#i mean i would “love it” in a very specific sense

[pompomchihuahua]

Genya's Role in the Family

So, today, because I never shut up and I love Genya, I wanted to talk a little more about Genya, specifically his role in his family from the little we see of them and the conclusions I've personally drawn from that.

First of all, from what I can gather, it looks like Genya filled in more a homemaker role than a "man of the family" or traditional gender normative older brother role. In fact, it seems like he's taken up the burden of what you'd normally expect to be placed on the eldest sister.

I find it so interesting that in our first shot of the whole family together where they're all sleeping, we can already glean a lot of their situation. But what I want to focus on is how everyone gets their own futon, even Sanemi! Everyone except Genya, who's sleeping with baby Koto.

We know why he's not sleeping with his mama but wouldn't it make the most logical sense for him to go with the eldest? Sanemi is older than Genya by at least five years (21 to Genya's 16 in canon) ergo he would be the most responsible. Or, if you want to be gender normative since this is the very early 1900's, why not with his eldest sister?

Well, first of all, we know Sanemi trusts him above all the other siblings. We know this because Genya is the one he chose to confide in when making the promise to protect everyone. We also know that when Sanemi goes to go looking for their mother, he trusts in Genya to watch over the kids while he's gone. Which brings me to another point.

Just look at how all of them turn to him!

How he cradles baby Koto back to sleep, Genya warning them away from the door just before disaster strikes.

Even in official art, Genya is the one carrying the baby while Sanemi does the hard labor. Which brings me to Sanemi's role. Legally in this time period, he is the head of the house, which means he and Shizu are likely their main bread-winners. In the flashback, Sanemi is the one pulling the cart with the heaviest load while Genya carries a small knapsack.

During Genya's monologue he says this: "My mother was always working, from morning until night. Not once did I ever see her sleeping."

So if Shizu is always working and Sanemi is always working, who's taking care of the babies?

Well, based on how Genya interacts with the younger siblings, I would place my bets on him!

And siblings caring for their younger siblings or just young children in general was so common in rural areas they were called Komori, though they were typically little girls caring for the children of wealthy people. Simply put, by placing the burden of child-rearing on a Komori, you could free up more time for you to work.

And, it's shown that Genya does have the gentleness and patience for it. He's fiercely protective of his siblings (punching the landlord's son for making Sumi cry, standing up the caterpillar girls in One Winged butterfly). The corps record book states that Gyomei helps him regain his "gentle nature", something you'd definitely need for child rearing. He also has the patience and attention to detail needed for it as shown by his love for bonsai.

I find it so interesting that Genya has so many parallels to Nezuko from him being the only survivor out of all the little siblings while the older sibling was away, to the demonic ties to even their gentleness. And I know this was intentional: just like Gyutaro and Daki are meant to show "what could have been," Sanemi and Genya are also meant to be a "what could have been" scenario as well.

But I find Genya so much more fascinating, not just because of how he defies gender norms just from the little that we see from his past but from littlest details of his character. I could make a whole different post just on his speech patterns and how it reflects his emotional stunt in growth and how he's forcing himself to be more of a man to get closer to Sanemi.

He wears his emotions on his sleeve but he's still a private and reserved person, he's fierce but he's gentle. He's a walking dichotomy and just an excellent character with a very interesting ability that I could go on and on about too.

I would like to give a special shout out to @princeblue and boff and bepp and rose and everyone else on the blue corps server! I never would have been able to put these thoughts into words until they let me ramble at them endlessly and they rambled back!!!!!

[ghouljams]

Ok, just wanna say that I love your Hephaetus!Nikto.

Just a few things I’d like to say about Aphrodite. Love the way you have them written, I am in no way trying to make you change your interpretation of them.

She is one of the oldest gods along side Poseidon. Their lore dates back way before Ancient Greece and yet Aphrodite still predates him. Aphrodite is not just a soft thing. She started the Trojan war dammit. And she’s been associated with War as well, and not just in the sense that she has a relationship with Ares but of herself (then again haven’t done much research on this part so I could be wrong).

And Aphrodite is of the sea. The sea is no tame thing. It is wild. She is the Goddess of love and beauty and I’m getting a little pissed at Nikto for thinking she wouldn’t find him beautiful when it is her literal job to see the beauty in everything. Like come on dudeeee!!!!

I think the way you wrote him also pairs kinda well with the way you have the other Olympians view Aphrodite!Reader. I’d wonder if Aphrodite!Reader will ever snap on them and show them what it means to be the goddess of love and beauty.

Also fun fact, the ancient Greeks had multiple names for love that all had different meanings. I personally don’t know them all, but from what I recall, Eros is what they call romantic love.

Sorry for blabbing on, you don’t have to respond to this at all, just wanted to vent a little.

Oh no you're fine venting, I think a lot of people often think of Aphrodite in a specific way (pretty goddess of love who just cheats on her husband and is vindictive all the time) and here's what I will say regarding the way I'm writing Aphrodite!Reader:

Neither the reader nor Nikto is a reliable narrator.

Aphrodite sees herself as this wonderful loving force but she still walks the battlefield, taking trophies as often as she takes lives. She views herself as innocent in all of this drama and rumors, but she's done nothing to stop them(It's nice having Ares talk about how beautiful and good in bed she is, y'know?) She loves Nikto but she also treats him a bit like a curiosity, waiting for him to come to her because, well, everyone does eventually.

And Nikto is stuck in his vision of being cast aside by the gods. He's trapped in their mockery of him, why wouldn't he assume his unwilling wife, who begged to be kept a virgin goddess right before their wedding, doesn't like him? Aphrodite forces their way into his life, into his space, disrespecting any boundaries he tries to put up, of course he's wary of them. But at the same time Nikto only sees the parts of Aphrodite that they want him to see, the soft, the gentle, the loving with sweet voices and stroking fingers, so of course he thinks they're a bad fit. He's every bit her opposite.

The Trojan war has yet to happen in the timeline of the hephaestus!Nikto anthology, but I keep thinking about it because it will feel very out of character for Aphrodite to start a war over something as petty as vanity, but that's only because we've been seeing her through her own eyes.

Also I will say I think a lot of my softening of Aphrodite comes from my disbelief at the way goddesses act within Greek mythology. You're telling me every single goddess is vain and jealous, that they can't keep their man from cheating on them, that the Goddess of love can't find anything to love in her husband, that Artemis would turn her back on her desire to remain a virgin because one guy looked at her the right way? Like the way that the goddesses are depicted just reeks of misogyny and that particular brand of ancient Greek hatred for women. IDK So excuse me for making Aphrodite a little out of character from the myths in my attempt to give her the benefit of the doubt where no man ever did.

[undercover-stories]

Blaming Wei Wuxian for Jin Zixuan's death does not make sense, and I don't understand why some people think so. Imagine for example in a modern day scenario, a homeless man is being attacked by several cops, while on his way to his sisters house, who have very clear intentions to kill him (I equate the Jins to cops because no matter what they do it will seen by many as "necessary" and they will not be charged for their crimes no matter how bad it is because they have the power and influence to prevent that from happening)

So in defense the homeless person sets his dog, that he had trained to protect him, on them whilst they are actively shooting at him (if you have a better representation of Wen Ning for this scenario I'd genuinely love to hear it. I chose a dog because whilst they were trained, they still have their own instincts that will influence the way they protect. Something like a gun, which someone had suggested, does not encompass the complexity of his actions even as a fierce corpse)

In the midst of this chaos, whilst the homeless person is still being shot at, another cop, specifically his sisters husband(obviously), suddenly shows up and tells him to get his dog under control, again, whilst the homeless man is STILL being shot at and the new cop is not stopping them. The homeless man has nowhere to hide or run. Calling his dog off will be a death sentence with nothing to distract the other cops trying to kill him. As this new cop approaches closer to the homeless man, wearing the same outfit as the other cops, the dog detects him as a threat (understandably) and attacks him and unfortunately kills him.

The death is again unfortunate but in this mess of a situation, can you honestly place the blame on the homeless man and his dog who were simply trying to protect themselves from a very real and lethal threat? OR do you instead place the blame on the cops who'd started their planned and lethal assault and a bit on the dead cop who somehow thought it was a good idea to step into an active shootout zone (by the cops). Be honest and drop your biases. Who is truly at fault here?

Not to mention, afterwards, the homeless person finds out the same cops (and more) are planning to attack the homeless community he'd been protecting as revenge. So in desperation, the homeless person intercepts them and tries to talk, but before he can even finish, he is shot and wounded. Realizing that the cops won't listen to reason, he defends himself and attacks back in the hopes that he can stop them from killing his homeless community. Again, in all honesty, who is truly to blame here?

Even from a legal aspect, the homeless man would be seen as defending himself and, therefore, had the right to fight back. So how is Wei Ying in anyway at fault here? Him placing the blame on himself doesn't mean it's actually his fault. It's just makes his judgment on himself harsh. Especially since the point of the novel is to contrast a characters words and ideas to the actual story that we read.

[alacants]

inspired by that ask: i guess this begs the question of what jannik is to carlos, what he sees/saw in that man that nobody else did etc like. does carlos ever resent him / their rivalry / janniks sometimes lack of reciprocity? is it complicated for carlos too? what is it about that carrot that is so compelling to someone like carlos

boy have i had a lot of thoughts about this one. presumably during that one magical night match in alicante there was tennis chemistry. as a tennis savant himself carlos can sense the It Quality in someone else. but the response, as a promising young player, to identifying  talent in another player is not by definition that you talk them up constantly for the next several years. it is not by definition to call them your one and only rival. so carlos doing so could be because of something very special about jannik himself. (for rpf purposes: love at first sight, soulbond, overwhelming thirst, you name it.) or it could be because of a more general hunger. 

namely, the hunger for someone else who gets it. a hunger which would only intensify the better you get. if you are a prodigy, no one else is going to understand your exact experience but another prodigy. (this is 1. the kiss of death for runeraz 2. juanki & carlitos bedrock. in whatever way you wish to take that.) 

hopefully it's obvious that this does not mean that's the only path to a meaningful relationship—you can take this idea, or this assumption, and go a million places with it. (what if the two of you shared the same experiences but have diametrically opposite takeaways, what happens when you stop being a prodigy and they don't, what does it mean that someone who doesn't get the experience still gets you.) but it is undeniably a very very specific experience. and it's pretty normal when you're early in the process to think, my friends and loved ones don't get it, and i really really really want someone to get it.

meanwhile, jannik has expressed, more than once, doubt about the worth of the relationships he's formed after becoming successful—he's said that he knows his old friendships are the real thing because they have nothing to do with tennis. he's said that thanks to clostebolgate he knows who his real friends are. he's experienced a rapid version of the prodigy hype/backlash cycle: this kid is a surprise talent??/this kid doesn't have it after all/grand slam vindication/doping backlash. he does not trust this environment, or most of the people in it.

i see it as: carlos has never experienced real serious negatives as a result of his talent and passion for tennis. (broad generalization but: stayed close to family, supportive and stable coaching environment, financial stability, quick and overwhelming success, no serious injuries or psychological breakdowns or reputational scandals. so far!) tennis is inarguably a good thing, and he wants more of a good thing. whereas jannik's experiences with tennis have been much more emotionally ambiguous—significant personal sacrifice leaving his family at a young age and struggling to secure finances, the choice between a close personal relationship and the professional success that would validate those sacrifices, clostebolgate. 

so one take on this is that carlos feels that tennis is more real than real life, and therefore his non-tennis loved ones are missing out on something essential, and jannik feels that tennis is less real than real life, and therefore his non-tennis loved ones are the only ones whose love he can trust. (interestingly it's probably darren and simone who are doing the most damage to this emotional barrier over the past six months. but in rpfdom carlos would sure as hell be trying haha.)

i think what i'm saying is that i really want to read the jannik/tennis slowburn, where tennis is carlos???? 

drifted pretty far from your ask here so to end on a lighter note. it has to be the tennis, because if you put aside the tennis, WITH LOVE AND LIGHT TO JANNIK, you're left with lanky floppy carrotman vs teen thirst trap machine. (i love lanky floppy carrotman. im just saying.) this is something that only further sells me on the ship, the fact that i honestly do NOT really see it but carlos apparently does. there is a thing my friend and i refer to as "seeing CarlitosVision", which is when a certain photoshoot/styling choice/video angle/trick of the light captures jannik in such a way that he looks, like, objectively hot. the difference is that jannik looks like this to carlos all the time. 

(yes jannikblrs i know that he also looks like this to you guys all the time. that is exactly the point.)

[brandthefish]

Ok I need to word vomit about show Lucy Carlyle as opposed to book Lucy Carlyle. Specifically her wardrobe. Here's a masterpost about the character descriptions in the books, but here's the long and short of it. In the books, Lucy has 3 described outfits:

1. skirt, leggings, padded parka (44) 2. pink and yellow nightie (145) 3. coat, roll-neck sweater, short dark skirt, leggings (169)

Granted, this appears to be just the first book so things may change with her wardrobe later in the series. (Personally I consider her wardrobe in the books to be a symptom of 'adult man writes teenage girl protaganist' syndrome) But in the show there are some notable changes I noticed that I 𝓪𝓭𝓸𝓻𝓮.

Firstly: Her pants. First, pants! She's actually wearing pants to jobs instead of leggings. Considering how much physical activity is required, it never made sense to me that she wore leggings and a skirt to hauntings. The fabric of leggins is too thin so they wouldn't be very warm. Second, a skirt? Lucy is a very practical character, it makes no sense that she would wear something that could get caught on something or grabbed.

But in the show?

Tactical pants.

The fabric is visibly thick and stiff, a lot like paramedic uniforms. (I'm most familiar with those so there might be better examples) Look at the thick waist, good for possibly having multiple belts or just the way the rapier hangs. I don't see any belt loops but that could be for quick belt release just in case. And the double zip-closed pockets are amazing for keeping gear secure and easily accessible, even if Lucy doesn't seem to be using them. She's probably wearing specifically tactical agent pants. God I love her pants so much, I need a pair.

Second: The jacket. In the books a padded parka or her coat are all very practical choices. But I understand costume designers want their main female character in more appealing-looking clothing or multiple outfits in important scenes for marketing purposes. And I LOVE the bomber jacket.

Firstly, it looks like insulated leather and the blue bits are wool. This is perfect because that gives her a fashionable but practical and warm jacket. The jacket being warm is important because of how often there are temperature drops on jobs, so she needs something to keep her warm. The leather makes it more durable so things thrown by visitors have less of a chance of hitting her. Wool is water repellent and leather is waterproof which in my brain means that ectoplasm wouldn't seep into the fibers and would mean it would have a harder time getting to her skin. Normally I don't like a cropped jacket BUT with how her rapier and other gear sits on her body, a cropped jacket makes all her stuff more easily accessible.

A few smaller details but I love how she has a thick, durable leather belt that would actually be good for holding all her gear. I also really like how she's wearing a knit sweater. Again, she needs to be warm on jobs and it was smart to layer underneath so you can still see the amazing jacket.

I love how the costume designers for the show actually took Lucy's personality into account when making her wardrobe. She has a short temper, she's no-nonsense. So they made her the most practically dressed for her job. It's incredible.

[phantasmatoucan]

Can I ask whoever designs the voices (I think owl) how they came up with there designs?

HEY MOD OWL HERE, I THINK ILL PUT THIS IN A READMORE BC ITS GONNA BE LONG

FOR ALL OF THEM I HAD WIDELY DIFFERENT IDEAS BUT FOR MOST I HAD SOMETHING SPECIFIC IN MIND BE IT A THING OR A SYMBOL

HERO: FOR HIM I HAD OFC A KNIGHT IN MIND I WAS GONNA GIVE HIM A FULL HELMET BUT I WANTED FOR HIS EXPRESSIONS TO BE SEEN SINCE HES A VERY EXPRESSIVE PERSON IN GENERAL, I MANTAINED HIS EYES UNSEEN THO SINCE HERO IS ALWAYS SOMEONE WHO WILL FOLLOW THE DECIDER BLINDLY AND ONLY AT THE END IS WHEN HES FINALLY ABLE TO REACH HIS FULL POTENTIAL [which is if i did a drawing of one of the ends, heros visor would be lifted up] ALSO HES THE MOST HUMAN LOOKING SINCE THE LONG QUIET PROBABLY HAS A VAGUE IDEA OF WHAT A HERO LOOKS LIKE BUT HE PROBABLY THOUGHT IT LOOKS SIMILAR TO THE PRINCESS

SMITTEN: HEARTS, THATS BASICALLY ALL I HAD IN MIND FOR HIM, I LOVE DESIGNING CHARACTERS WITH HEART MOTIFS SINCE ITS FUN TO MESS AROUND WITH THAT [keep it simple or making it a bit more goreish] I WANTED HIM TO BE ROUND AND FRIENDLY SHAPED, THE HAT CAME FROM OLD ROMEO AND JULIET CLOTHES THAT I SAW IN IMAGES AND THE CLOTHES ARE MORE FROM OLD TIMEY BARDS, I HAD THOUGHT OF MAKING HIM A PEACOCK AT FIRST BUT DECIDED I PREFFER HIM LOOKING MORE LIKE A PIDGEON SINCE THEYRE MORE ROUNDER AND ARE MORE COMMON BIRDS THAT PEOPLE SEE EVERYWHERE, THEY APPROACH HUMANS MUCH MORE EASILY AS WELL

SKEPTIC: I WANTED TO GIVE HIM LIKE A DETECTIVE SHERLOCK HOLMES KIND OF FEEL, BUT WHEN I HEARD HIM MORE HE FELT MORE LIKE A NOIR DETECTIVE THAN THAT SO THE FEELING FOR HIM CHANGED [also fun fact his clothes are based on inspector gadget lol] HIS WINGS POINT DOWNWARDS SINCE I WANTED HIS SILHOUETTE TO FEEL MORE HOURGLASSISH FOR HIM, THE OWL PART CAME FROM THE FACT THAT MOST OF THE OWLS IVE SEEN IN MEDIA ARE STUDIOUS CHRACTERS OR ATLEAST TRYING TO LEARN SOMETHING, IN GENERAL I FEEL THE VYBE OF OWLS ARE VERY CURIOUS CREATURES SO I GAVE IT TO SKEPTIC WHO IS THE MOST INQUISITIVE CHARACTER OF THEM ALL

COLD: HARDEST TO GET DOWN I HAD A GRIMM REAPER IN MIND, WITH HIS COLD PERSONALITY, I WANTED HIM TO BE ONE OF THE TALLEST ONE AS WELL FOR HIM TO BE A LITTLE SPINDLY LOOKING, HIS HAS A LONG CLOAK AND WANT HIM TO BE COMPLETLY COVERED IN CLOATHING SINCE HES VERY MUCH CLOSED HIMSELF SO HE CAN BE UNFEELING AND DON'T FEEL ANY PAINT, THE ONLY OTHER PARTS THAT ARE VISIBLE APART FROM HIS FACE IS HIS ARMS WHICH HAVE LONG PLUMAGES SO IT LOOKS LIKE SLEEVES, AND HIS HANDS ARE LONGER AND MORE HUMAN LOOKING AND COMPLETLY WHITE [hard to notice since i draw them all in black in white lol] SO IT LOOKS LIKE SKELETON HANDS

OPPORTUSNIST: SINCE WE HAD AN IDEA OF WHAT HIS FACE LOOKED LIKE I WANTED TO GIVE HIM A BIG BIG SMILE FIRST WITH HIS LONG BEAK, I ALSO WANTED HIS CLOTHES TO BE VER FORMAL [so i went to look for tumblr sexy man clothes lmao] WITH HIS SLEEVES UP, SO THAT HE LOOKS LIKE HE MEANS BUSSINESS, HIS TAIL IS LONG AND DRAGS BEHIND HIM TO LOOK LIKE A LONG OVERCOAT, HIS WINGS ARE ALSO BIG AS WELL [atleast bigger than most of the voices] SO THAT HE TAKES A BIT MORE SPACE IN THE ROOM, I WANTED FOR HIM TO BE SOFFOCATING AND INTOXICATING TO LOOK AT lol, HES ALSO VERY FLUFFY WHICH IS MORE NOTICIBLE ON HIS NECK, SO THAT HE APPEARS A BIT MORE HARMLESS [under his regular clothes hes very fluffy as well] TO ALURE A SENSE OF FRIENDLINESS THAT CONTRAST THE REST OF HIMSELF LMAO

HUNTED: HARE WITH BUNNY, LITERALLY MY FIRST THOUGHT WAS A BIT OF A LLONG HARE WITH BIRD LIKE FEATURES, I WAS DEBATING IF GIVING HIM A SNOUT OR A BEAK WAS A GOOD IDEA BUT I WENT WITH THE SNOUT SINCE IT MAKES HIM MORE DISTINCT TO THE OTHERS [he also has sharp teeth like stubborn but theyre mostly barely visible since he usually doesnt open his mouth too much unless threatend] THE BANDAGES COMES FROM THE FACT THAT I WANTED ALL OF THE VOICES TO HAVE SOME TYPE OF CLOATHING THAT DEFIND THEM, BUT SINCE HUNTED WOULD HAVE NO CLOTHES I WENT WITH SOMETHING LESS NOTICIBLE

CHEATED: DISHEVELED LOOKING BIRD I WAANTED FOR HIM TO LOOK LIKE HE JUST GOT OUT OF A CAR CRASH SO THATS WHY HE HAS A LOT OF BANDAGES, I THINK I MAY CHANGE THINGS ON HIM TO SINCE I WANTED FOR HIM TO HAVE A SCAR ON HIS NECK THAT WOULD BE VISIBLE [since thats a way to get to the razor route] BUT FOR NOW SINCE ONE OF THE VOICES WHO IS ALWAYS THE UNLUCKIEST I MADE HIM THE SHORTEST OFC AND WITH CUTTED WINGS, WHICH ARE LITERALLY USELESS, HIS CHEST ALSO HAS BANDAGES BUT ARE NOT VISIBLE BC OF HIS CLOTHING

BROKEN: PENGUIN MAN, I WANTED HER SHAPE TO BE SIMILAR TO THIS ∩ WHICH MADE ME THINK OF PENGUINS AND THATS HOW HE CAME OUT, HE HAS LONG DROOPY EAR FEATHERS THAT ARE TATHERED SINCE IT WAS HARD TO DEMONSTRATE FOR ME HOW UNKEMPT SHE IS, HIS LONG CLOACK COVERS MOST OF HIS BODY WITH A PENGUIN LIKE PATTERN ON IT, HIS EYES HAVE WRINKLES AND HE ALWAYS LOOKS SAD OR UPSET BY SOMETHING, I WANTED HIM TO OCCUPY LITTLE SPACE SO HE FEELS VERY COMPACT IN HIS OWN DESIGN PARANOID: WANTED TO MAKE HIM LOOK VERY JUMPY AND WORRIED, I HAD AN IDEA FOR HER TO HAVE SPIKIER PLUMAGE LIKE AN EXPLOSION [which is how the plumage of her face came to be] SINCE HE SEEMS TO ALWAYS SO NERVOUS AND READY TO SCREAM AT ANYTHING AGREVATING HIM, HER LONGER EAR FEATHERS CAME TO BE BC I WANTED THEM TO WIGGLE WHENEVER HE WAS CONCENTRATING TO KEEP US ALIVE, I WAS ACTUALLY GONNA GIVE HER A LONGER TAIL LIKE AN ACTUAL FANTAIL PIDGEON, BUT CONSIDERING HOW HE IS I MADE THEM VERY SHORT TO GVIE THE IDEA THAT SHE PLUCKED THEM HIMSELF, ALSO HIS WINGS BEING SO CLOSE TO HIS BACK FOR COMFORT, THE PONCHO CAME MUCH MUCH LATER BC I DIDNT ACTUALLY KNOW WHAT CLOTHES TO PUT ON HIM, I THINK I SAW A CHARACTER I LIKE WITH A PONCHO [cant remember which one] AND WAS LIKE maybe he can have a tattered poncho AND THATS HOW IT CAME TO BE

STUBBORN: DRAGON!!! I REALLY WANTED EYE OF THE NEEDLE TO BE A BIG DRAGON LADY WITH WINGS SCALES AND SUCH BUT WHEN I SAW HER NOT HAVING THOSE I WAS A BIT DISSAPOINTED SO I GAVE IT TO STUBBORN LMAO, HES IS ABOUT AS BIG AS THE LONG QUIET PROBABLY LARGER THO lol, THE MACAW PART CAME FROM THE WAY HIS FACE IS SHAPED, SPECIFICALLY THE BEAK, HIS LOWER TEETH ARE MORE NOTICIBLE THAN HER UPPER ROW, HE IS SCARED OFC FROM THE BATTLE YOU HAVE BEFORE GOING INTO THE ADVERSARY, HIS CLOTHES ARE BASED ON BEOWULD FROM SKULLGIRLS ACTUALLY I WANTED HIM TO HAVE SOMETHING LIKE ANIMAL PELTS AROUND HIS WAIST, SO I WENT WITH A FLUFFIER DRAPES AROUND HIS SKIRT, HIS WINGS ARE IN SIMILAR SHAPE OR THAT OF A DEMON MORE THAN A BIRD SO THAT THEY LOOKED MORE DRAGONISH

CONTRARIAN: JESTER BC I LOVE JESTER AND OFC JESTER CONTRARIAN PROPAGANDA TOOK OVER MY BRAIN, AS I SAID MOD TOUCAN IS THE ONE WHO SUGGESTED THE HUMMINBIRD PART OF HIS DESIGN SO HIS WINGS ARE LONGER AND TAIL IS AS WELL, HE IS THE ONLY ONE WHO I HAVE ACTUALLY COLORED AND THAT IS ON PURPOSE SINCE NONE OF THE OTHER VOICES HAVE COLORS, HE ALSO DOESNT HAVE A SET COLOR PALLETE SINCE HE CAN BE WHICHEVER COLOR HE PREFFERS AT THE MOMENT, HE ALSO DOESNT HAVE DIGITRADE LIKE FEET SINCE I WANTED SOME SIMILARITIES OF HIM AND HERO, HE STILL HAS BIRD FEET THO THAT WILL NOT GO AWAY lol, HIS BEAK IS POINTED UPWARDS AND HIS MOUTH IS NOT REALLY A REAL THING, ITS MORE A ABSTRACT LINE

[earthlybeam]

Hello! I just wanted to say that I absolutely love your writing. Especially the way you write Elrond! So good. You've very quickly become one of my favorite tumblr posters :) I don't know if anyone has asked this yet, but if not, how would Elrond, Círdan, and Gil-Galad react to the reader rescuing them from being captured by orcs/bandits? Thanks!

Thank you so much for your kind words! It truly means the world to me to hear that you enjoy my writing. 🥹❤️‍🔥🫶✨

As for your question, I actually wrote something similar to this idea before the title called “Elves reacting their you saving their life’s” it’s on my Masterlist pinned at top of my page you’ll find it in their, though I haven’t explored a scenario with orcs or bandits specifically—so I’d be more than happy to write it for you. It’s such a fun and dynamic setup, and I love the idea of exploring how Elrond, Círdan, and Gil-galad would react in that kind of situation. Thank you for the inspiration! 🥺🤌

how would the elves react to this?

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Elrond, Gil-Galad Círdan Version below.

📜 𝓔𝓵𝓻𝓸𝓷𝓭

Elrond might react to the reader/you swooping in to save them from a perilous situation like being captured by orcs.

The ancient woods of Eregion were silent, the kind of silence that came when predators were near. The golden light of dusk bled through the canopy, staining the forest floor in hues of amber and crimson. The wind barely stirred, as if the trees themselves held their breath. Somewhere within this tranquil facade, chaos brewed. Elrond Half-elven had been captured. The orcs had struck swiftly and without mercy, ambushing him and his small party as they returned from a reconnaissance mission. His guards had fought valiantly but were quickly overwhelmed. Now, bound and bloodied, Elrond knelt in a rough clearing, surrounded by the jeers of his captors. His silver-threaded tunic was torn, his dark hair matted with dirt and blood. Yet, even in this moment of vulnerability, his eyes shone like steel—cold, calculating, and unyielding.

The orcs had made a mistake. They had underestimated him. But even Elrond, for all his cunning, could not see a clear path to freedom. His hands were tightly bound behind him, the ropes cutting into his skin, a reminder of his helplessness. His weapons were gone, and though his mind raced with strategies, every scenario ended the same: with his blood soaking the earth. His pride and experience told him to fight, but in the quiet dark of the clearing, with the weight of captivity pressing down on him, Elrond knew he was out of options. For a fleeting moment, something close to frustration stirred within him—but he quickly pushed it aside. Anger wouldn’t free him, nor would it serve him here. He needed to think, needed to wait, but time was a luxury he no longer had.

The orcs were already bickering over their prize. One particularly large brute brandished a jagged blade and snarled something in their guttural tongue. Elrond didn’t flinch. He met the orc’s gaze with cold detachment, refusing to grant them the satisfaction of his fear. He had seen this before—death in various forms, and in many guises. If this was to be his end, he would meet it with dignity. But even as he steeled himself, he could feel the weight of his impending fate, the very real possibility of this moment being his last. And then, a sound—a faint rustle in the underbrush. The orcs didn’t notice, too consumed by their squabble, but Elrond’s keen ears caught it. His sharp gaze flickered toward the shadows at the edge of the clearing, where the fading light painted shifting patterns on the forest floor. For a moment, his mind raced. Was it a stray animal? A larger threat? No. The movement was too deliberate, too precise, to be mere chance.

A slight shift in the air, a tension, drew his attention fully. He felt a strange spark of hope—a quick, unfamiliar surge, like a breath after being submerged too long. And then, his senses sharpened, pulling his attention entirely to the darkness beyond. Something—or someone—was coming. Someone was there. Someone you. You had tracked the orcs for hours, following the trail of broken branches and spilled blood. When you’d come upon the scene—Elrond bound and surrounded—you hadn’t hesitated. There wasn’t time to formulate a grand plan or to consider the consequences. All that mattered was saving him.

From the shadows, you moved with practiced stealth, each step as quiet as the fall of a leaf. Your hand tightened around the hilt of your blade as you assessed the situation. The orcs were many—more than you’d expected—but their focus on Elrond gave you the element of surprise. It would have to be enough. Your attack was swift. The first orc didn’t even have time to scream before your blade slid across its throat. The second fell just as quickly, your dagger finding its mark in the gap between its armor. By the time the others realized what was happening, you were already upon them, a whirlwind of steel and determination.

Elrond’s head snapped up at the commotion, his sharp gaze locking onto your form as you cut through his captors like a storm. Surprise flashed across his face, quickly replaced by something else—something akin to awe. You moved with a grace that rivaled even the elves, your every strike precise, your every motion purposeful. The orcs snarled and lunged at you, but you were relentless. The clearing erupted into chaos as you danced between them, your blade gleaming in the fading light. One by one, the orcs fell, their cries echoing through the trees. Still, more kept coming, their brute strength and numbers threatening to overwhelm you.

Elrond, though bound and weaponless, wasn’t idle. He twisted his wrists against the ropes, his sharp mind analyzing every detail of the fight. When one orc charged toward you from behind, he shouted, “Behind you!” His voice, commanding even in captivity, gave you just enough warning to sidestep the attack and deliver a killing blow. Finally, the last orc fell, its body hitting the ground with a heavy thud. The clearing was eerily quiet once more, the air thick with the stench of blood. You turned to Elrond, your chest heaving as you hurried to his side.

“Are you hurt?” you asked, your voice breathless but steady. “Nothing that won’t heal,” he replied, his tone calm despite the ordeal. His eyes, however, betrayed the storm of emotions roiling beneath his composed exterior—relief, gratitude, and perhaps a touch of disbelief. You knelt behind him, cutting through the ropes with quick, efficient movements. As the bindings fell away, Elrond flexed his hands, wincing slightly at the raw skin beneath. He rose to his feet with the grace of one who had endured far worse, his imposing presence undiminished by his injuries. “You should not have come for me,” he said, his voice low but firm. “It was reckless.”

“Perhaps,” you admitted, meeting his gaze without flinching. “But I wasn’t about to leave you to them.” For a moment, Elrond said nothing, his piercing gray eyes searching yours. Then, slowly, the corners of his lips curved into the faintest of smiles. “Foolish,” he murmured, almost to himself. “But brave.” Together, you moved through the forest, leaving the carnage behind. Elrond insisted he was fine, though you couldn’t help but notice the way he favored one leg as he walked. When you offered to slow down, he waved you off with a faint smirk. “I am not as fragile as I look.” As night fell, the two of you stopped to rest in a small, sheltered glade. Elrond sat with his back against a tree, his eyes fixed on the stars above. You sat beside him, the silence between you comfortable but charged with unspoken words. Finally, Elrond broke the silence. “You saved my life,” he said, his voice soft. “I do not say this lightly, but I am in your debt.”

“You don’t owe me anything,” you replied. “I did what anyone would do.” “No,” he said, turning to face you fully. “Not anyone. Few would risk their lives for another, let alone against such odds. You have my gratitude—and my respect.” There was a sincerity in his tone that left no room for doubt. For all his wisdom and strength, Elrond was not one to offer his trust easily. Yet, in this moment, he looked at you not as a subordinate or even a savior, but as an equal. As the night deepened and the stars shone brighter, you realized that this moment—shared in the aftermath of danger—was the beginning of something far greater than either of you could have anticipated.

🏵️𝓖𝓲𝓵-𝓰𝓪𝓵𝓪𝓭

Gil-Galad might react to the reader/you swooping in to save them from a perilous situation like being captured by orcs.

The night air was cold, and the sky overhead was shrouded in a blanket of clouds. The dark, twisted trees of Middle-earth seemed to close in, casting ominous shadows across the forest floor. In the heart of the woods, Gil-galad, the High King of the Noldor, stood tall—his regal bearing unshaken, even in the face of danger. The faintest shimmer of starlight glanced off his golden armor as he and his companions prepared for an ambush. His keen silver grey eyes scanned the surroundings, always vigilant, always prepared for what came next. But even the most vigilant of Elven kings could be caught off guard. The attack was swift. Orcs, crawling from the dark crevices of the forest, came at them like a tide. The clash of metal on metal rang out as Gil-galad led his warriors with strength and precision, a beacon of light in the chaos. His movements were fluid, his strikes calculated, but even he was not immune to the overwhelming number of attackers.

In the midst of the fray, one of the Orcs, taller and stronger than the others, launched itself at Gil-galad with terrifying speed. It knocked the King off balance, sending him crashing to the forest floor with a heavy thud. His sword fell from his hand, skidding away into the underbrush. For a fleeting moment, Gil-galad’s breath was knocked from his lungs, his vision blurred from the sudden impact. The sting of the fall reached deep into his ribs, and the sharpness of the pain reminded him that even a King was not invincible. The Orcs closed in, snarling, their eyes gleaming with malice. He could feel his heartbeat pounding in his ears, his pulse quickening as he struggled to regain his bearings. Gil-galad’s gaze sharpened despite the fog of disorientation, his mind already calculating his next move. He rolled to the side, narrowly avoiding a blade aimed at his heart. He reached for his sword, but it was too far away. There was a fleeting moment, a brief weakness—something unfamiliar—that passed through him. A flash of helplessness that he rarely allowed himself to feel. It was swiftly buried beneath layers of command and duty, but it lingered just a little longer than he would have liked. Just as the Orcs began to close in, something unexpected happened.

A rush of movement swept through the trees. In a blink, you appeared—your form silhouetted by the faint moonlight that filtered through the canopy above. Without hesitation, you leapt into the fray, your blade flashing like a streak of lightning in the darkness. The battle paused for a brief second as Gil-galad, still on the ground, turned his head in your direction. His heart skipped a beat—not from fear or shock, but from an overwhelming sense of awe. With swift precision, you cut through the nearest Orc, your movements an elegant dance of strength and agility. The creatures fell back, surprised by the sudden turn of events, their snarls turning to fearful hisses. But it wasn’t the Orcs that held Gil-galad’s attention. It was you. Your movements were effortless, your focus unwavering. You cut through their ranks, protecting the King as though you were born for this very moment. Gil-galad’s thoughts raced. He knew his warriors were skilled, but there was something about you—something about the way you moved, the way you fought with such certainty and grace—that left him speechless. A profound sense of gratitude and admiration swelled in his chest.

His breath was still ragged from the fall, but he forced himself to push off the ground, his hand gripping the earth for support. His eyes locked on yours as you cleared the final Orcs with a grace that could only come from an elf with purpose. The moment you turned toward him, your gaze filled with concern, his lips parted to speak, but no words came. For the first time in many long years, the weight of the battle felt distant compared to the relief that flooded him at your presence. He could feel the adrenaline still coursing through his veins, but it was tempered by an undeniable surge of gratitude. You had been there when he faltered—when the weight of the crown, the history of his people, and the perils of the battle had threatened to pull him down. You stepped toward him, your voice calm and steady as you spoke. “Are you injured, my king?” Gil-galad, still shaken but steadying himself, nodded. “I am unharmed, thanks to you.” His voice was low, but the words carried a sincerity that he could not conceal. There was no formality in his words, no regal distance between you. Only an unspoken appreciation. He would have never admitted it aloud, but in that fleeting moment, he felt an unfamiliar vulnerability, one he did not know how to shield himself from.

You bent down to help him, extending your hand. He took it, and as you helped him rise to his feet, a look of quiet admiration crossed his face. For a moment, he simply stood there, his gaze softening as he took in the full depth of your actions. A flicker of something more stirred within him—a warmth he hadn’t felt in ages. But it was the steadiness of your touch, the way you stood by him without hesitation, that left him in awe. The king, ever the leader, found his heart racing not with the weight of his title, but with something far simpler: a respect, perhaps something even deeper, for the one who had stood by him in the face of danger. “You have my deepest gratitude,” he said, his tone rich with meaning. “Without your intervention, I may not have made it out of this alive.” There was a weight in his words—an acknowledgement that, in this chaotic world of shifting alliances and countless battles, your presence had changed everything. He had long borne the weight of his kingdom, the responsibility of leadership, but tonight, that burden had been eased by you.

His eyes searched yours, and for a moment, the world around them faded. The sounds of battle, the crashing of blades, the cries of the fallen—all of it melted away as Gil-galad’s gaze softened. “Your bravery… it does not go unnoticed,” he added, his voice low and earnest. “I will not forget this.” As you stood by him, your hands still holding his, he felt the weight of the moment settle between you both. The connection was undeniable. He had seen countless lives lost in the wars of Middle-earth, witnessed the rise and fall of kingdoms, but in this fleeting moment, he felt something he hadn’t allowed himself to feel in a long time—trust. Perhaps, even something more. The night was still, the threat of the Orcs momentarily forgotten, as the two of you shared a brief but significant moment. It was then that Gil-galad realized the depths of your loyalty—not just as a warrior, but as someone who had saved him not for glory, but for the simple love of what was right. And as he returned to the fight, standing side by side with you, the King’s heart swelled with something he hadn’t expected—hope.

🌊 𝓬í𝓻𝓭𝓪𝓷

Círdan might react to the reader/you swooping in to save them from a perilous situation like being captured by orcs.

The salt-laden air of the Grey Havens stung the skin as the distant waves crashed relentlessly against the shore, their rhythm a cruel backdrop to the chaos unfolding on the docks. The normally serene harbor had become a battlefield, its once tranquil shores stained with the blood of the brave and the wicked alike. Orcs had struck swiftly, their guttural cries mingling with the clang of steel and the roar of flames licking the sky. A boat had been set ablaze, its wreckage casting an eerie glow on the water as smoke swirled into the darkening sky. Círdan, his silver hair flowing behind him like a banner, stood as an unyielding sentinel amidst the chaos. His movements were fluid, a dance of deadly elegance as he cut down the attackers one by one. Despite the ferocity of his strikes, his age was beginning to show. His breath, though steady, came with more effort now, and his movements were slower, less sharp than they had once been. The weight of centuries rested on his shoulders, and though his resolve was unbroken, fatigue crept into his limbs.

The orcs were relentless, and soon he was surrounded. A heavy cleaver struck his sword with a resounding clash, forcing him back against the stone wall of the harbor. The ground beneath his feet was slick, and for a brief moment, Círdan felt the full weight of age and weariness. His heart pounded in his chest, but still he raised his sword, determined to protect his people, to fend off the dark tide. Then, the sound—a rustle in the trees above, so faint it could have been mistaken for the wind. But not to Círdan. His sharp eyes flickered toward the movement, his heart quickening with hope. He knew what it meant. You were here. You had been tracking the orc band for days, following their trail with patience and precision. But when you had seen the smoke rising from the docks, when you had realized that the mighty Shipwright himself was in peril, there was no hesitation. You burst from the shadows, a whirlwind of action and determination. Your blade was already in your hand as you descended from the ridge above the harbor, landing with the grace of a predator.

The first orc never knew what hit it. You moved like lightning, your strike clean and efficient, the orc’s blood spilling across the stones before it even had time to scream. The second orc fared no better, falling at your feet with a single, well-placed blow. Círdan’s blue eyes widened in surprise at the sight of you, the flicker of disbelief in his gaze quickly replaced by something far deeper—recognition, relief, and perhaps even a touch of awe. You had come for him, risking everything to pull him from the jaws of death. “Stay behind me!” you shouted as you moved toward him, your voice firm and unyielding amidst the chaos of battle. For a moment, Círdan hesitated. He had always been the protector, the one to stand between others and danger. But as he saw you cut through the orcs with such deadly precision, the decision was made for him. He gritted his teeth, his sword rising once more to meet the next foe. Together, you formed an unstoppable force, a seamless unity that struck terror into the hearts of the orcs.

The battle raged on, but your combined strength was a force of nature. At one point, a brutish orc captain, wielding a massive axe, charged at you. Círdan saw it coming before you did. Without hesitation, he stepped into the line of fire, his sword parrying the deadly blow that would have otherwise struck you down. The force of the strike rattled him, but his gaze remained as steady as the sea. “You risk much for an old shipwright,” he said, his voice calm even in the midst of the battle. “I’m not leaving you here!” you replied fiercely, spinning to meet another attacker. “Not after all you’ve done for Middle-earth.” For a fleeting moment, Círdan’s expression softened, and his eyes lingered on you with a new respect. Few understood the sacrifices he had made over the centuries, the countless battles fought in the shadows, the weight of leadership that bore down on him. But you—here you were, putting everything on the line for him. And somehow, it stirred something deep within him.

With renewed purpose, you fought side by side, driving the orcs back, step by step, until their resolve shattered. The last of the attackers fell with a guttural cry, their bodies littering the stones of the harbor like discarded refuse. The once-bloody battlefield fell silent. The air was thick with the scent of salt and blood, but the clamor of battle had ceased. Only the gentle lap of the waves against the shore and the distant cries of gulls broke the stillness. Círdan stood beside you, his breath coming in measured, steady bursts. He was still strong, but the toll of the fight had left its mark on him. His cheek was bloodied, a thin cut running across his face, but his posture was unyielding. He looked at you with gratitude and something deeper—an understanding that had not existed between you before.

“You have my thanks,” he said quietly, his voice steady but filled with unspoken emotion. His blue eyes held yours, and for the first time in your presence, he spoke not as a leader, but as a fellow soul who had witnessed your bravery firsthand. “Few would have risked their lives for me. Fewer still would have succeeded.” You nodded, feeling the weight of his words. “You’ve spent centuries helping others, Círdan. It’s about time someone returned the favor.” A small, genuine smile tugged at the corners of his lips, rare and fleeting but filled with warmth. “Then I am fortunate it was you,” he said, his voice low but sincere. As the first light of dawn crept over the horizon, casting a soft glow over the harbor, you and Círdan stood side by side, looking out over the water. The battle had been long and fierce, but the bond forged between you in the heat of conflict was even stronger. There was no need for words now. The understanding between you was clear.

Círdan placed a hand on your shoulder, his grip gentle but strong—a silent gesture of respect. “You have the heart of a mariner,” he said softly, his voice carrying the cadence of the sea. “Fearless, steadfast, and loyal. I will not forget this.” And as the light of the new day broke over the Grey Havens, you knew that, in your heart, you had not only saved a life—you had earned the trust and respect of one of Middle-earth’s greatest figures.

[island-ofthelost]

omg idk if uve posted an explanation for transmasc chase but if u havent id LOVE to hear?!?!?! im trans and i love house so :3:3

I've never made an explanation, but here's my list of headcanons:

as for my explanation, I believe he struggles with his masculinity in a uniquely transmasc way. People that headcanon him as transfemme will notably say that he's "performing gender", overcompensating to portray a sense of masculinity that he doesn't feel internally. But I disagree (for one, he's not hypermasculine in any sense that could be construed as a performance). This is because he has to actively work to be perceived in a masculine manner, and be treated as a man within the structure of the society he lives in, which would almost always come automatically if he were cis (again, he's white, "straight", well off in the beginning of the series, and able bodied. these aspects should put him at an advantage he clearly doesn't have). While there aren't any particular examples, you can clearly tell that characters like House, Wilson, and Foreman really aren't being perceived in whatever way Chase is. He's almost treated like a woman in the context of the series, particularly by House. He's always being described as "pretty" (by everyone) and a lot of House's jabs come from this perception. And this is clearly something he's uncomfortable with. I believe if he were to be a closeted transfemme this would either ease into comfort or become more uncomfortable around season 6 when he does become much more visually masculine (buzz cut, stubble, etc). While he was in no means comfortable at this point (Cause, you know), it clearly isn't discomfort in his identity, it's the natural discomfort of being freshly divorced from a whirlwind marriage. His relationship with Cameron also highlights his transmasculinity. Obviously, Cameron has her dead ex husband. Chase struggles with the fact that Cameron will never view him in the same way as she did her ex husband, like he'll never be the same to her or even enough to her. Especially enough as a man. I think the choice to show Cameron's attachment to her ex through his sperm specifically is a very interesting choice. There's the easy route of going "haha get it he doesn't have his own sperm", which is valid, but sperm and using it to produce children was something that at the time was largely unique to men and traditional masculine gender roles. Showing Cameron keeping her ex's sperm not only conveys that she wouldn't view him as a good and adequate husband, but more specifically as a good and adequate man, which puts a serious strain on their relationship. The show could have just as easily used something else, like a ring, and would be just as cinematic. The choice of sperm specifcally is interesting to me. And killing Dibala, which leads Cameron to end their relationship, was another example of Chase's relationship with masculinity. Dibala tells Chase, who is clearly uncomfortable around him, that "real men stand up for their values", which leads to Chase killing him. And this still isn't enough for Cameron. His relationship with his father is another signifier of his gender. Clearly, his father doesn't view him as a son, going so far as to cut him out of the will. And his religious trauma again gives him a uniquely transmasc vibe, but I can't put my finger on it.

And I hate to bring this into it because I believe you don't need to look a certain way to be a gender, but yeah, he does have some pretty feminine traits physically (soft hair, baby face). But these traits do slowly disappear throughout the show, signifying him going further into his transition (although in reality Jesse Spencer is a cis man and this is just the natural aging process, however Chase is meant to be a few years older than Spencer). Also, Jesse Spencer is transphobic and headcanoning him as transmasc is, to me at least, a great way to reclaim the character, and I view it as fitting much better into the storyline and his character than him being transfemme (I do believe that only a small portion of the fandom actually does view him as a cis man). So yeah. I didn't mean to go on a total yapathon, nor did I mean to invalidate or be malicious to anyone with a different opinion. These are just my thoughts on the subject.

[imthepunchlord]

YoU know I just realized there is one set of colors that appear a lot in character color coding, and those colors are red, yellow, green, blue, and pink. What do you think of this color combination and why do you think it appears so often in media?

My guess would be that, primarily for children, those are the most iconic colors and the easiest way to given a sense of what the team is like.

Red is often the leader because they're driven and passionate and maybe a bit hothead. Often always involved in fights so they get to be the center stage.

Yellow is a color of positivity and warmth and being happy, which it shares with orange, so this is someone you can rely on to be vibrant and energetic and silly. Yellow is also a color of intellect and brilliance, so they can be the brains of the team, but usually they're more known to be bright and take on the silly role.

Green is a color tied to being grounded, and because they are stable, they're usually the most logical and reasonable one, often defaulting to being the brains/tech person.

Alternatively, green can also extend to someone being a powerhouse and be the strong man of the group because they are so rooted and it's not easy to push them around. It may even play a part into the Smart and Strong characters often paired together, given the duality of green and the role it can play on a team.

Blue is a color tied to confidence, loyalty, and friendship. Often, they're the cool contrast to red, pushing back against them when they want to charge in. Typically the most ride or die of the group and could rival pink in being the heart of the group.

Blue is also a color tied to sadness and being cold, and that can work off the loner trope, that one character who is reluctant to join the group but ultimately will.

And in recent years, working off confidence, blue has also been tied to being the joker, the wisecrack, and team troublemaker. Blue also, in recent years, has been on the rise for leader role, now rivaling red a bit for it.

And lastly pink, which often defaults to the "girl" character, cause apparently it's the only color to be tied with a gender (and in present day, yeah there are people out there who do frown upon the idea of pink not being girl exclusive). By default, pink is meant to be the "heart", the glue that holds the team together as it works off it's the woman who keeps the household running, and typically they're the default love interest and are regarded as the "softest" character of the team. And thankfully, there is more push back to spice it up, where pink doesn't mean soft/weak and, if anything, the pink can be a surprise powerhouse.

So, that would be my guess. For children's media, those 5 colors easily define and shape a team, but there's a lot of flexibility they can do for those colors. A lot of these themes tied to these colors actually pop up so much that they make up the 5 Man Band very easily.

And the two excluded colors, orange and purple, well what they can do theme wise can go elsewhere.

Orange is often warm and spontaneous, well, that can go to yellow and red.

Purple is often tied to leadership, which goes to red and blue, and it's a color of mystery, which also applies to blue.

So that's my guess on why these specific colors pop up most in media.

[34saveme34]

me when I read a fanfic and it isn't the not being able to keep one tense going through the fic that puts me off for a second but the idea that 3 doesn't know he has feelings for 4

I honestly think he knows he likes 4 since about

hm. I'll say when he was exiled

I think he had time to think

yknow, despite all that happened before, you'd think that he would hold more against 4 but he doessnnn'tttttttttt

and I knoooow the meme life cicle but I think he was still very casual about it despite that

I think he realised then and overtime like thought it went away

and then 4 appeared again and thought he was fine, he was good

but then he gets to figure out he's basically 4's soulmate and it least now a lot of things start to make sense but not others and he's all over it again

for 4 it's IGBP 100% but only after a while

like he's throught he shock

maybe after all the annoyance with his living situation and he finally lives in his fuckin- don't remember the name of it but he settles down in the back to relax and his mind drifts back, thinks about 3 a little too much, the words he said still burning on his mind and it makes him so giddy and then it hits him like oh- oh huh, guess a lot of things make sense now. better repress!

I mean just- just think about it

neither of these idiots are brave enough to say anything like that, they're both scared of being vulnerable but 3 is more so. BUT 4 is way way more scared of rejection than 3 is. I mean they're basically the same amount of scared but from different perspectives. Like they see themselves this way is why I'm phrasing it this way, 4 is scared to be vulnerable like that too but he specifically thinks about the idea of 3 forever rejecting him and losing him all over this.

3 is also heavy scared of rejection but he's more scared of the idea that if he doesn't keep up his tough persona and tells 4 how he feels he'll be made fun of forever and no one will take him seriously ever again, not even as little as they already do, at least in his eyes.

then again I do absolutely think wotfi23 was a step forward from this

with 4 not trying to snoop around so hard to find out what 3 thinks, and 3 having less of a high wall up around 4, especially since 3 was drawing them not only in that specific art style but also with like.... the expressions are so specific. I do think 4 brings 3 a lot of joy, something that should be explored more

because got theough.... yknow what fuck it I'm overanalyizing that drawing, lemme put it here first

so like this piece of shit drawing <3

one thing first and this is gonna sound insane first but 4 takes up more place

and also has a more complex albeit not by that much pose

also his pose exudes energy, also with the face he makes as well

I think this is how 3 truly sees 4, like a bundle of sunshine who is full of unneeded energy

another interesting thing you might notice is 3's corner of his mouth

that little line by his beard.... he's cringing a little bit, almost like he's trying to mask enjoying 4's company. And in general, his eyes too and once again back to his posture and how he takes up less space than 4 it feels like he's holding back. Once again back to him being kind of intimacy. And when he tries to reach out it hurts him, he cringes and he's like fuming and crazy about it

WHILE he views 4 as being more open, more fun than him, more jolly than he'll ever be

it's crazy how jealously he is in love still despite everything

and we didn't quite see development from this

he loves him so much and still envies what he has with his whole soul

maybe one day the love will overtake the jealousy, especially with how 4 is like, slowly and slowly being more open (and a lil gay) about caring about 3

unless it's a one step forward one step backward type of thing

like imagine first episode of the year and we witness them step backward from a better and more truthful relationship they could have

because honestly, it isn't only about love. It's about communication issues, greatest example of that being Trash Friends of course (oh trash friends, how I miss watching you for the first time)

and it would be genuinely so genius if they, with 4's development about dropping more hints about just how much he thinks about 3

like being vulnerable

and if it was used against him OOOOOOH it would the BIGGEST step backward

if 3 let jealousy win while 4 is trying to be vulnerable with him

imagine the fall out. imagine 3 breaking, being like maybe 4 was right, maybe I really only think of myself

while 4 fully closing off, hurt

their relationship is SO conflict prone. which is why it's so fun to talk about, like why I've been rambling here for a long while now oops

I was reading a fanfic before I almost forgot 💀 anyways I do believe in 4 realising his feelings for 3 later than 3 does for 4, I think that's probably the more popular opinion in the fandom

might make a poll aboutt ittttt :3

[lifenconcepts]

yesss I’m so glad to hear another has come to a similar view on this! There’s a lot to unpack overall psychologically in identities, no matter how one chooses to present but rather how one feels, and it’s easy to keep switching between different terms because none of them stick and you just crave to understand yourself better.. this was especially clear in some communities that openly said their queer status and how people (validly) claimed something then in short while changed it, that’s also why I quickly went from being bisexual to gay to pansexual to aroaceflux and what not, and even though I’ve grown out of my own need for constant labels, I still find them useful many of times, but lots of individuals just.. spend their whole time fixating on this. No hate to specifics but I just don’t think trying to collect every term that fits you is right.. more so, the fact you change and some definition may have another source of existing (like claiming you’re autistic but you just don’t really like being touched, and all the variables and other stuff..)

it’s a good quality to have, self awareness, you can explain yourself better and feel more whole since you know why you do something, but with identities.. sigh- it’s just.. why constantly force yourself to try be like the others? I know some genuinely feel serious about this topic but it can’t erase that many also follow the mass through feeling a small sense of connection to animals and then immediately saying they are one. The very vague definitions allow misconceptions to thrive, and although it’s neccesary to accept all sorts of people and alterhumans/otherkin/therians.. it’s just obvious to me that some don’t exactly understand what it means to feel animal. They feel human emotions and misinterpret it.

Im NOT discouraging animal identities here, like mentioned, I’m a wolf.. but like.. in a supportive way, it’s alright and human to feel afraid, confused, scared, hurt, angry, shamed, shunned, excited, loved, sad, lost, unloved, etc - it’s human to want to be comforted and appreciated and understood.. and many ofcourse would seek out whatever means it means to get that even if it means going into the state of alterhumans they know little about purely for the community (easy to categorise people as a whole, be accepted for unusual practices and behaviours and beliefs, and overal with minds alike it’s easier for self-chosen identities to thrive) but like STILL some are only misinterpreting their natural self, and from exposure to anything you begin to believe you have it even if you never showed signs (I shamefully experienced this a few times, even fucking formed tics after watching too much of such videos? Forgot what it’s called, like some manifesting placebo effect) but what I was going with this is..

the brain is complex, there’s no one answer for all, but I hate seeing that some likely think they’re what they say they are only through just having no other way to explain themselves. It’s easier to explain an animal and emotion tied to it rather than the complex past and history and how it affects the present of a person with all the different things that go into being formed.. agh- well I was just happy to get this off my chest. You got it, right?

not take but I think nearly 90% of therian identities are at least somewhat subconsciously (or consciously) affected by emotional states and how the heart feels through the logical filter of the mind (like.. wanting unconditional love is clearly a canine thing, wanting respect and space is a feline thing, wanting to be feared and yet soft is like some big cat thing.. etc.. no? The stereotypes still are ever so present)

but idk man

[general-sleepy]

The frustrating thing about The Beetle is that it can get horrific at points. Richard Marsh is a fucked-up little freak, and he can write some perverted, gory concepts and images. But then he has no skill to carry everything else off. It's like David Cronenberg's imagination with David DeCoteau's skill.

[ciderjacks]

despite Laios low self esteem making him think that if he’d been eaten, Chilchuck and Marcille wouldn’t have helped Falin,

theres a small part of me that thinks the reason Chilchuck stayed with the party and went back in the dungeon in the first place was because he didn’t want to leave Laios alone. That Laios was moreso the reason he stayed.

[roughroadhaley]

i don’t think it is humanly possible for the Robby-Johnny relationship to be as good as the writers want me to believe it currently is going, but i also don’t think it’s going half as bad as people on here or on reddit say it is, so it is incredibly challenging for me to find posts I agree with about them anywhere

[aretheywlw]

ARE THEY A WOMAN WHO LOVES WOMEN?

*TL;DR she is technically not a canon lesbian, so no, this poll does not break my rules. i am, however, going to treat her as canon sapphic due to the rule of BFFR. as a result, i have taken out the usual "they're not attracted to women" options. see tags if you want more detail

[agalychnisspranneusroseus]

Got any trans HCs for the amphibia trio? I love the many different interpretations I've seen from this fandom

I don't know about specific headcanons, I know I'm considering making Anne trans in RiAAU but I haven't decided yet.

In one hand: it would be interesting to think how she deals with her first periods because, well, amphibians don't have those, and Hop Pop assumes she's dying (she doesn't tell anyone else because she's so embarrassed). Not that he tells her that, but it really freaks him out. He thinks she has some sort of internal damage, and it's only after months of research that he finds out about some rare mammalian species, such as a few monkeys and rodents, that experience the same cycle Anne goes through. The whole point of this is that it makes Anne feel even more out-of-place. She doesn't remember her world or her parents, only that she came from "somewhere" (possibly another continent) full of people of her species, and she wonders if things would have been easier if she grew up with her biological family. I mean, surely this would be easier. It just serves as a reminder that she knows nothing about her species, not even its name, and she has no idea of how her biology works or what is good and bad for her or how long she'll live or what changes she'll go through.

.

BUT, on the other hand: Trans Anne. Let's start with the obvious: amphibians don't have penises or vaginas and they reproduce externally, meaning they like... release eggs and sperm in the water and they mix without the involvement of either parent, meaning no one knows what the cultural significance of a "penis" or a "vagina" tends to be in most human cultures. As a literaly 3yo, Anne probably didn't have an extensive understanding of s.ex and gender, and it wasn't like the clothes she showed up with told Hop Pop much. She just knew that, as time went on, she found herself relating more and more to the female frogs of Wartwood, and she almost subconsciously began to refer to herself as a girl. There wasn't any big coming out moment, more like a point in which, after months of ambiguity (this kid kept using different pronouns for herself) she just settled on some good ol' she/her and began picking somewhat girly clothes when Hop Pop took her to the market.

It's not like the concept of trans people doesn't exist in Amphibia, it's just that Anne didn't realize that was her situation until, at least, meeting Marcy, and noticing the differences between them. It's not like either of them had ever seen another human from up close, so they didn't know what to expect anyway. Anne's only encounters with Sasha beforehand had consisted on magical girl swordfighting in the sky and whatnot. Certainly not enough to discuss their unique biology, which is something Marcy is very excited to discuss, since she's never met anyone with her same "condition" before, and she wants to know everything, so she uses her as her little rat lab whenever she has the chance. Even then, since she also lacks all knowledge of human s.exual dimorphism and its cultural implications, she doesn't associate anything about either of their bodies to any specific gender that could possibly be asigned to anyone based on biological feautures. Since Sasha remembers the most from Earth, she's probably the only one who could maybe possibly remeber her mom or the kindergarden teacher saying something about "the difference between boys and girls", but by the point she's in speaking terms with Anne, and by the time she realizes their bodies are different, she doesn't really care.

That's not to say Anne doesn't experience dysphoria or that she never undergoes any kind of physical transition. It was probably around the time her voice started to change during puberty that she realized her case may be kinda unique: neither Marcy nor Sasha's voices have changed that much, she can tell even though she only sees Marcy in person like once every 3 years and all the words she exchanges with Sasha consist of death threats and insults. Plus, there's a clear difference between """male""" and """female""" voiced in frogs too. She doesn't want to sound like a man! She doesn't want to be anything like a man! Men are gross! Sorry Sprig, Hop Pop, but it's true. Men are icky icky yuck yuck and Anne is a girly girl. She doesn't want to turn into Stumpy! Or Buff Loggle! Oh, no, is that her future? She commits the triple mistake of 1) sending a letter to Marcy that same day, 2) knocking on Maddies' door promising her firstborn if she can save her from turning into Stumpy, and 3) she becomes obsessed researching mammalian biology in the archives. Bad decision. Bad bad. She's discovering things to feel dysphoric about she never even knew existed! Did you know mammalian mothers feed their offsprings with "milk" that comes from their "mammary glands"? Did Sasha and Marcy have those? She hates herself a little for checking out Marcy next time she sees her and she realizes that, indeed, in the past years she's grown a pair of those that Anne does NOT have. She notes that both she and Sasha are pretty much hairless. She used to think hair was a normal mammalian trait! That weasel that tries to eat the frogs every winter sure is covered in it!

Maddie shows up to her door with a bunch of new spells to try out, happy to have a willing subject. Most embarrassingly, Marcy starts doing her own research as soon as she gets Anne's letter and sends her all her discoveries, and now Anne feels mortified because Marcy knows about all the bad bad very bad changes she's going through (Marcy, for her part, is just fascinated by the nature of their "condition").

It takes a bit, but after a few very frenzied weeks, Anne comes to understad what's going on: her species had certain level of sexual dimorphism and she just happened to have been born with the supposed "sex" usually associated with "men" as a social category. When Hop Pop finds out, he burst into laughter. Oh, it was THAT all along! Anne made it sound so complicated, but it was just the same things he went through when he was younger, just the other way around ("Say what now Hop Pop?")! A few curses here and there and she won't have to worry about these so called "mammary glands" and "hair" anymore, though in the meantime, as Maddie perfects a human-friendly curse, she gets turned into all sort of different creatures. By the time it's done, she just wants to feel like... herself.

It's true that there are some things about her body that make her feel weird, like they don't quite fit in, but there are others she only worries about because she compared herself to Sasha and Marcy, which wasn't fair to anyone involved. Did she really want to fundamentally change parts of her body because of insecurities she developed last week over a book about lemurs? Then, a second set of fears come in: what will happen when she goes back to her place of origin? Because she does want to find her birth family. Will they recognize her, if they're looking for a boy? Will they think she's lying if she claims to be their daughter? If she changes only a few things but doesn't "go all the way", will people there think she's a freak? Will she ever be able to fit in with those of her species?

Does she really care so much about what other people think? She just wants to be herself. Some of the changes she's been going through are making her feel less like herself and more like she's being turned into a tax collector from Toad Tower. Those things have to go - her voice, for example. And she wants a more femenine silhouette (she may or may not show Maddie photos of young Mrs. Croaker as a reference). She wants a softer face. She's seeing her face changing in the mirror and she doesn't like it. She wants it to stay round and soft, not to grow hard and sharp or big and rough. She's not so sure she wants those "mammary glands". It's not like she ever thought about having kids, and the whole "breastfeeding" thing just seems gross, but after her research, and finding out she could have kids with, I don't know, maybe Marcy one day (a thought that makes her blush), she thinks it may be a good idea. She'll consider it. Maybe later. Her genitalia... well, she's used to what she has now. It already took her like 10 years to fully figure out what it was and how it worked and starting over with a whole new set just feels like too much work (also, the babies, the potential babies with Marcy). Frogs and toads have neither "penises" or "vaginas" so there's not a lot of information, and based on books about lemurs and her own empirical experience, comparing herself to other mammalian species isn't too useful. She'll leave it the way it is. She'll see if there's anything else she wants to change later, or if she wants to go back on something.

Marcy is surprised next time Anne visits Newtopia. In her letters, she described this strange transformation in excruciating detail, but seeing her in person now, holding her face in her hands, all she sees is the same Anne she's always loved.

A few more ideas:

HEADCANON: in Amphibia, two people of the same "s.ex" can reproduce through magic, which means there has to be a concious effort and intent. The external fertilization process there's no such thing as a pregnancy, and there's no such thing as s.ex. All reproduction is intentional, which means there's no need for abortion either. There are processes to destroy fertilized eggs and embryos, but they look completely different from human abortions.

Amphibians may perform acts resembling s.ex for pleasure or fun but they look different from human s.ex and have no relation to reproduction.

Andrias is the only person in Amphibia who knows enough about humans to know how they reproduce (a process he finds repulsive). He never tells Marcy, of course, though once she becomes queen, she finds his secret library and his hidden tomes on "alien biology", some of which talk about humans. He's also the only one who knows humans can have children on accident, and that Anne is the only human in Amphibia who could cause something like that to happen (he reads all of Marcy's correspondence). He knows his daughter is very close to this weird farm girl penpal of hers, and even though she's still a child, he worries for her future and the future of the crown. This new discovery could land the crown in the hands of a dynasty of aliens if he's not careful. Is it weird that he spends so much time worrying about his 12yo daughter getting pregnant from another 12yo? Yes, yes it is, but he already controls every aspect of her life, it's not like he's going to stop at her sexuality, future, real, or imaginary.

Man now that I wrote it all down, I think this option is more compelling than the first. Maybe I WILL go with this one.