and delicious cooking, listening to the tinkling, copper-coin wind chime hanging somewhere above him.

He doesn’t stop looking at his feet until they hit the top of the porch, spotting two smaller bare feet on the welcome mat.

There you are, holding the door open, layered in warm knits, more tired before but better than expected.

“Hey,” Steve breathes finally.

“Hey,” you say, your mouth twisted to hide an excited smile.

“Yes, hello,” Bucky grumbles from the living room. “Now shut the damn door. I’m hungry.”

Steve steps inside.

[Last Part]

[Main Masterlist; Ko-Fi]

a/n: Sorry this took so long a fucking year! Tags will be in a reblog.

[oo-artsy-oo]

What if the hornsent were trying to make empyreans with the Saint Jars? The hornsent seemed to have created the divine tower but why did they never ascend? And Marika, a Shaman, is able to betray them and “steal” godhood?

The Shaman, which may have been Numen women, possibly arrived on the boats found on the Cerulean coast, are used in this pot ritual as a kind of glue.

These shaman were able to ‘meld’ with the flesh of others. Possibly being the ingredient that ties all the souls and flesh together, a Shaman is a person who can interact with spirits, maybe as well as unifying them physically by melding the flesh together, the Shamans are able to unify the spirits, maybe not into one soul, but unify their goals or intentions.

Not all Shaman are empyreans though, to be clear. Empyreans are beings who are deemed fit to become a god.

The known empyreans are:

Miquella

Melania

Marika

Ranni

An interesting part of all of these characters is their ability to “split” their soul into two or more beings, or at least, share their very being with another.

Miquella + St Trina

Melania + her daughters (the god of Rot)

Marika + Radagon

Ranni + ???

In Ranni’s case, I’m unsure of what her split identity was. It is stated: Ranni had her own empyrean flesh slain. She, like Melina, is a bodiless soul and since we don’t hear much about Ranni before she became what she is currently, we can’t really know what it was that made her worthy as an empyrean.

So, what is an Empyrean?

As I said before, Empyreans are those who are fit to become a god. But what actually makes them worthy?

To become a God, an empyrean must align themselves with the influence of an outer god, and become its vassal. Watching Miquella’s ascent to godhood, shows us that he needs to divest himself of his flesh, he also divests certain psychological aspects, such as his doubts and his love.

So to become a God, one must divest themselves of their flesh? Things that tie them to the corporeal realm.

The Vitruvian man shows an image of a man posed two different ways, one, which fits perfectly within a square and one that goes beyond the bounds of the square to fit within a circle. In regard to the vitruvian man, the man in the square, is mean to represent earthliness, being rooted within the confines of the mortal/material world. The man in the circle, is mean to represent the infinite or divinity.

In regards to Marika and radagon, their statues always portray them in unique poses. Radagon is always standing straight, head held high and his arm out to the side at a 90° angle. Marika on the other hand is often standing with her head stooped low as if looking down, her arms are curved upwards, her hands meeting the height of her head.

To me, this shows that Radagon represents the corporeal and/or human aspects, this is further shown by Radagon’s fervent faith and loyalty to divinity, he is looking up to the heavens and is depicted in front of a lattice which could symbolise support. He attempted to mend the Elden ring by implementing this lattice into its very design.

Whereas Marika, she represents the divine and eternal aspects, from the point of view of those seeing the statues, Marika’s likeness would be looking down at them, divinity is always shown to be superior to those stuck in the corporeal plain. She is also depicted in front of a shawl styled similarly to velificatio (a stylistic way to depict deities in ancient Roman art). The shawl may also be a depiction of her veil.

Back to the Vitruvian man, the theory behind this artwork is that a human is both earthly and divine, having aspects of both plains.

This is shown in the empyreans with their two seperate personas. Maybe, the way one becomes a god, is to divest themselves of their corporeal aspects and give themselves to an outer god. Miquella, in becoming a god divested himself of St. Trina, and Marika must’ve divested herself of Radagon. This doesn’t mean that those parts of themselves are killed, as St. Trina is not dead and neither is Radagon. Similarly with Malenia, it is said that after defeating her, she will “bloom” once more and become a god. Interestingly, all of her daughters kill eachother in battle, which would divest her of her human aspects, and yet it is said that even those ‘children’ will bloom again, becoming scarlet Valkyrie’s.

All of the current empyreans have shaman blood through Marika/Radagon. And since shamans have the ability to meld with others, maybe that aspect of them is what makes them eligible to become gods? Being able to meld with their chosen outergod.

Also, I don’t believe Miquella joined with an outer god. He created the unalloyed gold, able to propel outer gods. Miquella became his own god, creating his own order, abandoning the Elden ring (this can be shown in his circlet’s description.)

Anyway, another rant xD

[zareleonis]

"I must play the role that they want me to play": Trans coding and Furina de Fontaine

There are several facts that, when combined, make the character of Focalors/Furina is distinctly transgender in nature. Firstly, Focalors/Furina was born an Oceanid, a species of pure water spirits that is genderless and sexless.

In legends shared by humans regarding their origins, the first Oceanid is called “it/its.” The human author recounting this story says humans have used “she” to Oceanids ever since, more as a matter of course than an expression of gender.

Oceanids are also sexless, as they do not reproduce through any sort of coupling and instead proliferate through abstract means that are little understood by humans. Focalors/Furina, after seeing the lives humans led on land, eventually longed to be human herself. The desire to transform from Oceanid to human is already a solid metaphor for transness in and of itself, but is even more so given that Focalors/Furina as an Oceanid starts as a creature that is genderless and sexless.

The trans coding of Focalors/Furina’s dream to be human only becomes more profound once they become a god and are forced to split themself into two i halves in a bid to save Fontaine. The divine half has to give up her humanity forever, yet continues to long for the humanity she once had down to her very last breath.

The human half, Furina, meanwhile has to hide her humanity and true self for centuries. Forced back in the metaphorical closet in a way that is acutely familiar to any queer person who’s been closeted.

Going beyond the lore that Focalors/Furina was born genderless and sexless and the storyline which serves as a broader metaphor for transness, Furina’s design is distinctly androgynous, so much so that her Japanese voice actor, Minase Inori, shared that when she first saw Furina, she couldn’t tell if the character was meant to be a boy or a girl and found the ambiguity captivating.

Notably the Japanese dub leans into the androgyny angle, both through Minase’s performance and Furina’s use of the personal pronoun “boku.” As a pronoun typically used by young men and boys, when used by a female character can emphasize their eccentricity and gender non-conformity, both key traits of Furina.

Returning to Furina’s design, one of the key design philosophies for her character is contradicting elements to emphasize the contradictory facets of her personality, as explained by Vivi, one of Genshin Impact's Character Concept Artists, in the La Vaguelette behind the scenes video.

One such contradicting element is the mixture of both men’s and women’s clothing that she wears. The lower half/back of her garment features a morning dress with a modified western women’s petticoat-style tail, whereas the upper half is a men’s waistcoat and vest.

Furina’s vest has its buttons on the right, as traditionally found on men’s clothing. This is in contrast with other Fontainian characters such as Wriothesley and Clorinde, whose buttons are placed in accordance with the traditional style for clothing made for their gender.

We see the same sense of contrast in her combat animations, where she does both a masculine style and feminine style bows when performing separate abilities.

Other elements such as Furina’s noticeably flat chest and a haircut which could belong to someone of any gender further evoke a sense of androgyny.

While I'm not trying to prove anything with this or convince anyone Furina is canonically trans beyond that their original species does not have gender in the human sense, I hope that more people can open their hearts to a trans reading of the character. What delights me most about Furina is that no matter the specific interpretation you take—the Oceanid who dreamed she could be a human girl, the human who pretended to be a goddess when really he was nothing of the sort, or someone who's neither or even both—her story and character design resonates deeply. :)

[pillowbugs]

so uh. that poto au i did just over a week ago.

was playing around with some ships to figure out who would fit the roles of the other characters, and landed on airplaneshipping for christine and raoul. preferably ignore all the plot that would have to happen to lead to this point. (the scene where the phantom shoots fireballs, except in the pokémon universe it's a full on battle against the phantom and his chandelure. for an added bonus, look up the name of the 'song' sung during this part of the musical.)

unmasked ver. (additional design notes under cut)

elesa:

christine's dress in this scene is light blue, which is a colour that is indeed present in elesa's design (her bw2 outfit moreso). elesa not wearing any yellow felt wrong though, which is why the layers underneath are yellow-tinted.

went with her bw1 hair colour because christine was blonde in the original book.

her cloak is mostly based off her bw2 jacket in shape; it's black with a red clasp, which makes it not only similar to the cloak donned by christine in the musical but also retains the same idea of the cloak being a visual representation of the phantom's (who wears mostly black) hold over them. (+ the other colour ingo is most associated with is red.)

however, because of the lighting, said cloak appears yellow on the side closer to skyla - more similar to her canon design, and being close to skyla in a way rids her of the darkness.

she gets to change her hairstyle as a treat.

skyla:

it wasn't common for women to wear waistcoats at the time (1900s), but sapphics in history quite famously fucked with a lot of gender norms.

actually both of these lovebirds are blue now. sets up a colour contrast between the lighter, friendlier blues of the couple and the darkness and reds of the phantom. (blue = friend and red = foe like it's fire emblem)

the way swanna is placed is intentional, to set up a more angelic imagery mirroring the phantom's darker version (more on that in a bit).

both women wear matching white roses in their hair. something something flower symbolism. but skyla does also have feathers in her hair, for obvious reasons.

swoobat because hearts :D

ingo:

was debating on whether to make him actually more deformed in this au, but didn't really feel in the mood to sit down and design it in detail for this piece.

there isn't much i can say about his outfit design given it's literally just mashing his usual uniform together with his butler alt from masters. though upon actually looking up the phantom's outfit, the end result is actually surprisingly close. not surprising given both wear victorian suits and primarily wear black.

my original concept for the au was that he still works with the subway, he just does it from the shadows instead of being a public figure - hence he still wears a train conductor's hat. though since the battle subway isn't a thing (or at least not in the form we know it) he doesn't have its logo.

his cloak is intentionally flared up in this scene, for a few reasons: 1) it looks cool, 2) it resembles gliscor (albeit it isn't present here) and 3) mirrors skyla with a darker angelic imagery - the original musical had the whole "angel of music / death" thing.

i actually went through quite a few variations of his mask before settling on this one, and even then i'm not entirely satisfied with it.

version 1: exactly the same as the one used in most advertising for the musical - decently terrifying, but considering ingo's main 'issue' is his mouth, which this (and the one actually used within the musical) doesn't cover, this would be completely useless aside from probably hiding his identity and especially his resemblance to emmet.

version 2: leaned more into the angle of trying to alter his expression, particularly to be smiling instead - to be more similar to his brother. also suitably unsettling, but this specific style wouldn't work if you looked at him from any angle besides this one though. also, from this angle, because his actual mouth is obscured, i was worried he would actually be mistaken for emmet instead (given generally fandom tends to make emmet the unhinged one - let ingo have some fun too, guys).

version 3, the one i went with: has patterns at the cheeks simulating the edges of a smile (and also has the black-on-white contrast); his actual mouth is hidden but visible through the cloth.

why is there a litwick on the gravestone? good question!

in all honesty, this was part me drawing blorbos into an au and part me conceptualising what the pokémon universe version of POTO would look like.