#have no reason to exist besides the fact that fans will buy and it makes money

[hanaybuns]

liking osomatsu san is so funny because there is an ENDLESS wealth of official content.

like no matter how much you think you've seen, theres always more.

Are you tired of looking at the sextuplets yet? No? Good, here, have the sextuplets as... *reads off card*...different kinds of exorcists, sure whatever

[molsno]

I've always looked back on the johto remakes fondly, as I know most people have. they're very beloved games, and for good reason! they brought johto to life on the ds and added lots of wonderful new features. pokemon fans have long since considered them to be the best remakes in the series, and I think they deserve that reputation. however, I've been replaying pokemon soulsilver the past few days and I've been coming to realize that they still suffer specifically because they're johto remakes.

my main issue with the johto games, a problem that continues to haunt their remakes, is that the variety of pokemon available is very limited. if you want to build a full team of 6, then most of your options are likely going to be pokemon from kanto. in the specific context of gold and silver, this makes sense. they were designed as sequels to the original red and green, with the primary hook being that 100 new species of pokemon have been discovered. the original 151 were extremely beloved, so it makes sense that they would continue to be featured prominently in gold and silver. that way, whenever you did find a new pokemon, it would be exciting for the player! I understand the approach that gamefreak took with the original johto games given this context.

the problem is that most johto pokemon just... aren't very good. most of the new pokemon have very poor stats - made worse by the fact that a significant portion of them are baby pokemon. on top of that, many of the ones that are good are often inaccessible until late in the game; skarmory isn't available until after you get the 8th badge (in an optional route that many players are likely to skip, no less), and tyranitar isn't available until mt. silver, the very last location you get access to. even some of the new pokemon which are mediocre at best aren't available until the post-game; houndour and slugma can only be found in kanto despite being johto pokemon, and misdreavus - the only other ghost type besides the gengar line - also can't be caught until mt. silver.

because many johto pokemon are unusable on a team, whether due to poor stats or inaccessibility, your team is most likely going to consist of kanto pokemon. again, I understand why this is the case given the context that the games were released in, but I find it frustrating! I want to build my team around the pokemon native to the region I'm playing in, and I feel my ability to do so is being limited!

so, did heartgold and soulsilver fix this? not really. the same problems mostly persist. one of the only saving graces is that some of the formerly weak johto pokemon received evolutions in gen 4. and you can obtain some of them! however, most of them are locked behind the post-game once again, and some of them are unobtainable entirely without trading. for example, there's no good reason that you shouldn't be able to evolve eevee into leafeon or glaceon in these games, but you need to trade it to diamond, pearl, or platinum to do so because there is no moss rock or icy rock in johto. they could have added them, but they didn't.

it frustrates me because the context these games were released in was different from that of the games they were remaking. technically, they didn't need to remake them; all johto pokemon were made available in gen 3, albeit many of them were locked behind the paywall of having to buy far too many games and accessories. the primary reason for these games to exist was to make them easier to obtain. it wasn't like firered and leafgreen, which were made specifically because the majority of kanto pokemon were completely unobtainable in gen 3 due to the gba not being able to connect with gb and gbc games.

speaking of which, it feels like they didn't learn their lesson from firered and leafgreen. one of the primary causes of frustration in those games is that you are completely unable to obtain any non-kanto pokemon until the post-game, for the sake of being "faithful" to the originals. this was a problem because they already weren't faithful to the originals, as frlg featured new mechanics from gen 3 such as abilities, but I digress. with hgss, the fact that gamefreak intentionally limited which pokemon you can access until the post-game feels like another attempt at being "faithful" to the originals, but they didn't even commit to it as hard as they did before. in frlg, if you maxed out a golbat's friendship, it would attempt to evolve into crobat every time it leveled up, before stopping prematurely. in hgss, you can evolve yanma into yanmega by teaching it ancient power and then leveling it up. if you want a togekiss though, too bad, because a shiny stone isn't available until after you beat the champion.

by this point in the pokemon franchise, I don't think gamefreak needed to remake gold and silver with faithfulness to their original context. hoenn and sinnoh were both designed to be new and refreshing, so it was reasonable for fans to expect each region to have its own identity, with its own pokemon being featured prominently. they could have adapted johto to suit this new convention for the series, but they chose not to, and I can't help but feel that heartgold and soulsilver suffer as a result.

[exvangelical-christian-nerd]

Some thoughts on Harry Potter, my complicated relationship with it, and the censorship I grew up with

TW Religion., swearing, and mention of adult content type things

Y'all, if you told younger me that I would one day be too liberal for Harry Potter, I would probably have laughed at you. It is really interesting what things come full circle. Growing up, I had to hide my enjoyment of it because all my friends were like "Magic bad." And now I have to enjoy the bits of it I do enjoy privately because JK Rowling is bad. How did this happen? My life is a joke.

This story has played a very important role in my life and I refuse to let some terf ruin it for me. Especially since my main enjoyment of it has been fan content anyway. But I also refuse to give her any platform or support. Sometimes I'll see merch that I want, but I can't buy it (even if I had the money) because royalties. So yeah basically all I've got now is Etsy and Tumblr, and anything I already had. Honestly the hardest part sometimes is I'll see something and want to get it for the young fans of Harry Potter in my life, but for the afore mentioned reasons can't (Occasionally I'm a bad enby and I breakdown and buy something, but it is rare).

This story did so much to help me break free and pushed me into self discovery.

Sirius Black was my comfort character during covid and helped me through some serious (pun intended) dysphoria, when I was in a really bad place. And long before that, Drarry (I know, I'm not proud of that either) and Wolfstar content was some the first, if not the first, openly gay content I actually allowed myself to enjoy. And I'm not alone in that, I've also seen other conservative Christian young people allow themselves to be comfortable with, or at least permit, the existence of Wolfstar. Do you know how huge that is? How important? You know what? If Rowling makes herself so conservative that the conservative Christians allow their children to start reading those books, maybe that's a good thing. Maybe some more baby gays will see themselves.

Even as a young kid these stories made me work through different things, even if I didn't realize it at the time.

If a conservative Christian kid is enjoying these books, y'all, let them. The fact that they are even allowed to read them is huge. If a conservative Christian adult is enjoying them, let them, the fact that they are willing to read them is huge. Honestly, you might have thought these books would cause you to be possessed by the devil the second you touched them, from the way they were treated when I was a kid.

Even if the author is a massive problem, and she is, there's still a lot of good in these stories. And you never know what could happen, and you never know the risk someone took just to get their hands on that series. In conservative Christian circles, the kind of media allowed in is so controlled. Even once you hit a point where it's no longer so controlled by your parents, picking up a "bad" book or other piece of media, can result in intense shaming and ridicule. As a full grown adult, I still hide things, frequently. I still get "sat down" by my parents for lectures on my "spiritual safety", and I don't even live with them any more.

You never know another person's history. Even if you've walked right beside them the whole time. You can't know everything. For some people just watching Disney Characters kiss is big, because it's something they were taught is dangerous. And everything secular is so... villainized. I honestly thought "Call Me Maybe" by Carley Rae Jepsen was about pr0stituti0n, for years, because what I had learned was that all secular music had adult themes and hidden messages.

Shows making a joke of cross dressing and trans people were some of my favorites, because they were some of the only places I ever got to see myself. Bad representation is still representation, and if it's all you have access to, you cling to it like a life raft. I still have things I watch that are just... honestly awful in some respects, but I watch them because they made me feel seen.

All that said, calling people, media, and fandoms out on their bullshit is still important. It's very necessary. But saying people are categorically this or that for liking something, maybe not. I've said it before, blanket banning or promoting is not often a good idea. Suggesting someone look into why they like something or how they engage with the content? I'd say that's good, important even. I'd say always be mindful of how and why you engage with content as well.

[bestworstcase]

Hm. Yknow I was thinking about your Summer theory as well as Raven and I came to a conclusion that I think is Very interesting

So Summer would've told Raven the truth about Oz, right? The fact that he's preparing the world for divine judgement? What if Raven went to confront Oz about it? It'd be in character for her to do so, especially with something like THAT hanging over everyone's heads

But um. Backtracking real quick- Raven doesn't like Oz, but she doesn't seem to HATE him. She insults Tai and Qrow more than him, she mostly seems to hate how Oz does things. Which is completely fair, some of his actions deserve criticism (and I say this as an Oz fan lol). I think this Could give us insight into how Raven confronting Oz about the mandate could've gone

Basically Raven would've confronted Oz about it, and Oz, suspicious but still choosing to answer, would say that he hasn't worked towards that goal in millennia. Raven would call bullshit, until Oz offers to use the relic of knowledge underneath Haven.

Thing is, NO ONE besides Oz knows about the password. No one besides him COULD know, so I highly doubt Summer or someone else could've used it. And they go, Raven asks Jinn if Oz is lying- and she says that Oz isn't lying.

Raven would hate Oz a WHOOOOLE lot more if Oz was still working towards that goal and she knew about it. It'd be something I'm sure would've pushed her to even join Salem. But she... doesn't hate Oz. She doesn't LIKE him, obviously, and I don't think she ever will (her interacting with Oscar would be fun), but she doesn't seem to outright hate him. This theory would figure that out AND solve the "where did the first question go" AND be another tasty reveal.

I really don't think Oz is still working towards divine judgement. He absolutely USED to, but I think by now he's stopped completely. I have multiple reasons for this, such as him saying after The Four Seasons that magic should strictly stay in the realm of fantasy (doesn't sound like someone who wants magic or the gods back), that everything he's doing goes directly AGAINST what Light wants (in Fairytales of Remnant, he actively ENCOURAGES people to question everything they see or hear; Oz focuses on the importance of individuality; he actively makes the Gods look petty and bad, and probably more I'm forgetting). Oz isn't an idiot, nor is he delusional. He's made mistakes but that doesn't mean he's dumb.

You could argue he's still working towards unity, but by itself, unity isn't necessarily a BAD thing. And Light doesn't necessarily just want people to be united, he wants to, and I quote, "But if your kind is unchanged, if you demand our blessings while still fighting amongst yourselves, then man will be found irredeemable and your world will be wiped from existence." He wants people to not question him, to never ask for anything, to follow him blindly. Oz repeatedly directly opposes this idea, and even turns away when the option to actually fulfill this task is handed to him on a silver platter (everyone kneeling to him at the end of the Great War). The options are a) he's putting in the absolute BARE minimum of effort into his task b) he's a delusional idiot and c) he's not working towards this task anymore. I think it's far more likely he's not working towards it anymore.

Granted, I genuinely don't think Salem is aware of ANY of this. They haven't exactly been communicating. Just as Oz isn't aware of Salems true goals, Salem isn't aware that Ozpin gave up his goal. Honestly, if they talk and this comes up and Oz doesn't say "Is that truly what you think of me?" I'll buy a hat just to eat it <- thinks Oz parallels Darkness (delusional).

Anyways Raven would hate Oz way way more if Oz was still working towards that goal, unless she either doesn't know (unlikely, Summer would've told her) or he's not working towards it anymore and he proved it to her via relic (bc literally nothing else short of that would work).

the problem here though is that ozpin is still trying to fulfill his task, at least notionally. he doesn’t WANT to and he may not BELIEVE in it except insofar as he believes the final judgment is inevitable, but he locked down all four relics after establishing a united global order for a reason. however reluctantly, he’s still dragging himself forward along this path one painful inch at a time.

because it’s all he has left. because he’s punishing himself for what he sacrificed for the sake of this task. because he believes there is no other choice. because he fears that doing what he wants will doom the world to annihilation and is impossible besides.

as i’ve said before, beacon academy is a replica of her father’s castle and the headmaster’s office is at the top of her tower for a reason. in his telling, the girl “writes herself out of danger” by writing a fairytale about herself and throwing it to the winds; ozpin published an anthology of fairytales about her, about him, about all his sacrifices and all his regrets, pleading for forgiveness, and the last two stories are the girl in the tower (in his commentary he says the hero who saved her turned out a villain in the end, but hopefully the villain can become a hero too) and the gift of the moon (in his commentary he writes that humanity replaced a gift of the all-powerful god of light with something better).

throwing his stories and his plea for help to the wind, hoping against hope that somehow it’ll find its way into her hands, and she’ll understand and save him from all this.

we live in fear that we might fail/fear that we’ll succeed—he’s too afraid of the consequences if he fails to ever stop, but even greater than that fear is his terror of success, because this world still isn’t as dear to him without her and to save the world he would have to sacrifice her. do exactly the thing she mocks him for not doing: hold her up as a common enemy and rally the whole world against her, then summon the brothers to condemn her.

everything else—the paranoia the zealotry the deceit the passivity—is a distortion to hide this truth even from himself. he will choose her every time. and the fundament of his character is how much he fucking hates himself for that because he’s also convinced that his love dooms the world.

so like. no he would not tell raven jinn’s name, she might find out that he’s still in love with salem. that’s his deepest darkest horrible secret and his great and terrible shame.

i’m also not sure why you think raven would go to ozpin with the spring maiden’s blood on her hands and the awful truth that summer joined salem burning under her tongue, as if raven’s whole character isn’t that she runs away when she’s afraid. be serious.

raven talks about ozpin with the same mixture of disdain and fear she does salem. as far as she’s concerned they are exactly the same—both of them use and discard people, both of them lie, neither will rest until the world crumbles at their feet because no matter who wins in the end, the gods will return to crush or destroy everyone. raven doesn’t want anything to do with either of them; her disgust for tai and qrow is predicated on their trust in ozpin.

that doesn’t require an explanation.

“who asked the first question?” is also, frankly, on a level with “what happened to the stolen dust?” in that it’s an imaginary plot hole with a very obvious answer if you pay attention to the small details: ozpin used the staff of creation to raise atlas, then sealed the relic away in its vault; the staff gives you exactly what you ask for and therefore requires very thorough, precise instructions and ideally blueprints and examples; raising a city into the sky is a task with zero margin for error; ozma as the king of vale used the crown of choice in tandem with the sword of destruction to end the great war; ozpin is the only person who knows jinn’s name; ozpin used jinn’s first question to proof his specifications for the staff.

if raven “you need to question everything because the truth is hard to come by, stop blindly trusting oz” branwen knew how to use the lamp, she would have told yang how to do it before she left.

[leporellian]

thoughts on broadway and/or the tonys and/or musical theater in general

fuck i never did get around to this LOL here we go

broadway... compels me in some weird way. like for every single complaint musical theatre fans lob at opera- 'it's too much about spectacle!' 'it's too elitist!' 'it's funded by rich people!' (which that last point in and of itself is. Have you ever been to europe. but the way in which opera criticism is uniquely USAcentric is a convo for another time) are all... like... right there in musical theatre on broadway.

arguably those are even more of a problem over in musicals. musicals have Brand Identity. when you think of wicked, every wicked production is specifically built to look the same, with no real difference in direction or performance besides individual casting. (and also that infernal dragon, for some reason, that they never even really actually use except for like one moment where it wiggles around a bit. a lot of my memory of seeing wicked in 9th grade is just remembering how absolutely disappointed i was that they had a big dragon animatronic and they never used it in a satisfying way! like, what the fuck! anyway, again, tangent.) even if there isn't a cohesive brand there's the matter of rights settlements, and certain creative restrictions, and on top of that there's the fact that it is incredibly hard to go watch broadway musicals if you don't have transportation and monetary access to them. (and don't get me started on whatever the fuck "bootleg trading" is. like man they're even inventing capitalism in new places. hello.)

opera meanwhile is the wild fucking west. most of the standard rep works are in the public domain. there's only 1 standard rep opera i can think of off the top of my head that has any creative restrictions in the performance license contract, and given the one creative restriction with that one is "please have black people play the black characters and don't do blackface you freaks jesus christ" i'm totally down w/ it. if you want to go watch opera, there's thousands of recordings on youtube and on specialty sites like operaonvideo.com that just act as a huge performance archive. opera is genuinely one of the most accessible art forms there is with the advent of the internet.

(man remember when hamilton had basically a free raffle for 10 dollar tickets every week or whatever that was? meanwhile the opera company in my college city literally just sells 11 dollar tickets to students and every time you buy one from them it acts like it now has a blood debt to you. crazy.)

broadway is like genuinely so capitalistic it baffles me, godbless. and i do WANT to understand musical theatre better but a lot of the time it just sort of whizzes past my head and i have no idea what to make of it. (that, and theatre kids are.... Well. Yeah)

THE TONYS are equally baffling, but instead of broadway which feels like some strange dystopian world, the tonys have a distinctly alice in fuckin wonderland shit to me. there are opera award shows but none of them are nearly on the same level as the tonys. it's cool that the trophy spins around i think. i think its very obvious the tonys largely exist as a further marketing mechanic and not as like... actual awards, but to be fair thats the point of all awards shows at this point anyway. (well, that and making a lot of people very angry.)

looking at this year's nominations for example. here are some of my thoughts: i forgot about the some like it hot musical, i genuinely have no idea who the audience of that is meant to be. CORN MUSICAL??? who the fuck made a CORN MUSICAL and WHY? &juliet terrifies me with its existence. the plays should unionize together. i dont know why i was surprised ben platt is there i thought he just kind of faded into the walls after the dear even hansen movie or something. isnt new york new york a frank sinatra song. oh shit the sweeney todd revival already premiered? (i dont keep up with broadway news) why is there a corn musical. also when i looked up the tony awards i accidentally typed in 'the toby awards' which is apparently an award show for building design. Anyway thats my analysis as someone who is genuinely so clueless about current broadway news

[ghostportals]

for those of you who don't actually know what ichu is which is probably 99% of the people reading this. i doubt anyone's gonna read this whole post but i feel the need to explain. it Was a mobile otome/rhythm idol game that came out in 2015.

lasted about 4 years at which point it shut down, which would not be unusual if not for the fact that they explicitly said they were not going to shut it down. this happened while the company that makes it (liber (like a3)) was also making another game, cue, and a reboot of ichu. the reboot of ichu (etosute) was seemingly made on the idea that the reason a3 was successful and ichu wasn't was due to the gameplay style? so etosute got rid of the rhythm gameplay and otome elements and repackaged it as a no-gameplay-gameplay idle mobage with no romance. readmore bc i'm just rambling.

but the reason a3 was so much more successful was because they actually paid people to advertise it so people, like. knew it existed. and the One ad they had for etosute was one meant to play on a big screen outside and this wound up happening right as covid was starting. so all they really did was alienate the majority of their original fanbase while not bringing in any new fans. etosute ran for half a year then existed for another half a year with no new content just rerun gacha banners before they went "why aren't we making money on this :(" and on the day of the original game's anniversary they tweeted that the second game was also shutting down. sometime in there cue went thru a whole bunch of shit and died as well

some time passed and we got, with great delay, both a switch port of the dead, unfinished, unpolished, never going to have updates to make it a complete game rhythm game, and 3 light novels written to complete the story. it's been years since they were meant to and the novels Just came out and it's unclear what happened with the 6 million extra yen the crowdfund raised for there to be so many issues but that's besides the point.

so tl;dr unpopular mobile game gets shut down before being finished, company that makes it is not good at their jobs and clearly has a terrible marketing team in-house, dead in the water game gets ported to the switch so fans can still play it by way of apology for lying and shutting down the game shortly after saying they 100% for sure were not going to shut it down.

then recently there's suddenly an announcement from a localization company that not a single person i know had heard of before (aside from them also announcing bpro (!?) a bit earlier) about the switch port of the unfinished, never Going to be finished, unpopular, built for mobile and difficult to play on the switch, very niche game. all of a sudden nearly a decade after the original release of the game they're releasing it in english. not a day has passed where i have not questioned the logic behind this as a business decision. it's being sold for like $35. the japanese release was about ¥8000 (like?? $70 $75ish???). also to buy it in the us you have to either get it from best buy or specifically uk amazon even though it's also available on canadian (and spanish) amazon

[hordeprime]

Despite the fact that I don't like the paper in my current sketchbook I'm developing a good relation with it. You might get an idea of the importance behind a sketchbook and how much it talks about an artist themself. Some people love using their sketchbooks daily and get a few done over within a year, some others love collecting them and have a hard time to get them done. I like to stick to one until I finish it.

This particular one is a Crescent RENDR, a fancy option for alcohol markers and my very first expensive sketchbook. I don't like it because I find that the markers feathering is terrible and blending is harder compared to cheaper papers, so this is the first and last time I'll buy it. I started it 4 years ago and I'm not even half the way to finish it.

This years I made the compromise to focus more on this sketchbook. Regardless, thick paper like this puts me in a different mindset and I go back and forth choosing if I want to do a new sketch, work in some inking or maybe some coloring.

This is one of my favorite pages. Initially, it was a ducks page, then this mysterious character got stuck in my head and I went from "there is space beside Gyro" to "I need to fill as much space as I can". It has a little bit of everything going on: original art and fan art, canon characters and fandom/original characters, unfinished and colored sketches, art I'm proud of and art I could done better. But mostly it gave me a fun time. It is my favorite for what it made me feel rather than what I drew.

Another thing I have been doing is to take an old sketch and work on it again, fixing mistakes and adding ideas. I'm currently using a pink pencil lead which makes the changes obvious.

Anyway, a reason why this blog exists is because I wanted to share a more personal view about my own art.

[badxsshottiexllie]

In Ellie's Captain Laserhawk AU, specifically in the rps with @spoocys-glade-of-dreams I've decided to create some NPC's for the resistance group she is in. Since these posts will be super long, they will be posted under the cut. Feel free to blacklist the tag potters npcs if you don't want to see these kinds of posts.

Part 1

Steven Rogers (totally not a Captain America reference. lol)

Alias: Cody Banks (switched name with someone else in the group, also a reference to the movie Agent Cody Banks with Frankie Muniz and Hillary Duff. lol)

Species: Panda Hybrid

Status: Alive

Huge fan of anime

Will often call Ellie an isekai protagonist, because she got randomly sent from her world to Eden. Kind of like those protagonists who get sent from their world randomly to another.

Ellie doesn't mind this and she rolls with it, unlike everyone else who thinks its annoying. Infact, shes probably the most chill with him especially when he nerds out about anime / makes a reference about it.

Pretty laid back / chill kind of guy

Super nice guy

Late 20's

In the process of learning Japanese, because he already knows Chinese and English.

Besides anime, he loves Japanese culture and wishes that Japan existed in Eden so he can buy merchandise / experience culture from there.

Has the ability to bounce around (kind of like the logic of bouncing a ball? If that makes sense?)

Also is able to knock opponents out by rolling like a ball (so he essentially has physics like a ball)

Before joining the group, he worked at his families Chinese restaurant until it got destroyed. Simply over the fact that it was a restaurant run by hybrids.

Does visit his family occasionally, going under his alias. They are aware that he is a part of the group, but support him anyway despite the dangers it may involve.

Stays at the same apartment complex as Ellie. Actually, as a matter of fact, he's the one who told her about it in the first place due to how affordable the rent was there.

Often is able to visit Ellie pretty often because of the reason above.

He makes a living by making online video reviews about anime and manga. He has a surprisingly decent amount of followers.

Cody Banks

Alias: Steven Roger's

Species: Caucasian Human. He looks like Young Neil from Scott Pilgrim Takes off except he has bangs in his eyes. He doesn't care if their in his eyes.

Status: Alive

Youngest member of the group, being at age 19

Taken away from his parents at an early age, and has been in and out of foster homes until he turned 18.

Currently works at a fast food place serving American food while he is the the group.

Normally the one to stay behind because he has no fighting skills to contribute to missions. Although, he does have some hacking skills based on being self taught or taught by someone with more experience.

Pretty quiet

Has a sibling like bond with the current leader of the group, Natalie Porter. Reminds her of the older sister that he never had.

Has a gaming PC, so he most likely plays PC games in his spare time.

[hyunverse]

BUNGA (FLOWER) | FUSHIGURO MEGUMI

gender neutral.

summary; you’re megumi’s dream person.

note; i wrote this bcs my birth name is actually a type of flower ugh the self indulgence also i like butterflies. also inspired by a song called bunga by masdo. i recommend listening to the song while reading. bunga means flower in malay!! also pls open the gif for better quality.

YOU REMIND MEGUMI OF A FLOWER. white orchids; they symbolize purity. and that’s exactly what you are to him.

fushiguro megumi remembers this one day when he and tsumiki had went to a flower garden together. he didn’t know why tsumiki suddenly felt like visiting a garden, but he followed anyway. he observed as his sister looked at the flowers around them, a smile never leaving her face and her eyes were practically sparkling. it felt nice to see his sister actually enjoy herself, especially after their parents got up and abandoned them, leaving tsumiki with all the house chores.

“look at all these flowers!”, tsumiki caressed the petals with her fingers, thumb gently gliding over the flowers, “they look so nice, don’t you think so megumi?”

megumi didn’t reply, he opted to stand beside his older sister. tsumiki explained the symbolisms of the flowers she knew of. the raven head looked stoic, as if he wasn’t listening to any of her words but the truth is, he was. he found the symbolism behind the white orchids particularly interesting. it suited the orchids’ physical appearance. white and innocence just made sense.

as the siblings chatted (though it technically was one sided on tsumiki’s part), a cat walked towards the duo. the ball of orange fur purred and nudged it’s head on tsumiki’s legs, immediately getting the teenage girl’s attention. she kneeled down, her previous smile growing wider.

petting the cat, she looked up at her younger brother, “aren’t cats so adorable?”.

“yeah,” megumi uttered. a lie. he wasn’t a big fan of cats, he found them annoying. dogs are better, that’s what he believed in but he didn’t have the heart to say that to his sister. not when she looks the happiest she had been in a while.

“and the weather’s really nice today!”, she added, eyes glancing up at the sky. the sun was glaring right into her eyes, so her pupils shrunk. she didn’t mind however, she had always loved sunny days. the sunlight shone right above their heads, and megumi didn’t like it. he could feel drops of sweat trickling down his back, causing his shirt to cling onto his skin. megumi much prefers when it’s cloudy, shades of grey in the sky, the perfect weather for staying at home and reading books.

even so, he just nodded, “mhm.”

shortly the sun started to set, spreading orange hues throughout the sky. flocks of birds returned to their nests, and so the fushiguro siblings made their way back to their abode. on their way tsumiki stole glances at her brother, letting out a dry chuckle everytime she notices the lack of expression on his face.

“you should smile more you know, megumi”, she ruffled his erratic hair, “you won’t get much friends if you keep on frowning like that”, she teased.

he grumbled, “i don’t care if i don’t have friends.”

megumi thought it was ridiculous. why would it matter, anyway? he’s fine being alone. people are bothersome; they’re too loud and they stress him out. especially the stupid punks in school who thinks they could do whatever they want. megumi simply shrugged and pushed his sister’s words out of his mind. scratch smiling and being likeable.

yet here he is, smiling at you. over no particular reason too.

currently, he’s walking along a beach with you. you; dressed up in a white sundress, a pair of sandals in your right hand. the sand burns under fushiguro’s feet but he couldn’t feel it over the fast thumping of his heart, he couldn’t feel the heat when his whole skin is tingling. he trolls behind you, walking over the footsteps you made. your sundress flows to the rhythm of your walk, flying slightly up when the wind blows your way, exposing the plush skin of your thighs. fushiguro looks away from your figure, his fair complexion tinted with blush.

you’re his best friend, he’s not supposed to look at you like that.

“it’s so nice here, megumi!”, you call out to him as you stand at the edge of the sea. waves crash, they trickle up to your toes. with a smile you hold up your hand for megumi to hold.

bashfully, megumi walks up to you and takes your hand in his. he’s reluctant, for he dislikes his hands. they’re cold and filled with callouses. so when you grip his hand as though you didn’t intend to let go, when your thumb rubs against his, he feels less insecure of his hands. the sensation of your hand in his is hot, it burns; however it feels nice.

megumi fushiguro hates warmth, but if it’s your warmth, he’d enjoy burning in heat.

the sand by the sea doesn’t feel hot on your feet. the waves get bigger and bigger; till they reach up to your ankles. you giggle because it tickled, the sound of your laughs reaching megumi’s ears. he turns to his side to see you crouching down, collecting the water in your hands.

that’s when megumi concluded, your whole existence screams purity.

a week later megumi meets you again. sometime at 11pm, by an oak tree—your usual meeting spot. the oak tree is large, it’s impossible to miss it. you stand under the oak tree, allowing dried leaves to fall onto your head, getting stuck in your hair. you know megumi would get all the leaves out of your hair. he does it everytime. he’ll pick out all the leaves out of your hair while lecturing you, though his words enter one ear then out from another. no matter how many times he says “i can’t do this all the time”, even he himself knows he would.

from afar megumi watches his best friend run around the flower field, chasing butterflies. your hair gets swept away by the wind as your hands stretch up to the sky, desperately trying to get a butterfly to land on your hand. you’re wearing a jumpsuit, the white color of the material truly brought out your skin tone. your complexion is glistening, and it makes megumi’s heart throb.

“they’re scared of you, y/n,” he finally says, putting both your hands down. the butterflies fly away from your sight, and you pout.

“but they’re so pretty,” you sigh, watching as the butterflies choose to fly anywhere but on your fingers. and then one lands on top of megumi’s shoulder.

your eyes widen, holding the sides of megumi’s figure to make him stay still. megumi could see sparks in your eyes when you admire the blue butterfly. soft is the expression you wear on your face. he likes it on you. that cute expression of yours makes megumi fall five times harder for you even when he knows he shouldn’t.

“you’re like a flower ‘gumi. it likes you.”

ridiculous, he thinks. you’re the flower. it’s obvious by the way your body moves under the moonlight, and how insanely beautiful you are.

fushiguro megumi doesn’t say anything in return, as always. he rarely does. if possible, he wants to avoid you from finding out just how in love he is with you.

after that day, you never show up under the oak tree, a few minutes distance from jujutsu high. he’ll wait for hours long only to be disappointed.

--at least not until his birthday comes, about a few months later. his face turns pale once he spotted you. you wait by the jujutsu high gate with a wide smile on his face, as if you didn’t ghost him for three months.

"glad to see you doing okay," the apple of your cheeks seem more prominent when you smile, megumi feels an urge to kiss them.

"i haven't seen you in so long," megumi mumbles, "happy to see you here today."

you grin and hold up your hand for him to take per usual, and didn’t mutter anymore words until the two of you reach a café in the outskirts of tokyo.

“nice café,” the raven comments , glancing at you. you’re wearing a puffy sleeved white blouse now—honestly, do you only own white clothes?

“found it on instagram”, you mutter, “i thought you’d like it. happy birthday, megumi.”

megumi smiles for the first time today. as a jazz song plays, he eats the birthday cake you purchased for him quietly. the cake tastes delicious (to be fair, anything you buy him is perfect) because it’s not too sweet. the fact that you remember his preference makes his smile grow a little wider.

you hum to the song and rest your head on his shoulder. it seems like the two of you are the only ones in the café—a much needed privacy. you’re usually touchy with him, and he prefers affection to be private. typically they make megumi blush, and he doesn’t want people to witness him all flustered.

“did you miss me, megumi?”, he replies to your question by nodding and placing his hand on top of yours.

serenity is this feeling, megumi thinks.

at the corner of the café stands an antique grandfather clock. it’s sounds are so loud, they resonate the whole environment. megumi suddenly becomes hyper aware of the sound, there’s a pounding in his head. the sound becomes louder and louder, to the point where megumi couldn’t feel your skin under his. he shuts his eyes close, an impossibly bright light glares his eyes.

“fushiguroooo!”, an annoying voice yells. itadori’s voice, megumi is certain.

the pounding in his head slows down. his sapphire eyes flutter open, and he realizes the light he saw was sunlight rays peeking through his blinds.

“seriously fushiguro, we’ve been calling you for an hour now. hurry up, we’re going out to eat in five. to celebrate your birthday”, megumi looks up to see nobara standing behind itadori. 

they’re both leaning against his door frame. itadori is dressed in a yellow hoodie, while nobara rocks a coat over a turtleneck. the female sorcerer holds her toy hammer tight in her grip, her eyes boring through megumi’s figure. by her posture, megumi guesses she was about to hit him with the squeaky hammer if only he didn’t wake up sooner.

fucking menaces, they could’ve left him to sleep for a little more. he hasn’t seen you in so long, he wanted to sleep in to spend time with you.

finally rubbing his eyes awake, the boy looks at the vase of orchids sitting on his nightstand. he sighs before standing up.

megumi will find you someday, he promises. if you’re a flower, he’ll gladly be the butterfly.

✉ taglist: @aliteama @dearsukuna @cybergoo @hanniemilk @ariasann @soulasdarkascoffee @okusetomura @eidotheiapriv @maat-the-prescriptive @etoilezone @elipres @scarednekozz @iridescentkitsune @crapimahuman @nectar0sw33t @hq149 @bluedelphinium @bokutos-babyowl @behan @tdntu0 @sunaluvs @guardianangelswings @fairywriter-oracle @inu-makki @erinisbadger

tagging; @candleohappiness , @haru-senji <333

[bokutoslittlebird]

Your Place

Akaashi x sister!reader

Author’s Note : This was originally gonna just be a short drabble but like.. I’ve thought of this before. So I changed it into a full fledged fic; Fukurōdani has a girls’ volleyball club ; Love hotels in Japan are pretty popular, especially in Tokyo, and happen to have kiosks to keep up the anonymity, while also offering options of staying overnight or for a few hours (generally 2-4). The rooms offer lots of options, including room service (including food and toys), such as jacuzzi, showers, massage chairs, King-sized bed, as well as a box of free condoms ; okay I don’t know if a butt plug can actually plug up a vagina and if it is even safe (it should be) so don’t take my words as fact! Please!

Warnings : Incest, noncon/dubcon, gaslighting, naïve and innocent reader, manipulation, alcohol, underaged drinking [legal age in Japan is 20], love hotels, Keiji wants lil sis to be his housewife, mating press, pussyjob, orgasm denial, overstimulation, sex toys [butt/anal plug, egg vibrator, hitachi wand vibrator], lots of Nii-sans used, breeding kink, no actual pregnancy (yet), fingering (f. receiving)

The roars of the crowd enters your ears as the ball bounces against the floor of the large stadium, the opposing players diving to receive the ball only to fail. Your team screams and cheers, everyone running to envelope the ace of your team, Akari, as she hugs everyone back. Screaming hurts your ears, yet you’re still doing it. Adrenaline rushes through you as the announcer claims your team with the victory and the announcement that you’ll be moving onto the next round, the finals of Nationals.

Your team lines up, shaking hands with the opposing team as congrats is shared between members. Once that is done, you all face the seats on both sides, bowing and thanking them for cheering you all on. When your eyes look into the stadium seats, they immediately catch the lidded eyes of Keiji, his hands clasped together as he smiles. The simple motion has your chest puffing with pride, tears sliding down your cheeks as you know you made him proud. With your position on the team, he’s the one who trained you to be the best setter the Fukurōdani girls’ volleyball club has ever had these last three years.

Once the moment is over, everyone is back at the hotel room and either on their laptops, phones, television, or asleep. When you exit the bathroom, your hair has been brushed and styled with a nice dress, accompanying the leggings and boots Keiji gifted you to wear. Akari whistles, her arm over your shoulder as she talks to you.

“Who you lookin’ so good for?” She pries, eyes tracing the lip gloss you put on.

“My brother. He requested me to wear something nice. He’s taking me to dinner,” a bit of heat is in your voice as you say that. Keiji’s always pampering you, he loves seeing you dolled up. It’s been like that since you were playing dress-up when he was 10 and you were 5. Akari’s gaze takes on a confused look, pursed lips as she processes your words.

“He’s always taking you somewhere nice after a good game, it feels like. Why don’t you ever invite us?” She finally says. Your head snaps up, looking in the mirror at yourself compared to Akari who is also looking at your face and outfit. It wasn’t glamorous in your eyes, but it suddenly dawns on you that it’s more than a brother should expect. The twist in your gut is ignored, your head shaking as you clear your head.

“He doesn’t know any of you guys. Plus, he’s an alumni. He’s always at our games,” your response isn’t what she was expecting, you’re sure of it. But the truth is, you don’t know why Keiji takes you out to nice restaurants or just on nice walks after games. It’s the few times he has off, always requesting off to be with you, cheering you on, his full support as your brother. Occasionally, he even brings along Bokuto, his best friend, who always congratulates you and asks to have you visit his own team someday. It’s a request that you always turn down, Keiji’s eyes taking on a dark glint that sends shivers down your spine at just the mere memory of them.

Akari leaves you alone after that, your time to get ready slowly coming to an end as your phone rings. It’s Keiji, of course, asking if you’re ready yet. “Almost, nii-san! I just need to get my coat and then I’ll head down.”

He’s at the lobby of the hotel, lounging in a chair as he swipes on his phone. He’s dressed as nicely as you are, black slacks with a nice white dress shirt, all under a large coat to keep out the cold. You bounce up to him, excited for the dinner. “You look beautiful, [Y/N],”

“Thank you! You know me so well, so it’s really all your doing,” you giggle, linking your hand in his offered elbow. It felt so right, being beside as you had been these past few years. Walking towards the restaurant, you didn’t even feel the ache in your ankles and balls of your feet from the heels nor the unmistakeable tension between the two of you. It just felt familiar and right to be in this position, sitting across from Keiji as he lets you gush about all the stuff going through your head during the match or even when you happened to be getting ready for the dinner. A shadow seems to settle over his face as you refer to it as such, just a dinner. You almost referred to it as a date, but quickly corrected yourself.

Tension hangs between you two, you having to force it away by breaking the silence Keiji brings. He’s usually much more talkative, praising you as he talks about what you did right and correcting you on things you did wrong, but never criticizing you too hard. Dinner ends, with Keiji paying the full bill without ever letting you know, saying that he simply cannot let a woman pay, regardless of situation. The champagne and wine he let you have a taste of lingers in your mouth, a burn in your throat from the bitter taste of alcohol. It’s not enough to get you drunk, but you do find yourself clinging to Keiji tighter, feet unstable and legs unreliable as he brings you back to the hotel.

He stops and even in your bubbly and hazy state, you can tell the hotel isn’t the same. “Come on, you need to rest,” he says, lips next to you ear as he ushers you inside. Upon entering the room, the lobby, you know it’s not the same. You panic, the alcohol making you less restrained in your actions as you go to tug on Keiji’s arm.

“Nii—”

“Ah, ah, Keiji, dear. Until we get back to your room,”

His usage of ‘your room’ has your nerves calming down, even as he uses his card to pay the kiosk and tap on the screen, buying something. A metal jingle comes from the bottom of the electronic, Keiji picking up the key to a room. Urging you along, you follow him to the elevator. The lack of people seems to enter your mind, confusing you as you glance around the spotlessly clean black elevator. A small voice enters your mind, telling you that the hotel’s elevators are supposed to be silver, shimmering in the light that shines down.

Keiji has to practically drag you into a room, the door shutting and clicking behind you as it locks. The room is spacious, a large tub in the corner of the room as the king-sized bed offers comfort and relaxation. Yet, you falter— unmoving, your voice seems to barely get out as you question your brother. “Where... where are we?”

“My room for the night, dear. You’re drunk, you need to rest,” his comforting words have you slowly shuffling towards the bed. The chair beside the bed seems too fancy for something in a normal hotel room, more adrenaline entering your veins as you panic from unfamiliarity.

“Nii-san, I don’t like this. Take me back to my room. Akari and Hana and-”

“Shut up, you little slut,” the venom in his words has you squeaking, your much smaller frame easily being pinned to the bed by Keiji’s much broader frame. “I’ve been generous this entire evening and all you’ve blabbered about is your team and your friends. What about me, huh? You haven’t even asked how I was doing the entire date,”

“Nii-san, stop!”

“Do I not hold the most importance in your life anymore? You used to be all over me, my sweet little sister that absolutely enjoyed being around me. Now you’re prancing around as if you have not a care in the world. That boy from the boys’ volleyball club seemed awfully close for comfort, don’t you think?”

“He-,” you once more falter, the brief images from after the game when the captain of the boys’ team congratulated all of you on the win. He wasn’t close to you, you were sure of it, but why would Keiji have been there? “He’s barely a friend, nii-san,”

“Not only that, but you always have that giggle and tendency to twirl your hair as you talk to Bokuto-san, your body moving closer to him as he would walk beside you. You barely acknowledge my existence anymore. Do you know how that makes me feel?”

“I’m sorry,” the tears spill down your cheeks, a hiccup as he continues to say mean things. “I’m sorry,”

“You’ll be graduating soon and then you’re going to live with me. You’re going to live with me and be my little housewife. I’m going to make you completely mine, inside and out,” his breath is hot as it fans over your face, his grip strong as he continues to squeeze and hold your face. You’re unable to do anything, the fear from his words and actions has you frozen beneath him. As his words settle in, ice crawls through your veins as you realize your gut feeling, the tension between you two, everything you ignored for the past hour and a half had a reason for being there. His entire plan was to bring you here, but you’re unable to do much of anything against him — he’s always been stronger than you. When you were young, it was comforting, his arms holding you after a nightmare or even when your first friend moved to America, but now it just served to bring more tears to you eyes, your body forced to let him do what he wants to you.

Keiji’s quick to undress you, your coat being shed as he pushes your fancy dress up, the leggings, shoes, and panties being pulled off and left to fall on the floor. Tears continue to fall, chest heaving as you’re powerless to do anything. Even if you could find the energy to move and attempt get him off of you, it wouldn’t bring anything to fruition. “You’re so dry, are you not enjoying this?”

“No, nii-san. I’m not,” you’re honest with him, yet he doesn’t stop. Sitting back on his heels, he lets his eyes trail over your form. Before a thought can enter your mind to move, he’s pushing his weight on top of you as he grabs something the table beside him, a long metal rod emerging from the miniature dresser. He keeps you pinned, moving the rubber head down to your clit, pressing a button as it begins to vibrate. “Ah! Nii-san,” your muddled voice comes out, the sensation sending an unfamiliar tingling up your spine.

“It feels good, doesn’t it? Don’t worry, I’m going to make you feel even better. All you gotta do is relax, pretty girl,”

“I’m- I’m still- y-your—” your words die on your tongue, your gut twisting into a knot as the sensation turns pleasurable. You’ve never touched yourself, always being told by Keiji that only bad girls touched themselves, that whores and sluts did. Keiji-nii doesn’t like those kinds of girls, so you never dared to go against his wishes.

“Of course you are, baby. You’ll always be my pretty girl, even if I have to remind you exactly where you belong. I’ll remind you of your place,” his words stop there, but in your head his words continue. Silently, the words of ‘if you’ll let me’ enter, an unspoken question that asks for your consent. Yet, you don’t give him anything else. Your moans and mewls are all he gets, a hand grasping at the unbuttoned dress shirt still on him. A small smile paints along his lips, your vision going black as you roll your eyes. Before the knot can release, the vibrations are removed from your clit and you whine, aftershocks coursing through you.

Keiji’s voice is barely a whisper, under his breath, “I’ll give you something much better, don’t worry.” The vibrator is forgotten and discarded, his hands fumbling with his slacks as he pulls them down, along with the dark grey underwear. His cock springs free, hard and thick and long, you unconsciously scoot away as he strokes himself. “Don’t move away,”

“But it’s scary, nii-san,” you whimper, arms close to your chest as your head bumps against the headboard. He doesn’t say anything, using his hand to rub his cock’s tip against your folds. Contrary to earlier, you’re dripping wet as the wet smacks of his appendage against your skin has you clenching around nothing, more juices dripping out. Moving his hips back and forth, he adds another sensation on your clit as he thrusts in between your folds. His tip catches onto the hood of your folds, brushing against the overly sensitive nerves as you whine and mewl at each move he makes.

“You’re so nice and slick for me, it won’t hurt. It just seems scary, look,” he forces you to do just that, hand gripping your hair as he forces you to look at his cock. The underside of it is glistening with your slick, absolutely dripping with you as it slides down to his base and over his balls. “It’s just in your mind, it won’t hurt. Don’t you trust me?”

“But nii-san, I don’t want this,” it’s not what he wants to hear, you’re sure of it. Yet he says nothing. A sigh finally breaks the silent tension as he rubs his finger against your cunt, two fingers slipping in until they can’t anymore. You’re tight, you know you are, clenching around only two of his fingers.

“If you didn’t want this, you would still be dry. You wouldn’t be squeezing my fingers so snugly. This is your body saying it wants this, don’t you remember what I said?”

Of course you don’t, he says a lot to you, so you shake your head. Another sigh.

“You need to listen to your body. It knows you better than you know yourself. I know you better than you do, you know,” his words ring true, his fingers continuing to pump themselves into you as he talks. Eventually, the feeling is no longer unfamiliar, the sensation pleasing as you moan. He smiles at that, leaning to press a kiss to your forehead as his fingers retract themselves. Using the slick on them, he rubs them against his cock to use as lube.

Pushing his tip into you is scary, but it’s not painful. As he sinks further into you, it becomes much more painful. The room must be soundproof, since Keiji keeps pushing in without trying to make you stop your screaming. He does, however, lean down to press his lips to your tear-stained cheeks as you squeeze him. He groans, his hips rutting against you. “You’re fine, stop screaming. Stop being so pathetic,”

His harsh words have your screams silencing, tears and sniffles as your walls flutter around him. It still hurts, it burns, it stings, it’s more painful than anything you’ve ever dealt with before. Before you can manage to get adjusted, Keiji is pushing your legs up to your chest, somehow making himself feel deeper than he actually is. The feeling of being crushed is back once more, his hips rearing back only to come back down against your skin. The scream from your throat is more of a moan, nails digging into the back of Keiji’s neck and teasing the small hairs as he pistons his cock into your cunt.

It’s a tight fit, the way you’re sucking him in and squeezing him with every thrust. Keiji’s balls slap against your slick ass, cunt squelching with each pump of his cock into you as more juices are forced out. His own moans and grunts of pleasure are drowning in the wave of mewls, squeals, and moans spilling from your lips. The feeling from before is back, the knot in your tummy as he rubs his cock against the inside of your walls and instead of being denied once more, the knot finally snaps as you cream all around his cock, accompanying a squeal of his name.

“That’s it, pretty girl. Cum on my cock, let me know how good you feel,” he chuckles, picking up his pace as you continue to suck him in. A garbled call of ‘nii-san!’ leaves your lips, the sensation of his heavy balls slapping against you and his thick cock against your fluttering walls has you creaming around him once more. A sound akin to a growl comes from his throat, leaning even further forwards as he gets himself as deep as he can go, the hair at the base of his cock rutting against your sensitive clit. “I’m going to fill you with my seed and you’re going to have my babies, okay?”

“No, nii-san, I don’t want that!” You cries are ignored, your body continuing to clamp around his cock as he shoots his load into you. The feeling of being full and so warm inside has your eyes rolling, drool spilling from your open mouth as you gush around him, clear liquid splashing against his abdomen.

Once the high has passed, he removes his cock from you, keeping you in that position. You don’t dare speak, unsure you’ll be able to as your throat burns from all the screaming and cries. A metal object briefly enters your vision, the object being inserted into your pussy that drips with your brother’s seed, milky white and thick.

“If you keep it all inside, I’ll give you another treat, okay? You wanna be a good girl for me, don’t you?” He doesn’t wait for a response, but he does take out another object. “You need to keep having an orgasm, I’ll make sure you feel real good, okay?” A medium-sized egg-shaped object enters your ass, another stinging pain from the insertion. Another round of vibrations start, your legs shaking as you mewl, head thrown back as you feel another orgasm quickly coming on. “You’ll be a good little housewife for me, won’t you? Swollen with my child and your pussy will be all for me, you know this, don’t you?”

Of course you do, regardless whether your mind agrees with you or not. He’s your nii-san and he knows best.

[shihalyfie]

About the Adventure: reboot, the likely reason why it exists, the question of target demographic, and whether I would recommend it or not

I think this reboot has been kind of a strange outlier in terms of Digimon anime in general, in terms of...well, just about everything. I also feel like everything surrounding it has kind of been giving us mixed signals as to what the intent and purpose behind the anime is -- well, besides “cashing in on the Adventure brand”, but looking at it more closely, that might be a bit of an oversimplification.

I’m writing this post because, having seen the entire series to the end for myself and thinking very hard about it and what it was trying to do, I decided to put down my thoughts. This is not meant to be a review of what I think was good and bad, but rather, something that I hope will be helpful to those who might be on the fence about whether they want to watch it or not, or those who don’t want to watch/finish it but are curious about what happened, or those who are curious as to why this reboot even exists in the first place, or even maybe just those who did watch it but are interested in others’ thoughts about it. I'm personally convinced that -- especially in an ever-changing franchise like Digimon -- how much you like a given work is dependent on what your personal tastes are to the very end, and thus it’s helpful to understand what kind of expectations you should go in with if you want to watch something.

With all of this said and done, if you want to go in and best enjoy this series, I think it is best to consider this anime as a distinct Digimon series of its own. The relationship to Adventure is only surface-level, and by that I mean it’s very obvious it’s doing things its own thing deliberately without worrying too much about what prior series did. Of course, I think everyone will have varying feelings about using the Adventure branding for something that really isn't Adventure at all, but we are really talking about an in-name-only affair, and something that’s unabashedly doing whatever it wants. So in other words, if you’re going in expecting Adventure, or anything that really resembles Adventure, you’re setting yourself up for disappointment. But if you’re able to approach it like yet another distinct Digimon series, and the other aspects of it fit your fancy, you’ll probably be able to enjoy it much better. And, conversely, I think it’s also important to remember that this series seems to have a writing philosophy with a fundamentally different goal from most Digimon series, and since it’s understandable for most long-time Digimon fans to have their tastes built on those prior series, it’s fine and completely understandable that this reboot may not be your cup of tea, for reasons that probably don’t actually have much to do with whether it’s an Adventure reboot or not.

There are no spoilers in the following post. (Although I use some emphatic language for the duration for it, these are mostly just my personal thoughts and how I see the series and the overall situation.)

On what exact relationship to Adventure this series has, and why it’s an “Adventure reboot”

If you ask why they did an Adventure reboot, the easiest answer to come up with is “Adventure milking, because it’s profitable”, but that’s kind of an oversimplification of what the issue is. This is especially when you take into account a key fact that official has been very well aware of since as early as 2006: most kids are too young to have seen Adventure, and therefore have no reason to care about it.

That’s the thing: Adventure milking only works so well on today’s children, and Toei and Bandai know this. This is also the reason that the franchise started going through a bit of a “split” starting in around 2012 (after Xros Wars finished airing), when the video game branch started making more active attempts to appeal to the adults’ fanbase with Re:Digitize and Adventure PSP. (Although they were technically still “kids’ games”, they were very obviously aimed at the adults’ audience as a primary “target”.) The generation that grew up with Adventure and other classic Digimon anime was getting older and older, and targeting that audience would require tailoring products more specifically to them -- ultimately culminating in 2015 and the solidification of “very obviously primarily for adults” media in the form of both games (Cyber Sleuth and Next Order) and anime (tri.). Note that Appmon ended up getting its own 3DS game, but since it was targeted at kids, it seems to have been developed by a completely different pipeline/branch from the aforementioned adults’ games, so even that had a split.

So if we want to talk about full-on nostalgia pandering, that’s already being done in the adults’ branch. In fact, Appmon development specifically said that they felt free to not really care about the adults’ audience because that was tri.’s job. Of course, the hardcore Digimon adults’ fanbase is still keeping an eye on the kids’ shows, and it’s good to not upset them -- and, besides, even if we’re all suffering under the hell of capitalism, people who work in kids’ shows still tend to be very passionate about the content and messages they’re showing the kids, so they still put an effort into making good content that adults can enjoy too. But, nevertheless, adults are still the “periphery demographic”, and a kids’ show is not a success if the kids (who have not seen and do not care about Adventure) are not watching it or buying the toys. Appmon ended up being extremely well-received by the adults’ fanbase, but that all meant nothing since the kids didn’t get into it.

Most kids are not super incredibly discerning about so-called writing quality (it’s not like they don’t at least unconsciously know when something is good, but they’re much less likely to be bothered by little things adults are often bothered by), so there’s a certain degree you have to get their attention if you want things to catch on with them. Critical reception does matter a lot more when we talk about the adults’ audience, but for the kids, the more important part is how much you’ve managed to engage them and how much fun they’re having (especially in regards to the toyline). Moreover, there’s the problem of “momentum”; Digimon’s sister shows of PreCure, Kamen Rider, and Super Sentai have sometimes had really poorly performing shows (critically or financially), but have managed to recover it in successive years to avoid getting cancelled. Digimon never managed to get to that point, with sales nearly dropping to half with Tamers and again with Frontier. So in essence, Savers, Xros Wars, and Appmon were all attempts at figuring out what was needed to just get that “kickstart” again -- but things just never lined up for it to work.

So if kids don’t really care about Adventure, why would they do Adventure nostalgia pandering? The answer is one that official has actually openly stated multiple times: they want to have parents watch it together with their children. Both Seki and Kinoshita said this in regards to watching the reaction to Kizuna, and it was also stated outright as a goal for the reboot, but, believe it or not, there’s reports of this having been stated back as early as Savers (followed by an admission that maybe 2006 was a little too early for people who grew up with Adventure to be old enough to have their own kids). So the little nostalgia references in Savers, Xros Wars, and Appmon aren't really meant to magically turn the series into Adventure as much as they’re supposed to be flags waved at the parents to get them to pay attention, so that they can introduce their kids to Digimon and watch it together with them, until the kids eventually take an interest on their own and they don’t need to rely on that kind of standby as much. (I say “as much” because of course PreCure, Rider, and Sentai all are still very indulgent in their anniversary references, but they’re not nearly as reliant on it to the point of life-and-death.)

This is also why Kizuna’s existence and release date two months prior to the reboot is a huge factor in this. The reason tri. wouldn’t have done it is that it never actually reached a properly “mainstream” audience. It’s a huge reason I keep emphasizing the fact that tri. and Kizuna are two separate things with completely different production and release formats, because tri. being a limited OVA screening released in six parts over three years means that, although it was a moderate financial success that did better than the franchise’s other niche products, in the end, it didn’t actually reach the “extremely casual” audience very well. We, as the “hardcore Internet fanbase”, all know people who watched all six parts, and the difference between tri. and Kizuna’s release formats doesn’t hit us as hard because of international distribution circumstances, but even on our end, if you talk to your casual friends who barely remember anything about Digimon except what they saw on TV twenty years ago, you will almost never find anyone who got past Part 1, maybe 2 at most. (That’s before we even get into the part where a good chunk of them got turned off at the character design stage for being too different.) Sticking with a full six-part series over three years is a commitment, and if you’re not someone with a certain level of loyalty to the franchise, you aren’t as likely to put aside the time for it!

Kizuna, on the other hand, was a full-on theatrical movie with full marketing campaign that was aimed at that extremely casual mainstream audience, including a lot of people who hadn’t even heard of tri. (due to it being too niche) or hadn’t bothered to commit to watching something so long, and thus managed to “hype up” a lot of adults and get them in a Digimon mood. (Critical reception issues aside, this is also presumably a huge reason Kizuna isn’t all that reliant on tri.’s plot; Adventure and 02 both averaged at around 11% of the country watching it when it first aired, but the number of people who even saw tri. much less know what happened in it is significantly lower, so while you can appeal to a lot of people if you’re just targeting the 11%, you'll lock them out if you’re overly reliant on stuff a lot of them will have never seen in the first place.) We’re talking the kind of super-casual who sees a poster for Kizuna, goes “oh I remember Digimon!”, casually buys a ticket for the movie, likes it because it has characters they remember and the story is feelsy, and then two months later an anime that looks like the Digimon they recognize is on Fuji TV, resulting in them convincing their kid to watch it together with them because they’re in a Digimon mood now, even though the actual contents of the anime are substantially different from the original.

So, looking back at the reboot:

There’s a huge, huge, huge implication that the choice to use Adventure branding was at least partially to get Fuji TV to let them have their old timeslot back. Neither Xros Wars nor Appmon were able to be on that old timeslot, presumably because Fuji TV had serious doubts about their profitability (perhaps after seeing Savers not do very well). This isn’t something that hits as hard for us outside Japan who don’t have to feel the impact of this anyway, but it’s kind of a problem if kids don’t even get the opportunity to watch the show in the first place. While there’s been a general trend of moving to video-on-demand to the point TV ratings don’t really have as much impact as they used to, I mean...it sure beats 6:30 in the morning, goodness. (Note that a big reason PreCure, Rider, and Sentai are able to enjoy the comfortable positions they’re in is that they have a very luxurious 8:30-10 AM Sunday block on TV Asahi dedicated to them.)

Since we’re talking about “the casual mainstream”, this means that this kind of ploy only works with something where a casual person passing by can see names and faces and take an interest. This is why it has to be Adventure, not 02 or Tamers or whatnot; 02 may have had roughly similar TV ratings to Adventure and fairly close sales figures back in 2000, but the actual pop culture notability disparity in this day and age is humongous (think about the difference in pop culture awareness between Butter-Fly and Target). 02, Tamers, and all can do enough to carry “adults’ fandom” products and merch sales at DigiFes, and the adults’ branch of the franchise in general, but appealing to the average adult buying toys for the kids is a huge difference, and a big reason that, even if they’re clearly starting to acknowledge more of the non-Adventure series these days, it’s still hard to believe they’re going to go as far as rebooting anything past Adventure -- or, more accurately, hard to believe they’ll be able to get the same impact using names and faces alone.

This advertising with the Adventure brand goes beyond just the anime -- we’re talking about the toyline that has the involved character faces plastered on them, plus all of the ventures surrounding them that Bandai pretty obviously carefully timed to coincide with this. One particularly big factor is the card game, which is doing really, really well right now, to the point it’s even started gaining an audience among people who weren’t originally Digimon fans. Part of it is because the game’s design is actually very good and newcomer-friendly, but also...nearly every set since the beginning came with reboot-themed Tamer Cards, which means that, yes, those cards with the Adventure names and faces were helping lure people into taking an interest in the game. Right now, the game is doing so well and has gained such a good reputation that it probably doesn’t need that crutch anymore to keep going as long as the game remains well-maintained, but I have no doubt the initial “Adventure” branding was what helped it take off, and its success is most likely a huge pillar sustaining the franchise at the current moment.

Speaking of merch and toys, if you look closely, you might notice that Bandai decided to go much, much more aggressively into the toy market with this venture than they ever did with Savers, Xros Wars, or Appmon (Appmon was probably the most aggressive attempt out of said three). They put out a lot more merch and did a lot more collaborative events to engage the parents and children, and, presumably, the reason they were able to do this was because they were able to push into those outlets with the confidence the Adventure brand would let them be accepted (much like with Fuji TV). Like with the card game, the important part was getting their “foot in the door” so that even if it stopped being Adventure after a fashion, they’d still have all of those merchandising outlets -- after all, one of the first hints we ever got of Ghost Game’s existence was a July product listing for its products replacing the reboot’s in a gachapon set, so we actually have evidence of certain product pipelines being opened by the reboot’s precedent. (The word 後番組 literally means “the TV program that comes after”, so it’s pretty obvious this was intended for Ghost Game; in other words, the reboot’s existence helped ensure there be a “reservation” for this kind of product to be made.)

I think one important thing to keep in mind is that Toei and Bandai have as much of a stake in avoiding rehashing for their kids’ franchises as we do. Even if you look at this from a purely capitalistic perspective, because of how fast the “turnover” is for the kids’ audience, sustaining a franchise for a long time off rehashing the same thing over and over is hard, and even moreso when it involves a twenty-year-old anime that said kids don’t even know or remember. Ask around about popular long-running Japanese kids’ franchises and you’ll notice they practically rely on being able to comfortably change things up every so often, like PreCure/Rider/Sentai shuffling every year, or Yu-Gi-Oh! having a rotation of different series and concepts, or the struggles that franchises that don’t do this have to deal with. And, after all, for all people are cynical about Toei continuing to milk Adventure or any of the other older series at every opportunity, as far as the kids’ branch of the franchise goes, this is only capable of lasting to a certain extent; if they tried keeping this up too long, even the adults and kids would get bored, and there is some point it’ll be easier to try and make products directly targeted at the kids’ audience instead of having to rely on the parents to ease them into it.

So it’s completely understandable that the moment they secured a proper audience with the reboot and finished up their first series with this, they decided to take the risk with Ghost Game right after. And considering all that’s happened, this is still a risk -- they’re changing up a lot (even if not as much as Appmon), and there’s a chance that the audience they’ve gathered is going to shoot down again because they’ve changed so much and they no longer have the Adventure branding as a “crutch” to use -- but they’re taking it anyway instead of going for something at least slightly more conventional.

Which means that, yes, there’s a possibility this will all explode in their face, because the Adventure branding is that huge of a card they’re about to lose. But at the very, very least, Ghost Game is coming in with the “momentum” and advantage that Savers, Xros Wars, and Appmon all didn’t have: a brand currently in the stage of recovery, all of the merchandising and collaborative pipelines the reboot and Kizuna opened up, a fairly good timeslot, and a premise somewhat more conventional than Xros Wars and Appmon (I’m saying this as someone who likes both: their marketing definitely did not do them many favors). There are still a lot of risks it’s playing here, and it’s possible it won’t be the end of more Adventure or reboot brand usage to try to keep that momentum up even as we go into Ghost Game, but it’s the first time in a long while we’ve had something to stand on.

Okay, so that’s out of the way. But the end result is that we now have 67 episodes of an Adventure “reboot” that actually doesn’t even resemble Adventure that much at all, which seems to have achieved its goal of flagging down attention so it can finally going back to trying new things. This series exists, we can’t do anything about the fact it exists, the period where its own financial performance actually mattered is coming to an end anyway, and we, as a fanbase of adults hanging out on the Internet keeping up with the franchise as a whole, have to figure out how each of us feels about this. So what of it?

About the contents of the reboot itself

One thing I feel hasn’t been brought up as a potential topic very much (or, at least, not as much as I feel like it probably should be) is that the reboot seems to be actively aimed at a younger target audience than the original Adventure. It hasn’t been stated outright, but we actually have quite a bit of evidence pointing towards this.

Let’s take a moment and discuss what it even means to have a different target audience. When you’re a kid, even one or two years’ difference is a big deal, and while things vary from kid to kid, generally speaking, it helps to have an idea of what your “overall goal” is when targeting a certain age group, since at some point you have to approximate the interests of some thousands of children. Traditionally, Digimon has been aimed at preteens (10-11 year olds); of course, many will testify to having seen the series at a younger age than that, but the "main” intended target demographic was in this arena. (Also, keep in mind that this is an average; a show aimed at 10-11 year olds could be said to be more broadly aimed at 7-13 year olds, whereas one aimed at 7-8 year olds would be more broadly aimed at something like 5-10 year olds.) Let’s talk a bit about what distinguishes children’s shows (especially Japanese kids’ shows) between this “preteen demographic” and things aimed at a much younger audience (which I’ll call “young child demographic”, something like the 7-8 year old arena):

With children who are sufficiently young, it’s much, much more difficult to ensure that a child of that age will be able to consistently watch TV at the same hour every week instead of being subject to more variable schedules, often set by their parents, meaning that it becomes much more difficult to have a series that relies on you having seen almost every episode to know what’s going on. For somewhat older kids, they’re more likely to be able to pick and pursue their own preferences (the usual “got up early every week for this show”). This means that shows targeted at a young child demographic will be more likely to be episodic, or at least not have a complex dramatic narrative that requires following the full story, whereas shows targeted at a preteen audience are more willing to have a dramatic narrative with higher complexity. This does not mean by any shake of the imagination that a narrative is incapable of having any kind of depth or nuance -- the reboot’s timeslot predecessor GeGeGe no Kitaro got glowing reviews all over the board for being an episodic story with tons of depth -- nor that characters can’t slowly develop over the course of the show. But it does raise the bar significantly, especially because it prevents you from making episodes that require you to know what happened in previous ones.

The thing is, the original Adventure and the older Digimon series in general didn’t have to worry about this, and, beyond the fact that their narratives very obviously were not episodic, we actually have concrete evidence of the disparity: Digimon has often been said to be a franchise for “the kids who graduated from (outgrew) a certain other monster series”. Obviously, they’re referring to Pokémon -- which does have the much younger target demographic. That’s why its anime is significantly more episodic and less overall plot-oriented, and Digimon wasn’t entirely meant to be a direct competitor to it; rather, it was hoping to pick up the preteens who’d enjoyed Pokémon at a younger age but were now looking for something more catered to them. This is also why, when Yo-kai Watch came into the game in 2014, that was considered such a huge direct competitor to Pokémon, because it was aiming for that exact same demographic, complete with episodic anime. When Yo-kai Watch moved to its Shadowside branch in 2017, it was specifically because they had concerns about losing audience and wanted to appeal to the kids who had been watching the original series, but since they were preteens now, they adopted a more dramatic and emotionally complex narrative that would appeal to that audience instead. So you can actually see the shift in attempted target demographic in real time.

Adventure through Frontier were aimed at 10-11 year olds, and here’s the interesting part: those series had the protagonists hover around the age of said target audience. We actually have it on record that Frontier had a direct attempt to keep most of the kids as fifth-graders for the sake of appealing to the audience, and so that it would be relatable to them. You can also see this policy of “matching the target audience’s age” in other series at the time; Digimon’s sister series Ojamajo Doremi (also produced by Seki) centered around eight-year-olds. Nor was Seki the only one to do this; stepping outside Toei for a bit, Medabots/Medarot had its protagonist Ikki be ten years old, much like Digimon protagonists, and the narrative was similarly dramatic. The thing is, that’s not how it usually works, and that’s especially not really been how it’s worked for the majority of kids’ series since the mid-2000s. In general, and especially now, it’s usually common to have the protagonists of children’s media be slightly older than the target age group. This has a lot of reasons behind it -- partially because kids are looking to have slightly older characters as a model for what to follow in their immediate future, and partially because “the things you want to teach the kids” are often more realistically reflected if the kids on screen have the right level of independence and capacity for emotional contemplation. Case in point: while everyone agrees the Adventure through Frontier characters are quite relatable, it’s a common criticism that the level of emotional insight sometimes pushes the boundary of what’s actually believable for 10-11 year olds...

...which is presumably why, with the exception of this reboot, every Digimon TV series since, as of this writing, started shifting to middle school students. That doesn’t mean they’re aiming the series at middle school kids now, especially because real-life 13-15 year olds are usually at the stage where they pretend they’ve outgrown kids’ shows (after all, that’s why there’s a whole term for “middle school second year syndrome”), but more that the narrative that they want to tell is best reflected by kids of that age, especially when we’re talking characters meant to represent children from the real world and not near-immortal youkai like Kitaro. In fact, the Appmon staff outright said that Haru was placed in middle school because the story needed that level of independence and emotional sensitivity, which is interesting to consider in light of the fact that Appmon’s emotional drama is basically on par with that of Adventure through Frontier’s. So in other words, the kind of high-level drama endemic to Adventure through Frontier is would actually normally be more on par with what you’d expect for kids of Haru’s age.

But at this point, the franchise is at a point of desperation, and you can see that, as I said earlier, Appmon was blatantly trying to be one of those “have its cake and eat it too” series by having possibly one of the franchise’s most dramatic storylines while also having some of the most unsubtle catchphrases and bright colors it has to offer. Moreover, one thing you might notice if you look closely at Appmon: most of its episodes are self-contained. Only a very small handful of episodes are actively dependent on understanding what happened in prior episodes to understand the conflict going on in the current one -- it’s just very cleverly structured in a way you don’t really notice this as easily. So as you can see, the more desperate the franchise has gotten to get its kids’ audience back, the more it has to be able to grab the younger demographic and not lock them out as much as possible -- which means that it has to do things that the original series didn’t have to worry about at all.

Having seen the reboot myself, I can say that it checks off a lot of what you might expect if you tried to repurpose something based on Adventure (and only vaguely based on it, really) into a more episodic story that doesn’t require you to follow the whole thing, and that it has to break down its story into easy-to-follow bits. In fact, there were times where I actually felt like it gave me the vibes of an educational show that would usually be expected for this demographic, such as repeated use of slogans or fun catchphrases for young kids to join in on. That alone means that even if the “base premise” is similar to the original Adventure, this already necessitates a lot of things that have to be very different, because Adventure really cannot be called episodic no matter how you slice it.

Not only that, even though the target audience consideration has yet to be outright stated, we also have interviews on hand that made it very clear, from the very beginning, what their goals with the reboot were: they wanted the kids to be able to enjoy a story of otherworldly exploration during the pandemic, they wanted cool action sequences, and they wanted to get the adults curious about what might be different from the original. Note that last part: they actively wanted this series to be different from the original, because the differences would engage parents in spotting the differences, and the third episode practically even goes out of its way to lay that message down by taking the kids to a familiar summer camp, only to have it pass without incident and go “ha, you thought, but nope!” Moreover -- this is the key part -- “surprising” people who were coming from the original series was a deliberate goal they had from the very beginning. They’ve stated this outright -- they knew older fans were watching this! They were not remotely shy about stating that they wanted to surprise returning viewers with unexpected things! They even implied that they wanted it to be a fun experience for older watchers to see what was different and what wasn’t -- basically, it’s a new show for their kids who never saw the original Adventure, while the parents are entertained by a very different take on something that seems ostensibly familiar. 

On top of that, the head writer directly cited V-Tamer as an influence -- and if you know anything about V-Tamer, it’s really not that much of a character narrative compared to what we usually know of Digimon anime, and is mostly known for its battle tactics and action sequences (but in manga form). In other words, we have a Digimon anime series that, from day one, was deliberately made to have a writing philosophy and goal that was absolutely not intended to be like Adventure -- or any Digimon TV anime up to this point -- in any way. And that’s a huge shock for us as veterans, who have developed our tastes and expectations based on up to seven series of Digimon that were absolutely not like this at all. But for all it's worth, the circumstances surrounding its production and intent don't seem to quite line up with what the most common accusations against it are:

That it’s a rehash of Adventure: It really isn’t. It’s also blatantly apparent it has no intention of being so. The points that are in common: the character names and rough character designs, some very minimal profile details for said characters, Devimon having any particular foil position to Angemon, the use of Crests to represent personal growth, the premise of being in the Digital World and...that’s it! Once those points are aside, it’s really hard to say that the series resembles Adventure any more than Frontier or Xros Wars resembles Adventure (which are also “trapped in another world” narratives) -- actually, there are times the series resembles those two more than the original Adventure, which many have been quick to point out. The majority of things you can make any kind of comparison to basically drop off by the end of the first quarter or so, and trying to force a correlation is basically just that: you’d have to try forcing the comparison. The plot, writing style, and even the lineup of enemies shown just go in a completely different direction after that. So in the end, the base similarities can be said to be a marketing thing; if I want to criticize this series, I don’t think “lack of creativity” would actually be something I would criticize it for. (Of course, you’re still welcome to not be a huge fan of how they’re still guilty of using Adventure’s name value to market something that is not actually Adventure. We’re all gonna have mixed feelings on that one.)

That they don’t understand or remember Adventure’s appeal: Unlikely. All of the main staff has worked on character-based narratives before, which have been very well-praised while we’re at it. The producer, Sakurada Hiroyuki, was an assistant producer on the original series, and I would like to believe he probably remembers at least a thing or two about what they were doing with the original series...but, also, he’s the producer of Xros Wars, which definitely had its own individuality and style, and, moreover, was more of a character narrative that people generally tend to expect from Digimon anime. (Still a bit unconventional, and it has its own questions of personal taste, but a lot of people have also pointed out that this reboot has a lot in common with Xros Wars in terms of its writing tone and its emphasis on developing Digital World resident Digimon moreso than the human characters.) All signs point to the idea they could make a character narrative like Adventure if they really wanted to. It’s just, they don’t want to do that with this reboot, so they didn’t.

That they misinterpreted or misremembered the Adventure characters: There’s been accusations of said characters being written in a way that implies misinterpretation or lack of understanding of the original characters, but the thing is, while I definitely agree they have nowhere near the depth of the original ones, there are points that seem to be deliberate changes. (At some points, they’re actually opposites of the original, and certain things that operate as some very obscure references -- for instance, Sora complaining about having to sit in seiza -- seem to also be deliberate statements of going in a different direction.) The lack of human character depth or backstory doesn’t seem to be out of negligence, but rather that this story doesn’t want to be a character narrative to begin with -- after all, we’re used to seven series of Digimon that are, but there are many, many kids’ anime, or even stories in general, where the story is more about plot or action than it is completely unpacking all of its characters’ heads. In this case, this reboot does seem to have characters that are taking cues from or are “inspired by” the original, but, after all, it’s an alternate universe and has no obligation to adhere to the original characters’ backgrounds, so it stands to reason that it’d take liberties whenever it wanted. (Again, the head writer outright stated that he based the reboot’s Taichi more on V-Tamer Taichi than the original Adventure anime Taichi. He knows there’s a difference!) Even more intriguingly, the series actually avoids certain things that are common misconceptions or pigeonholes that would normally be done by the mainstream -- for instance, the Crest of Light (infamously one of the more abstract ones in the narrative) is fully consistent with Adventure’s definition of it as “the power of life”, and, if I dare say so myself, Koushirou’s characterization (emphasizing his relationship with “knowledge” and his natural shyness) arguably resembles the original far more than most common fan reductions of his character that overemphasize his computer skills over his personal aptitude. In other words, I think the staff does know what happened in the original Adventure -- they just actively don’t want to do what Adventure did, even if it’s ostensibly a reboot.

That it’s soulless or that there’s no passion in its creation: Well, this is subjective, and in the end I’m not a member of the staff to tell you anything for sure, but there are definitely a lot of things in this anime that don’t seem like they’d be the byproduct of uninspired creation or lack of passion. It’s just that those things are all not the kinds of things that we, as Digimon veterans, have come to develop a taste for and appreciate in Digimon anime. That is to say, there is an incredible amount of thought and detail put into representing Digimon null canon (i.e. representing special attacks and mechanics), the action sequences are shockingly well-animated in ways that put most prior Digimon anime to shame, and the series has practically been making an obvious attempt to show off as many Digimon (creatures) that haven’t traditionally gotten good franchise representation as they can. Or sometimes really obscure “meta fanservice” references that only make sense to the really, really, really, really hardcore longtime Digimon fan (for instance, having an episode centered around Takeru and Opossummon, because Takeru’s voice actress Han Megumi voiced Airu in Xros Wars). If you follow any of the animators on Twitter, they seem to be really actively proud of their work on it, and franchise creators Volcano Ota and Watanabe Kenji seem to be enjoying themselves every week...so basically, we definitely have creators passionate about having fun with this, it’s just that all of it is being channeled here, not the character writing.

So in the end, you can basically see that this series is basically the epitome of desperately pulling out all of the stops to make sure this series lands with the actual target demographic of children, dammit, and gets them into appreciating how cool these fighting monsters are and how cool it would be if they stuck with them even into a series that’s not Adventure. The Adventure branding and names to lure in the parents, the straightforward and easy-to-understand action-oriented narrative so that kids will think everything is awesome and that they’ll like it even when the story changes, and the merchandise and collab events booked everywhere so that they can all be reused for the next series too...because, remember, they failed with that during Savers, Xros Wars, and Appmon (I mean, goodness, you kind of have to admire their persistence, because a ton of other kids’ franchises failing this many times would have given up by now), so it’s a bit unsurprising that they went all the way to get the kids’ attention at the expense of a lot of things that would attract veterans, especially since the veterans already have a well-developed adults’ pipeline to cater to them. This does also mean that this series is more likely to come off as a 67-episode toy commercial than any previous Digimon series, but it’s not even really the toys as much as they’re trying to sell the entire franchise and the actual monsters in the hopes that they’ll stick with it even when the narrative changes.

Nevertheless, here we are. The series is over. Ghost Game -- which, as of this writing, is looking to be much more of a conventional Digimon narrative, complete with older cast, obviously more dramatic atmosphere, and pretty much everything surrounding its PR -- is on its way, presumably thanks to the success of this endeavor. It’s hard to gauge it; we have it on record that they also intend it to be episodic, but remember that this doesn’t necessarily prevent it from having an overall dramatic plot or nuanced drama (especially since the abovementioned Appmon and Kitaro were perfectly capable of pulling off this balance). Nevertheless, it seems to be a lot more of the conventional kind of Digimon narrative we usually expect, so, as for us, adult long-time fans of the Digimon franchise (many of whom don’t have kids anyway), what exactly should we make of this? Well, as far as “supporting the franchise” goes, you’ll get much more progress supporting Ghost Game than the reboot; I highly doubt view counts and merch sales relative to an already-finished series will do nearly as much for the franchise’s health as much as the currently airing series, and, besides, it’d probably do us all a favor to support the endeavor that’s actually new and fresh. So when it comes to a “past” series like this, it’s all just going to come down to a question of personal preference and taste: is this a series you, personally, want to watch, and would you find it entertaining?

For some of you, it’s possible that it just won’t be your cup of tea at all -- and since, like I said, the majority of us here have based our expectations and preferences on up to seven series of Digimon that were not like this, that’s also perfectly fine, and in that case I don’t actually recommend you watch this. Of course, I’ve never thought that it was ever fair to expect a Digimon fan to have seen all of the series released to date; the more series we get, the more inhumane of a demand that’ll become, and I think this franchise becoming successful enough to have so many series that most people won’t have seen it all is a good thing. (It’s actually kind of alarming that the percentage of people who have seen it all is so high, because it means the franchise has failed to get much of an audience beyond comparatively hardcore people who committed to it all the way.) But I think, especially in this case, with a series for which adult fans like us were probably lowest on the priority list due to the sheer amount of desperation going on here, it’s fine to skip it, and if you’re someone who lives by a need for character depth or emotionally riveting narrative, the fact this series is (very unabashedly and unashamedly) mostly comprised of episodic stories and action sequences means you won’t have missed much and probably won’t feel too left out of any conversations going forward. That’s before we even get into the part where it’s still completely understandable to potentially have mixed feelings or resentment about the overuse of the Adventure brand for something like this, especially if Adventure is a particularly important series to you.

But for some of you out there, it might still be something you can enjoy on its own merits. I’ve seen people who were disappointed by the limited degree of Digimon action sequences in the past or the fact that the series has gotten overly fixated on humans, and had an absolute ball with the reboot because it finally got to represent parts of the franchise they felt hadn’t been shown off as well. “Fun” is a perfectly valid reason to enjoy something. It’s also perfectly possible to be someone who can enjoy character narratives like the prior Digimon series but also enjoy something that’s more for being outlandish and fun and has cool Digital World concepts and visuals -- and, like I said, it does not let up on that latter aspect at all, so there’s actually potential for a huge feast in that regard. I think as long as you don’t expect it to be a character narrative like Adventure -- which will only set you up for disappointment, because it’s not (and made very clear since even the earliest episodes and interviews that it had no intention of being one) -- it’s very possible to enjoy it for what it is, and for what it does uniquely.

[cassandraclare]

I'm sorry to hear that your hard work was leaked but I was curious about what happened. I hope the person faced consequences because that was a very selfish thing to do leaking your work like that :(

I haven’t taken action against the person who leaked the book. I know who they are, since they uploaded the page I signed for them, and I was able to match that against my records. 

I haven’t refrained from taking action because I feel sympathy for them. I don’t. It’s beyond shitty behavior to receive an early, signed book as a gift, and to then leak the entire book online. It’s a shit thing to do to the authors and an equally shit thing to do to other fans. However, I don’t want to put myself (and Wes) through the exhausting, grim and expensive process of legal repercussions. It doesn’t mean what this person did isn’t horrible, and it doesn’t mean they haven’t cost the entire fandom any chance of there ever being an early contest giveaway like that again. They did. There never will be. There will be no ARCs of Chain of Iron, either, and you can thank them for that, too. 

Part of what makes piracy such an issue for authors goes far beyond the individual assholes who upload and distribute and translate stolen books. It’s that the whole system is set up to make it incredibly difficult for us to do anything about it. Publishers do little to nothing to prevent piracy, and authors shoulder the entire burden of searching out and reporting illegal copies of their books. And even then, we’re dependent on whether or not the reported website feels like complying with copyright laws or not. Twitter is incredibly slow to respond, Tumblr is about fifty-fifty on bothering at all. They’re legally required to take action, but they also know that the effort of doing something about it if they do not falls on exhausted, overburdened artists who often can’t afford to follow up with a lawyer’s letter.

And like, I get being broke and wanting to read books; there were a lot of books I had to pass up reading when I was broke (I will be forever grateful to the library system of New York and Brooklyn, which is how I read books at all from about 2001-2004.) I was broke enough that I slept on a bare mattress because I couldn’t afford sheets, but I’m pretty sure if I broke into Bed, Bath and Beyond and stole a bunch of fitted percale bedding I wouldn’t have encountered much sympathy if I got caught. 

I talked about this on Twitter before, and I’ll say it again here though I know it will make very little difference: pirating books doesn’t just hurt the author of those books. It hurts everyone at the publishing company, where the margin of profit is razor-thin (and yes, publishers should do more to protect themselves against piracy; I agree there); it hurts bookstores, especially indie bookstores (I remember doing an event at a store that told me, sadly, that they were likely going to have to close because people “came into the store, looked at the books, took notes, then went home and pirated them.”) It hurts libraries, who rely on circulation for funding, and the shutting down of libraries hurts people who actually can’t afford books.

Now, I know is no way to talk people out of piracy; the internet has normalized it, and besides, people will generally do the cheaper, easier thing — you can’t talk people into not doing something they want to do by telling them it’s wrong, in my experience. They’ll find ways to justify it, whether it be that they can’t afford the book or it isn’t yet available in their language or that they find the author “problematic” and this is the way they’ve chosen to punish them. 

The reason I put “problematic” in quotes is because yes, of course you can read and enjoy work that has problematic elements. Pretty much everything has some element that’s going to be found problematic by someone — which is exactly why deciding that it’s morally excusable to steal from people you think are creating flawed work is more than problematic. Holding creators accountable for their work means critiquing that work, not stealing it.

I listen to a lot of political podcasts, and some of them review work by extreme right-wing politicians etc. who have written books that the podcasters find morally despicable but wish to, or need to, review and discuss. Since they don’t wish to give money to the authors, they buy second-hand copies or take the book out of the library. They certainly don’t steal, translate and distribute copies of the books because they genuinely do not like them and do not want more people reading them. That’s what it looks like when you have an actual moral problem with a book or author. 

However, running multiple fan accounts for a book series, naming your internet identity after characters from that book series, and talking endlessly about “your favorite parts” and how this is “your favorite book” entirely invalidates any argument that you’re doing this because you think the books are bad, evil, etc. If you claim a book is actively homophobic or racist but are so desperate to read it that you’ll steal it, so excited about it that you’ll share that stolen copy, so obsessed that you’ll illegally translate a whole book and provide that stolen translation to as many people as possible, and so dedicated to the fandom that you’ll name yourself after the characters in the books and write poetry about them, I have to tell you: the last thing that looks like is that you actually find the books problematic, regardless of what you say to the contrary. It looks like you like them but don’t want to pay for them, because in fact, that’s the case. (Either that or it looks like you’re really into racist, homophobic books, and making sure as many people read them as possible, which is your problem.)

One of the issues I have with piracy is that it teaches you to hate creators. You have to hate them, because you’re doing a fucking awful thing to them and you have to justify it. This results in lying about creators — about their process, their translations, their research — as if somehow, even if they were bad researchers, that would justify widespread theft. (It doesn’t.) Those who steal books wind up in a headspace where they are obsessed with the content of the books, and entirely unwilling to accept the reality that those books were created by a real person that they’re really harming. It encourages the mentality that I didn’t create Jem or Magnus or Will or Cordelia: they came from some kind of sparkly outerspace planet and I was just lucky enough to get to write down their adventures. It invalidates the hard work creators put into what they create, and in fact, erases their very existence. The internet attitude toward creators is already incredibly toxic (especially if they’re women, LGBT+ and/or BIPOC) and the feeling of entitlement to free content, and vicious hatred toward those who aren’t providing it (even though a lot of creators, me included, provide a great deal of free content) contributes to that. Genuinely, if you’re stealing someone’s work, the least you could do is not also be an asshole about them. (Or pretend you’re Robin Hood. He stole from the rich who had taken property and goods from the poor, and returned that stolen wealth. He didn’t steal from artists and independent bookstores and use that stealing to benefit himself and his friends. The idea is actually kind of funny.) 

 I understand there is a pressure to be up to date on the books that are being released so as to participate in fandom, and I do get that. Unfortunately, piracy has real consequences that stretch beyond just hurting me and Wes. Because LGBT+ books are pirated at such an incredible rate, and we’ve definitely seen that with TEC, I am left wondering if there will ever be an actual Spanish translation of TEC, or whether the publisher will decide not to bother because it’s already been so thoroughly pirated in Spanish. I have to wonder if there will even be a third book of TEC at all, or whether publishers will feel it isn’t worth doing. And I have to wonder why the people who create this situation so often have usernames that include Jem or Magnus or Alec or Cordelia or Julian or Tessa. What an incredible misunderstanding of those characters, to imagine a world in which Will Herondale or Magnus Bane or James Carstairs would approve of stealing books and harming writers. And why name yourself after a character who absolutely couldn’t stand you? I don’t know. I don’t get it, any more than I get hating someone who provided you with something you claim is your favorite book. 

That was a much longer answer than you were probably expecting or hoping for, and I know I’ll get yelled at quite thoroughly for writing it. Writers always do, when we engage with the issue of piracy. I know most of you reading this acquire your books honestly; most of you are not like this at all. But like most things on the internet, a small amount of people really do have the power to make things pretty rotten for everyone else.

[ialwaysknewyouwerepunk]

fine line - a close reading

gonna cry bc i’m at the end, gonna cry bc it’s fine line.

(x x x)

want to give the same disclaimer as with lights up: this song is so layered, so multi-faceted, that i could never hope to give an exhaustive analysis. due to its vagueness and openness for interpretation, i assume that everyone, just like me, has their own ideas about it and has attached importance to it in ways that no one else’s words can or should alter. this song means the world to me for reasons that aren’t necessarily in this post, and that’s how it is with art that touches us deeply. i’ve tried my best to pull it apart, lay it bare, spread it open, if you will, so it’s almost as free as it can be for you all to form your own opinion on it. in the synthesis i will make my own conclusions, but feel free to ignore that if yours are totally different. i’m just one set of brain and heart taking in fine line and projecting whatever i think is right onto it. alright, let’s go

fine line, track 12

sung in falsetto

live version at the form: first verse not sung in falsetto - after first chorus goes into falsetto - like “thinking of her” has summoned her

live version at the form: first verse not sung in falsetto - after first chorus goes into falsetto - like “thinking of her” has summoned her

Put a price on emotion

pouring emotions into the art you create: how much is genuine / how much do you show - line between being authentic to your audience and giving away too much, wanting to keep things to yourself and not feeling truthful with what you’ve written

exploits of the industry: lay your soul bare - or the exact opposite, some pretend emotion - to score that hit

I'm looking for something to buy

cynical. emotions aren’t genuine, right? where can i go buy some?

～ lights up themes. fake life, industry, being a sell-out

You've got my devotion

But man, I can hate you sometimes

“you” = career, music, Harry Styles™. devoted to the craft, to the job, all the ups and downs of it, despite the hardships it brings 

“man” is deliberate: can be seen as an offhand interjection, like “man, that’s rough”, but nothing is casually placed in this song. “man” is: The Man, the heads in the industry, the people pulling the strings. The man in Harry, the man he’s been in the media all these years, the part he’s played/had to play, the man that’s in him

⟶ “hate you”: hate for industry shit, self-hate created by having to play pretend (～ only angel analysis, the persona of the Bukowski womaniser)

“sometimes” - it’s not fucked up all the time

“you” could also be a lover, but the sudden “hate” there then would be for that person, which is absent in any other song about them, doesn’t make any sense

I don't want to fight you

And I don't want to sleep in the dirt

like there’s a choice to me made, but he doesn’t want to make it: either I fight this “you” or I sleep in the dirt

“you” as the industry: if he doesn’t fight them, he might end up being a beggar, lose all his self-worth bc he gave in to everything they asked/told him to do

“you” as himself: fight your instincts, part of who you are/the persona. if he doesn’t fight to figure himself out, though, he fears he’ll also lose

“sleep in the dirt” as a sense of rejection, as well

We'll get the drinks in

So I'll get to thinking of her

drinks to cope - falling, only angel, from the dining table - or to be braver and confront emotions better - tbsl

who is “we”? who is “her”?

narrative of “you” as “lover” further disproven: if “I” and the lover get together over drinks and “I” starts thinking of “her”?

⟷ “her” could be the lover, but then who is “you”? the industry? some other person, besides that lover, harry is devoted to? multiple lovers, all of a sudden? no.

⟶ “I” and “you” are all harry, that get to thinking of “her” because she is in daydreams with him. the narrative that harry is fighting a part of him, the persona he has (had) to play bc of industry limits, makes most sense. that persona is within him now, and part of his work, but all of him, “we”, is begging to come into the light - of which she is a huge part

We'll be a fine line

balancing act. let everything coexist but pay attention that those lines don’t get crossed the wrong way. what we are, what i am, is a fine line between what makes us go under and what lets us thrive

we will be: determination to fulfil this prophecy, statement of fact “we always will be”

“we’ll be a fine line”: other way of interpreting it is that on both sides of that line is what entails “we”, all that is harry. what merges on that fine line is where it’s just right, when harry is fully himself in every way

“fine line” can also be an echo of criticism, bigotry, in the style of: it’s a fine line between being simply flamboyant and queer, between dressing like that and people thinking you’re a transvestite or summat (cause we wouldn’t want that, now, would we) - “we’ll be a fine line” could be owning all of it. putting himself in the middle of all those messy lines, as someone queer without a category

Test of my patience

patience with himself - kindness to self - took a long time to figure shit out and it was a challenge

waiting for change: industry and its allowances/openness

There's things that we'll never know

my favorite line

“we” = harry / harry and company / us in general, all of us listening 

～ tpwk “i don’t need all the answers”: deep sense of acceptance

peace to be found in accepting this!!

You sunshine, you temptress

“sunshine” - as in all the love songs (blue skies, sunflowers, summer days…): lover - possible that there are multiple “you”s in this song?

sunshine could ofc also be directed at the temptress, still

female “temptress” - “i’ll get to thinking of her” - she - it’s tempting for harry to think of her all the time, to lose himself in the “her” in him

other interpretation for “temptress”: woman he knows with negative influence in his life - resemblance to woman “you flower, you feast”, so echo of Bukowski ～ only angel, kiwi (my sunshine, my love, who is involved with this temptress…)

My hand’s at risk, I fold

⟷ tpwk “dropping into the deep end”

not showing his cards just yet / forfeits

anxious to show all of him, to take the chance, with all the risks and consequences involved

Crisp trepidation

I’ll try to shake this soon

nervousness, anxiety - about (not) taking (enough) chances, (not) laying himself bare (release of the album that reveals much more than before)

“crisp” fresh, this feeling is unfamiliar - change is coming “soon”

sense of agency: I can get rid of this feeling by my own volition and make these changes - hesitant, insecure: “try”

wants to be braver. he’s not going back, but still needs to calmly coax himself further and further into the light, out into the open (“we’ll be alright”)

Spreading you open

Is the only way of knowing you

(can anyone else hear “spread thin” like a whisper under “spreading”? or am i imagining things.)

“you” is back - the only way of knowing “you” is to spread them open - the physical

to spread someone open - very literal, don’t need to paint the picture, or to lay bare, to lay it all out 

⟶ “you” as himself - the only way of knowing who i am is by doing this: writing this album, performing these songs, letting others listen in and form their own interpretations, let this world grow where i’m laid bare and OPEN and exist as this person who has issues, who is angry, who doesn’t know who he is a lot of the time, but is still so happy to be here - let it spread and let it all circle back to me so i can grow deeper into myself

We'll be a fine line

We'll be alright

“we” = h & self, h & lover, h & fans

collectiveness from tpwk

(notes on a piano sounding like drops, like he’s emerged from the water and dripping dry)

SYNTHESIS

Everything about this song is plural. Personal pronouns are all over the place. I, you, her, we. The sound is incredibly layered, with Harry’s own voice echoing through its verses like he’s singing to himself in an empty cave. Meanings can be attached to every word like it’s a wax tablet used too many times. What Harry has said in interviews for once holds pretty true to the actual meaning, in my opinion. 

“It felt like it described to me the process of making it and how the album felt in terms of the different kinds of songs on it.” (Capital FM)

This can mean a lot of things, and I think it means all of the things, of course. It means Fine Line is a summary of all of his emotions he visited on the album, of the things he’s laid bare. And it means that the actual process was also described, as one that can be frustrating and challenging, with added industry shit. 

Harry has expressed straightforward gratefulness to his label for "leaving (him) alone” while making the album and that speaks volumes. This time, he had the chance to make his art without the constant interference of a label, which meant he could weave in criticism as well. “Put a price on emotion” is first and foremost a critique on the industry. It’s the first line of the song, setting the tone for the interpretation of this song is about the risks I took while making this album. It involves criticism on an industry that creates such an atmosphere that only a certain type of music and artist breaks through or can be successful, that limits people in their personal expression. Convinces them that it’s better that way. That it’s better to hide who they love because the general public won’t accept them. That it’s better to create a song about a fake emotion than be honest. Harry loves writing songs and being on stage, but it’s taken a while for him to be fully comfortable there as a solo artist and bloom into the person that could make Fine Line. He loves his career, but it’s also limited his freedom in ways beyond our comprehension, and it’s exploited him to the point where he didn’t know who he was, in ways that have clearly taken a toll on his mental wellbeing. To a point where he finishes this album reassuring himself, most of all, that everything will be alright.

That process of making Fine Line obviously includes Harry confronting emotions he hadn’t before. He has stated that he experienced the highest highs and the lowest lows while making it. There are things he hates, he was fighting but doesn’t want to (anymore), uncertainties he was trying to figure out but had to accept he couldn’t, risks he still doesn’t know he can take without shaking. At the centre of it all is this sense of “knowing you.” The different personal pronouns in the song paint a fractured picture, which is ultimately deliberate. That the “you” Harry is devoted to and can hate sometimes doesn’t line up with “her,” that the end focus does seem to be this “you” that is mentioned in the same breath as “man” and “temptress,” forming the “we” together with “I”. 

After having songs like Lights Up, She, Falling and even TPWK, one of the central themes on the album has undoubtedly been self-discovery, in all its pain and glory. There are no female pronouns on the album besides, obviously, in She, and then here, in Fine Line. She is about a man living with a woman “just in his head”, who “sleeps in his bed while he plays pretend.” It is very clearly a trans narrative, the story of someone struggling to put into words what they’re experiencing in terms of gender. To a point that they fantasise about running away. Fine Line brings the ideas of knowing what it all means, which Lights Up kicks off (“do you know who you are?”), Falling deepens (“what am I now?”) and Treat People With Kindness turns on its head (“I don’t need all the answers”), together. Harry is still doubtful, and the questions asked earlier in the album haven’t disappeared, but he has accepted that “some things we’ll never know.” His aim, however, is still “knowing you.” 

To have Fine Line, as the summary of these emotions of self-growth and self-discovery, echo that one female pronoun, speaks volumes. It is a direct reference to She, to that story about gender. “Her” in this song refers to “she (who) lives in daydreams with (him).” The one who still only fully comes out when they’ve had a drink. The one he’s still working to include in who he is, as he tries to figure out who he is, all of it. The song where he sings in falsetto, just like on Fine Line. Of which he sang the first verse an octave lower live at the forum, switching between those voices, those perspectives. That’s also why “you” in this song is also Harry to me. We get this fractured sense of self, this “I” and “you” conversing over a drink, this “you” Harry is devoted to and wants to figure out. “You” and “I” form “we” and all of them are Harry. The lines are blurry on purpose, there is no way to figure out where “you” ends and “I” begins. 

“You sunshine, you temptress” is the most enigmatic line in that respect, and to me blurs those lines even more between the pronouns. “You” is suddenly also identified by a female noun. And no this isn’t about some kind of love triangle. “Sunshine” aligns with all the odes to his lover in the rest of the album. So what does that mean? That there are multiple “you”s in this song, meaning that Harry is addressing both his lover and a temptress? So “her” he’ll get to thinking of, the only other female pronoun used in the song, is identified as a temptress, but tempting to do what? To take risks? And no I won’t forget the “man, I can hate you sometimes,” where "man” is not a casual interjection but an identifier of “you.” 

Or is it an echo of “the light” from Golden’s “bring me back to the light” and Light’s Up’s “step into the light”? So that the “sunshine” symbolises being in the clear, being out of the darkness running through his heart, the darkness caused by not knowing who you are. “You sunshine,” you beacon of light. “You temptress,” risk-taker and source of anxiety. You, one I need to spread open to figure out, to know about, source of happiness and despair, one I’m devoted to but also hate. You, man, you, temptress. You there, in the mirror looking back at me. 

All of you, and myself included, we’ll be a fine line. And we’ll be alright.

This song is about all of that. The self in art, the self on its own, the other, the journey, the chances, the fears, the passion. Hope. Reassurance. Confidence. And, most importantly, that everything will be alright in the end.

x

read all my lyric analyses here

[youngbugandtonystank]

And now anti Tony people are blaming him for letting Sam’s family being in financial trouble wtf the man is dead! Let him rest!

Yeah, I saw. 

They’re definitely going to keep doing that, gotta say, the MCU never failed with Tony's character, they created circumstances for him exactly just like Stan envisioned. The ‘love-to-hate’ trope is strong when it comes to him, this is what Stan wanted out of Tony Stark's relationship with his fans/audience. Thing is, the reality of the MCU superhero is that they’re all flawed. None of them are exempt from anything. Why Tony gets more hate than the others?

He’s the most popular character. There’s no discussion in this instance. Popular superheroes that first come to people’s minds are always Batman, Iron Man and Spider-Man. Tony Stark/Iron Man is a pop culture legend and the fact that RDJ got to portray him as great as he did, helped a lot. People are always going to circle back to the character who has more hype and audience. 

He’s the one with the money. The fact that Tony is swimming in money automatically makes him the target of the ‘eat the rich’ mentality. People fail to remember that other characters such as T’Challa (who has more money than Tony would ever wish to see and lives in the most technologically advanced country in the world), Shuri, Thor (a literal king with a kingdom), The Pym family, Danny Rand (he has a net worth of $5 billion and is one of the richest comic book characters of all time), etc exist. And we still haven’t seen the other Marvel characters (in the MCU) that are richer than Tony like Reed Richards, Professor X, Warren Worthington, Norman Osborn, Namor, Doctor Doom, etc. 

Even if some of us see RDJ as attractive and good looking, some people don’t. For them, RDJ is nothing compared to Chris Evans, Chris Hemsworth, Sebastian Stan, etc. It’s easier to hate a character you don’t find attractive. And also the fact that they find those actors relatively younger than RDJ. 

It’s the most shippable character. This also means he must be in the way of some other ships. Even if this sounds unbelievable, many people don’t get their irrational hate for a character until it dawns on them that they only hate him because he either treated one half of their ship unfairly or because he’s in the way of that ship. The more reasons they can find to hate him, the more legitimate their senseless hatred seems in their minds.

People don’t call out characters like T’Challa or Shuri because they’re scared of being called ‘racist’. T’Challa is so rich that Howard Stark could only buy (just an assumption, it’s a possibility he stole the vibranium lmao) only a portion of vibranium to build Steve’s shield, and because is the world’s most indestructible material, his worth is approximately $10,000 a gram (Fantastic Four #607) and Wakanda's vaults hold 10,000 tons of the material (Doomwar #1) T’Challa is not a billionaire, he’s a trillionaire lmaoooo everyone else is a joke compared to him.

Even having all of this info, Tony and T’Challa owe nothing to anyone.

T’Challa helped Bucky because of his principles (Tony offered to do this at the beginning as well until of course, he found out he killed his parents) but because of that, that doesn't mean T’Challa owes Steve, Sam, Wanda, and Natasha money or housing assistance. He didn't give it to them at all and he doesn’t have to. 

James Rhodes: Well. You guys really look like crap. Must've been a rough couple of years.

Sam Wilson: Yeah, well, the hotels weren't exactly five star.

Wanna know why? Because T’Challa knows they’re adults and they make their own decisions. Sam chose to be on Steve’s side, Wanda did too, Natasha too, etc. Adults make decisions and they should deal with the consequences that come with that. Tony was not going to deal with their financial problems because they made a choice and it’s not his problem to deal with. Tony is not their father. People need to ask themselves why Sam was not in the ‘lift the hammer’ scene after the party, because he wasn’t familiar with them, he wasn’t friends with Tony, only with Steve. Besides that fact, they all fought Tony, hurt his best friend, and left him to deal with the rest in CW. They’re not family.

Sam Wilson: No, I'm not actually sorry. I'm just trying to sound tough. I'm very happy chasing cold leads on our missing persons case. Avenging is your world. Your world is crazy. Steve Rogers: Be it ever so humble. Sam Wilson: You find a place in Brooklyn yet? Steve Rogers: I don't think I can afford a place in Brooklyn. Sam Wilson: Well, home is home, you know?

There’s absolutely no reason Steve can’t afford a place. He’s an adult, he has a good reputation, he worked for shield (why aren’t yall on Nick Fury’s ass if he had Steve and the others as employees? Fury set an entire place for Clint, why can’t he do it for the rest of them, he is the founder of the Avengers after all), and was pretty much capable of doing stuff for others. Tony provided them with a home while they were working together, he doesn’t need to concern himself with their personal problems because they’re not actual friends. Rhodey is his friend. Happy is his friend. Also consider the fact that maybe Sam didn’t want his help? 

And let’s also take into consideration that Tony is not only an Avenger, but Tony is also a businessman, an inventor, an engineer, has a company to keep an eye on, he is the one who finances the Avengers’ messes and other superhero messes too by co-owning the department of damage control, etc. He has other things to do. The rest of the Avengers are adults too, they should seek a job that could give them a future too, not just depend on Tony’s money. Tony had a family and he had to make sure they were covered after his death, this includes, Pepper (his wife, therefore she gets his stuff), Peter (his son, he left him EDITH, he’s basically set for life with that given the A.I. has access to the majority of his things including bank accounts), Morgan (his daughter; his responsibility), Happy and Rhodey (I’m sure we’ll see what he left them in Armor Wars). Why? They’re his actual family. 

If some of you know this and you’re still looking for reasons to put the blame on him, you’re failing to recognize you’re obsessed with hating Tony just for the sake of being right. Wouldn’t you like a life where you don’t have to constantly look for reasons to hate on a fictional character, better yet, a character you don’t like at all. Why the effort? You can love Tony and Sam at the same time, I promise you, this is not going to kill you. 

So please, instead of whining about Tony Stark all the time, why don’t yall just enjoy the fact that the show is showing you a vital and important event that happens in life while representing a part of Sam’s life to add to his emotional depth and character development? Especially because he’s a superhero and possibly the next Captain America, it’s good to see someone who is supposed to be a figure (superhero) whose actions or achievements are far greater than what people expect deal with normal things. They’re giving you a background; a solid storyline for his character. Let it be. Enjoy the shows yall, you can’t keep coming back to blame Tony for everything that happens after every single movie or Disney+ show, look for another metaphorical punching bag. The man is dead. 

[ink-on-the-brink]

Hi I really love your writing!! Do you think you can write more for medic or sniper how they’d act in a relationship? I really like how you write them and I’d love to see more! (:

Ayo, my first ask! I'm glad you enjoyed my interpretation, it's good to know my stuff's entertaining! Anyway here's some quick headcannons for them in a relationship ^-^

Medic

Now Medic isn't really the type of person to get into relationships much. He's often too busy with work for such things. However, that doesn't mean he's immune to the love bug.

Chances are if you're dating him it's because you two work together or have the same fascination with the human body. It's practically a deal-breaker for him if you're squeamish. He loves his work, so if you don't also find at least a little interest in it he's most likely not going to see you in a romantic light.

When he does end up in a relationship though you can bet your entire ass that it's all but conventional. It's either a Bonnie and Clyde situation or he manages to find someone who dulls down his more psychopathic tendencies.  Either way each day with him is sure to be one hell of a trip, for better or worse.

Despite his apparent love for gore and mutilation, he can be somewhat of a lovesick puppy once he's far enough into a relationship. Often seeking the attention of his lover, despite his denials of doing such a thing.

This man has three modes, blood-covered psychopath, professional doctor, and absolute dork. The changes between the three depend entirely on who he's with and what he's doing. You most often than not will see his more dorky side. His cute ramblings and wide smiles as he's around you. The other two are mostly saved for his work. So depending on how involved you are in the actual gravel war you might end up not even knowing how terrifyingly creepy he can be.

His love language is time well spent. Gifts are nice sure, and he would never deny the comfort of hugs and kisses, but he's more into spending time with his lover. He loves the long conversations late at night and the comedy of inside jokes more than anything else.

Despite this, getting him away from his work to spend time on something else is a rather hard task. He's often so enamored and intrigued with whatever he's working on that he doesn't really want to do much else besides that.

That is when you learn that the only thing this medical man loves more than experimentation is some high-quality dark chocolate. One glimpse at the sweet treat and he's hooked.

You might just wanna ignore the fact that you are literally using treats to lure a grown man from his room and just focus on the fact that it's working

PDA isn't exactly something he cares about, nor does he really think about it. He's not going to get more or less touchy in front of people and he has absolutely no problem with you showing your affection in front of others.

Him? Jealous? Oh don't make him laugh! He'd sooner put Scouts head in his fridge than feel jealousy! (He saids as he's in the process of tearing the guts out of the person who dared to wink at you)

If you are up for it he will 10000% involve you in his experiments. He'll make sure not to do anything too extreme but small things couldn't hurt, right?

Overall excitable and sweet...in the 'I can't give you my heart because I kinda need it to live but would a stranger's heart be an okay replacement?' Kinda way.

Sniper

Okay look, man's super insecure. It might not be noticeable, and he sure as hell won't tell you, but he often doesn't feel right loving himself, let alone loving someone else. He's maybe been in like one romantic relationship. And it probably ended because he was too nervous to say much and put on a stoic face of silence that bored whoever he was dating.

You wanna date this man? You best go buy a pickaxe with how many walls you're going to have to get through first. You'd have to be a very close friend before he even considered anything more.

If you manage to meet that requirement though and he actually ends up catching feelings it can become pretty obvious. The one cool, calm and collected exterior he used didn't work once you knew him well enough and it only became more clear with his mumbled sentences and averted eyes that something was up.

Once he manages to land himself in a relationship though, whether that be by a few accidentally spoken words or you managing to push an answer out of him, it can become rather evident why he didn't want to tell you in the first place.

It's time to bust out the pickaxe again because it looks like you're going to have a few more walls to break through.

At the start of the relationship he's completely silent. It's rare to hear more than a few words from him. It'll take a lot of patience and time to make him comfortable and help him understand that there's no reason to be that way around you.

He isn't a very needy lover. He doesn't expect (or want) to spend every waking moment together. He likes his time alone and he will always respect yours. He's not a very big fan of overly clingy people, it overwhelms him.

You get to see a very different side of Sniper than really anyone else has seen, besides his parents that is. To others he's calculated. He's efficient, polite, and has a plan to kill anyone he meets. You, on the other hand, get to see the outcomes of someone who doesn't tend to express their emotions well. You see the breakdown after each fight he gets involved in and the almost obsession he has with each negative comment thrown his way. He'll act stoic in the moment, maybe throw back an insult or two, but you know he cares a lot for what everyone thinks of him.

Surprisingly his love language is touch. Now it is going to take a long time to get to this point, but once you do it's possibly one of the best parts of your relationship. He loves to hold you and be held by you, to intertwine your fingers with his, to bombard you with sweet kisses all over your face as you squirm beneath him. He SUPER touch-starved and really just wants a hug whenever he sees you.

PDA is a HUGE nope from him. Under no circumstances does he want to do anything in front of anyone. He was comfortable with you and you alone and would probably melt into a puddle of embarrassment if any of the people around you tried to force you two to kiss or hold hands. Luckily for him, most people probably wouldn't even be able to tell the two of you were in a relationship with how much he enforces that rule.

He has two modes when jealous. Fury and silent turmoil. Mode one is when someone advances on you and you want absolutely nothing to do with it or if they end up touching you. He'll most likely tell them to piss off and if they don't he isn't averse to beating a bitch.

Mode two however is the one you have to really worry about. It happens when he notices or perceives someone as flirting with you and you either don't notice it or brush it off as a joke. He kinda always has the fear that you'll leave him for someone better so it certainly doesn't help if he sees someone flirting and you seem okay with it.

He loves sharing hobbies with you and will be absolutely elated if you're more of an outdoorsy person. You two will take vacations all over the world to the most remote places just exploring and camping. It's one of his favorite things to do with you. The two of you will often spend weeks with only each other and if only for a while he can pretend you and him are the only people that exist. For him, that's about as comforting as it gets.

Overall he's a secret mess of a man in great need of someone despite what you may initially think. He's the epitome of 'don't touch me but also I need a hug' and 'people don't mean shit but also please don't leave"

[orange-waterfalls]

Vampire!Reader x Markiplier Egos

ty anon for the request

A/N: YES. IT'S BEEN A WHILE. HAPPY FUCKING HALLOWEEN. I absolutely remembered today is the 1 year anniversary of ahwm absolutely this is not a coincidence what are you talking about ahahahahha. I've been busy w/ school and drawing and general depression and anxiety with the current situation but I'm getting back into it! Vampire reader. That's pretty much it. Rated T, a bit of cursing, mentions of blood, mentions of fangs. A slightly suggestive phrase but that's just Illinois like there has to be at least one with him it's the law. ALSO. NEW RULE? IF I'M DOING LIKE HCS OR SMTHN I WILL DO 6 AT A TIME. I CANNOT BE WRITING 14 DIFFERENT EGOS AT ONCE I JUST CAN'T I'M SORRY. anyways enjoy!

Vampire!Reader x Egos Headcanons

General

Not much PDA

Not much going out in general

You have to cover your whole body when you do, unless it’s nighttime

You spend much of your time inside or in the forest

You’re basically nocturnal

You do drink blood, and you don’t need a lot of it

You drink human blood only if they give permission

You don’t kill people

You know or know of some other supernatural creatures that exist

You are friends with a werewolf. One specifically. You know the one.

Darkiplier

You both are edgy as all hell it’s perfect!

Politely asks you not to bite him

a) because he’s not human and b) because it’ll hurt

You both are very calm and well-spoken. So. not much happens.

However, you are both, in fact, dumb bitches, so things are still entertaining

“My darling, would you like some garli-mmm nevermind...”

You go out with him sometimes on romantic moonlit walks

You don’t have to wear as much then

You make him get a pet, a black cat specifically

He loves it

You named it Darko, Dark for short, and he hates the name

Like he hates the name a lot

It is irrational how much he hates the fucking name

He calls it DA

He never explains why

When you want blood he’ll trap a deer or something

You go into the forest and drink a little of its blood

He’s surprised

“What am I, a werewolf?”

He’ll ask you about supernatural creatures, and how to defend against them

You’re pretty sure he’s an eldritch entity so you aren’t sure why he’s asking YOU

He won’t ask how you became a vampire, that seems personal

He never gets startled when you turn into a bat

He can hear your lil wingbeats from a mile away

Sometimes you’ll sleep as a bat and he just smiles at you hanging from the fan

Fine with you not interacting with others, like he does much of that…

Just likes hanging out in your fucking giant victorian mansion with you

Wilford

We all know that his type is, in fact, edgy bitch

Therefore, you are perfect

Dark clothes? Check

Edgy backstory? Probably

Kinda scary? Oh absolutely

And he loves you for that!

He doesn’t want to be a vampire, but he fuckin loves your teeth

He’ll ask you to bare them and then he’ll do a happy wiggle afterwards

He loves dancing with you, slow or fast

It’s always romantic

He’s basically a god so like. Anything you ask for he’s gotchu

You said you were hungry and he fucking kidnapped someone

You said you were hungry, that was on you

You then explain that you don’t need a whole FUCKING PERSON

He then steals some blood bags from the hospital

“Oh, calm down! They have enough!”

Likes taking you out, so you go on night walks a lot.

You’re not used to social interaction, so he makes sure to steer you away from people

Unless you want to talk to them, then he starts up a conversation and lets you take over

You don’t understand people, and neither does he! It’s great.

Likes when you turn into a bat

He doesn’t know why, it just makes him happy

You made him adopt a black cat

He named it Colonel Whiskers

Loves you and your castle and your weird ass little quirks

Actor

Bite him.

BITE. HIM.

LET HIM BE IMMORTAL

You refuse for the sole reason that he is a dick.

You do get along because you both are, in fact, pretentious

You wear those silk robes around the house, and he gets mad at you

HE is the sexy mysterious one, COME ON!

At least you won’t have an edgier backstory than him…

Likes slow dancing with you

Very much enjoys your Aesthetic

Believes that he too belongs in a Victorian era castle isolated from the world

Loves the dark romance

Is a Fancy Boy

Was fully prepared to murder someone for you to drink their blood

Surprised when you said it wasn’t necessary???

Buys a horse or smthn

Asks about supernatural beings and which are immortal

He asks that a lot

He worries you sometimes.

Hates it when you turn into a bat

You’re small and you fly around and you’re fucking GROSS

He doesn’t. He doesn’t like animals very much. Besides dogs I mean.

Buys you clothes because you’ve been wearing the same shit for fucking EVER

Don’t worry, they’re all black, dark purple, or dark red

Sometimes you decide to go on a walk and he tags along

Possessive bitch

Thinks you’ll leave him if you talk to other people

He scares them or leads you away

Was fine with a black wolfdog you brought home after searching for food

Names it Phoenix, and you call it Nix for short

Is deeply in love with you, but will never say or show it

Yancy

He thinks you’re wonderful!

Originally a bit mean to you

He thought YOU thought you were better than him

He saw the fangs and backed off

He asked about them and you answered, so you got along

Asked if he could be a vampire

You asked if he wanted to be immortal. He declined.

Suggested you drink his blood when you were hungry

You said it wasn’t necessary, but he pushed

Stared at you the whole time

“what’s your issue” “this is very… intimate.”

On that note: has an issue with intimacy

You’re very cold naturally, so you’d want to cuddle

He awkwardly shifts away

Once he gets more comfortable, he might cuddle with you

Loves the silk robes you own, they’re so fucking COMFY

AND THE SILK SHEETS?? Heaven

Absolutely loves all the fancy shit you have

You teach him how to waltz and he teaches you how to tap dance

You have a very equal give and take relationship with everything, it’s great

Neither of you like social interaction

You will if you HAVE to but mostly keep to yourselves

You love Yancy's prison buddies

They love you too

Asked if you knew mothman

You couldn’t tell if he was joking

He absolutely Was Not joking

He sings to you sometimes

It echoes through the place and the Aesthetic man

Hates it when you turn into a bat

Bad. No. Stop. Scary.

A small animal flying at him is a no go

Alternatively: get him a pet dog and he will love you forever

He names it Elvis. Yeah you know why.

Overall loves you and your aesthetic, and you could tell even before you got together

Illinois

Excited but doesn't show it

He's met PLENTY of supernatural creatures

Ghosts, gods, there was a thing with that werewolf one time…

(He has the scars to prove it)

But a vampire? That's new

He doesn’t live at your place because he travels a lot

He still stays there sometimes between adventures

Uncomfortable with how clean it is

You are. An immortal being. And you take the time to clean. What the fuck.

“Would YOU wanna spend eternity in a dusty ass mansion?”

His flirts are often about your fangs

You threatened to bite him and he said “promise?”

Said you could drink his blood, but you said no

“I don’t know what the fuck you got in that bloodstream”

Doesn’t do walks but takes you on adventures

If it’s a cave. And you turn into a bat.

ONLY if you turn into a bat

Sidenote: he fucking adores when you turn into a bat

He just thinks they’re neat

Uncomfortable with how soft everything you own is

NOTHING is soft in nature

Except. Like a lot of things. But don’t tell him he’ll get mad

Doesn’t really want a pet bc he’ll never be home to deal with it

He’ll be fine if you get one though

He wants to name it Nathan Drake he doesn’t care what it is

NERD(see: Uncharted)

Will never EVER wear a fucking suit

He will DIE before he wears a suit fuck you

Dislikes anything remotely fancy

Talks about the creatures he’s met

you get Bard Vibes if ya know what i mean wink wink nudge nudge he's a whore is what I'm saying here

You hang out normally mostly

He refuses to acknowledge his feelings for you

Not after the mermaid incident.

He eventually will, i promise

Magnum

He’s a pirate, he doesn’t care

He’s seen sirens, ancient spirits, probably Davey Jones at some point

A vampire? Low on the list of dangerous creatures

He has a whole ship made outta wood he’s not that worried

You don't really sail with him often

When you do, you're seen as a threat to anyone and everyone

He loves that about you

Warned you not to bite him or he'd stake you

You promised not to and that was enough for him

You get along with the crew fairly well

However do NOT turn into a bat around them

They will not hesitate to shoot

"UNIDENTIFIED FLYING OBJECT, MAN YOUR BATTLESTATIONS!

You can maybe do it around Magnum and only Magnum

Doesn't like your house

He belongs to the sea

But can and will steal your sheets for himself

A pirate can have a little silk, as a treat

Offered his crew's blood to drink after a while

You declined because you don't know what the fuck kinda diseases they have

Doesn't really want a pet. He can't tell them what to do.

You bought an axolotl and he loves it a lot

Its name is Delta but he has deemed it Magnum Jr

Can't really. Fit. In any suits you have

He has to go out and get one personally tailored if he wants it

Likes dancing with you

Slow dancing. To Danny Boy.

He can't dance but that's ok he tries

You talk about land creatures and he talks about ocean creatures

So far he despises werewolves and skinwalkers

He likes spending as much time with you possible

He doesn't much like the idea of a relationship bc of his uh line of work

But he loves you