#i do like the story and a lot of the visuals

[eyelinerpal]

I gotta talk about this more because I'm seeing even more posts about how "The Substance is sexist it reinforces that older women are disposable" or "The Substance is sexualizing women it's just the male gaze" and like we don't all have to have the same takeaway from a movie things aren't totally black and white and the movie wasn't perfect but it's just like... did you watch Breaking Bad and think the message was "selling meth is cool"?

Depicting something =/= endorsing it. Society *does* view older women as disposable, and The Substance showed that reality and then showed the harm it causes. Elizabeth seemed fine with herself until her gross chews-with-his-mouth-open male boss tells her she's too old and needs to be replaced by someone younger and more "perfect" and then she's so obsessed with obtaining that she literally let's it kill her and it's *still* not enough.

Like we do not all need to have the same view of the movie, we don't all need to think it's feminist, there are a lot of different angles and ways to view something. But the fact that media literacy is at a point where a movie that simply *shows* older women being discarded, or women killing themselves in a futile attempt to be "enough" by society's standards is critized because having those things on screen must mean the movie is agreeing with them is...frankly kind of scary actually.

Yeah you might feel like the sexualized visuals of Sue were overdone, that's a valid way to feel, that kind of thing can evoke different reactions in different people. But personally those scenes felt uncomfortable. They were so over produced and over the top and mixed in between scenes of just gross yucky stuff it felt so...fake. and yeah she was objectified, the point was she wasn't seen/treated as a person just an object.

I just really think we need to move way way past the idea that feminist media is only "#GirlPower" and the only way to have a feminist lense is for the story to be "woman pushes back against beauty standards and sexism because she knows better." These systems exist in society and many many girls and women are indoctrinated into them. Analyzing them is also feminist. Showing them as the evil monstrous things they are is also feminist. Movies do not need to have a clear villain to have a message. There is no single villain in sexism. It's not one studio head, it's not even "men" in general. Women can and do uphold these misogynistic structures as well! Often, like Elizabeth, even at their own detriment.

People are certainly free to have differing views and not everyone has to like the things I like but I really think those kinds of reviews and complaints are so so shallow and frankly feminism will get us nowhere if we can't go beyond the surface of "this movie showed sexism its sexist" or "Men bad women good."

And like, it may also just not be your type of movie! That's totally fine, and does not mean you need to think it's harmful. It's a psychological body horror, that will never appeal to everyone.

Anyway

why is it that movies directed by women about beauty standards and/or the state of being valued as a woman only for your looks/appearances are ALWAYS criticized for “not being feminist enough” (ex. barbie, etc.)

[winonaparadise]

Maybe I’m somehow super unaware that I missed it but where’re you posting GWH nowadays? ;3;

Thank you for asking, and thank you for reading GWH! Unfortunately, it basically doesn't exist right now outside of like, the things I'm trying to make behind the scenes. I lost a lot of steam when the new format I worked really hard on lost a lot of traction and didn't sell as much as i had hoped (not anyone's fault besides my own and, maybe also Elon Musk's for kind of fundamentally destroying twitter dot com as we knew it) and also the second installment of it being 90% finished and then just being entirely lost to a hard drive failure also really just sent me into a spiral. And I also kind of just started hating my own work and art after that, have been working to try and improve, and keep my chin up despite watching a lot of my peers find success before me. Which is admitting one of my very selfish, ugly thoughts - but I do feel like maybe my webcomic was stupid and a waste of effort because it was never "legitimized" via publication like a lot of others surrounding me have been.

I've been kind of struggling with what to make lately. I have tried a lot of things that didn't really take off and it's left me confused about what to do. I feel like every shot I take at something isn't really met with much enthusiasm (again, nobody's fault but my own but if you want to blame this one on Musk as well sure why not) and I don't know how else to gauge if I'm doing the right thing. I think and write something for GWH almost every day, though. I am slowly chipping away at this vague idea of a "visual novel" version that will hopefully allow me to tell a contained story in one piece rather than falling off like I've done in the past. I really, really want to make that.

And in all total complete probably unsurprising honesty I'm just very depressed. Like seriously-considering-suicide-every-week-depressed. I'm sorry if that is a flippant way to express it, but I don't know how else to than to try and couch it in some flippant language. I don't have a lot of money, my health hasn't been very good, and I spend days and sometimes weeks entirely by myself. Making stuff is very difficult with these conditions and unfortunately (fortunately?) the cure to at least some of that is probably making more stuff! It's just taking some time and I really apologize for that. I hope you can forgive me and you'll like whatever I manage to make next. Thank you.

[wardensantoineandevka]

I won't get around to writing a properly developed post on it, but speaking generally and assuming broad good faith, I personally think the anachronism in Veilguard is fine. I know it's a deeply held bit of style for a lot of people, and many hold the directive about no anachronism as important to things feeling properly Dragon Age.

Personally, I never felt it THAT important. I roll my eyes at nitpicking about historically accurate costuming too, and I pause to wonder what IS "anachronism" in fantasy. I think a lot of the style of the games leaned so hard on it that, in some places, it was a substituting this rule in place of developing stronger individual style or voice. I love this series, but I don't feel like characters (notably once you got past core cast), locations, etc. always and consistently had a strong sense of voice, both in terms of diction but also in visual direction. I feel like even the music gets this a little bit, since Veilguard feels more musically interesting to me than many of the prior tracks because, I think, the soundtrack is allowed to feel a little less like vaguely European medieval heroic fantasy.

There's always been anachronism, but I think the strict reliance on adhering to a particular conception of what A Fantasy Story looks and sounds like really hampered, at least for me, the development of style identity. Veilguard's voice and style broke from that in a way that did feel successfully more specific and striking for the story and characters it's trying to dress. I think being released from this directive does—because there's no longer what we bring ourselves to the table from our familiarity with the genre and pattern recognition—however, magnify flaws in how Bioware always has treated the setting as just the backdrop against which these dramas play out. But that's outside the scope of my thoughts here. I'll just summarize that with: that's a consistent Bioware problem, and I don't think it's inherently wrong to approach worldbuilding as merely dressing the set for your story, though perhaps that isn't always the most successful approach here and I know many fans are very invested in the setting itself and its development, so that would put us all at cross purposes.

Don't get me wrong. There IS a place for that sort of directive, a rule against things that scan too modern. But then, I think for it to work, you have to have a very firm idea of your own voice, of your individual style and direction working with that directive, and frankly, I don't think Bioware EVER really had a super strong grasp of it here.

I do think the character design especially, character voice, and visual identity suffered SO much in many earlier instances because of this directive. Meanwhile, I think it's interesting and striking to have things like, for example, Neve clearly drawing from film noir and how that informs how I approach and think about her as a character and how appropriate it feels that Lucanis and Illario end on the stage of an opera house. I feel like being released from having to worry about anachronism has, for me, produced some of the strongest instances of style and voice in the series in a long time.

And I know a lot of people feel the OPPOSITE, which is a matter of personal experience and taste, but for my own, it always felt like the series was weighed down by a notion of needing to properly emulate The Genre. (We've all looked at the infamous browns and muds of Origins, a game I am fond of. This is why it looks and sounds like that, in my opinion.) This fear of being too anachronistic or too modern often left the series not really feeling, to me, like it's really had a firm sense or idea of what its style or voice was, of what made it sound or look like itself, because it was always afraid of being too modern while also feeling afraid to not look enough like a heroic epic fantasy.

I think getting rid of that and no longer fearing it has done a lot for developing a stronger voice with a look, sound, and feel for Veilguard that feels more specific and conveys story and character so much better and more confidently. Because, in the end, that's supposed to be what this is all in service of: conveying character and story. I feel like Veilguard, in being released from this restriction, has developed a stronger voice with which to do it.

[entropyvoid]

@labyrynth Imma more heavily push back on that pushback because while you do have a point that western and Chinese audiences in general have pretty different ideas of what’s masculine and what’s feminine, my point is that Aventurine’s design, (and much of Penacony in general) is pretty clearly heavily based on 1920’s America, and I think deliberately mixes specific aspects of both men and women’s fashion from that particular time and place, when masculine and feminine fashions were very much separate. To be more specific, his design slaps a lot of details, ornamentations and overall motifs you would have only really seen in women’s fashion on a masculine silhouette. (This still applies despite him not being from Penacony - his design is still very much meant to evoke it, he is still considered a Penacony character, and I’d argue that aside from just story reasons literally all of the playable Penacony characters being from elsewhere is meant to be reflective of how a large part of the US in that time period, especially in big cities on which Penacony was based (coughNewYorkcough) were absolutely chock-full of first and second gen immigrants because up until acts passed in 1917 and 1924 implemented literacy tests and heavily restricted immigration, all you had to really do to become a US citizen was just show up on a boat but I digress.)

Also it gives me an excuse to blab about fashion history and character design in general. A lot of the links I’ve provided go more into detail and provide visuals, I’m largely just summarizing and picking out what I think is relevant.

We’ll start with the most obviously masculine aspect of his design, which is his silhouette. He’s wearing a three-pieced suit, a long overcoat, (none of which ever really looked anything like what Aventurine’s wearing but we’ll circle back around to that,) and a fedora, all pretty normal menswear stuff in the 20’s and a good while after. Of note I’d like to point out that mens fashion (like women’s fashion, but not as dramatically) became a lot more structurally simplified in this period, with the button count on suits sometimes going way down to 1 or 2 buttons, which is pretty much what Aventurine’s got going on. [https://fashionhistory.fitnyc.edu/1920-1929/ and https://vintagedancer.com/1920s/1920s-fashion-men/]. …Tumblr wouldn’t let me link it the same way I did everything else, for some reason. Damn jank-ass webbed site.

Flapper fashion included a very large variety of outerwear, but I’d like to direct you to look at some of the fur-lined winter coats here, and then maybe take another look back at Aventurine’s coat.

Feathers were a very common adornment in women’s fashion at the time, particularly on hats and in feather boas. Peacock feathers were a popular choice. (As well as ostrich feathers, particularly for boas.)

Peacocks as a motif in general. Since Japan opened its doors to trade in 1858, a lot of new inspirations that western artists and designers took from slowly seeped in, the peacock included amongst them, wherein it very quickly became associated with beauty, exotic luxury, and vanity. [x] At the beginning of the 20th century it began to appear on accessories, [x] and starting in the 1910’s, female stars began dressing as peacocks on stage, and “the male bird became a symbol of exotic femininity and fantastical extravagance.” This was despite the long-held superstition (in western theater and in general) that peacocks were bad luck because they embodied the evil eye, [x] though the opposite holds true in Chinese culture, where they symbolize good luck, as well as beauty, dignity, and heavenliness. [x] In the context of Aventurine I find this especially interesting, because frankly, I’d argue he’s really got all of the above going on rather than one or the other.

I’d argue that just because a character is made by a Chinese game developer, that doesn’t mean that western symbolism, sensibilities, and influences don’t come into play, especially when the character is pretty explicitly based on/inspired by western culture and they know the game’s got a worldwide audience. Take Dr. Ratio as another example - he’s obviously Greek themed and his outfit evokes a toga. The swirl pattern all over it is probably a golden ratio visual pun. He’s wearing a golden laurel pin in his hair, a symbol of honor and achievement worn by artists, athletes and scholars for thousands of years, and it’s got the same number of leaves on it as he has PhDs. The little gem on his chest is tyrian purple - a color historically reserved for royalty, reflective of him having an incredibly distinguished status. He’s got an owl on his shoulder, which is a symbol of Athena, Greek goddess of wisdom. Interestingly enough, according to that thing I linked earlier that explained a bunch of the symbolism of different birds in Chinese culture, it would seem that owls are a bad omen, because of their big scary eyes and the fact that their call sounds like a word for gravedigging in certain dialects. And honestly the whole not being recognized by Nous thing could be seen as ill fortune, while overall he could easily come off as negative or gloomy, especially if you’re playing with the Chinese, Japanese, or Korean dubs, where his voice is a lot more… I guess stoic? (I love English dub Ratio but he is a lot more… emotional sounding? And perhaps that too is something that more suits broadly western sensibilities. Idk.)

Point is, though Chinese symbolism may not have been thrown out the window there, he is nonetheless clearly heavily influenced by the symbolism of the culture he’s inspired by, with both fused to make something that works for both audiences. I don’t think Aventurine is really any different. I think to ignore the feminine aspects of his design within cultural context assumes that the Chinese character designers (and the writers they work with) just didn’t do their research well enough and slapped masculine and feminine fashion together by complete and total accident, which I think does them a disservice, especially when they pack so many designs full of meticulously researched little symbolic or cultural details.

I also think that the issue of trying to get queercoding past Chinese censors seriously complicates any discussion of a given character’s masculinity/femininity or gender in general, and Hoyoverse has like, a whole history with tryna depict queer people anyway (original Bronya/Seele HI3 comic kiss, anyone? Chinese government specifically saying no femboys allowed and then explicitly naming Venti, anyone???) But like, that’s a whole nother can of worms.

I spent literal months going “man I wish they’d release a character with a flapper-inspired design for Penacony since it’s inspired by 1920’s America and whatnot” whilst maining and constantly staring at Aventurine the entire time before it clicked for me that he’s the resident flapper and his outfit is basically a 50/50 fusion of both masculine and feminine 20’s aesthetics actually and that’s like pretty cool

And then I went “but what if we dialed the flapper aesthetic up to 100” just for funsies because I wanted to see what it’d look like. So here you all go

[constantlybrainrotting]

i lied, put your clothes back on. i'm going to keep talking about the dance studio au (side note, currently writing this as i am at the studio i teach at lmao)

on today's episode of brainrot, i tell you about the different specialties of the characters i chose to teach and why i chose them, as well as some random facts about them as teachers!

Silco Lane-Shimmerson (ZDC)

STYLE INSPIRATION: Ballet/Pointe | Contemp

Silco mainly teaches ballet, pointe and contemp to both the full time comp kids and the part-time comp kids. I chose ballet/pointe for him because he is seen in canon as an overall precise and focused person, with little room for error, which are qualities usually seen within those styles. While he loves a good classic ballet routine, i think his specialties would lie within contemporary ballet, a style i see as more Zaun fitting. he would've learned the vaganova method growing up, a method known to use and value flexibility, strength and endurance, a method i believe that holds values that are pretty in line to Zaun in the show. due to his proficiency in contemporary ballet, i think it would bleed into him really enjoying contemporary/modern as a style. he would definitely be a harder and tougher teacher overall but the kids, especially the younger ones, love his upfront personality and makes him one of the more favoured teachers at the studio. He makes a lot of the kids enjoy ballet despite it being not well liked for many kids which is a FEAT. Silco is known for his intense choreography and it pays off since they are usually winning pieces (in contemp because anyone who judges a ballet dance judges so dumb no matter which way you go). He grew up with Vander at a small local studio and ended up joining and teaching at the Greater Piltover Ballet Company (GPBC) for a couple years before opening up a studio.

Vander Lane (ZDC)

STYLE INSPIRATION: Lyrical | Acro | Open

Vander doesn't actually teach all that much in comparison to many of the teachers since he also runs a cafe part time that is attached to the studio but is an overall favourite among the full-time competitive dancers. I chose for him to teach lyrical, acro and open because acro and open can be very powerful movement wise, which we see in Vander in the riots on the bridge and makes a lot of sense in that front, i decided to however also have him teach lyrical to bring out his softer side, which we see in the show when interacting with the kids. He teaches lyrical and acro to all of them but teaches open to the senior and inter teams. he's the type of teacher that brings in goodie bags for each holiday season and will tell the most insane stories during class time at random of him, Silco and Benzo over the years (ex. "fun story about spotting, when I was in the Piltover Ballet with Silco we learned from this woman who used to throw chalkboard erasers at us if we didn't spot our turns lol" "WDYM CHALKBOARD ERASERS???" "anyways back to your turns-"). He creates the most visually moving pieces ever and you wouldn't expect such softness and fluidity from that large of a man but by god does he do it well. oh and his acro routines?? SO visually stunning. this man has an eye for creating the most stunning pieces in all of his routines and they are consistently getting special awards for artistry at competitions. He also joined the GPBC for a brief stint with Silco before going to open up a small cafe on which Zaun Dance Movement was built upon.

Sevika Vann (ZDC)

STYLE INSPIRATION: Hip Hop | Acro | Open

Sevika is the one woman army of ZDM and Silco's right hand woman. She's the one picking out costumes (only Babette is aloud to help she does not trust those men), unpacking costumes, bedazzling, the whole works (dw she is compensated GOOD). I have her specialty as hip hop because she is a notably strong fighter and with the way she moves when fighting, she moves fluidly and sharp which are common notables in hip hop. She teaches the whole slew of comp kids hip hop and does tech classes with them. Her hip hop style is heavily mixed with Zaun break dance/street dance and allowed for the studio to become known for their unique style. She also teaches the part time kids acro since Vander is busy with the cafe and does some of the open small groups for the full comp kids. Her general stylization with her dances is heavy hitting and focuses on strength. She is a tough teacher but she does have her moments of roasting the shit out of her students to their delight. she loves a good banter and to be able to do that with her students will always be meaningful to her. She actually met Silco and Vander during a convention before they opened the studio, with her attending both their classes (Vander jazz and Silco contemp) and they took notice of her technique. Silco asked her to join the team the year they opened and with nothing else lined up for her at the time she agreed.

Babette Furlan (ZDC)

STYLE INSPIRATION: Jazz | Musical Theatre

I couldn't resist not putting Babette in this au she would be a riot omg. Babette teaches jazz and musical theatre because this woman would THRIVE in it. she owns a brothel in the show okay she would just love the theatrics of the two styles and would definitely go towards a more fosse style of jazz. she's been around a hot minute so she's very well known in the dance world and has won many awards for her choreo so it was down to pure luck that Silco ran into his old dance teacher whose home studio was closing and she was looking for a new studio to teach at. she creates choreo made to entertain the masses so it's very theatrical, loud and with the funnest costumes ever. she's also pretty well liked in classes and teaches all levels and ages.

Smeech Citrano (ZDC)

STYLE INSPIRATION: Tap

I LOVE ADDING THIS FUCKASS INTO RANDOM AU'S OKAY SO HEAR ME OUT!!! Smeech is the tap teacher because no.1 the way h moves in fights is great for tap and no.2 he has cybernetics in the show and metal meets metal shoes yknow!! this man is my favourite to figure out because he has beef with SO MANY of the kids, even the ones he has do solos/duos/trios and the only reason hes still employed is because hes the only good tap teacher in Zaun. the kids hate him but his routines place good so its a win-loose situation for them all honestly. his style of tap is steampunk ambience music with complex and/or fast steps with weird timings.

Cassandra Kiramman (PDC)

STYLE INSPIRATION: Jazz | Lyrical | Open

i have Cassandra teaching jazz, lyrical and open for a few different reasons. the jazz style appeals to her more intense side that we see when she busts in cait's room with a gun. she tends to lean towards the jazz-funk style more and her choreo is upbeat and fast moving. her lyrical becomes the opposite of that in fact and tunes into her softer side that we see when she talks to Caitlyn or Tobias. she uses traditional lyrical with it's softer and flowy lines of the body creating almost constant movement that draws in the audience. her style of open brings the two together which i think is important for her character. there tends to be sharper movements within but still allows for the flowiness to come through. her teaching methods can get intense at times but overall shes a good teacher and she's the kind to always have you do it full out with the music. she took over the studio after Heimerdinger's decision to step down and retire (for the most part lol) and has improved certain areas of the company since. before she had taken over, she was both a student and a teacher and had graduated from the GPBC's teaching program for lyrical and jazz. she's pretty hands on with her studio so she teaches both full time and part time competitive teams in her 3 preferred styles and is at the studio almost always. When she took over the studio, that's when a initial reach out to ZDM was made... she got one half in good faith at least!

Grayson Menea (PDC)

STYLE INSPIRATION: Hip Hop | Contemp | Acro

i couldn't NOT include miss Grayson so i have her in some of the more intense styles like hip hop, contemp and acro! she's got an overall pretty intense job in the show and i wanted to really bring that forward with the hip hop and acro, but show her somewhat softer side through with the contemp. her hip hop choreo is really sharp movements and lots of isolations, and her acro can be similar, with the placed movements and intensity. her contemp choreo is a lot more softer with the movements but still brings in that intensity through intentional and well placed moments of movement. she had actually grown up dancing at a smaller studio on the outskirts of New Piltover and close to Zaun so she learned hip hop very similarly to the Zaunite style of hip hop. she ended up doing a brief stint in the military and after a shot taken to her shoulder she was discharged. she decided not to return and was offered a job by then owner Heimerdinger to teach hip hop, since she was recommended by a mutual friend. she agreed and has thrived ever since. shes an overall pretty tough teacher when teaching but outside of that shes a wonderful person to be around and gives advice to the kids she teaches. she takes on more of the full time kids but does do some teaching with the older part-time kids.

Amara Saffioti (PDC)

STYLE INSPIRATION: Ballet/Pointe

Amara just looked like an older ballet teacher idk what you guys want from me, i went off pure vibes from her tbh. in any case, she is a true believer of classical ballet, plateau tutu's and all and is a no-nonsense but kind teacher. she uses the English (RAD - Royal Academy of Dance) method when teaching and she teaches the full scale of comp kids. she has a tendency to use music from different ballets and doesn't really branch out in that regard but her choreography is gorgeous. she also single-handedly puts on the nutcracker with her students every year and when Cassandra tries to help she shoos her out of the classroom. she was the first employee of the studio and she claims she will stay until she dies because she genuinely enjoys teaching so much.

Shoola Junot (PDC)

STYLE INSPIRATION: Tap | Musical Theatre

Shoola was also a very vibes based choice but i did think that a good musical theatre would help her be less cold in a way. for Shoola's tap style, it is a lot of quick tapping and lots of movement around the stage. she also has a habit of picking the shiniest of costumes for the kids which they love! i had a harder time finding a musical theatre style i liked for her but a classic simple musical theatre is where she is happy. her choreo still has those fast movements that she loves, just not as shiny costume wise and she loves to pick from older musicals. shes pretty well liked among staff and students but can seem quite cold due to her quiet demeanour outside the studio. she was originally a student at the studio and after graduating was asked to teach while she attended college to get her degree in engineering. she has another job outside the studio in a mechanical engineer position. she has also single-handedly upgraded the tap technique at the studio which is insane behaviour tbh.

Bonus! Cecil Heimerdinger (PDC)

STYLE INSPIRATION: Musical Theatre

thought fuck it, might as well add in the yordle! so Heimerdinger was actually a musical theatre geek and loved kooky theatre music so much he opened a studio mainly for that. he quickly learned he needed more variations of dance styles so in came Amara! tbh he had no clue wtf he was doing but they got an increasing number of wins with their routines so he said fuck it we ball ig. when he decided to give up the studio, he asked Cassandra and thankfully she said yes! while yes he was retired, he knew he needed SOMETHING to do so he took over managing the front desk (his multiple degrees came in handy) and does guest choreo work for Cassandra in his favourite style... musical theatre!

[inxkpaws]

Here are ways to blend your therianthropy with family dynamics and holiday traditions, especially when tricky family members are involved:

---

### **Blending Therianthropy with Festive Traditions**

1. **Decorations & Gifts**

- Incorporate wolves or wilderness themes into your contributions, like giving wolf-themed ornaments or nature-inspired gifts.

- Wrap presents in earthy tones with twine and natural elements like pinecones or sprigs of greenery.

2. **Holiday Stories**

- If your family shares stories, slip in wolf-inspired folklore, myths, or anecdotes about the importance of community and survival.

- Share personal reflections that align with therian themes, like finding strength in hardship or valuing your "pack."

3. **Games & Activities**

- Suggest an outdoor activity, like a walk in nature, if weather permits. Use it as an opportunity to channel your wolf side by staying attuned to scents, sounds, and movements.

- Lead a scavenger hunt or similar game with a nature or wolf theme.

4. **Meals**

- Bring festive dishes that resonate with your wolf instincts. Think hearty vegetable roasts, foraged-inspired salads, or "wild" berry desserts.

- Use the opportunity to share your love for sustainability and your connection to nature.

---

### **Handling Tricky Family Members**

1. **Deflecting Questions**

- If someone pries into your behavior or choices, have light, non-committal answers ready. For example:

- **Question:** “Why do you keep looking out the window?”

- **Answer:** “I just love how peaceful it looks outside.”

2. **Staying Grounded**

- Take deep breaths or step outside if family dynamics get overwhelming. Ground yourself in your therian identity through quiet visualization or movement.

- Focus on the positive relationships in the room—the ones that feel more “pack-like.”

3. **Gentle Redirection**

- If someone challenges your veganism, therian-inspired habits, or spirituality, redirect the conversation to something neutral or festive:

- **Them:** “Why are you eating *that*?”

- **You:** “I love how colorful the food looks! Have you tried the salad I brought?”

4. **Asserting Boundaries**

- Be firm but kind if someone pushes too hard. For example:

- **Them:** “Why do you always seem so distant?”

- **You:** “I’m just taking some time to reflect. The holidays can be a lot, you know?”

5. **Wolf-Like Resilience**

- Channel your inner wolf by staying calm and confident under pressure. Remember: not every challenge needs to be fought head-on. A strategic retreat can be just as powerful.

---

### **Subtly Sharing Your Therian Side**

1. **Show, Don’t Tell**

- Let your actions (kindness, loyalty, attentiveness) reflect your wolf-like traits without explicitly mentioning therianthropy.

2. **Storytelling as a Mask**

- If you feel bold, share a wolf or wilderness-themed story that mirrors your experiences. For instance, tell a tale about the importance of understanding one’s nature or finding one’s place in the world.

3. **Symbolic Gestures**

- Offer gifts or sentiments that reflect your therian values. For example:

- “I thought this [wolf-themed item] reminded me of how you’ve always been so protective of the family.”

---

[jamethinks]

One reason I feel like my sxf analysis always falls kind of flat is because I always overlook the supernatural elements of the story. One part of me gets that Anya has superpowers, but then I forget other characters can have superpowers, and we just don't know about it.

Speaking on the desmonds specifically because I feel like most people assume something is going over there given who Donovan is but I just think they're weird?

I don't think Donovan is a telepath who knows what Twilight is doing. I think he's a smart guy who knows a spy when he sees one. He's observant and calculated and knows how to have full control in every situation without exposing himself as the puppet master. He's knows how to say a lot without saying anything. He's a politican and an abuser so it adds up. But then I remember the scars on his head and it's like damn that's right too ig

Similarly, with Demetrius, when he first popped up, i never thought he was a telepath or that he was being experimented on. I just saw a tired, overworked child who has lost all light in his life, has not friends, no hobbies, no ambitions, and therefore no thoughts. I would even argue that the silence is more of a metaphor than a legit observation. It was supposed to be more of a visualization of his mind than a literal representation. To me, it was just a way of showing that Demetrius' mind is so fried from everything that he essentially doesn't even have thoughts anymore, and that's his challenge.

Then a more recent post i saw was speculating that Melinda also had something done to her and that's why she acts that way and I'm not like it's painfully obvious she's being abused and it's a bit weird you'd even think that. But I have to remind myself it isn't that kind of story, and it's not a farfetched idea that they would pull something like that.

I just be taking shit too seriously man idk

[spongeknife]

Timebomb: A look at supportive relationships with amnesia (a focus on DID)

I have been rewatching S2 Arcane, and of course Echo's scenes in E7 have left me with a special type of joy. So, coming from someone with DID, I'm looking at how DID effects relationships and what a supportive partner may look like. I would like to note, I do not think Echo has DID, nor do I wish to make that connection: But, Powder's perspective of Echo's changing behavior has a lot of similarities to my own real life experiences and I wanted to highlight that. Also the advice I give may not work for everyone. This is more a guide for partners who have no clue where to even begin, with examples, not a step-by-step instruction manual. I will do my best to go in order.

Alright, so I'd like to start at the beginning, where Echo is writing in his journal and seems to "become aware" of where he is. In Arcane, I understood this as our Echo taking over Powder's Echo. But, in a system sense, this can also be seen as "switching" (one part becoming aware of the body/taking control).

Now, I think in a lot of cases, these "switches" can lead to confusion and stress, as a part tries to piece together what is happening and who they are. It terms of relationships, Powder is unaware of this "switch" when she begins to talk with him. Much like a system, many switches can be very internal - leading a partner to not be aware of what is happening inside a person's head.

Powder, pretty obviously goes about conversation as she normally would, walking up to Echo with a smile and even making a joking quip. Echo, internally, is connecting Powder with Jinx, and I think the visual in the mirror depicts that really well. Much like a part who has switched in, Echo is relying on his old memories and is unaware of who this present "Powder" person is. I have experienced this as well, being unaware that a problem from the system's past is no longer a threat. Powder proceeds to process that Echo is clearly not okay (by the way he jumps back in defense) and tells him to relax. Even when Echo throws an object at her and grabs a screwdriver in defense, she does not attack back, instead just questioning why. Now, I do not think in a real world scenario any OBJECTS SHOULD BE THROWN, and I do believe Powder is a lot more patient than most people. (I know if my partner threw something at me, I would not just be confused and then move on).

But, in a less extreme example, Powder is staying true to who she is, and what her reactions are. I find in systems, when disorientation and stress happens, one of the best things a partner can do is be routine and patient. Or, even helping a part ground themselves (which we see later on). Powder is clearly upset and confused (I would even say hurt), but she doesn't become reactive. In the real world, I would not recommend just ignoring if a part has done something hurtful, but instead, disengaging or supporting until there is a better time to address it. In this case, when Echo does not respond to her asking what gives, she drops it (and I would recommend coming back to it when the person has a clearer head). What is not seen here that I would also recommend is coming up with clear boundaries and sticking to them BEFORE incidents happen. Having a sit down with your partner's system and letting them know what you are okay and not okay with, is a great way to show the system that there is stability.

System note: Now, I would also like to note there is a couple times, I as a system, liked to believe Echo has this reoccurring problem (or a similar one) because that's comforting. And, as a side note, one of those times is Benzo seeing Echo and saying, "one of those days, huh?" Benzo and Echo's relationship (familiarly) is also a great example of being a healthy support system, but that's a story for another time...

Now, continuing on, Powder is flexible. She does a good job (it seems at the moment, at least) with accepting this "different" Echo, and choosing to support him through verbal and physical affection. While in Arcane, Echo isn't very appreciative of her gestures, in the real world, being flexible is a good way to remove pressure from an already stressful situation (Imagine how this would've gone if she had snapped at him in that moment for being so distant), even if he doesn't believe it, Powder is showing she is still on his side through this (and, I believe this helps him open up later on).

Walking through the bar to sit with the group, Powder seems to be holding his hand as well. Again, using physical touch as a grounding tool to help guide Echo. She continues talking with him as she normally would, and when he seems dissociated from the conversation (going from partially aware to completely unaware), that's when she snaps to ground him again, out of concern.

She asks what's wrong, and notes that he's been out of it. In real life, many systems experience time loss - and, when switching or dissociating, may not even realize they are. Reaching out and describing how a part is behaving may help them realize something is off as well. Powder has been supportive, compassionate, and above all else, VERY patient. Echo opens up about how he feels ("waking up in the wrong universe"). All the small steps she's taken has helped him feel he can open up. (Again, imagine if she snapped or threw something back at him, in his eyes, equally viable options from her). Now, not all parts switching in may feel ready to open up, some parts may need a LOT more small steps, some may only need one. Her ability to come back and keep trying is a beautiful illustration of how much support people with systems or DPDR may need. AND, when he opens up, she reminds him of what he's been through (staying up all night). In real life, a part may be unaware of what the body's been through, and empathetically letting them know may help them adjust to the present. Along with this, Powder talking about sleep is, again, showing a partner is likely to be unaware of what is happening internally if the system does not communicate it. Given that, Powder still tries to reassure about what some current stressors may be (there being "plenty of time before the competition") and reminds him AGAIN, that they are a team ("we'll work out the kinks"). She goes to touch him and he flinches away, in reality, parts may be doing this because they are still not fully grounded. Again, if they have been living in the past (especially a trauma covered one), they're natural state is being on the defense. When a part dissociates they may be reliving their experiences silently, or even becoming unaware of their body - reverting to that naturally defensive state. Powder looks hurt at his rejection, which is completely valid. She still picks up the cup that gets knocked over, is still aware that now is likely not the time to talk about it, and doesn't degrade Echo in front of their friends.

Milo runs off, and Powder has a good reason to follow behind. I think it's a good reminder that, yes, it can be very tiring, and as a partner, it is not wrong to take breaks from situations. Sometimes, things are stressful, and taking a moment to do something else is NOT wrong. I know a lot of partners really want to stick through it with their partner's system, but please remember your own health is just as important. Go on that walk, hangout with friends, drink some water, write about it, whatever you need to do to regulate. Additionally, in this case, Powder is the direct stressor (it seems), and she's giving a break to Echo to process what is around him. Sometimes that's needed too, hopefully the system you're with tries their best to communicate when they need to take a step back (and they may need some help at times). Sometimes what a partner does CAN be an indirect trigger, but that does not mean that partner is to blame. System note: I'm going to skip over most of the parts where Powder and Echo aren't interacting. But, I would like to note as a system, I can relate to Echo not being present, instead being focused on something else. (When he redraws the anomaly over and over and OVER again), just a little tidbit that I can relate to. Along with Echo not wanting to be in the "present" moment. Powder, despite all the stressors, invites Echo into her routine (seeing Vi).

And, she does not show how confused or upset she may be feeling. Continuing to show him respect. Once they are in a private, safe (I assume it's safe to the original Echo and her) space, she tries to ask about why he's acting so distant. This is a good example of coming back to what happened later. She saw him talking with Heimerdinger and likely believes he is feeling better enough to talk with her. Now, in real life, a part may not be ready. That does not mean the partner should never check in about how they are feeling. Dating a system has a lot of trial and error, sometimes it's the right time, sometimes it's not. Now, if a system DOESN'T hold space for how you may be feeling (aka, EVERYTIME you try to check in it backfires), I would recommend a genuine conversation about it. Again, just because your loved one is struggling does not mean you as a partner deserve to feel like crap for trying to be supportive.

In this case, Echo wants to know about his present situation. Powder does a great job of summarizing for him and tries to help fill in the gaps she thinks he could be missing. In real life, again, a part may need help connecting to present day, letting them know what may be obvious can help them feel more grounded AND stable. Additionally, when Echo has doubts about Powder's character, she shows there's no reason to distrust her. She doesn't get offended by his questioning, instead just letting him know who she is, through the perspective of Echo. In real life, highlighting what a part has done with you can help them see that their system trusts. "You weren't gonna figure it out yourself", "You're the big idea guy." are both lighthearted ways to remind Echo who he is, and that he has trusted her in the past.

I'd also like to note, she continues with what she went there to do. She takes a lighter and heads over to Vi. She's not being dismissive, but she's also not cornering him, either. This emphasizes her reliability and trust, and shows Echo that she's not focusing in on him like a hawk. In real life, some parts who switch in may feel like they're just waiting to be punished, like they're just waiting to make a wrong move. By continuing routines, a part may feel the lack of attention means they don't have to be on defense. System note: "having an identity crisis again" is just adding to my previous notes LOL.

At Vi's altar, we see a great example of what to do in situations where a partner is getting hurt by a switch in (which can happen). Ekko is processing the fact Vi is dead AND Powder has been handling a lot of stressors that can come from switches (rejection, being treated like a bad guy, ect.). In this scene, Powder is clearly hurt, and, I believe she has every right to be hurt. Yeah, not every switch will be 100% great. That being said, I loved the way she handled it. She places a couple firm boundaries, like letting Ekko know what she doesn't want to talk about ("That's not funny Ekko" and "Just 'cause you're having a bad day, don't take it out on me."). She's letting him know how she's feeling, and without being mean, is letting him know she is reaching her limit.

She's upset, and to me, she has every right to be. Some systems/some parts I've met have a hard time recognizing that just because they are in pain means what they're doing can still have consequences. That is a seperate topic I could talk about for days, but in this case, I'm treating Ekko as a part who pushes boundaries. Ekko continues to ask questions about what happens. Yes, some parts may do this. The reasons are endless (maybe they feel this reality isn't real so who cares, it could be any reason), but at the end of the day, if you're interacting with a part that is pushing boundaries and you don't want to handle it, don't. I'm not saying walk away forever, but Powder does a great job if placing a final boundary, "You should leave." Again, she's being firm, she's letting Ekko know she doesn't appreciate what he's doing, but she's not going out of her way to attack him. When you're supporting a system with parts who push boundaries, it can be hard to not react back. But, imagine it much like arguing with a person without a system. I know very few arguments where attacking back has worked in favor of both parties, and that compounds when you're interacting with a system.

Now, in this case, Ekko leaves. But, what do you do when a part isn't respecting boundaries, if, hypothetically, Ekko didn't leave the room? I know this may not work for everyone, but I would stick to my own boundary. If I ask someone to leave the room, and they don't - choosing to continue a conversation in this case, I leave the room. Remember, again, your own stress and health is equally important, and it'll be hard to help anyone (including yourself) if you can't remove yourself from the high stress situation when you need to. If placing boundaries is hard, I would recommend practicing. I've at times, told my partners I would like to practice ending conversations and what not in low stress situations (letting them know so they don't feel rejected), so I can get used to being able to.

Following this, Powder is very clearly avoiding Ekko. When Ekko looks up she turns away. I think this is a good reminder that things parts do CAN have an effect on their surrounding support systems. I think it's good they show Powder is clearly upset by what Ekko has done. In real life, this can happen. Being a partner should not mean having to be 100% whatever emotion their partner's system needs. That's not very healthy or feasible. Again, it's okay to feel upset and hurt, especially if a part is doing something upsetting or hurtful. Powder doesn't go out of her away to attack Ekko or retaliate, and that's another good thing to keep in mind, even when it's hard.

The next scene we see with Powder and Ekko communicating is Ekko showing Powder the shrine he created of Vi. In a real life sense, a part may be trying to apologize OR may also be trying to show their partner that they are doing their best to be connecting to the present. Parts that are traumatized may have a hard time communicating complex emotions in a way that's understandable, so they may communicate through creative methods. Now, Powder does a good job of recognizing he's trying to apologize and open communication, so she does as well. And in that opening of communication, she learns more about Ekko and vice versa. In real life, this could mean a part opening up more, or just a part being more willing to be cooperative. Ekko, in this case, also stops recognizing Powder as a threat, and in real life, a part may begin to do the same thing. When Ekko talks about his version of Powder compared to the real version, it is very akin to a part trying to synthesize present day situations and past traumas/situations.

In turn, Powder opens up about her own feelings. In real life, opening up to a part may give new perspective on a situation, and can lead to a mutually supportive environment after a switch. In this case, Ekko is willing to hear Powder out and help her (giving advice), and Powder begins helping him with his own project. This goes back to those baby steps I mentioned at the beginning. If Powder hadn't continuously taken small steps to show she wants to be on a team with him, their conversation may not have gone like this. Additionally, now that a "team" foundation has been built, Powder and Ekko can build each other up. In this case, Powder bumps him with her shoulder, a form of physical affection he appreciates now that he's more grounded, compared to earlier that day where most physical touch was met with defense.

I think it's also good to recognize, Powder seems more willing to show support to Ekko in ways she didn't previously because they communicated.

Like the fact she chooses to sit across from him instead of next to him. This is a part of the flexibility I was talking about earlier. Because different parts may have different wants/needs/boundaries, being flexible can help both parties feel desired - instead of trying to continue things as if it were a previous part.

Another example of them now working as a team is Ekko supporting Powder at Vi's altar. Even though he has not experienced what she has (or doesn't remember it that way), he still recognizes it's importance to Powder and helps out. In real life, a part becoming aware of a partner's feelings and communication styles can also lead to moments like this, where a part who may not be aware of everything, tries their best to support you through your own struggles, even if it's not how your partner's system "typically" shows support.

Now, it seems in Arcane, Powder isn't fully aware of what Ekko is trying to build, but she still helps him to work through it. Now, in real life, a part who has switched in may have alternative goals compared to the rest of the system. In a case like this, where the goal isn't threatening or harmful, supporting that part can help build up that "team" based foundation. The part knows that even though you may not be their partner, you're still a safe person to go to in times of trouble, or just when they want a comfortable person around, even if there are no romantic feelings for them. This can be very important when high stress situations come about later, and can help parts open up about what's going on internally (because, remember, a lot of system communication/mental health is internal).

Additionally, because Ekko and Powder feel safer with each other, Powder feels okay asking questions. In real life, having a bridge of trust, even if it seems small, can lead to moments like this as well. Where a part feels open enough to answer questions, and not become defensive. Remember, at the beginning of this Ekko couldn't even be close to Powder without becoming defensive. These small steps have worked towards the goal of being able to communicate and trust each other, it's all built up.

Powder is clearly excited for what they've worked on together, because they're now a team (even if, again, it's not romantic like her Ekko). In real life, these connections can lead to those same feelings of excitement and commitment, even if it looks different from how it was with a different part.

We can also see that Ekko is open to how she likes to show affection (physical touch), and she's looking out for him ("Please go change before the party") because she understands and cares for him. Ekko also does change for the party, and in real life, this can be seen as a part caring right back. Following this is where they dance together, now she recognizes he dances differently ("Where'd you learn those moves?"), but still has a good time. Again, she's flexible and compassionate towards him.

Instead of choosing to be upset about how things are different, she accepts these differences and chooses to have a good time with Ekko. In real life, a part may do things differently - they may dance differently so to speak, but you can still enjoy what they have to offer (again, even if it's not inherently romantic).

Ekko thanks Powder. He was able to have a good time and experience something he thought couldn't be real. In real life, a part may be feeling the exact same way. They may feel their trauma memories, their past, clouds how the presents can be. By finding ways to support them and have good moments in the present, it can help them feel things do not have to be as bad as they've experienced. Along with this, Powder leans on his shoulder. She feels supported again as well, even if it's different. It took some work, but she's able to be vulnerable with him in the same way he's being vulnerable to her. And that's really important, even if the relationship between some system's parts aren't romantic, it's really important to feel like it's not completely one sided as a whole. Yeah, some parts may not be supportive like you're used to, but if you begin to feel resentment towards the system or feel like certain parts are ruining your relationship, I would recommend having a conversation about it. If you feel like you're not getting back what you're putting in, I would recommend having a conversation about it, because again, your feelings matter.

Moving on, they kissed. I don't necessarily want to focus on that. I want to focus on what happens right before. Powder goes in for a kiss, and Ekko rejects her ("Sorry, I..." and pulling back), and she looks hurt. She lets him know it's fine, but even while she's hurt, because they have that base "team" foundation, she waits patiently for him to explain. She doesn't just walk away, or lash out. She waits for him. And I think, a lot of systems, and certainly myself, just want someone to be willing to take it slow when we need. It's rough, and we recognize a lot of "typically" relationships don't have the amount of waiting that can be needed. But, truly, one of the most compassionate things I've experienced, is having someone gently pull the brakes and wait for me to be able to communicate.

Ekko communicates, he asks for her to "just pretend like it's the first time," but note, he looks hurt after asking. He seems to be waiting for rejection. In real life, a part may be like this. After the trauma they've went through, or the stress of switching in, they may just feel like they're waiting for the other shoe to fall. Ekko and Powder have worked towards being able to communicate towards one another, so he does open up, but that doesn't mean that feeling of anxiety goes away. This is part of why some parts may feel the need to take it slow, while others may be open and ready after only a couple steps.

Powder is flexible, patient, and kind to him. She is willing to pretend like it's the first time, and she doesn't act like it's some sort of chore. In real life, while a partner may be "pretending" it's the first time, please keep in mind that to the part that switched in it is the first time. It may be the first time for a lot of things (for feeling included, for being affectionally touched, for working with someone positively, for going out to a party, any of it). The good moments a partner chooses to have with a different part can help them feel more relaxed in the agitated state they've lived a lot of their life. Ekko grew up in a vastly different world, all of the kind things she is doing is completely foreign, and some parts switching in are the exact same way.

At the end, Powder sees him. In real life, in our time, I can't imagine being able to see other parts like this - where they have a physical body and what not. But, you may have a moment like this. A moment of recognition, of understanding. You might even have that moment without your partner's system knowing. You might find things you love (romantically or otherwise) that are different part to part. To keep the conclusion short, Powder does a wonderful job of showing patience, respect despite being confused, empathy, and compassion throughout this episode, and many moments shows kindness in unconventional ways. Please, remember to be kind to yourself, and of course, every system is different - so remember to communicate.

[cute-little-fly]

Certainly the look of someone that doesn’t feel stomach butterflies for the other because of these gestures. There he is happy he is not mocked for the rats (I think) and the other one because he woke up with a random bunch of horses. His mood waking up surely improved because of that, even if he found it strange. (He doesn’t appreciate them fully yet, but retrospectively he will eventually and rn they work at making him feel better).

Here the scene is all funny but Stolas smiled just after Blitzø tried clothes with him ❤️

Also

A lot of the Stolas behaviour we see later (the bad humor, the crying) here is influenced by the lack of pills. That is communicated visually through this scene:

Followed by:

This is called visual storytelling. Is not a genious thing but it is well done, subtle enough to pass over our heads in a quick first watch (maybe), but that gains relevance in a second watch after the pills having relevance at the end. The pills is something that has been shown a lot of times in all the other episodes too, probably to lead to this and the ending moment.

After this moment is where Stolas completely crashes down, and is more irritable and overly emotional. As someone that dates a person that had depression and now is treated, this characterization even if cartoonish at times is actually very well done. I related too much to it. Also, I can say that a lot of the things Blitzø did actually work. I am sure he took care of an anxious Fizz or his mother had depression. Because he is too good at it.

But, about Stolas, is true he doesn’t trully appreciate all the help he is being given, taking the depression and mood swings aside… as other NORMAL people would do, because he is someone used to have everything granted for him. Literally, served in silver platter.

This is how someone spoiled would act.

For me is admirable how all the IMP crew understands that and doesn’t get mad at Stolas. Blitzø still loves him because is him, he is the most crazy person there and knows how much Stolas loves him. So, honestly doesn’t surprise me as much, he is also familiar with Stolas’s palace and environment and sees that big difference.

They probably understand is a great change for him and where he comes from but it is surely also a great shock for the IMP crew to see those differences. Is also interesting how they set this up in GF. In Ghostfuckers Millie is surprised with the office and says is too much for imps, for Stolas that is for poor people. Ups!

For some of you this makes the show bad, for me it gives depth for each character and where they come from. Is is showing and not telling. A show with this theme of social class and without this kind of conflict and contrasts would be so boring.

For me it would be worse storytelling if someone like him immediately understands everything, and again… Boooring. I think he doesn’t even realize yet that the couch was Blitzø’s bed probably because he always wakes up before. UPS again, more angst for later, because this is a series finale and there is no time for that and only a month has passed. Surely this will create conflict.

But, it will be worth it when Stolas bonds over them over time and see them beyond low-class. Maybe, just maybe he will even be happier once he adjusts… Aaand perhaps, he will need to have treatment too.

The phrase: “you saved me in return” is bitersweet, because Stolas is seeing again the relationship as an exchange. But, is good that he is reflecting that he is the one that 100% caused all of this. A step in the right direction for him.

Some general comments:

1) Helluva boss is far faaar away from perfect, but perfection is not the solely objective of art form, and is not showing how things should be irl, less in an adult cartoon. However, for a comedic cartoon HB is surprisingly deep. Maybe it fails to build up for some people but you just have to adjust that in this show they don’t show some intermediate moments to be able to progress the story more, and have all the characters they have. Is just how it is and for me this is an actual valid criticism of the show because this prevents the engagement of some people. Hopefully with 15 episodes this might improve. Just for you to see that I don’t defend it from everything.

2) Comparing HB to Bojack for me is a mistake even if vivzie is inspired in that show. For me Helluva Boss is about redemption (yes, like Hazbin), and Bojack is nihilistic. HB is about people that can heal even if they think they are not worth it or can’t do it due to their past mistakes. Bojack is about how some people just won’t change and you need to accept that and move on. For me, these two things are true irl. Some people change for the better, some don’t. Bojack changed at the very end, but the people he lost is lost forever and I think he did just because he was in jail without access to drugs. Also, he was given tons of opportunities to mend and he was never able to mend things. Here, is different. A show will always have some overarching themes. Even if the shows are of similar nature their overarching themes are almost opposite.

3) In my humblest opinion, you give the show less credit and choose to ignore a lot of the interesting elements that come from this and only focus and nitpick on the things it lacks… and turns out it will always lack something. Everything always lacks something. I like to be critical on media, but this critical crew make me don’t want to criticize this show as much because you do it more than it needs to be criticized. Of course, I am not saying to you stop doing it. You have all the right to put your post as I have to put mine.

4) Also, I didn’t respond to the post main criticism on big gestures, and the post is long enough, sorry. Sure a lot of people don’t like his rom-com troupe but I actually liked how it was handled in this series, because it helped to Stolas to see that Blitzø trully cares, but at the same time it didn’t solved anything! They still haven’t unpacked anything and the other problems are preventing them to be fully together. Usually in romantic movies these gestures solve everything, here that didn’t happen. Also; the big gesture is something that happened to communicate the other that they love him, just in Stolitz because they were terrible at communicating, and how they failed being a normal couple in everything caused the big gestures to be necessary in the first place.

5) The rest of the couples stand up for the other sometimes, but the gesture is not as important itself to let the other know that they are loved and keep the couple afloat. They actually communicate 😅, and that communication is what keeps the relationship going. The Ozzie and Fizz crooked song and Ozzie’s talk is what gives Fizz the courage to leave his abusive job, not the big gesture. The only gesture that was similar to this one a little bit maybe is when Moxxie presents Millie in unhappy campers, but he does that because he listens to her feelings and Millie constantly shows Moxxie affection, and care and he appreciates. We also see have seen them communicate effectively in other instances, so what is keeping their love strong? Small gestures, communication and care, not them saving each other at difficult situations at work. So ultimately, I feel this big gesture thing only apply to Stolitz… and is mainly because Stolas doesn’t understand love yet and how Blitzø self hatred prevented him to understand Stolas was being truthful. They are a mess and we are not supposed to see how they are as normal, just as them being a complicated and utterly mess because they are like that rn. We like the ship because of that and not ignoring that, and they will be continue to be like that for a while... But eventually Stolas will learn what true love is. The song ending with “Truer love is hard to find” is not true love, but truer. This is foreshadowing that. Blitzø is the truer love, because of all the small every day gestures he gives 🩷, all of this said while Blitzø gently hugs him. Perfect. Chef kiss.

This Show Focuses Too Much On Grand Gestures Rather Than The Little Things When It Comes To Relationships

It's a thing I see in the Sinmas episode where the focus is on Blitzo stepping in to sacrifice him for Stolas that he really becomes grateful and appreciative. It's to show supposedly how he's grown, but in my opinion the little things he did throughout the episode really are the things he should have been focused on rather than the big gesture. The writers still want to focus on Stolitz being this romanticized, ideal couple that they forgot little things like chemistry and small develops between them. However, we never see the same from Stolas to do small good gestures and instead focus on the big gestures, so that we can hammer how nice and self-sacrificing he is despite how much he still comes off as a narcissistic privileged asshole who takes Blitzo for granted.

This quote from Bojack rings true so hard because for a relationship to work you can't rely on grand gestures to hold everything little everyday stuff is the thing that holds it up. And if you think you can hold stuff with grand gestures then your relationship will fall apart. Also those who do grand gestures often do more shitty than regular good things in life, which as he said isn't enough to make up for everything. The problem is Stolas is too much of an ideologue he can't see it and will only value the big things to be truly appreciative. And I fear that will be his downfall in his relationship with Blitzo if rumors are true he will tickle a relationship with Vassago because he craves grand attention instead of one based on small everyday support.

[lone-sk]

I've been trying to get back into Alan Wake II, but I feel like the developers don't understand that the point of having a clunky, unsatisfying combat system with limited ammo is to force the player to pick and choose their battles. It kinda crumbles when have all these long combat sections with tons of ammo pickups, because you remove that element of strategy.

[monkayy]

[carlyraejepsans]

Do you enjoy underfell? I thought you disliked aus /genq

i don't dislike the concept of AUs itself, I'm just not a fan of like... the subculture that spawned around them in the UT fandom specifically and how it eventually took over almost all canon content (especially when it limits itself to the bros)

i like aus visually! i am an artist at heart after all. it's just that, if I'm going to care about them as stories and not just fun design ideas, my bar is uhh almost impossibly high the further you move from canon lolol.

[thousandyearphantombunker]

from what I've heard elemental was a good romance and turning red was really relatable for any who has or is going through puberty regardless of gender (it's sounds like teen wolf but with actual explanations and more generational trauma) Luca is also just an actually visually pleasant film and god is soul actually amazing! but lightyear was the most boring movie I've ever seen and I've seen Home!

I've ever seen- all it made me wanna do is rewatch Toy Story or BLoSC- it was less disappointing than Incredibles 2 for sure but God it was sooo boring- I had to be reminded by other people what happened in Lightyear- atleast I remember Incredibles 2 enough to be angry at it- and I admit a lot that anger is undeserved I just had too high of expectations for incredibles- but with lightyear I wasn't expecting anything i knew it wasn't gonna be like Toy Story! I knew it wasn't gonna be BLoSC! I like astronaut movies like Apollo 13 and I like space and while I was weirded out that the movie was gonna be more grounded I was optimistic the animation looked great- then the movie was boring trash- the reason I'm angry at lightyear now is simple- how the heck do you mess up so badly on a movie that the audience completely forgets everything that happened in it? And then blame your recent failures on everyone else? How dare you blame your failure on your lesbian queerbaiting bullshit (the scene was removed in a lot of countries) then cancel TOH? I don't even like TOH! But it actually had fans- and a lot of them! TOH can actually use homophobia

How do you blame turning red and all these other films that didn't even have a chance- when they objectively did better than you?

It's pathetic the creators of high guardian spice learned their lessons and are trying to grow from criticism like artists are supposed to do- meanwhile this fucker can't look at everyone else at Pixar who succeeded and see why- he can't even see their success! That's lame! And then they blamed their failures on successes. That's freaking insane.

Saw a meme which implied that not only was the helluverse overrated, but wish and fucking lightyear were underrated

I swear to God, Lightyear is becoming such a fucking blight on the entertainment sphere.

And it's ironic because a friend and I were talking about how the biggest enemy of that movie wasn't people who disliked it or criticized it but, instead, the director who was so offended that people didn't just want to 'turn their brains off' and enjoy the movie.

Despite, you know, both the director and Disney's marketing going ham in trying to force the film's connection and significance to the Toy Story IP.

And you know the real kicker as to why he came up in that conversation? Because that same friend linked me to a reflection comic written by the creator of High Guardian Spice that basically boiled down to 'Yeah, in hindsight, the final project wasn't very good. But I can take what I learned through the experience with CruRo and make my future projects better'.

In case it wasn't clear: the creator of fucking HIGH GUARDIAN SPICE of all fucking things officially has a thicker skin than the director of LIGHTYEAR

Not to mention the current shitshow of Disney-wearing-Pixar's-logo-like-a-flesh-mask blaming Turning Red, Luca, and Elemental for Pixar's latest slump in returns when:

Turning Red and Luca didn't even get theatrical runs until THIS YEAR

Elemental had a slow start but that shit went on to make bank

Lightyear was a bigger flop than all three of them.

[ruvviks]

Following the chilling conclusion of All That's Left's first season, Mac and Layla and their friends find themselves scattered across a divided Los Angeles a year after their successful return to town. Matrix Corp has taken control— "With humanity's best interest in mind"— but with our protagonists' knowledge of Opportunity's destruction and Houston's unexpected fall, they know better than to trust the corporation and its near military-sized security force. Closed district gates separate them from one another and a new threat lurks just outside the city's walls— but resistance is on the rise, and it is only a matter of time before truth comes out. [SEASON ONE HERE]

taglist (opt in/out)

@shellibisshe, @florbelles, @ncytiri, @roseeway, @stars-of-the-heart;

@lestatlioncunt, @katsigian, @radioactiveshitstorm, @estevnys, @adelaidedrubman;

@celticwoman, @rindemption, @carlosoliveiraa, @noirapocalypto, @dickytwister;

@killerspinal, @euryalex, @ri-a-rose, @velocitic, @thedeadthree;

@kanos, @swordcoasts, @ordinarymaine, @claudiawolf, @strafethesesinners

[askfallenroyalty]

Not that I needed a NEW project to work on but... Here's my Underfell take. Let's see where this goes.

[hiemaldesirae]

(claws my way out of my grave) hai... oc dump time. one of these days i will work up the courage to reintegrate myself into the tumblr ecosystem (hi..... guys.....) but for now .......... my homunculi

(to be clear the first 4 are all guys and the last 3 are all girls)

+ extra two characters (acis and ephies siblings)

and ++: sort of inaccurate height chart (ephie and ira shouldnt be That tall because voraci is 5'9 which would make ephie like 7'10) but it helps me visualize them a bit better