#id be willing to expand more if anyone wants to hear lol

[theaethernetconnection]

Just had a random thought about how differently Crowley and Aziraphale interact with humans and their culture throughout history. More or less, Crowley interacts with the culture and Aziraphale interacts with the people. There's so much nuance of course because I'm thinking about how aziraphales appreciation of culture comes purely through food, and Crowley tends to notice people's social cues and little details about people. But thinking about in Rome, or Victorian times or the wives in the 1960s. Crowley is always experimenting with her gender expression and the culture of the place where he resides. I think that the way Crowley works is he really lives in the places he lives in such as going to bars, talking to people on the street, the lowlife, the nightlife, actually paying rent for some goddamn reason. But aziraphale stays on his own for the most part, he absorbs the people he interacts with but definitely stays outside of fashion trends, and altogether doesn't really immerse himself in any culture. It's why he's unaware of the life the poor live in the grave digging minisode, and also the reason he has so many signed books from magicians and prophesy tellers. He engages with the people for long periods of time. Is he super good at listening to human emotions? Not exactly... But is he great at cataloguing and absorbing the essence of the people he meets? Yeah.

[suffarustuffaru]

I think Subaru remaining a child is actually a very purposeful choice?

It allows us to explore Subaru as his child prodigy self, and who he would be if he had come to this world as that version of himself instead of at the age of 17, and who is VERY different from the Subaru we’ve come to love over the course of the series so far. He’s more brash and arrogant, WAY more cutthroat, and even though I don’t think he’s lost that compassionate core of his personality, he does lack a great deal of the sympathy and kindness that’s defined his character so far. Like, older!Subaru would absolutely not have abused RBD like this, especially not after Arc 4, and it is turning him into something that is genuinely terrifying. Like, you said that Arc 8 would not have changed if Subaru was returned to his normal self but — I actually COMPLETELY disagree with that, because while the general plotbeats might remain the same so far, Natchuki Subawu is a MONSTER. He’s paralleling every IF Route so far, he’s disregarding his life as a tool, he’s dismissing other people’s wills and wants for how they live their own lives, and he’s explicitly been using RBD in a way that prevents them from developing unfavorable opinions of him (Gladiator Island) and is now promising to keep using it with Jamal and Berstetz in order to prevent them from dying “noble deaths” on the battlefield (which is a complicated subject, but is current way of dealing with that conundrum is just him going “I’ll just bring you back lol”).

I really believe that Natsuki Subaru would not have done any of this — at the very least, not to this extent. Natchuki Subawu is allowing Tappei to explore 1) a version of Subaru we have been told existed but have not been properly introduced to until now (his child prodigy self, before his mental health spiraled and he ended up alone and anxious) and 2) a version of Subaru that is turning into something really, really terrifying — and I honestly believe he’s going to end up getting very severely punished for this by the end of Arc 8.

(I just took that line in your previous post talking about why Subaru is remaining as Subawu for so long as an excuse to dump my thoughts in your inbox lol, sorry)

hey anon!! no need to apologize hah, in my last ask i invited anyone who disagreed with my stance on the childbaru arc (given my general opinion being “i get Why its there but i Dont Like It and dont feel its 100% necessary”) because 1. id love to learn more about the intricacies of this arc!! subaru is such a complex interesting character as well on top of that!! and 2. i feel like some people, not just me in this fandom, have some mixed feelings on the childbaru arc so im very curious to hear from people who are bigger fans of this arc yes!! i would like to expand my horizons and all ☝️☝️

and also its been a while and im only answering your ask just now Oops but my feelings on childbaru have changed over time for sure 👍 just a little bit. and i didnt explain myself super well in past posts!!

yeah so. you really delivered on very succinctly explaining the purpose of the arc and you have such a great understanding of the plot and the effect this all has on subaru!! (i also appreciate you using “natchuki subawu” HAH we should all stop using childbaru or something and just use “natchuki subawu” now because that has gotta be one of my favorite rezero chapter titles ever). and also all the points you bring up are really really good!! and it takes all of my more in depth thoughts on it out of my head because yeah, its why i dont Entirely dislike the childbaru arc. in fact, its why i like it hah.

it’s absolutely a very purposeful decision. as much as the symbolism has the subtlety of a hammer (i can respect that though <3). it builds off of the natsumi arc and subarus previous major arcs (arcs 1-3, arc 4, arc 5, and amnesiabaru in arc 6) in a very interesting way and shows subaru regressing to Horrifying extents thats still different yet fascinatingly reminiscent of the if routes. i like a lot of aspects about the childbaru arc for this reason—the complexities of subarus character in general, the themes regarding Heroism and Image, more Horrifying exploration of rbd, the way subaru is reaching whole new heights but extreme lows (like the suicide pill) and is likely bound to be narratively punished for regressing at some point!! because tappei doesnt Usually hold back on punishing subaru, so i have next to zero doubt that he’ll deliver on that hopefully!! childbaru is a Regression overall in more ways than one, which is an idea ive warmed up to for sure because its fascinating!! i also am pretty fond of childbarus design—his outfit is very nice and fits him perfectly imo, and ive always liked the decision to add green to subarus color palette post-arc 5. his color palette quite Literally depicts him having a more colorful palette to match the colorful fantasy world around him, i think. and it just looks really nice with the warm yellow/orange.

but okay enough about me gushing over subarus character design, back to the topic at hand!! yeah so. i still have Some mixed feelings on childbaru despite all the Purposeful Intent behind it and all the things i like about it.

and my only reason is like. okay i feel like this is super petty but at the same time HAH. i Really dont like how subaru declares louis as spica, his daughter, when they both look the same exact age 😭😭😭 i have a few personal problems with louis’s arc 7-8 storyline anyway, as much as i like her causing drama in arc 8, but im hoping tappei proves me wrong on that with the rest of her arc but. anyway.

yeah like subaru and spica both look 12 yrs old 😭😭😭 preteen adoptive dad moment??? its just so incredibly awkward and i feel like the impact of that scene did not Hit. both in the sense that the entire time i was thinking “subaru you look like a kid just like louis how the fuck are you her adoptive dad” and also my personal problems and opinions regarding arc 7-8 louis means i dont care about her too much so that scene did not Land for me. but thats mainly a personal thing!! and i might change my mind on it later but yeah like. louis is always gonna be my biggest beef with arc 7-8, which i talked about a bit in previous posts iirc??

as for subaru, i def like both the natsumi and childbaru arcs and completely understand their purpose. i respect tappeis crazy wild character development hes done with subaru—its absolutely amazing. but i do kinda wish the transition from natsumi to childbaru wasnt so Jarring. i almost wish we just saved natsumi and childbaru for Each Half of arcs 7-8, which is a combined arc as you know, or moved childbaru to when capella comes into play later in rezero.

and i know that sounds like doing A Lot just to avoid subaru and spica being the Same Age when he declares her his daughter, but i feel like pacing wise it wouldve been cool to give the natsumi arc and the childbaru arc Their Own Main Story Arcs. not that theyre bad as they are in canon—i love them, for the most part (apart from my beef with louis HAH)!! but def i think it would be way less jarring in a lot of ways if—and ok youd have to move and change plot points but this is just me spitballing random ideas here—if childbaru was All/Almost All of arc 7 and natsumi was arc 8.

childbaru takes up a good chunk of arc 7 anyway, and then once the emilia camp and julius/ana come back in arc 8, subarus grown already to put him on an. Aesthetically Equal ground as the rest of his friends bc now hes grown again. but this is after childbaru arc so the Wack Lessons his childbaru self learned carry onto the natsumi arc—and i know in canon the natsumi arc lay groundwork for childbaru but the themes go right into each other in canon anyway so i think this could work!!

and since im sure the Consequences of Subarus Actions will probably start catching up to him around arc 8 (and kind of already have. with the louis drama ig?? if you wanna count that??) the natsumi arc is. a good transition ig. and now we can have mom natsumi with spica instead of 12 yr old preteen adoptive dad subaru ?? 😭😭 natsumi but in front of all of her friends and the entire country and the entire world this time ?

but no yeah what i just said is a wacky idea and its not that i think canon is Bad. i just have personal problems with louis 😭😭 and im petty about 12 yr old preteen adoptive dad subaru akfndnd and i kind of wish natsumi got a full arc to balance out the Combined Themes of natsumi arc and childbaru arc !! the transition from natsumi to childbaru felt a little jarring imo <3 but as im rereading arc 6-7 now (its been a while and my memory is Hot Garbage pfft) ill probably think more on this. and ill be reading arc 8 front to back once its fully wrapped up to get a better and complete read on it 👍

also other people like cecilus al medium got turned into kids too, but i think it just felt the most significant with cecilus :,) though i may be wrong on that. feel free to enlighten me 👍

i just think the thing with a lot of tappei plotlines is that they go on for a while. theyre kinda slowburn and of course theres a lot of characters in the cast so arcs get put on pause and picked up later alll the time. which is totally fair and understandable with so much ground to cover!! but bc of that i feel like for me personally (and for a good number of people probably, such as how audience reactions to the amnesiabaru arc 6 arc were when it was beginning (people Did Not Like It) vs when it ended (people called it the best arc ever))….. anyway for me personally i think bc of how tappei does his arcs its normal to feel uncertain about it in the beginning or middle bc its hard to predict how itll wrap up and If itll get wrapped up well. which is how i be feeling rn with rem and louis and otto and lots of other people 👍 and honestly even when i first saw childbaru in arc 7 i was like “wtffff but okay ill trust tappei for now and hope he wont get weird about kids again ahahaha”. but thats just my thoughts on it.

so all in all thanks for the ask :3 !! you have a lot of passion anon ty <3 (and im pretty sure i know who you are but totally cool if youre shy pfft)

[ninakaina]

why do you like maria kaina so much? ì'm just really curious.

this is the most exciting question i’ve ever gotten in my life

[image id: a screencap from the pathologic wiki, which says “personality: femme fatale.”] 

EDIT: im gonna make this into a video essay sooooooo read it if you want or stay tuned for a video in like a week and a half

first of all, i’m a lesbian and she’s a goth girl. secondly, she combines many of the tropes that i adore in female characters, and i’ll try to get into some of it as concisely as i can. in short: femme fatale, magic woman, scary woman, cassandra, sublime. i’m going to draw some concepts from the essay “the woman in the red dress: sexuality, femmes fatales, the gaze and ada wong” by jenny platz in the beginning here.

in the scope of their function as femmes fatales and the ways they transcend the typical boundaries placed on femmes fatales, ada wong resident evil and maria have a lot of similarities beyond obvious similarities in design (you can see patterns forming in my interests but also if you don’t know anything about ada this should still all make sense). so we’re all on the same page, a femme fatale is a woman of dubious morals and unknown or false motives who uses her sexuality and wit to get what she wants from men. the femme fatale has a long, uncertain, and pervasive history, and a love-hate relationship with the misogynistic writers/audiences/societies that create her, but ada and maria break free of many of the tropes that allow the femme fatale to be part of a misogynist power fantasy. together they have functionally very similar relationships to their male protagonists, although i wouldn’t say maria cares about daniil half as much as ada cares about leon if at all, in which they’re more than willing to lie to the men and put them in harm’s way to achieve their own unclear ends, while serving an essential function in keeping them alive, often without their knowledge (in the changeling route, maria sends daily letters to clara to keep daniil from getting murdered by artemy).  they add an element of unease verging on horror to their games through their sheer power - which stems from a weaponized womanhood, the player’s unfolding understanding of the vastness and nature of their power, and the fact that you have no idea what they’re going to do with it. the weaponized womanhood is relevant here because in theory, to a male audience, it adds its own level of horror, but to me it adds a level of love.

like ada too, and unlike the typical femme fatale of books and movies even in the modern era, maria is never purified or punished; in fact, she only becomes more powerful over the course of the game. her death can only come via the plague; there are no plotlines where she may die. even when she’s caught red-handed by artemy in patho 2, he has two options: to tell her father, who is unlikely to stop her and even less likely to punish her, or to note that this is maria’s world and we’re all just living in it and move on. in classic she can get married at the end, but not for love and it’s made explicitly clear that her husband’s role is to serve her, like victor served nina; instead of finally conforming to a patriarchal mold like the archetype would predict, she again uses a man to advance her agenda. (she still deserves better though. killallvlads2020)

another similarity between maria and ada that’s also the biggest way they diverge, is their expanded power of body over the typical femme fatale. where typically the femme fatale is just a wickedly smart, sexy woman (good for her), she has little power beyond the sexualization of her body, and little recourse when she’s in danger besides getting a man to help her out of it. the way this is subverted is the most obvious in ada, so it’s a good lead-in; her power of body also translates into fighting skills greater than that of most of her peers-- she uses acrobatics and melee attacks more often than other characters, making her distinctly equipped to survive without anyone’s help and destroy her opposition. maria, obviously, is not a fighter, and she’d die immediately if she was locked in a police station with zombies, so at first glance she seems to fall more into the wicked damsel aspect of the trope. but thematically and functionally, pathologic is not a game about physical fighting or even physical power. in a game world where guns and bullets are exceedingly rare while information (as well as picking truth out of lies) is the form of power that gets characters to the end alive, maria has, in herself, the access to more information than any male character. aside from mark’s (and grief’s) special role as the fool, clairvoyance and particularly mistresshood are specific to women, and come to maria from the steppe. she’s also “sensitive to lies and deceptions” and “can instantly see one’s true colors”. she is shown barefoot in pathologic 2, which symbolizes her personal and physical connection to the wild earth, a power of body in itself. maria and ada are both apex predators, perfectly suited to their particular environments and narratives- on that note, maria is never endangered at all, aside from typical plague mechanics and distress in her issues with aglaya.

okay, enough about ada wong. beyond her connection to the femme fatale trope, maria’s narrative in itself also draws on a really compelling archetype. i mentioned that maria is never purified or punished, nor really endangered, but  that doesn’t mean her story is without tragedy. instead, her tragedy is more personal and psychological, as she’s one of several characters who deal in the theme of lost childhood, and maria’s particular refrain has a hint of lost humanity. these are characters who are forced to grow up, often too fast, and for whom growing up carries an inherent trauma where some aspect of who they were or who they could have been is ripped away from them. i would also call maria and capella’s stories lost girlhood, since there’s a lot of... you know, it feels like stuff that mitski would sing about. i could talk for ages about “i can hear [your mother’s] voice [in you]” and how effectively it’s played for a bittersweet horror. in classic we are very clearly shown maria changing from who she is at the beginning, acting completely differently, and it’s left unclear as to whether this is simply the new maria or her mother’s spirit is literally possessing her (again, some obvious metaphor here). in pathologic 2, they make a change that i really love. maria has already taken up the mantle of mistress or at least claims she has and is in the process of change-- “a mistress in the making”, but it’s mentioned that artemy remembers her from before he left the town. 

he says “i remember when you were just a kid. who would have thought you’d grow into-- this?” if you read my writing, you may have picked up that i seriously fixate on this piece of her narrative. from when she was a girl (16 at the oldest) to when she’s 21, she’s changed so much as to be almost unrecognizable, and more than unrecognizable, she’s become a complete mystery, a nightmare. this is a tragic horror, in the sense that tragedy is horror that’s already happened. from the uncanny valley of the familiar turned unfamiliar, the creature-that-was-once-maria, the not-quite-nina, to that same sense of loss as someone who was once just a girl is forced to be more grown than she is and more grown than any person should be expected to be. as anna angel wears willow’s hair, maria wears her own. that one haruspex line asks a thousand, unsettling questions to which we can expect no answer. who was she before? who is she now? what happened to her? when did she change? what has she lost? what has she gained? is this who she wants to be? did pressure from her mother shape her, or grief over her mother’s death, or something else entirely? is this who she was always going to become, or could she have been something else? all of these and more lead into the central questions that define both the dark/scarlet mistress and monster movies: what is it?, what is it capable of?, and what does it want? these questions are, naturally, never answered, although it’s likely we’ll get a little more insight into her motives in the bachelor route of patho 2. 

stepping back from the specifics of mistresses, this again carries strong themes of coming of age and lost childhood/girlhood; the idea that in order to ascend so to speak and to take on role greater than you are, you have to either destroy yourself or be yourself destroyed. maria’s version of this story is, again, a tragedy. she is plagued by the stress of her destiny, haunted by nightmarish prophetic visions (which fucking DANKOVSKY doesn’t even BELIEVE), and completely alone, so much so that to express her love physically would destroy the object of her love, and yet she is still the incredible femme fatale i was talking about before. this is where i end up with the quote i captioned my painting of maria with: “a girl burns, and the sublime blossoms.”

i used the word sublime to describe maria twice in my writing, in that quote and in “her eyes are fierce, dark, sublime.” this is literally the best word i can come up with to describe the scarlet mistress, and the sublime is a big concept in aesthetic theory, but one which is hard to describe in itself. i try to portray elements of the sublime whenever i write or draw her although i’m not THAT good yet lol. it doesn’t have any physical or functional criteria except the feeling it causes (for a good example i think of the earthrise photo). this quote on the sublime, by edmund burke, feels very reminiscent of the way nina is described in game: “the passion caused by the great and sublime in nature, when those causes operate most powerfully, is astonishment, and astonishment is that state of the soul in which all its motions are suspended, with some degree of horror.” it’s awe-inspiring, it’s scary, it’s a force of nature, both refined and wild and personally impersonal, and it’s pretty much the only word i have for the iconic maria quote.... you know the one. “and you know, mother, that forge is me. sometimes i wake up with a burning in my chest, and the sky becomes crimson. in that very moment, if i kiss someone, they can see it too. it’s true.” 

one last thing i LOVE about maria is the power of self and autonomy she retains, especially in 2. in the diurnal ending as the utopians are planning to cross the river (which was her plan in classic), maria says she doesn’t want to; she wants to stay and create, not art or buildings but people, to bring them into the sublime. her cruelty is how she nurtures those around her, as opposed to capella whose nurturing is in many ways cruel. and it’s in the diurnal ending that we first hear the title “crimson mistress”; where in classic, nina was the scarlet mistress and maria became the scarlet mistress, in 2 nina was the dark mistress and maria becomes crimson. there is no question that she’s not her mother. after all she’s endured, she forges herself into something new, not necessarily brighter but more visceral, takes her mother’s legacy and makes it her own.

so i guess tldr: what’s not to like about maria kaina?

[florida3exclamationpoints]

Hey fam here's a deep dive of AoS 7x04 including justification of the time travel by a branching timelines believer and lots of Peggy Carter love & appreciation

I definitely feel better about this whole situation now that we've seen 7x04 than I did when we just had the preview. But still. Ughhhhhh I'm just. Conflicted.

They're not sticking to Endgame's time travel rules at all and ik some people didn't like Endgame's time travel but I don't really have issues with it. And even still there's the debate of whether or not Steve (does this debate expand outside Steve arguments? Idk but you get it) is in a branched timeline. Personally, I think he is. For people who think he's not, Shield's time travel, especially with Sousa, is probably easier to take. But for a while I was willing to go with the theory, my own theory idk if it's been mentioned here or not, that since they're using a different time travel method in AoS, and one that was invented by space robots Chronicoms, then they have different rules that limit them to a looped timeline. But now, idk does bringing Sousa into it disprove that?

So he was supposed to die. That's in the history books. They saved him. Which means we're in a loop that can be altered. Ok fine, but that's only because we're using Chronicom time travel. Tony Stark time travel still created branches. So what branch are we in? We have two choices right? Timeline A, which we see throughout the entire MCU, and timeline '49 B, the one Steve created when he went back to Peggy. If it's in the history books that Coulson and the team read that Sousa died, I would assume we're in timeline A. But where's Peggy? Personally I'm not the biggest peggysous stan (basically I ship steggy and in timeline A where she can't get him back, as long as she's happy I'm happy. If that means Daniel, great.) but I'm sure those who are aren't super happy with Shield basically confirming that they didn't make it. I'm sure the only reason they did that was to be able to pull him out of 1955 so I'm not really mad at it. If they had just had him pop in real quick in the 50s and left him there I would have rathered they leave it ambiguous but since that's not what they did I'm not too bitter.

Anyway, I saw a close up of the fake id they made for Jemma when she was undercover as Peggy. It listed her rank as 'agent.' You could say that's a prop mistake but I also noticed that no one has referred to her as 'director.' But she absolutely should be. Correct me if I'm wrong, but Peggy was the first director right? That's always what me, my brother, and my dad, aka everyone in my household who are Marvel fans, thought and we're pretty sure they said it at some point somewhere. And in the Agent Carter one shot (which admittedly has a lot of continuity issues anyway but i think the principle of it stands) Howard said about Peggy "tell her she'll be running Shield." I've always gotten the impression that she was director from the time Shield launched. If someone could give me solid proof that she was or wasn't I'd appreciate it. But as long as there's no proof I'm assuming that she was. That's what I'm going with in the rest of this post anyway lol.

Overall im just confused as to what the writers think they're doing lol. From what I've seen, they started shooting season 7 two months before Endgame premiered so it was written even further before. That sucks because at the time of the writing they didn't know they had all of this to deal with. At least I assume they didn't know bc it seems like there's no communication behind the scenes since no one got dusted before and now we're messing around with time travel. But I also wonder if Endgame hadn't premiered by the time they were shooting the 50s episodes. I have no idea though. If it had, were there changes? Did they have to take out mentions of Peggy, or did Enver maybe act it with the Steggy ending in mind? Because I personally don't want the writers or anyone thinking that Steve was always in a loop therefore this season is jumping around in the same loop and Daniel was left by Peggy for Steve. I can deal with a looped timeline in AoS bc of the Chronicoms and them being in a loop of timeline A but I'm gonna be annoyed if they try to imply that that's not what's happening. But again it was written before Endgame came out so I don't think they'll really go that far.

This is what's really annoying me. Do they seriously think Peggy's not director? Are they saying Peggy's not director? Because they want me to believe that Daniel noticed that Shield had been infiltrated by Hydra and Peggy didn't and then one of three things happened. 1. He told the CIA but not Peggy, 2. He told Peggy but she didn't believe him, or 3. He told Peggy and she looked into it but didn't find anything. I take issue with like all of that. In scenario 1. Daniel Sousa personally knows the Director of Shield and, regardless of any awkward breakup they may of had, doesn't tell her that her government organization may be hijacked by freaking HYDRA? In scenario 2. The Director of Shield is told by the Chief of her LA branch and an agent that she worked alongside for a considerable amount of time that her government organization may be hijacked by Hydra and she doesn't listen to him, because, what, they had a messy breakup? In scenario 3. The Director of Shield, Margaret Elizabeth Carter, has reason to believe that Shield is infiltrated by Hydra, she investigates, and finds absolutely nothing out of the ordinary? None of those sound even almost reasonable. So are they not mentioning that Peggy is director because it makes Daniel's storyline more believable and convenient or am I missing something? I've lost hope that she might make an appearance but I'd appreciate some Director Carter content even in passing mentions or at least tell me who the Director is if it's not her.

Also, Daniel's death, real or not, is gonna hurt her really bad and I'm not a fan of that. I'm glad I didn't have to watch him die and I'm excited to see more of him but it's really gonna mess with Peggy. We've already seen her struggle with feeling like everyone she gets close to dies and even though at this point she's married and maybe has kids, that doesn't take away from what they had in Agent Carter, that goes beyond the romantic and into the fact that he was one of the few men who showed her even the smallest amount of respect. It's gonna hurt her and I don't like when she's hurt. Also also, I don't care about whatever Coulson said about his death being ruled an accident, Peggy is a critical thinker and 100% would have looked into it. Especially as the Director of Shield if I keep saying that maybe AoS will hear me or it'll become canon lol she wouldn't let that slide.

Basically what I'm saying is: I can talk myself into the time travel making sense, I just did lol, but while I love Daniel and getting to see him again and continue to see him in the coming episodes, it stretches the imagination a bit too far concerning Peggy and his dynamic with her. Either that or I have to be to ticked off at the writers for not knowing that Peggy is director in 1955. Or I have to be ticked at the entirety of Marvel for not making Peggy director as soon as the thing was up and running. But. That doesn't mean that this hasn't been a good season so far, it's been pretty great. And I'm very excited to see them in the 70s. And to see Daniel in the 70s. And to see my man Enoch make another appearance. I have my issues but I'm still highly enjoying all of this absolute tomfoolery sldjskdjksksjk that is all

[broom-service]

lore stuff (this is long)

1. can toons die in your lore

Yes. Toons can die of old age (though I imagine it’s more relative to how old they feel, rather than how old they actually are), dip is a thing (though super mega ultra uncommon), magic/supernatural events, and I’ve always felt that while toons are squashy and stretchy, if they’re ever injured in a way that was NOT intended to be funny, they can be seriously harmed by it.

Like getting an anvil dropped on you for haha jokes (to make you or others laugh)? No injury. But getting an anvil dropped on you by someone that WANTS to hurt you and there’s no one around to laugh? Injury and/or death.

It’s all about the intent I guess.

2. can cogs die in your lore

Yeah they can be exploded, but I feel like they have a personality core or something that retains their personal information/history/memory/behaviors and is more resilient and resistant to being exploded, and they have to be manually destroyed by toons/cogs after they’re retrieved from an explosion.

3. Are the cogs inherently evil

Yes, from the perspective of a toon, I guess?

My cogs that have not been metaphysically/physically altered in some way all share the common factory-made directive of trying to expand Cogs Inc. So they all work for or have leanings towards wanting this to happen.  The level of dedication to this directive is what pushes them from being regular people that work for a bad company or are brainwashed from “birth” to be loyal to said company, to evil nasties that just want to destroy toons and make money.

Some of them just have office jobs, filling out paperwork and handling the logistics of a Cog takeover. They’re not directly ripping toon businesses off of the street, but they’re facilitating the legality of it and profiting from it.

Some are just average joes that have a strong distaste for the way toons behave and how eager toons are to destroy cogs just for wanting “order” and “decency”. They don’t actively do anything to bother toons, dont make the money than a cog of a higher position, but have very strong opinions about toons and want Cogs Inc. to drive them out. 

And some are the bad ones. The ones marching into businesses and taking them over, or scheming and plotting where and when to have invasions and things like that.

They all work for the same bad company, and are all inherently loyal to a degree to the bad company, but how they go about it and their me vs my company mentalities really determines their level of “evil”.

4. Are the toons inherently good

Absolutely not. I see toons in more of a chaotic-chaotic alignment and I define “good” as “how willing are they to use their toonyness to hurt or help others”.

I’ve always felt that the Toontown we see in-game is like a suburb that’s more sanitized and less chaotic than the surrounding cities (which I assume to be like Roger Rabbit’s toontown). The cogs picked our toontown as a starting point because it was less risky. Like can you imagine if the Cogs tried to wipe out the Looney Tunes? They wouldn’t have lasted 5 minutes.

I feel like toons all fall on a temperament scale

ranging from g-rated or goofy toons Mickey, Donald, Goofy, Minnie, etc. 

to less friendly and more vindictive but still “good” prankster types like Bugs Bunny, Daffy, old!Mickey, or any of the vintage Fleischer toons like Betty Boop. 

to chaotic scary toons like Taz, Gossamer, Witch Hazel, Mortimer Mouse, The ones that are toony but definitely bad, but not in a way that’s insidious. They’re just prone to violence or are actively bad people.  id probably put pumpkinberry here lol

to the flat-out “I love to hurt others use devil magic, try to kill people on a regular basis, and give children nightmares and LOVE IT” toons like Judge Doom, Pete, and Magica De Spell.

Toons are definitely not inherently good though I DO believe that Toontown has a higher percentage of good toons than the average toon-populated city.

5. Do your characters play a large part in the overall world. Or do they live there own lives that only affect there own surroundings.

pb’s family are basically celebrities, but they don’t play a huge part in the world like the kardashians dont affect my day to day lives. you hear about them, but not in a way that’s like “this is a part of my daily life”.  pb herself isn’t nearly as relevant to anyone outside of ingame toontown’s general area, and neither are the rest of her friends/crew.

pan dulce and her buddies play a large part in their world but that’s cuz i made an entire AU around the world pan lives in so......yeah. importante.

[keyouone]

Teenage Gay Dating Explained

Gay dating for teens is a bit different than it is for adults. You may not have come out yet, which means you need to take a more discreet approach. Additionally, it’s all about safety first. You may not be experienced with dating and, unfortunately, some people will take advantage of this fact. Further, many of the dating tools require you to be 18, which may be too young, a few years away, still. The good news is there are plenty of ways to search a boy for a hookup or a relationship.

Deciding to Date

Whether you have dated before or not, gay dating is completely different, not saying teenage one. It’s never easy to date as a teen because of a lot of unknowns including behavior. Combine that with being gay and it could be overwhelming or even sound scary at times. It helps if you have a support system, whether it’s through your parents who are encouraging you to be gay and explore your sexuality or a group of close-knit teenage friends. If still closeted and don’t feel like having someone older to talk to about your sexuality or join an online teenage group. Having people who know about your homosexuality and who are willing to support you as a teen is critical.

There are no rules about what you can and cannot do in terms of finding a teenage partner, except to be honest. You must identify your actual age to ensure anyone not committing under-age sex crimes just to be with you. If you are 18, you cannot be sexually involved with minors. Similarly, if under 18, you have to remember to only look for teenagers of the same age or younger. Other than that, have fun. Go at a teenage pace that’s comfortable for you.

As you start to date, you will also start to learn more about the kind of male you’re attracted to. Are you interested in twinks? Jocks? Bears? Otters? Once identified what you’re attracted to, it may also make it easier to join specific teen apps or meetups to cater to your personal preferences.

Online Teens Dating and Hookup Tools

All sorts of online dating and hookup tools are available to single young gays, making it easy to connect to the LGBTQ community. Whether you haven’t come all the way out or you’re simply a little shy, it can be easier to make connections with other teens online. Whether using an app, a social network or even a forum is up to you. Knowing the options will help you decide which one is best for you and the approach you want to take as a teen.

Teenage Dating Apps & Sites

When you want a little extra help to find a gay date, try to explore plenty of dating and hookup apps and sites you to use as a teenager. Especially if you know what you’re after and you’re ready to take the plunge into real teen dating, here are the apps and sites to help you find a connection:

My LOL

Teen Dating Site

Our Teen Network

Fun Date City

Crush Zone

Many of the sites and apps will allow you to set up your profile by signing into a social media account, first. Filters are present, too, allowing you to focus on finding guys within a specific age range.

LGBTQ Social Networks

All sorts of LGBTQ social networks are out there. It allows you to meet other teenagers within your geographic location. If you’re just getting started with dating, you may hear others sharing a teen dating story or experience. Don’t be shy to get some free advice from other teenagers. Then, you are free join a hangout or club  to ease your way into the idea of teenage gay dating.

Most of the networks are more for dating than for socializing. However, Gays.com has been around for a while and can help you as a gay teen with becoming more social online. Instagram and Facebook are also opportunities, especially if you decide to join a few specific gay groups and follow certain gay influencers and read queer blogs.

Chats & Forums

Chats and forums allow you to meet young people based on things in common. It’s not just enough to find a professional online community for gays and bisexuals. You need to have a common interest, such as enjoying sports, comic books, or politics. Here are some of the examples:

Gayforum.org: Minimum age is 16, and discussions cover a variety of subjects.

RealJock.com: Minimum age is 18, and the focus is on fitness, health, and gay community life.

LGBTchat.net: No age limit, and binary individuals are welcome.

Letschatlove.com: The gay forums include coming out stories and private chatrooms.

Gayspeak.com: No age limit, and content covers everything from confessions to debates. Teenage users choice.

Traditional Dating Options To Find A Young Gay Partner

Dating websites and apps may not be your idea of how to find love. Whether you’re teenage gay, bisexual, or transgender, you deserve to explore your options. There are plenty of options to help you meet other teens offline.

LGBTQ-Centered Locations

More and more places are opening up catering specifically to the LGBTQ community. It’s a great way to meet other teens offline as you could assume that if someone is in a gay coffee shop to be gay. It can make it easier to approach someone with the intention of getting to know them in a romantic way.

When it comes to the types of locations near you, it  depends on the city. However, here are a few local establishments for middle school or college students to try:

Coffee shops

Clubs

Sports leagues

Diners

Recreation room

When you go to various LGBTQ-centered locations, be sure to adhere to the age requirements. If you’re under 18, be sure not using a fake ID as it will lead to more trouble than it’s worth. It’s always best to do a bit of research about the location’s reputation and understand more of the audience they cater to so that you could be sure it’s not only gay-friendly but also teen-friendly.

Meetup Events

You may find a variety of different events to go and meet other gay and bi individuals. Meetup.com is a particularly useful website as it will list different get-togethers. As you join different teenage groups on the site, you may learn of what’s happening in your area.

There are a few different types of meetups having nothing to do with dating. However, it may expand your network and help you to gain dating advice and meet potential teen partners organically. So why not trying these options:

Coffee shop meetups

Festivals

Volunteering opportunities

Workshops

School campus meetups

Gay Teenage Dating Tips

Whether you’re in high school or college, gay dating can be difficult. Finding a network that works for you can make it easier to find love. Here are some tips to follow to make life a bit easier:

Put yourself out there to find more opportunities.

Use your correct birth date when signing up.

Don’t share contact information with people you just meet.

Tell someone where you’re going when you meet someone online.

Trust your gut.

In the end, have fun and be safe. Enjoy the variety of options in this world. By finding a gay teen group to be a part of, online or offline, you can learn from and support each other. You may also find a date within the group. Don’t be in such a hurry to meet gay teens that you ignore warning signs. Know what you want and take the time to find it.