#i need a tag that's not a main tag for this tbh

[cece693]

You're Just Jealous of Me

pairing: the salvatore brothers x male reader tags: reader knows he's manipulative and a slut, you just don't care tbh, Elena has an aneurysm from not being the main character, the brothers know they're getting played, you're just that hot/beautiful/perfect for them to give you up, Elena bashing, no incest

"I can't believe you." Elena exclaimed, her eyes growing misty as you were getting ready to head out with Damon on a date. It hadn't even been a week since they broke up (something about her needing stability or some other bullshit) and you didn't care. All that mattered was getting through yet another 'poor me' moment without killing her and making it seem like an accident.

Seriously, what did your sister expect? That Damon was going to stay single for the rest of his days until she made a fucking choice between him and Stefan? Perhaps some of her betrayal stemmed from the fact that Stefan had also rejected her ass and had made it clear he didn't feel anything for her anymore. So now poor Elena had no one while you played with both brothers.

And it wasn't even 'playing' per se if they knew about the whole situation. You could fuck any of them, and they'll be fine with it—a thing you made clear to them when this whole thing started. You liked both brothers, but having to choose just one was unfair—they both had traits that attracted you, and if you couldn't have both, then you'll settle for nothing. Like eager children they agreed. The arrangement was abnormal to others, but for you it worked—you dated both brothers, they still hated each other (entertaining fights arising from their competitiveness on who you liked more, who was 'rocking' your world, etc.) Simple really.

"Save the tears for the pillow, sister. I’m really not in the mood—nor will I ever be—to entertain your pity parties." Pulling on one of Damon’s leather jackets, you smirked. You were a sight to behold—not only would Damon be eager to rip the clothes off you, but half the population would, too.

It was fun stirring the pot, watching Damon bare his teeth at anyone who thought they stood a chance. Jealousy was his kryptonite, and while a part of you hated targeting one of his insecurities, you always reassured him in bed of your devotion, loyalty, and love.

Yes, because at the end of the day, you loved both Salvatore brothers. This wasn't just some passing fantasy, nor was it some revenge scheme against your sister (though you did love tormenting her with the fact that you were dating the two). You were willing to throw away your human life to become a vampire—to spend eternity by their side.

"Why are you doing this to me? What have I ever done to cause this!" Now there was the Elena you knew all too well—the one who constantly placed themselves as the victim, putting blame unto you because who could ever hate a girl who lost her parents?

You let out a humorless laugh, crossing your arms over your chest. “You really want to go there?” you snap, not bothering to hide the derision in your voice. “Fine. For starters, you’ve always made Jeremy and me feel like shit, and the few times you did act like a decent human being were just so you didn’t look like a total bitch.”

“That’s not true!” she protests, anger tightening her features.

“It is, Elena,” you spit back. “When our parents died, you didn’t do a damn thing to help us cope. You were so wrapped up in your own grief, your own fucking melodrama, that you never once checked on Jeremy or me—unless, of course, it was to nag us about how we were coping. When Jeremy started doing drugs, you freaked the fuck out. Not because you cared, but because you were afraid of how it might make you look. God forbid anyone sees that the 'perfect' Elena Gilbert can’t keep her family together or help her brother kick his drug habit.”

She flinches, but you weren't done. Oh, no. You were just beginning to go down the list of why you hated her ass. "Then, when I began to hook up with Damon, you acted like I was the cause of our parents death—no, that's on you because Elena couldn't help herself and got drunk, needing a ride home at midnight. Sleeping with Damon was like I'd personally betray you."

Her cheeks flush crimson. “Well, you did! You—”

“I did what, Elena?” You take a step forward, towering over her. “I moved on? Found something that might actually make me happy? Meanwhile, you’ve been stringing both Damon and Stefan along for God knows how long. You made your choice—you dumped Damon, tried getting back with Stefan, when he told you to fuck off, you tried going back to Damon and he said the same thing. So now you’re standing here, arms crossed, lip trembling, trying to put the blame on me because you lost your backup plan.”

Her lips press into a thin line, eyes brimming with tears. But you’ve seen this act before—she’ll blink prettily, glance away like a wounded animal, and wait for you to console her. Only this time, you won't.

“You are an asshole,” she hisses, eyes narrowed into slits. “He was mine first.”

That makes you laugh, a harsh sound echoing off the hallway walls. “Right...possessive much? People aren’t property, Elena. He’s not a damn handbag you lend out when it suits you. If Damon wants to be with me, that’s his call. And if I want to keep him, that’s mine.”

She trembles, either from anger or heartbreak—you can’t tell, and frankly, you don’t care. “Why would you do this?” she asks again, her voice cracking. “What have I ever done—”

You rolled your eyes so hard you got a slight headache. "Did you even listen to me? I have every reason to hate you, so does Jeremy and the rest of Mystic Falls. Those who continue to stand by you are either stupid or hope they'll get some attention from your desperate ass. I'm done. I’m done letting you guilt-trip me. I’m done tiptoeing around your precious feelings. I’m fucking over it, Elena.”

Just then, Damon appears in the doorway, that trademark smirk on his face. “Ready?” he asks, taking in the tension between you two. His gaze flicks to the tears glistening in her eyes before returning to you. “I’m guessing we’re skipping the family therapy session?”

“Therapy? More like the mandatory guilt trip, which I’ve politely declined.”

Elena’s voice wavers, “Damon, how can you just—”

He cuts her off with a raised hand, posture casual but his eyes dangerously dark. “Stop, Elena. What we had is over. You made that choice before, remember? I’m done letting you waltz in and out of my life whenever it’s convenient for you.” You can practically feel the hatred radiating off her in waves. She’s not used to being shut down, especially not by Damon, the semi-reformed bad boy who once hung on her every word. It must sting. Oh, well. Her loss.

“As much as I loved talking to you, sister, I do believe we're running late. Don't wait up and please, if you're going to continue crying, leave my room. Keep wallowing if you want. Hell, cry yourself a fucking river. Just don’t stain my carpet.” Without another glance at Elena, you brush past Damon, and he steps aside for you to lead. He follows, closing the door behind you both, leaving your sister alone in her silence.

You descend the porch steps and greet the night air with a sigh of relief, reveling in the silence that isn’t tainted by Elena’s incessant whining. Damon slips an arm around your shoulders, guiding you toward his car parked beneath a streetlamp. His touch is warm, confident—like he’s proud of the chaos you’ve left behind.

“She’ll get over it,” he says, glancing at you with one of those trademark smirks that used to make Elena weak at the knees. Now, it just fuels your own sense of dark satisfaction.

“She’d better,” you mutter. “I’m not putting up with her drama anymore. If she wants to play the victim, she can do it alone. I’ve got better things to do.”

Damon’s grin widens. “That’s the spirit. So, where are we headed, anyway? We never actually nailed down the specifics.”

You shrug, placing an arm around his waist and snuggling closer to his side. “Anywhere but here. Got a craving for something stiff—drink or otherwise.” The innuendo doesn’t slip past him. His eyes flash with interest, and you can’t deny that thrill you get from watching Damon Salvatore light up over you instead of your sister.

“Sounds like the Grill for starters,” he suggests with a casual tilt of his head. “They might have a halfway decent bourbon I can drown myself in. As for the ‘otherwise,’ well…” He lets the sentence hang, the possibility of later events sparking arousal for the both of you.

You’re about to respond when you spot Stefan leaning against Damon's Camaro. Typical. Even without super-hearing, you know he’s probably caught every word you exchanged with Elena. Damned vampires. "What are you doing here?" Damon was the first who spoke, hand tightening over your body. As if he was a child preventing his favorite toy to be taken away from him.

"Nothing, really. I was just walking around the neighborhood and saw your car parked. But now that I see you're here with my boyfriend, I guess I have time to join you two at the grill."

"Our boyfriend."

You simply laugh at Stefan’s innocent tone, shaking your head at the absurdity of it all. Just a few minutes ago, you were telling off Elena and storming out of the house. Now you’re pinned between two vampires—both of whom are technically yours, and you are theirs. Welcome to the wonderful, fucked-up world of Mystic Falls.

“‘Our’ boyfriend,” you echo, looking from Stefan to Damon. “Are you two seriously going to argue semantics right now? Pick a damn fight over who saw me first?” A scoff escapes you as you shrug off Damon’s possessive grip just enough to stand on your own. You’re not some chew toy they get to tug-of-war over.

Stefan cocks a brow, his expression cool but laced with a hint of smugness. “I’m not here to fight,” he says, his gaze flicking to Damon. “Just wanted to make sure I wasn’t excluded. Last time I checked, this was a joint arrangement.”

Damon’s jaw clenches. Clearly, he remembers crashing your date with Stefan last week—and how you’d had to smooth over the tension in ways that involved very little clothing and a lot of apologizing on his part. “We’re not excluding you, Saint Stefan. But we do have plans that don’t involve your pensive brooding.”

Stefan straightens, crossing his arms over his chest. “Oh, so your plan is to get drunk at the Grill and then…whatever else…” He waves a hand dismissively, “doesn’t appeal to me?” He tilts his head in mock curiosity. “You sure about that?”

You snort. “Children, please. If you both really wanted to rip each other’s heads off, you’d have done it ages ago. Let’s just go. All this talk is making my head hurt.”

Damon lets out a dramatic sigh, rolling his eyes. “Fine. But if Stefan starts preaching about morality or—God forbid—Elena, I’m leaving him to pay the tab.”

Stefan’s smirk grows. “I’d pick a better conversation starter than Elena, trust me.”

You give an unimpressed half-smile. “Don’t even mention her name. As far as I’m concerned, she doesn’t exist unless she’s blocking my path to a stiff drink.”

That shuts both of them up. They exchange a quick glance—some silent vampire communication or whatever—then Damon jerks his head toward the passenger door. “Shotgun’s yours,” he says to you, ever the gentleman when it comes to seating. To Stefan, he adds begrudgingly, “Guess you can squeeze into the back...or the trunk.”

Stefan’s lip twitches like he’s fighting off a retort, but he says nothing. Instead, he silently moves to the rear door. You can’t help but grin. It’s absurd that they both share you yet still bicker like five-year-olds over the smallest shit. But hey, maybe that’s part of the charm.

Once inside Damon’s Camaro, you sink into the leather seat, adjusting your legs as you feel Stefan’s presence behind you. The tension is thick—crackling with desire, frustration, and that constant competition. You kind of love it. Damon revs the engine, and the car peels away from the curb.

“Any chance we can make this a quick pit stop at the Grill?” you say, your gaze shifting between them. “I need something to eat, maybe a drink or two, but I’m not really in the mood to fraternize with the entire damn town.”

Damon flicks you a sidelong glance. “Someone’s impatient. Looking to skip straight to dessert, sweetheart?”

A grin tugs at your lips. “I’d just rather not get cornered by whichever idiot wants the latest gossip on Elena’s meltdown.”

Stefan leans forward, resting his forearms on the front seats. “We can be in and out in under thirty minutes. Grab some wings, maybe a bourbon—or three—and leave.” He lowers his voice suggestively. “After that, I wouldn’t mind some privacy.”

Damon makes a sound of reluctant agreement. “Deal. But don’t whine when you realize your tolerance is way lower than mine, Brother.”

Stefan just smirks. “Don’t worry about me, Damon. Worry about yourself.”

The quick banter settles into a charged silence as the lights of Mystic Falls blur by. The neon sign of the Grill soon comes into view, and Damon maneuvers into a parking spot with practiced ease.

“Let’s get this over with,” you mutter, pushing the car door open. “I’m not about to waste my entire night entertaining half-drunk townspeople.”

Stepping onto the sidewalk, you can already see a few familiar faces through the window—Caroline, Matt, maybe Tyler. You can’t be bothered to care. The only drama you want tonight is the kind that ends in moans, not tears. And if Elena hasn’t slithered over here yet, you might just get your way.

Damon slides an arm around your waist possessively again, and Stefan eyes the gesture with an annoyance that’s as old as time. You sigh inwardly. No matter how many times you remind them you belong to both, they still can’t help but try to stake their separate claims. Vampire pride, maybe.

As you head inside, the ambient chatter and smell of bar food envelop you. A few heads turn—this is Mystic Falls, after all, and you’re making a very public entrance with both Salvatores. Let them stare. Let them talk.

“Your usual table?” Damon asks, raising an eyebrow.

“Yes,” you say. “Let’s just grab a seat and order. I’m fucking starving.”

The three of you slip into a booth. Damon slides in beside you, Stefan on the opposite side. A cute server looks mildly flustered as she hands out menus. You can see her eyes flick between Damon and Stefan, likely recalling the messy history each has with Elena. If she notices you’re with them in a more intimate sense, she doesn’t comment. Probably for the best.

“So,” Damon says, flipping open the menu, “bourbon and wings? Or do we want to start with something stronger?”

Stefan doesn’t bother with the menu. “I’ll have what you’re having,” he says with a forced casualness, drumming his fingers on the table. He’s clearly aware eyes are on you three. You can practically feel the tension rolling off him—like he’s waiting for the next potential disaster.

You roll your eyes at the both of them. “Bourbon’s fine. Then if someone pisses me off, we can move on to whiskey shots until I forget this entire night.”

Damon flashes that trademark smirk. “You, pissed off? Shocking.”

Stefan snorts, finally cracking a faint smile. “I’m sure we’ll manage to avoid any drama.”

A short, barking laugh leaves you. “In this town? With the three of us in the same damn booth? Doubtful.”

But you push aside the building dread. Because at least you’re here on your terms, Elena’s sob story is miles away, and you have both Salvatores at your side—bickering, sure, but ultimately yours. And that realization, twisted as it might be, makes a satisfied grin curl your lips. With a raised brow, you signal the server for your order. Let the vultures talk, let Elena sulk. You’ve got bigger, better things to do tonight—and two vampires to do them with.

“Bring on the bourbon,” you say, leaning back. “I’ve got all fucking night.”

[anghraine]

A few bad but fairly typical P&P takes got me thinking about ... Mako from Legend of Korra, actually, and also, just fandom dynamics.

Many of you weren't in that fandom (or perhaps any fandom) back when LOK aired, but I was very active in it. I actually liked—and still like—some aspects of LOK better than ATLA, and I certainly liked the fandom better than ATLA's.

That said, LOK fandom was still less a dumpster fire than a landfill explosion. To this day, I couldn't even identify the single character who got hit the hardest by LOK fandom's approach to discourse, which like most fandoms today, painted a thin veneer of social justice over good old-fashioned stanning/ship wars, but did it much more transparently.

In any case, if I were going to try and pick the character who got hit hardest by the LOK discourse truck, Mako would at least be in the running. The later days of LOK fandom can give the sense that the basic ship war from Day 1 was Korra/Mako (Makorra) vs Korra/Asami (Korrasami). But my strong impression back when the first book aired was that the ship war dynamic was much more Korra/Mako vs Korra/anyone-but-Mako.

There were plenty of not-Mako options. Korra/Bolin was pretty big for awhile. Korra/Tahno had a substantial following during/after Book 1—Tahno was the waterbender from the rival pro-bending team who got curb-stomped by Amon. There was, of course, Korra/Asami (seemed like no chance in hell at the time, but sweet). It was even a good fandom for hero/villain shippers like me.

I think a lot of this activity ultimately coalesced around Korrasami. But at the time, it hadn't quite happened yet. The fandom was wanky (sorry, discourse-y) about virtually every character, but a lot of people really, really, really hated Mako in particular—Mako haters could encompass people who liked or hated the first season, people who loved or hated Korra, people still mad about Zutara, whatever. I didn't like him at the end of Book 1, myself, though I couldn't buy into the screeds about how abusive and exploitative and otherwise problematic he supposedly was.

Since I didn't actually have much of a stake in the main ship wars, I've always found this dynamic more interesting than anything else in terms of fandom behavior, because I've seen it happen many times, but I hadn't often seen it at the level that Mako hatedom took it to back then. So I was thinking about how this happens, and the particular way it happened with Mako back in the aftermath of Book 1.

Early in Book 1, Mako is revealed to be a tragic, brooding orphan with a slight edge trying to support his sweet-natured younger brother and himself through a mixture of industrial work and magic sports. He gets swept off his feet (literally and metaphorically) by a beautiful, very cool, very rich girl (Asami) and enters a romantic relationship with her, only to feel increasingly drawn to his beautiful, very cool, very powerful friend Korra, our heroine.

Some people pointed out that "which awesome and hot girl do I choose :( it's really hard :( :(" is not the most sympathetic quandary for a character to be in, and for the target audience, particularly unsympathetic coming from a young man. And the choice to repeatedly cut from shippy Mako/Korra moments to Asami looking upset didn't help (especially since Asami lost almost everything when she chose to stick with them and turn on her father). And Mako's eventual apology to Asami was genuinely a bit underwhelming—it's basically "mistakes were made."

And, yeah, those things are true. But fandom is not always so OTT hostile about the man in that kind of love triangle taking awhile to get his shit figured out, even when the man is much older than Mako, a literal teenager. Like, I never thought I'd compare Avatar to Bridgerton, but the Edwina-Anthony-Kate dynamic seems roughly similar and most of the fandom came away from it really invested in Anthony/Kate and sympathetic to them. It depends on the fandom and on the depiction.

It's not that Mako didn't screw up in Book 1. It's that the reaction—he's an awful person for pretty ordinary missteps and some poor relationship choices, he's an abuser, he's the worst character in the show, whatever��just seemed wildly disproportionate.

And also, yeah, overreacting to minor misdeeds and reducing a character to ultra-exaggerated versions of their worst selves out of sheer annoyance is a fandom staple (especially when the misdeeds take up as much air as the early LOK love triangle seemed to for many people, with other aspects of the story crammed into limited space). But the extent of the hatred still struck me as rather extraordinary, especially since he seemed to go from reasonably well-liked to feverishly hated in a short period of time.

My theory after B1 aired was that this really came from the intersection of a fandom that was very prone to this kind of exaggeration and poor faith readings with the actual structure of his characterization in B1. We quickly discover his tragic past with his parents being murdered, and that he's been struggling on the streets, and has to look after a cuddly but clueless brother who doesn't seem to get the urgency of their problems. He uses his prodigious lightningbending abilities to make just enough money in a sort of magic power plant to get by in combination with pro-bending successes. Essentially, we're given far more than the minimum required to sympathize with him and tolerate the occasional asshole moment.

But later on in B1, a lot of his characterization and scenes are directly tied up in the love triangle, and many of his original, somewhat more ... pressing concerns, end up getting pretty much resolved in one way or another. So a lot of those original sources of sympathy that were so concentrated in his early scenes are no longer a concern, while others are no longer being emphasized by the narrative.

And it's certainly the case that Mako was much less widely and disproportionately hated later on, at least in my fandom experience. Some people still hated Makorra with a passionate fire, but Mako himself seemed much more endearing to many people once the narrative dialed down the love triangle, explicitly paid attention to his loyalty as a friend, his basic heroism, his close yet sometimes difficult relationship with his brother, and a certain adorkableness that was not absent in B1, but which wasn't as heavily emphasized.

I don't mean to argue that this later narrative treatment was necessarily better, but I do think the more even distribution of sympathetic qualities or revelations about him alongside his flaws made him much more palatable to a lot of the fandom. It's like people ... just kind of forgot why many of them originally liked him unless the narrative went out of its way to remind them.

This is really long, but I did feel that B1 kind of overplayed its hand with Mako early in the season, and then underplayed it in the later parts of the season, and fandom being fandom, people enormously overreacted to their sense of what was going on in that phase of the story (for many: ARGH!!) and not all the information they actually had.

This isn't a hill to die on for me, exactly. It was just how I saw what was going on—this kind of toxic mix of fandom bullshit with some peculiar choices in the structure of his characterization and what got emphasized (or even mentioned) where. That is still my general impression, though—that the fandom's response wasn't coming from nowhere, but that we were getting this kind of intersection of a fandom even more prone than most to over-reaction and poor faith assumptions + some genuine oddities in structure and emphases in his characterization during that first season.

What does this have to do with P&P? Well, I'll get to that. But this post is honestly long enough already, so I'll do the follow-up tomorrow, probably.

[motivation-ga-shinderu]

live and die, for my sake

[plutonious]

experimentation is forever and ever and emmet is guinea pig

[swordscleric]

I can't stop thinking about the post from a few days ago about how Critical Role has been great at doing personal faith but didn't put the necessary work in to discuss the religious/god angle of c3 in-depth. Like the fact that Cardinal Respa was linked to both the Dawnfather and the Chained Oblivion is, on a personal level, very interesting (fallen/corrupted priest goes hard) but like does that mean that there's a Papacy somewhere in Exandria dedicated to the Dawnfather? If so, are there more cardinals who ordain the bishops of the Dawnfather? Are there Conclave-level intrigues going on in the Dawnfather's Sistine Chapel? Why is the Dawnfather so Christianity-coded in vibes alone if there's no actual outline of his religious organisations? With Downfall the Dawnchild/Dawnfather thing makes the allusions to Christ as Son of God co-existing with the Father textual - was there a Dawnfather Schism around whether the Dawnchild was a separate mortal? Was there a Reformation about how the Dawnfather's Pope kept selling indulgences? Is that why the priest of the Dawnfather Grog & Pike offer a drink to doesn't partake because of a cultural shift between Protestant-Temperance-League-coded and Catholic-coded Dawnfather congregations? Why do I have so many questions about the religious organisation of one of the most important Prime Deities in Exandria and to Critical Role's 3 campaigns? How on earth were the cast (and us as the viewers!) meant to care about the gods if all they had were "really tall kings" instead of interrogating how religious organisations provide both a place of healing and community to a wide range of people and also a place of horrific harm and abuse for a wide range of people?

[ineed-to-sleep]

To everyone who leaves nice tags on my art/posts. Do y'all want anything from the gas station

[ashipiko]

😔 enstars posting won so </3 my enstars silly…… my widdle boy atsu…. NOT MILGRAM VER. ENSTARS VER!!! WELCOME TO THE ASHIVERSE (there is 9. tehepero)

🫶 here is my boy who suffers w gramp issues. HES SO SILLIES. <3 he’s not a producer but a member of me and my friends’ group named plume!!! THEIR WHOLE THEME IS LIKE BIRDS. SHOWING OFF. FANSERVICE BASICALLY they’re fun

[astralisstar]

scene redraw 😈

[xxplastic-cubexx]

i miss charles so bad why do they keep separating my already divorced parents.

I miss charles so bad why do they keep killing him

[quibbs126]

Oh yeah so I had this idea earlier when I was thinking about Beast Wars, only reason I didn’t post it earlier was because I got dragged out to dinner

Anyways, so basically I had this thought of a Transformers series where basically the Autobots and Decepticons crash land on Earth, and due to them having no clue where they are and no current way of getting back home, they decide to work together, at least for the time being

So like, the main group of protagonists would consist of both Autobots and Decepticons

But also it wouldn’t be the entirety of both groups working together, as members on both sides refuse to work with the other for one reason or another and instead decide to do their own thing, being their own separate parties that probably cause trouble from time to time. But every member here has their own reasons why they are or aren’t fine with teaming up, and why they’re on one side or the other

I kind of don’t want Optimus and Megatron there, probably because I was thinking of Beast Wars which doesn’t have them, and also because I want to see this alliance come from characters other than them. But at the same time I feel like they kind of have to be there. My current solution is that the two were on a different part of the ship that came off during the crash landing, and in current day (assuming they all were unconscious for a bit like g1 or Animated) the two are missing, which might be a reason for the two groups to team up. Their goals are to: find fuel, find everyone that might have gone missing, find a way to contact/get back to Cybertron, and find their leaders

I’m not entirely sure what’s going on with Optimus and Megatron here yet, just that they’d probably be absent until like, maybe the end of the season or something

But one concept that did come to mind is that whoever found them basically decided to stitch the two of them together using each’s body parts into one powerful robot (probably not knowing what they really are), and so the two are pretty much fused together into one, with them having to deal with this, assuming they still have a mind anymore. And also with this concept, this Frankenstein of them is specifically not one or the other with the other’s body parts, it’s both of them in there, through whatever magic means. Or neither if we just want the body horror and the new team having to put them down. Or I suppose you could have instead their minds/sparks being fused into an entirely new being. Didn’t really think about that concept until right now. But yeah, might not be the concept I stick with, but it is the one in my head right now

Edit: all I know is that I don’t think I want it to just be “they decide to work together”, because while I’m down for a solo Optimus and Megatron team-up side plot, the rest of the group is already doing the team-up, so it’d be treading the same ground. I want to do something different with them, and fusing them together into one being certainly is that. Throws a wrench into the whole war thing too

And yeah, I just wanted to share this concept because I thought it was neat. I would try to develop it more, but I have literally no clue who would be on either side, because the only characters I think about are Optimus and Megatron, and I also don’t really want Starscream and probably Bumblebee here either

[belzebong]

Hurley is a character who i feel the fandom makes way too nice, like yeah he is a good person compared to a lot of the cast but i feel like people tend to forget how passively cutthroat he can be and how he's fully willing and able to lie to his friends if it serves his own self interest, also he's way cuntier than people give him credit for.

basically he's a little bitch<3

[ahalliance]

still thinking about antoine semi-rping on main during the qsmp meta talk with etoiles, florence and zerator last night . why did this dude scoff when étoiles started talking about the resistance . why did he start asking him why he’d possibly want to kill federation guards and disagree with étoiles calling them mean/bad people . you are currently discussing this while playing on the mc server that contains La Tour de Merde you can Nawt give me lore jitters like this…..

[the-kipsabian]

10 new bracelets! some conglomeration, mariah may, orange cassidy among few others!

next six (6) orders also come with a free "friend of friendship" bracelet 💜

peep all these AND SO MUCH MORE;

[fraternum-momentum]

so so so glad ur art has been taking off lately... i've loved ur dol art for ages now, so it's fun to see things with a wider appeal blow up! nwn

ty for sticking with me for so long !!!! it's honestly so surreal tbh,, im just kinda doing whatever comes to mind / whatever i want to do, im glad people seem to like it :33

[mezzmerizd]

There's something so theraputic and lovely about learning that childhood shows have fandoms that are still alive today,, fanart, animatics, fics, comics, all of it. It's great to see the love i had for shows as a kid be still shared today, especially with characters represented in ways I can relate to today, too :3

[rxttenfish]

Asking because I’m extremely curious about this, how did MonProm’s writing get different over time? I remember you saying that the lore and characters feel different, and that it's missing sincere character interactions, too. I know almost nothing about the lore and I’ve only seen a few people mention the characters, so I’d be interested in a rundown of what aspects you think got worse in the series

I wouldn’t mind a very long response since I’m not that active in the fandom, I need to catch up on what happened

sorry for taking so long to answer this! i kinda waffled on it for a long bit, mainly because i started doubting myself again, and whether or not this was me simply overreacting or being tinted by nostalgia or simply being extremely picky and choosy in what i like (the last of which is true, i seldom get into fandoms at all for this reason and stay away from most popular media, but i wasn't sure if it applied here). i've posted about it already, but i'm in the middle of a psychotic episode where i can't feel a lot of pleasure to begin with + most things i do experience ending up solidly in the "very bad" category, so as you can imagine, i really didn't want to mislead and check that i was actually in objective reality.

as it is, this is also when a lot more screenshots started to be posted in the monster prom tag, and that helped me bridge the gap back into returning to the games themselves and feel like i was making a more accurate judgement. if you're one of those people who have been posting screenshots, i sincerely thank you, and i appreciated seeing you in the tag greatly.

for those not in the know — i've been in the monster prom fandom since it first released, prior to even the first additional ending to be added (the "Punch the sun" ending, and i recall the minor fandom drama that happened at that time due to it). my impression of monster prom is very much influenced by this, as what got me into the first game was the fact that the characters genuinely seemed to care for each other and were friends with each other (not merely tolerating each other's presences nor dressing it up, they sincerely thought of each other as friends and were open about that fact), on top of the wide variety of small details and statements that, if taken at face value, could create compounding complexity in the lives of each and every character and had wider implications for their lives.

no, they were not necessarily explored nor even necessarily "real", with so many conflicting events and statements, but i liked this too, because it meant a wider flexibility in what you could imagine, helping to create a more tailored experience for everyone who thought about these characters. this was what i liked about the early fandom too. what was baseline "canon" was so vague and minimal that you could have wildly different interpretations of the same characters' histories and relationships with each other. you would have radically different perspectives on what the world itself looked like, what it was like, that there wasn't really any wrong answers so long as their personalities remained the same. this is where you got the old headcanon of polly and liam being childhood friends who knew each other as humans, or that the world of monster prom was post-apocalypse where humanity itself had gone extinct or only existed in tiny pockets, or my personal headcanon that both monster and human society existed right next to each other and had minimal crossover for petty cultural reasons. this was also prior zoe-as-ro, and there were wildly different interpretations of zoe's personality, with most going for a far more disquieting creepy-cute than the deep nerd we got.

this is why you get stuff like the timeloop theory, where everyone is repeating the same weeks leading up to prom over and over, and are perhaps vaguely aware of it but broadly unconcerned. this is also why it felt like the joke that, the characters were still in high school but were all fully legal adults with most in their 20's, best landed, because it was absurd and strange and didn't quite make sense, but the world itself was inherently absurd and semi-malleable to begin with. realistically, i felt like everyone understood it was making fun of the trope of having adults play teenagers in american sitcoms and wildly casting outside the age range, but for more in-universe explanations it wasn't any different from the way that you would have a large, dramatic ending in which everything changed, but then you'd restart and everyone would be right back at the beginning with nothing different, or even having conflicting events in the same run. it was a dream-logic that fit with the tropes and, thus, diagetically made sense.

to be clear, i don't mind canon having a set, well, canon on which it refers back to itself. i don't mind expanding that or including more things which are set in stone. but there was a perceivable shift in how the games handled this over time, becoming a lot more... bitter, it felt, towards all of these different branching ideas and concepts that, yeah, the people making them knew wouldn't necessarily be "canon" because "canon" already liked to contradict itself so much. most people weren't even sold on any one idea, and there was a much greater sense of enjoying and appreciating all the varying ideas people would come up with even if you personally didn't share them. making the characters be out of character was the real crime, because then it didn't diagetically make sense in the same way, didn't wholly fit.

(again, this is not to say fanon didn't happen and characters weren't smoothed down into a simplified personality that fit these varying fan-interpretations instead of the game itself. certainly damien love/lust was just as bad as it had ever been, and everyone loved to mangle his character into a more stereotypical "bad boy with a heart of hold" all the time. but it certainly felt less set-in-stone about it than it does now, with any deviation from the norm being considered strange and odd and even broadly shunned from the wider fandom.)

all of this is setup for establishing what the writing, lore, and characters felt like in the earlier days. the characters were the strongest part, with their relationships to each other being equally as important. the lore played it fast and loose and was far less interested in setting anything in concrete because that wasn't the important part. the lore wasn't the important part, which was what made it all the more intoxicating to think about, all the more fun to play with.

montrip is easily the biggest offender when it comes to setting everything in all-or-nothing terms and demanding absolutism from the world. broadly i blame the hitchhiker conversations for the worst of it, but i think ultimately the way they handled the entire premise of the game is where this problem stems from. it's not really an exploration in the same sense that you might explore the first game, discovering different perspectives and different people with different relationships to each other. it's an exploration in the sense of a sequel that over-explains the monster, that takes the most boring option out of all those that were possible and floating around and settles on something that was blatant, obvious, typically rejected not because of how novel it is but how trite and par for the course it is in the rest of the genre.

yeah, okay. humans know nothing about monsters and there's a "monster dimension" that exists separately from the human dimension. there's no crossover between the two of them. of course there's a big grand-scale fight between the eldritch powers that zoe used to be a part of, from which not only are slayers the main organization against them, but also the merkingdom has some horse in this race too. it's an urge to make things so universal in explaining them, in revealing connecting threads which unite everything that's ever happened in here, that makes the worldbuilding and lore immediately much more boring than it ever was before.

and it didn't have to be this way! nothing in the first game contradicts any of this too explicitly (see the above, the first game loves to contradict itself), and i would even be happy if this was basically canon but never stated or confirmed to be the big overarching everything going on underneath it all. i believe you should probably know these things about any world that you create and have them in the back of your mind. the difference is that you can know these things and keep them in mind, even focusing on things where its very relevant, and still not reveal them. this is why you have lore bibles, after all. every horror writer knows exactly how their monster works and the full underlying reason for everything that happens, but that doesn't mean the audience will see it or possess this same information too, and leaving it intentionally obscure will make far better stories.

which, this is bad enough, but it wouldn't be the breaking point for me if this was all there was.

but the worst thing of all has to be the slow decay of the very same characters that sold me on this world, this lore, this game in the first place. monster prom is nothing without the characters in it. it's a dating sim, it has nothing but characters to get you to play, and liking these characters are the entire reason anyone would pick up monster prom in the first place.

and the first game pulls this off extremely well. it's all in the tagline: be your worst self. they are, indeed, all terrible people. yes, even that character that you just thought of right now. they all have points in the game where they commit atrocities, where they kill or hurt people, where they do inexcusable things that could not be ignored in a more serious setting.

but that's the point. i think there's something very powerful in creating a character who not only do you love and love their personality and the way they interact with the world, but who also are inapologetically terrible, and to have the humor and the charisma be so good that you don't get bogged down in the "this is awful". likewise, it never feels the urge to really go out of its way to justify what's going on. this is not to say theres no discussion of if someone "deserved it", but usually there's still the sense that the joke is on them, that this is still an extreme reaction specifically for comedy and not necessarily something that can be justified. you can have damien set leonard on fire and have it feel earned, without prompting the needed reaction of what it's actually like to watch someone burn to death.

this is what sets the prank masterz ending apart from the rest of the game, and really establishes it as the first real "bad ending". because nothing that you do or happens in the prank masterz ending is any different from anything else that happens in any other run. you summon evil beings from other dimensions as a throwaway gag on how visiting one location raises your stats. you kill other people and damn them to terrible fates. you watch as body horror happens. the only difference is that, in the prank masterz ending, the laugh track doesn't play.

the rest of the game and the writing echoes this philosophy, this careful interplay of tropes that keeps everything tongue in cheek and yet sincere enough to make sure emotional beats still land when they're needed. the characters feel true to themselves and their own emotions, even when the world is extreme and excessive, when everything else runs on comedy logic.

this is also what i noticed failing first as time went on.

like i said, fanon has always existed and there's always been very specific ideas as to what characters are like in the same way fanon always flattens down characters into the same tropes over and over. scott is stupid and innocent and doesn't know what sex is. damien is violent and hot and too cool for anyone else. miranda is the idiot girl character. repeat over and over and over until you get sick of it.

but it's been an issue as time has crept on that canon has started to approach fanon and began to merge with it. now, scott is so innocent that he can't even curse. polly starts being mean to her friends and saying things that would be very hurtful to hear. the merkingdom isn't really super evil and fucked up, it's just miranda that's like that. they become simpler, easier to digest, streamlined for social media posts and mass-sharing. they become less and less subversions of existing tropes and moreso just another example of them, something else to add to the collection, not their own individual stories.

even further from this, what more complex traits they had are now stated and not shown. polly is stated to be smart and clever in a way that her party girl persona doesn't imply and to be sincerely rather down to earth with the people she cares about, but we seldom ever see this anymore unless its the game specifically trying to make a point about it, in which case it won't let her do anything that implies cleverness and moreso will just outline it in the narration. vera is stated to care for people in a very genuine and heartfelt way, but seldom will get a chance to do so, and every opportunity for her to do so to their faces is missed while she will just outright state it later. it does not feel consistent, it does not feel like any of these are intended reads of their actions. it feels like the devs have something they want to do but no idea on how to actually do so. and forget it if you want these traits to manifest in small ways that show up in unrelated moments and scenes.

the dialogue becomes harder and harder to tell between each speaker, if you are just looking at what's said and not at the pictures attached to it. the characters' distinct voices have been eroded away, so that they speak more and more like each other, relaying the same terms and ideas in the same words. perspective becomes a suggestion, instead of a must.

this is something that started back in monster camp too, as all of the endings in that game felt ultimately the same as every other ending. it's very hard to place or define the full reason why, why there feels like there's no emotional stakes nor investment, why everything feels moreso like selecting different coats of paint and trying to find all the different ending pictures rather than being interested in exploring the characters as characters.

stranger yet, the series that started with the tagline of "be your worst self" has experienced a kind of... softening, for lack of a better word? what i mentioned about being able to handle the balance between terrible people who do terrible things and the light tone of the game starts to change, as abruptly the same characters who were down with violent murder in the first game start to lose their nerve, acting more and more on more typical morality. it's one of those things that feels like it's starting to damage the tone, as abruptly it's not as absurd as it used to be, demands less suspension of disbelief which could buffer and support the rest of the setting on it. there's even a part in one of the endings in montrip which involves current-polly and current-scott looking back on their monprom selves and reacting in horror at how violent and careless their pranks are, in a way that fundamentally felt like it was undercutting and disparaging all the things that felt fun and made monprom what it was.

which is odd, really, because more and more i feel like the characters in these games like each other less and less. the friendships and genuine enjoyment of each others company that brought me to this game in the first place has gone. now they don't mention each other as much, don't care for each other's feelings and reactions as much, aren't as willing to support each other. they are more and more found on their own, relied on their own, seem to seek out contact and interaction with their own friends less and less. it feels like they're all separating out into their own worlds, but also feels like they wouldn't willingly want to interact with each other if they weren't already forced together by some other outside contrivance.

if anything, i'd compare it to every other dating sim out there, where you, the player, are the most important person in these characters' lives, and they only feel ambivalent or antagonistic towards every other character. which, again, is not why i picked up monster prom or why i liked it so much in the first place.

and it's because of this that it feels like the current state of the series has to focus on its increasingly weak worldbuilding and lore, trying to form a more serious foundation without character relationships being so tightly bound together, without the characters themselves being more developed and rich, without an aspect of absurd humor to rely on.

more and more i've noticed monprom has to rely on referencing other series to make itself funny and create humor, which, again, it's always done. it was just easier to ignore back then, if you didn't know what was being referenced, because there was always more going on in the exact same scene to bolster it and give context clues as to the setup and punchline at play. it feels like the current games are much more dependent on you knowing pop culture references in order to have any fun with it, and i'm someone who, again, is very picky in what i like or what i'll seek out. i'm not interested in a stream of references about other things that i would much rather be doing than playing through a game that feels like it hates that i like it at all, when i could, again, just be engaging with the thing that takes itself seriously and knows what it wants.