#for context (which I can somehow give)

[ruporas]

invisible scars (referenced previous talk here)

[ID: A colourless, digital Trigun comic of Vash and Wolfwood talking about Wolfwood's scars. They're both laying in bed and topless. Vash lays on top of Wolfwood, playing with the rosary around his neck. Then, Vash kisses a spot on Wolfwood's chest. Wolfwood asks, "What are you doing?" Vash smiles sadly, "You got shot here. In the last town we visited. You didn't even bother moving."

Vash props himself up over Wolfwood, who frowns slightly. Wolfwood is quiet for a moment before he says, "You remember that, huh?" Vash grabs Wolfwood's left wrist and brings it to his face. "And here." He kisses another spot there. "When you helped free the hostages from that robber..." Wolfwood dismissively says, looking away, "Was a lucky shot." Vash huffs, “Don’t brag. Jeez.”

Half of Wolfwood's expression is shown, eyes returning to Vash who is now sitting up, continuing to say, "And..." Vash goes on and kiss Wolfwood's right palm. "You got cut here, even though that girl was aiming at me." A moment from the past flashes, of Wolfwood grabbing a knife aimed at Vash, his hand bleeding.

At present, Vash moves down and puts another kiss on Wolfwood's right shoulder. "And here, from watching my back." Another memory flashes of Wolfwood and Vash back to back. Vash looks back as Wolfwood grins while holding Punisher, bleeding from multiple gunshots in his shoulder.

"And," Vash combs up Wolfwood's hair to reveal his forehead, "Here." A final memory shows Wolfwood with a regeneration vial in his mouth while getting shot on his temple. The next panel is framed in blood with Vash at the center, eyes wide and stunned in horror. The next panel is a closed up shot of Wolfwood's eye, locked on Vash's face.

Back to present, Vash’s head is bowed down as Wolfwood raises a hand to his nape and says, “Spikey.”

Wolfwood looks serious and frowns as he says, "We talked about this. Those were my decisions. They're not there anymore. Forget about them." Vash looks very sad before he smiles ruefully and says, "I still see them. All the time." He leans down so they touch foreheads. Wolfwood’s sorrowful expression can be seen as Vash says, "You protect so much. I could never forget what you've done to me. And many others..."

In the last image, they're drawn more cartoonishly. Wolfwood sweats and asks, "You don't actually remember every wound, right?" Vash points at a spot on his chest. "Kuroneko left a scratch here 7 times." Wolfwood, startled, says, "Why the hell are you keeping count—" End ID]

Credits for ID here and here

[moeblob]

Happy Birthday to Ferdinand von Aegir!

I actually made 33 emotes, affectionately known as Aegirglyphics to some, for my own personal use on discord. However, I figure why not share some of them! They're free to use for discord servers/icons/pfps or whatever. However, my only request is Do NOT use them as subscriber emotes on Twitch. You can make them free follower emotes but you are not to make them locked behind a paywall.

[magentagalaxies]

.

[rhysnolastname]

views of the basin

[fist-amidst-the-hands]

tagged by @blackberrywars to do wip wednesday! does anyone else remember when I said I was aiming for posting a wip weekly? yeah me neither

since I haven’t been writing lately this one is from maybe a month ago, just a tiny snippet that’s (as usual) much bigger in my mind. may or may not write up the whole thing, so I put some additional context / plans in the tags!

—————————-

A simple request. No... not a request. An order. Two words. Quiet at the onset but growing steadily in Izzy's mind, blooming and spilling over to cover every corner.

The whisper of a smile at the corner of Ed's eyes meeting the desperation swimming within them. The soft pair of footsteps padding from above deck to below contrasting the heavy pounding of Izzy's heart echoing in his head, the intensity threatening to shake apart the blossoms that had so recently taken residency.

All of it sharp yet muted, loud yet far away.

[theother-victoria]

I never knew switching majors could feel this liberating…

[arolesbianism]

Thinking abt my nuggets again. Explodes them.

[perpetualseahorse]

Wtf tumblr

[ghostfacd]

SASSY MEN DO IT BETTER! | TOM BLYTH

PAIRING. tom blyth x fem!actress!reader

SUMMARY. in which yours and tom’s behind the scenes gossip session goes viral and everyone’s dying to know who’s it about

AUTHOR’S NOTE. thank you to whomever requested this, nonnie i love you! this was so much fun to write and instead of Instagram posts, I decided to do tweets this time! enjoy as always and thank you for the overwhelming support on my au, it means so so much

installment of this au (recommend reading for context)

It started off innocent.

Just you and Tom in the background of a Behind The Scenes video where Rachel was currently talking about her character, Lucy Gray Baird.

You and Tom were fairly close in proximity—as you always were anyway—and you two were scrolling through your phones, showing each other funny videos or pictures of beautiful places that showed up on your feed.

That was until a message popped up from your ex, some jerk who had somehow gained a role in a movie and thought he was now some hotshot in the film industry.

“Oh seriously,” Tom mutters, watching as you tapped on the messages your ex had sent you. “He’s got to be kidding.”

Your ex had apparently “missed you greatly” and wanted to hang out so you two could catch up. He said he watched The Ballad of Songbirds and Snakes and was in awe of how well you acted. If he wasn’t such a toxic asshole when you two were dating, you would take it as a compliment.

“I don’t know where he has the nerve.” Tom says, giving you a disgusted look. “Like girl, please.”

“Girl please?” You say, giggling as your head fell back into his chest. “Baby, I didn’t know you said things like that.”

“There’s plenty of more where that came from,” he says, “Okay, I need to stop. What if someone on set thinks I’m crazy?”

“They already think you’re crazy.”

Tom rolls his eyes, shoving your shoulder back slightly. “You’re lucky you’re my girlfriend.”

“I think you’re more of the girlfriend in the relationship Tom,” you say, shrugging. You fail to hold in your laugh as you watch Tom’s expression turn into shock. “I’m kidding, thank you for being the best boyfriend I can ask for.”

He grumbles a sure whatever under his breath when you engulf him in a tight hug.

“You’re practically crushing my lungs.” He says a minute in, only to be responded with a roll of your eye. “But hey, I’m much better than that newbie actor ex of yours, right?”

“Is that even a question?” You say, pulling away. “He was just nonchalant and mean to me half of the time. Don’t know why I even dated him.”

Your phone goes off, another message coming from your ex. “Oh, he called you knock off Draco Malfoy, which by the way, isn’t even an insult because he doesn’t even come close to you or Draco Malfoy in terms of looks.”

Tom lets out an honest to God laugh at your commentary, shaking his head in amusement. “Yeah, but didn’t you have a huge crush on Malfoy as a kid?”

You pretend to think for a minute before nodding your head teasingly, “yeah, I guess things never change huh?”

“Okay stop, you know I’m a fake blonde.”

And the entire moment between you and Tom is captured on camera, sending your fans into a frenzy as they watched how cute you two were with each other.

[tryingonametaphor]

Why Will Byers?

An analysis and theory on why Henry/Vecna targeted Will first in season 1 and his plans for Will in season 5

‼️Contains The First Shadow (TFS) spoilers so please proceed with caution.‼️

This is going to be a little long but I’ve tried to give as much context as I can without actually being able to show snippets from the stage play. This is my interpretation of everything that went down as a member of the audience and not as someone who has read up any theories about TFS before. To understand why Henry took Will first in 1983, we have to start with -

Henry and Joyce

From all the times I’ve watched TFS, the one thing that has stuck with me is the final conversation Henry has with Joyce. It’s just before his last confrontation with Patty Newby and before he joins Brenner for good. Joyce is the last person (who doesn’t know about Henry’s powers) that he canonically talks to.

Throughout the entire play Joyce, Hopper, and Bob are investigating the animals dying at the hands of Henry and come to the conclusion that Victor Creel has been the one doing the killing. They get so close to solving the case. In her last conversation with Henry, Joyce tries to comfort him by saying that Victor will pay for his crimes - which makes Henry laugh because she’s so close yet so far from the truth. He gets a little frustrated and says something along the lines of “You don’t get it. But someday you will.” (edit 28/9: the exact dialogue is [Henry: you’re too nice. that is how they’ll get you. you have to learn to do anything you can to protect the ones you love] [Joyce: I don’t understand.] [Henry: You will.]) The next time we see Henry make a reappearance in Joyce’s life is during -

The Vanishing of Will Byers

Will is taken into the Upside Down (UD) by Henry. It’s not even a question anymore. All of the context clues from 1x1 lead us to believe that Will’s kidnapping was not by a demogorgon. Will - a 12 year old - miraculously survives a week in the upside down with no food or water. Will is even around the demogorgon a few times in the Upside Down. (Joyce communicating with Will through the lights and then the demogorgon coming after her immediately).

Barb dies the night she is taken but Will stays alive and also somehow manages to talk to Joyce through the wall. Joyce is led exactly to where Will was held at the end of s1 and he makes it out alive. It’s almost as if Henry knew all along that Joyce was the most capable of never giving up on finding her son. Like Henry took Will Byers because he was Joyce’s son. And like he was giving her just enough to know that Will was alive. Even when Joyce and Hopper find him at the end in a state of near death, he’s not injured by a creature. He was being prepared for the next stage of Vecna’s plan -

The Possession of Will Byers

The origins of Henry’s powers happen as such - As a kid, he is transported into the UD (originally coined Dimension X by the government) for a few hours because he touched something he wasn’t meant to touch. During his time in there, he came in contact with the Mind Flayer (MF). According to TFS this is the point in his life when he started getting “corrupted”. Brenner’s dad - who was one of the first people to enter dimension X - had mutated blood after but no powers. Henry was the first person to come in contact with the MF and it’s highly likely he got his powers because of this (This would also track considering how most of the party has been in the UD now but show no signs of having powers). The MF controls Henry for the rest of TFS and Henry grows more power hungry the more he kills.

In S2, Henry presumably sends the MF after Will - who has now had a year to heal from the events of 1983. Will is the only other person in all of ST to have had direct contact with the MF and survived it. Henry didn’t hesitate to kill Billy in S3, but he always gives everyone just enough to keep Will safe. Will himself tells Owens in S2 that the MF wants to kill everyone except him. Will once again survives the entire ordeal and is given a “break” for the next 2 seasons. Except I don’t believe he’s been just given a break. I think Will is -

Henry’s Sleeper Agent.

Ready to awaken in s5. I undoubtedly think that Will is going to have powers. And I don’t think they’re going to be the same as Henry and El. El and the other lab kids get their powers directly from Henry. Will’s powers will be directly from the MF like Henry. I believe this has been Henry’s plan all along and it’s further affirmed by what he tells Will in the recent VR game. That Will will be the key to Henry being able to infiltrate his friends’ minds. Jamie Campbell-Bower also mentioned during the S4 press that to get in character, he set up a display with all of Henry’s victims and targets’ faces on his wall(?), and Will was in the center.

Henry is going to use his connection with Will sneakily and midway through S5 he’s going to awaken Will’s powers (maybe in ep4 - which is said to be titled ‘Sorcerer’ and has young Will in it). Henry is going to try and manipulate his way into making an ally out of Will, and it’s not going to work because -

Will is the Perfect Character Foil.

Will is everything Henry could have been if he had a better support system. He is the perfect character foil. Unlike Henry, Will has a mother who loves him unconditionally and more importantly, believes him. Unlike Henry, the person who Will loves the most (the Patty to Will’s Henry: Mike) is going to love him back and stay by his side all season. No one is going to force them to be apart the way Henry was told to stay away from Patty. Will is not going to be easily swayed even though Henry has spent years crafting him into the perfect soldier. Sure, Henry has seen him heartbroken and sad, but that comes nowhere near to the amount of love and support Will is going to get from his people next season. And they’re going to quite literally defeat Vecna with the power of love and friendship. After that, Will Byers is getting the happy ending that Henry could have gotten.

[thewisecheerio]

Messmer's actually terrible at his job. (affectionate)

Messmer is a fascinating villain, because he is strangely compassionate. I would go so far as to argue that this same compassion that is so at odds with his villainy is the very thing that drove him to become that villain in the first place. Hang with me; this is a long post.

Spoilers for Elden Ring DLC. Obviously.

Messmer tells us himself that his purpose is to purge all those stripped of the grace of gold. "Yet...my purpose standeth unchanged. Those stripped of grace of gold shall all meet death...in the embrace of Messmer's flame." We can piece together who gave him this genocidal purpose from his armor set's description, which tells us directly that he's working on his mother's behalf *and also* taking all the blame for it.

So he's playing war criminal on Marika's behalf. And I do mean playing. I'm not downplaying the fact that he is a war criminal; he has murdered on entire people. But here's the thing: he's *terrible* at playing the sole part of the spiteful, hateful overlord. He's *awful* at reveling in war and its victories.

Why? Empathy.

Messmer is strangely empathic for what could have otherwise been a cut-and-dry villain:

1. His relationship with Gaius, an Albinauric: We learn from Gaius's Remembrance that he was Messmer's bestie. We also know that Gaius was an Albinauric both from his armor as well as the location "Albinauric's Hut" in the direction he comes from at the beginning of his fight. Albinaurics are despised by the Golden Order, but Messmer didn't seem to care. In fact, he cared so little that he gave Gaius command of either a huge chunk or perhaps his entire army, second only to him. And what is given as the basis of this friendship? The fact that they were "both cursed from birth", i.e. a mutual understanding of what it is to be despised. They're trauma bonded because they have empathy for each other's predicament.

2. His relationship with the Jar people: Even though the Jar people were used as weapons of war against his own people, he doesn't seem to resent them. How do we know? There is a hospital where the Jars and their innards are being cared for in the Storehouse, a stone's throw away from where Messmer spends all his time. There are even a few baby Jars running around in it. Strange thing to do to what is essentially an enemy of your people, unless you consider them to also be victims of the same conflict.

3. His relationship with his soldiers: Messmer shares his own flame with his army. Yeah, that absolutely could be interpreted as a utilitarian move for the sake of war. Power up the troops, boost your chance at victory. But it's a strange choice when he could have just armed them in the traditional way of handing them sharp, pointy objects and pointing in the desired direction of stabbing. Instead, arming your soldiers with your own power could also be interpreted as something you do when you care about their survival and are potentially working directly with them to ensure it.

4. The mourning of people who betray him: Speaking of his soldiers, Messmer gets betrayed by at least a few of them. We learn this from the ashes of Andreas and Huw. Huw's ashes further tell us that Messmer *mourned their loss* as brothers-in-arms. Weird thing to do to someone who has betrayed you, unless you care very deeply about them to begin with.

5. The implications of the Storehouse: Even though he is actively genociding Hornsent on Marika's orders, he somehow has preserved an entire library of their history. At first, I thought this was maybe just British Museum vibes: steal all the artifacts and refuse to give them back. (And that could still be a correct interpretation.) But in context of the rest of these points, if you're truly hellbent on erasing a culture, why would you bother to preserve any of it? Would you not burn the libraries along with the people? It's a fairly common thing to do in our world's wars--destroy the art and history to ensure full erasure. And yet, it seems he can't even bring himself to avoid some small amount of sympathy for the people he was explicitly tasked with killing. If you really *think* about the basis for his sympathy for Marika, this does make a lot of sense. Messmer is following Marika's orders because he knows about what the Hornsent did to the Shaman. Wouldn't it then also be the case that once Marika's reign became nothing but genocide, i.e. an exact reversal of what was done to her people, he would have the same kind of sympathy for them? Perhaps this is a form of harm reduction in the only way he could square with what he thinks is his purpose.

6. His own self-hatred: Messmer despises his own flames, which we learn from the Messmer's Orb description. If you were happy to be Doing a Genocide, would you not celebrate your weapons of war? Wouldn't you take pride in them as tools of power? Unless, of course, you're not actually as happy as we think and maybe having regrets and come to be filled with severe self-hatred. Woops.

So then, if Messmer is this guy running around with a lot of Big Feelings (and probably a deep need for a Prozac prescription), why does he even agree to this genocide in the first place? Isn't that an *odd* choice for someone who seems to care pretty deeply about people, even people despised by his family's governing order? Why does he carry out these orders even to the point of developing a deep self-hatred?

This is where Messmer's sympathy, one of his best aspects, also becomes his fatal flaw.

I mentioned above in 5 that Messmer has access to information about both sides of this conflict. As much as he might have sympathy for everyone around him--including weapons used against the Shaman like the Jars--that means he *also* has sympathy for the Shaman. So if you have sympathy for the other side and sympathy for your side, and you are raised by your own side, then what is the natural outcome? Your side wins. If you must choose a side, then you fight on behalf of Child Soldier Fostering Mother Marika. She raised you, after all. It's inevitable.

In the end, that same sympathy he seems to extend to others also is what causes him to do war crimes. Out of an abundance of sympathy for what happened to the Shamans, he agrees to take up arms.

At the end of the day, he's still a villain that needs to be stopped so that he'll stop oppressing an entire people on behalf of his mother's misguided attempts at revenge. But making his reasoning to agree to become that villain in the first place *empathy* of all things? Fascinating.

[alchemistc]

"When was it for you?" Buck asks, chin tucked over the nice rounded edge of Tommy's left pec, turning his eyes up through his lashes because every time he does that Tommy's eyes do something soft and sweet that Bucks still a little obsessed with. Tommy's fingers continue twisting into his curls, but he raises the 'need more context' brow. Buck obliges. "The - the spark. Like - I mean you had to kiss me for me to get what was going on but uh - I mean subconsciously I was in it to win it from like, the moment I saw how smiley you got seeing Cap and Athena reuniting. So. I'm wondering. What was it for you?"

There's still times when Buck feels like he's going too fast, too hard, pressing and pushing and reverting back to the neediness of yesteryear, but Tommy does this thing - this insane thing that shouldn't comfort Buck at all but somehow manages to both bring him back down to earth and make him feel like he's not alone in this: he takes his time. A measured breath, a quiet look, pressure on his scalp as Tommy thinks the question through without looking like he's being rushed at all. Measured. Processing both the new information he's been given, the little snapshot into what had first drawn Buck in, and the question he's been asked. If Buck had realized thoughtfulness meant so fucking much to him he'd have learned some patience years ago.

Tommy tips his chin, scratches at his cheekbone, stares at Buck like he's measuring out each word in his sentence recipe and setting up the ingredients of his response before he starts mixing.

"The handshake," he says, with a bashful little purse of his lips, like he hadn't expected he'd ever have to admit to it but he doesn't want to lie. "Just couldn't get a read on you for a while after."

Buck sort of wants to hide his face in Tommy's chest in response to the feelings that bubble up in his chest - the right-awayness of it, an immediate connection Tommy had felt even before he did, it feels like there are a thousand little pipe bombs bursting in his chest. No one's ever given him butterflies quite like Tommy Kinard.

"So it was like a physical thing for you," Buck says, fully fishing because Tommy has dated actual models and no matter how many minutes he spends each time they're naked together admiring the belly Buck's unwilling to dehydrate himself to get rid of, he likes hearing that his boyfriend thinks he's hot.

Tommy surprises him, though. "No, actually. You could barely get your name out but you wouldn't let go of my hand while you gave me five facts about helicopters you'd clearly googled on the ride over. Sorta made me want to stick you in my pocket and keep you there so you could provide me a fact-of-the-hour for the rest of my life."

Buck can feel his face going red. It's a mortifying observation, but it feels a lot like all the affectionate teasing he gets on the daily from Hen and Chim. Feels like Tommy knows him well enough by now to know he likes being read for filth when it means he's being paid attention to.

"You want weird facts, I'll give you weird facts."

Tommy chuckles. The hand in his hair tugs, just a bit, like Tommy wants Buck's face closer to his face but doesn't feel like asking. Buck shifts his weight up into an elbow to oblige, gets a thumb sliding along his cheekbone for his efforts and a primetime view of Tommy's serious face as his eyes flit across Buck's. "I didn't expect you," he says, in the serious voice, the teasing edge falling away. "I didn't expect butterflies and second chances and -." He cuts himself off, thumb slipping towards the curve of Buck's nose. "I didn't expect any of it."

Which is a bit of a revelation, if Buck's being completely honest. Tommy'd taken his hand and smiled while Buck did his level best to break the sound barrier with the pace he set at the beginning of all of this. "You thought I'd be an easy lay?" he teases, and Tommy wrinkles his nose.

"Thought you'd be bored with me before I paid the check if I ever managed to get you on a date with me."

It's actually laughable, with the benefit of hindsight, how terribly wrong that assumption had been. Laughable that Tommy thinks he could ever be boring. Buck could spend hours just staring at the subtle changes in his expression in complete silence and still not be bored with Tommy.

"That's stupid," he tells him, and Tommy thumbs at his bottom lip.

"Well I know that now. You're easily entertained. I've told you the Yellowstone flyover story six times and you still laugh at the punchline every time like it's the first time you've ever heard it."

"Moon moon," Buck repeats solemnly, and has to bite his lip not to laugh about it again.

"I like you a lot," Tommy says, and - they've exchanged I love yous, but there's something about this particular phrase - like Tommy's dug into the very heart of all of Buck's insecurities and learned the exact phrase to burn all those question marks to the ground.

"Ditto," Buck says, because Tommy had been insistent on trying to find a romcom that Buck didn't fall asleep to and Ghost had actually kept his attention decently well. Or. You know. Patrick Swayze and Demi Moore had.

Tommy rolls his eyes. "Howie keeps giving me shit for all new movie quotes you keep bringing out at inappropriate times."

"Quoting Clerks at Captain Fuckstache is always appropriate."

"We'll watch Dogma next. See if you can find any gems in that one that'll drive that asshole into an early grave."

"Are there dogs in it?"

"Are there -." Tommy's expression is so offended Buck thinks his eyes might explode. "Evan, even if you don't know the movie I know dogma is one of those SAT words you've found yourself on a Wikipedia black hole about."

Damn. And Buck had been hoping he'd get worked up enough to rant about Buck's serious gaps in knowledge in regards to pop culture. He hams it up a bit anyway. "It's when all the dogs are trying to get into heaven."

Tommy digs three fingers into Bucks side, and if they dissolve into a tickle fight five seconds later, Tommy has no one but himself to blame for the elbow to the face that nearly breaks his nose.

[pomefioredove]

hey so can I possibly have a scenario where Azul reveals his octopus form to his s/o and s/o is surprised, but doesn’t mind it. When he keeps being unsure and hides under water, s/o just dives into the water right next to him and kisses him under water? They can’t breathe under water unlike Azul being human.

this is so sweet!! I hope you don't mind, I did a fic instead of headcanons cause it felt right to me

*ੈ✩‧₊˚ "I'd owe you"

summary: in the context of a first kiss type of post: short fic characters: azul additional info: romantic, reader is gender neutral, reader is yuu, established relationship

It's not that Azul is nervous.

Of course not. He's long gotten over the "crush" phase of your relationship. No more butterflies or blushes when he sees you, and for the better.

You're... a part of his life now.

He's not a fool, though.

He knows that each phase of the relationship comes with a different test to pass. And he has passed; the butterflies, the blushing and stammering, the confession, the first date, all with flying colors and his usual bravado.

Now, a month in, he knows the next is imminent.

He is NOT nervous!

He wants to... to be prepared, that's all. But he can't put it off forever.

"Is this strange for you?" he asks, neck-deep in the water.

You, beautiful, effervescent in the moonlight, are sitting on the dock, kicking your legs back and forth. It's high tide, and dark. "No,"

Somehow, in his mind, he thought this would be fine.

"Are you certain? We could go back to school, if you'd like," he says, hopeful you'll change your mind.

"I'm sure," Damn it.

"You haven't let me see you yet, anyway."

Damn it, damn it. Was being in the water in his natural form not enough?

Azul curses himself again. He did agree to this, foolish as it was.

Hesitantly, he lifts one, just one tentacle out of the water. He's trying very hard to keep calm, but he feels like he's being crushed.

You don't react. At all. No teasing, sure, but no reassurance, no smiling, not even that look of awe you so often have. He suddenly feels much colder than the water, and, without thinking, goes to hide.

Again.

The last thing he sees are your eyes, widened in surprise, and then he's underwater.

Azul knows he'll have to come out eventually. He can't just leave you alone on the dock. And he has an exam first thing in the morning, anyway.

But for now, he'd like to wallow. And so he will.

Of course, he should have known better than to think he'd get away with that. In seconds, the surface tension of the water breaks, his calm interrupted by you, you, of course you, suddenly with him.

Azul wants to say something, he wants to hide, but before he can even move, your hands are on his cold cheeks. And then, as if it were the easiest thing in the world, you're kissing him.

The world stops.

For the first time in a long time, he doesn't know what to do.

So, he lets you lead. It's... sort of nice. In a way. Then it sort of feels like you're holding your breath, which is a little- oh, right.

He comes back to his senses, grabs your shoulders, and swims you to the surface.

"Look at you," he sighs. "You're shivering. We need to get you back to school before you catch something."

You say nothing. You're smiling.

Azul sighs again. It's like you hadn't heard a word he said. "Too late for that, then. What are you staring at?"

"You're beautiful,"

His hearts stop. He doesn't respond; if he tries, he knows he'll just make a fool of himself.

Of course. After he was so confident he'd left this awkward phase behind, you manage to give him butterflies all over again.

Finally, he clears his throat. "...Thank you,"

"...But don't think that'll excuse you from drying off and getting warm. I won't have you sick on my behalf. I'd owe you."

Your smile warms with something he recognizes, but can't think of now.

"I think you already do,"

[kozachenko]

Finally decided to play around with my old lineless style again! Also figured out a way to draw Reimu that I actually really like!

Artist's Notes;

I've mentioned in a few earlier posts that I've been wanting to draw in my lineless style again for a while as a way to test what I've learnt from my previous style in regards to lighting. I did the face first and then for a while was thinking about doing a full body illustration of Reimu just to draw her outfit again. I'll talk about the face first since that's the first drawing I did in this batch.

For the longest time I really couldn't find a way to translate Reimu's face into my style. I was able to make her clothes work out well, just not really her face. I did like elements of how I drew her face a few other times, namely the tiny eyebrows and her pupils, but they didn't really feel like Reimu to me, or at least how I imagined her in my head. I then realized that it was less of a problem with the entire face and moreso the eyes, and it took me quite a bit of trial and error to make something that I was happy with. Also, as much as I thought the tiny eyebrows were cute, it didn't really make sense with her character. Like, from what I know about Japanese history, plucking your eyebrows was something that nobles (rich people) would do, and since Reimu is...neither of those things, I decided to just give her some thicker eyebrows instead (I will be saving the plucked eyebrows for another character though, so they will return). After I got to a face I was happy with, my next challenge was the hair. I did the front part first and liked that enough to continue, and then after more trial and error I realized that deep down I was a short-hair-Reimu-is-best-Reimu-truther this whole time because once I gave up on the long hair and gave her shorter hair something just clicked in my brain. And so, after drawing her outfit in again (this time without the yellow tie which is kinda sad but I'll find a way to incorperate it into future designs because it just was not making sense to me in context with the rest of the outfit) and finnicking around with the bow, I came to a version of Reimu's face that I actually liked. I thought that it made more sense for her character to have her cut it short, mainly because she's doing a bunch of Youkai extermination and she has to keep her hair out of her face somehow. I still wanted to make it kinda messy though, as Reimu is probably too lazy to clean it up herself. I think another reason I like it so much is because in Forbidden Scrollery, Moe Harukawa gave Reimu short hair and that really suited her, so I guess that was just a subconcious reason as to why I liked it so much. I also think that the shorter hair helps to separate her a lot from Marisa, as I think Marisa looks really good with longer hair. Speaking of, now I wanna do a drawing of her and Reimu together to really solidify how I draw them (unlike the previous version where it was just them standing). As much as I do like the face, I am concerned if she looks too much like how I drew Keiki now, but that might just be a product of the stylistic choices I made with her eyes and I might just be overthinking it. I am hyperaware of same face syndrome so that's probably the reason I'm so concerned about it lol.

Now for the fully body drawing. I was struggling to think of a good pose for her, so I just took a picture of myself and used that as a reference while still making slight adjustments for readability's sake. This is another case of, "I've looked at this too long and can spot every single issue with it" but this time I'm still happy with the final product mainly because this was a test drive for how I want to develop my lineless style in the future and for what it is I am more than pleased with the result. The main reason I deviated away from my lineless style was mainly because I was having a hard time with the lighting and making it interesting, and I am so glad that I've finally found a way to make it work! I'm especially happy with the clothes, as I think clothing folds are really fun to draw. I was somewhat inspired by the works of J.C. Lyendecker and the way he draws clothes, though admittedly it is not a one to one, since I mainly wanted to try implying the shading of the clothing folds with shapes (I do really want to do a study of his style one day as his art is incredible). So for the sleeves, I drew in a bunch of triangles where I wanted there to be a strong highlight, roughly coloured in the inside, and then blended them all so it looks like a more subtle. On both of these drawings, I also added in a noise filter to give it some texture (as that's what I used to often do with my drawings) and while I do like it, I might want to experiment with making it more subtle in the future, as it's pretty noticeable in both these drawings. Overall, I'm really happy with the lighting and colours of this drawing, and while I could nitpick several aspects of it (her hand holding the gohei looks too tense, I tried making her look like she was standing on the balls of her feet but the positioning of her Gohei's trail of papers ends up making it look weird, and I could've put more effort into the hair and bow and so many more things), this is more of a piece for me to experiment with my style again, and I'm excited for when I get a new idea for a piece, as I really wanna try some more stuff out with this style!

[thydungeongal]

There's this idea floating around the general TTRPG space that's kind of hard to put one's finger on which I think is best articulated as "the purpose of an RPG is to produce a conventionally shaped satisfying narrative," and in this context I mean RPG as not just the game as it exists in the book but the act of play itself.

And this isn't exactly a new thing: since time immemorial people have tried to force TTRPGs to produce traditional narratives for them, often to be disappointed. I also feel this was behind a lot of the discussion that emerged from the Forge and that informed the first "narrativist" RPGs (I'm only using the word here as a shorthand: I don't think the GNS taxonomy is very useful as more than a shibboleth): that at least for some TTRPGs the creation of a story was the primary goal (heck, some of them even called themselves Storytelling games), but since those games when played as written actually ended up resisting narrative convention they were on some level dysfunctional for that purpose.

There's some truth to this but also a lot of nuance: when you get down to the roots of the hobby, the purpose of a game of D&D wasn't the production of a narrative. It was to imagine a guy and put that guy in situations, as primarily a game that challenged the player. The production of a narrative was secondary and entirely emergent.

But in the eighties you basically get the first generation of players without the background from wargames, whose impressions of RPGs aren't colored by the assumption that "it's kind of like a wargame but you only control one guy." And you start getting lots of RPGs, some of which specifically try to model specific types of stories. But because the medium is still new the tools used to achieve those stories are sometimes inelegant (even though people see the potential for telling lots of stories using the medium, they are still largely letting their designs be informed by the "wargame where you only control one guy" types of game) and players and designers alike start to realize that these systems need a bit of help to nudge the games in the direction of a satisfying narrative. Games start having lots of advice not only from the point of view of the administrative point of view of refereeing a game, but also from the point of view of treating the GM as a storyteller whose purpose is to sometimes give the rules a bit of a nudge to make the story go a certain way. What you ultimately get is Vampire: the Masquerade, which while a paradigm shift for its time is still ultimately a D&D ass game that wants to be used for the sake of telling a conventional narrative, so you get a lot of explicit advice to ignore the systems when they don't produce a satisfying story.

Anyway, the point is that in some games the production of a satisfying narrative isn't a primary design goal even when the game itself tries to portray itself as such.

But what you also get is this idea that since the production of a satisfying narrative is seen as the goal of these games (even though it isn't necessarily so), if a game (as in the act of play) doesn't produce a satisfying narrative, then the game itself must be somehow dysfunctional.

A lot of people are willing to blame this on players: the GM isn't doing enough work, a good GM can tell a good story with any system, your players aren't engaging with the game properly, your players are bad if they don't see the point in telling a greater story. When the real culprit might actually be the game system itself, or rather a misalignment between the group's desired fiction and the type of fiction that the game produces. And when players end up misidentifying what is actually an issue their group has with the system as a player issue, you end up with unhappy players fighting against the type of narrative the game itself wants to tell.

I don't think an RPG is dysfunctional even if it doesn't produce a conventionally shaped, satisfying narrative, because while I do think the act of play inevitably ends up creating an emergent narrative, that emergent narrative conforming to conventions of storytelling isn't always the primary goal of play. Conversely, a game whose systems have been built to facilitate the production of a narrative that conforms to conventions of storytelling or emulates some genre well is also hella good. But regardless, there's a lot to be said for playing games the way the games themselves present themselves as.

Your traditional challenge-based dungeon game might not produce a conventionally satisfying narrative and that's okay and it's not your or any of your players' fault. The production of a conventionally satisfying narrative as an emergent function of play was never a design goal when that challenge-based dungeon game was being made.

[roxistic]

The Amazing Digital Circus Episode 3 Analysis and Theory (MAJOR SPOILER WARNING!)

Am I the only one who felt like this line was a little out place in the context of what Kinger was saying before?

Until I realized something.

It implies something specific. And it's foreshadowing.

What it implies:

People abstract when they feel not wanted or not loved. Queenie didn't feel wanted or loved (we don't have enough information to know why).

Kaufmo didn't feel wanted or loved and we have enough information to give us an idea as to why (people stopped laughing at his jokes; he was convinced there was an exit and nobody supported him in this idea/gave up on him/couldn’t help him in his obsession).

We're given a red herring to divert our attention. Pomni thinks Ragatha is feeling unwanted, unloved, or unappreciated by her because Pomni has ignored or been cold to Ragatha’s efforts to support her. So she turns to Ragatha and thanks her. It is important, but it distracts from who this was really alluding to.

It's Jax.

Everytime somebody shows another person that they care, he looks upset.

When Pomni shows care for Gummigoo by trying to take her with him after his reality has been shattered.

When he asks Pomni how “being stuck with the nutcase (Kinger) was” and Pomni says it "wasn't that bad, actually."

And most infamously, the face he makes for a fraction of a second before Kaufmo’s funeral.

He knows nobody likes him. He knows he isn't wanted. Gooseworx herself said that nobody likes him (which you can find on her Tumblr blog as I have hit the image limit on this post.)

Even without that statement, it’s obvious in the show. And following the logic presented here, it’s likely he will be the one to abstract. If not fully abstract, then something drastic will happen with him and he might come dangerously close to it or he may partially abstract similarly to how Pomni did in her dream sequence at the beginning of episode 2.

It would be up to the others to catch him before it’s too late and talk him down from it… somehow. Despite everything he’s done. Despite being a jerk and a bully at every opportunity.

Gooseworx said it would be somebody we wouldn’t expect. Jax seems to be the only person consistently having fun on Caine’s adventures by trying to cause as much chaos as possible, so we wouldn’t have expected him to just give up. But because of what we’ve seen and Gooseworx herself saying nobody likes him, I’m betting on him being the most likely and vulnerable candidate for abstraction.

Unless this too is a red herring and Goose is playing 5D chess with us. But that’s just a theory.