#ignore how much i wrote.

[scrollonso]

vale's reaction to marcmarc!!! (sage's og post)

-after he was told/shown that marc and marco are dating he gets very accusatory/defensive ("i know what kind of person you are." "i won't let you fuck him over like you do everyone else that gets close to you") [hypocrite]

-when he eventually leaves the room franky and luca aren't far behind

-he's MAD. how could they not tell him? ("what else are you hiding?" "is it that easy to lie to me?" "do you not trust me?" "how do you not see whats wrong with this.")

-he gets bez alone (marc most likely with pecco since they're civil and marc is dating his bestfriend) and tries to knock some sense into him, it doesn't work

-bez is hurt, by now having already cried twice at vale's reaction ("i'm not you, i don't see him how you do." "i'm more mature than you were at my age." "he's not a bad person you're just biased.")

-both vale and bez end up hurting eachothers feelings, bez not talking to him for the rest of the night

-when vale says marc isnt allowed to sleep in the same bed as bez he just walks away and slams his door, not wanting to argue but not wanting to listen

-when vale falls asleep (he's old so probably around 6pm) bez goes downstairs and finds marc on his phone, uncomfortable on the couch (and not liking the idea of sleeping without bez)

-he's quick to curl up besides his boyfriend, the spaniard quick to knit his fingers through bez's hair

-they fall asleep super quick in eachothers arms despite how crowded it is with two grown men on one sofa

-vale is the first to wake up, as per usual, and he walks into the livingroom and sees how marc is holding bez

-it was odd, they were never like that. it was never that soft, that loving, that innocent.

-even when vale and marc first started seeing eachother they were never equals, always god and follower

-with marc and bez it's different, their faces are close, arms wrapped around eachother, marc lightly holding the back of the younger boys head

-there was nothing malicious, nothing mean, marc was no rabid dog. at least not with bez.

-he had no choice but to be okay with it, even if he accepted it in silence, he decided maybe marc wasn't so bad

-having marc around more made bez a lot happier and it showed, vale could tell the reason bez was improving and working harder was because of marc.

-the days marc would come over bez would leave the track every once in a while, whether he was doing great or horrible he always left to talk to marc for a second

-the spaniard would tell him how good he was doing, even if it wasnt true, how proud he was of him improving, and kiss him before he went back out

-vale saw, how could he not? but he knew this marc was different than the marc he knew.

-the marc he knew wasn't tender. wasnt caring, loving, and when he was vale made sure to shut him down.

-vale and marc never loved eachother, marc loved feeling cared for and vale loved being worshipped.

-marc and bez had something different, something innocent (despite the NASTYYY sex, they dont fuck at the ranch.. have some decorum!) and when vale finally realized that he realized he didn't mind the couple

[corpsentry]

pick your battles

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

[xanderscollection]

"Growing up is realising a (random ship) you loved is actually weird and bad"

Yeah? Is it? Great, I love it even more. The worse it is the Better.

[aroanthy]

kiryuu sibling stasis post-32 is so interesting to me. nanami tries to leave and is (temporarily but also, crucially, violently) prevented from doing so by touga and akio. after this experience she puts distance between herself and them: she leaves touga’s phone in the car, she resigns from the student council (though she dons her old uniform still), she repeatedly dismisses and undermines the authority of the rose code, of end of the world, of akio, of touga. but she’s still in ohtori, isn’t she? uncomfortable with the idea of leaving, uncertain if it’s really possible. she tried before, and it hurt her. deeply. it’s so interesting to me, nanami’s agency and how she limits her exertion of it after 32, when she realises it for what it is. contrast that with touga, who accepts this weird stalemate between them, who is, really, uninterested in having any relationship of any kind with nanami if he can’t gain something from her. he’s very passive with her after 32, compared to the passivity he’d always feigned towards her before in order to stoke reactions from her and then exploit them. i was thinking about how touga has always been able to sever his relationship with nanami, but chosen not to; first out of a sense of obligation (‘we should live to help each other’) then a realisation of how that could be exploited. i was thinking about how nanami has never realised her ability to leave, in part because it is limited by touga and the harm he does her. i was thinking about the desperation and confusion akio calls out to anthy with as she leaves. i was thinking about how different that is to the kiryuus’ strange semi-breakdown; touga doesn’t want or need nanami, and nanami might love her brother but she cannot trust him or feel safe around him, doesn’t want to see him anymore; she’s itching to leave, and just a little scared (you know, because last time she tried that her brother assaulted her), and he’s not doing anything because ignoring her means he doesn’t have to deal with the emotions of her leaving or staying. something something gendered power dynamics something something tragic siblings

[markantonys]

just accidentally stumbled on an egwene hate reddit thread and everyone was bitching about how she tries to act like rand's equal when she's only the second-most powerful authority figure on the continent, and one sane person was like "well, balance was a huge theme of the series, so it's pretty clear that RJ did consider the dragon and the amyrlin two halves of a whole and that rand is meant to be egwene's equal co-authority rather than her superior" and of course they were downvoted to hell. and this one little thread just really epitomizes how the readers who approach WOT as a male power fantasy just fundamentally will never understand the series and its themes and the story it was ACTUALLY telling.

[writterings]

the thing they don't tell you about most mlm romance books is that they fucking suck ass

[m1d-45]

reverse isekai but it’s me at 6:45 pm in a car

-> warnings: spoilers for inazuma archon quest, depictions of modern organized religion(none are specified, none are in great detail, but talks of restrictions within those are mentioned. it’s only one paragraph but still), this is unedited and with zero (0) plot to it :))

-> lowercase intended

taglist: @samarill || @thenyxsky

your world is loud.

from the moment the favored could see it, this was clear. it was loud, filling with screaming machinery that left trails of dust and buildings so tall it made their neck hurt to view.

it was bright, with lights that shone through the darkest of nights, reflecting off glass and the speeding machines and reflecting reflecting reflecting back into eyes to sting. your sun is so harsh, so unpleasant and overbearing, hot instead of warm and burning instead of soothing.

it’s cluttered, wires suspending from towers and running along your roads. glittering signs point out things they can’t read, the sacred script only giving them a headache. at night, they can find no comfort in the stars, something that sends them into a panic the first time they see it. it’s not clouds, it’s not anything worldly blocking their view, it’s that they’re gone, the ones they can see washed out and faded. they wonder how anybody can live like this, and if you blessed them with a night sky of such beauty because yours was so…

they can recognize some of it, the plants and trees and flowers, wild or not, call to them in recognition, but so much is frighteningly new. the style of the clothing, the kinds of jewelry on the people you pass. try as they might, they can’t locate a single vision anywhere, not even on you. they wonder if people hide them, like during the vision hunt decree, but even at home you don’t reach for it, you start fires with odd devices and plants grow slowly, the air and stone unmoving to your desires. you spill drinks. you freeze water using more strange machinery.

it’s so strange, because they can feel your world brim with elemental energy. their vision beams, shining so brightly with all of the potential suspended in your world. no matter how poor their elemental sight, your world glows, the air itself carrying a blue tinge. they try, in a world without visions, to use theirs, and their power springs in an instant to their fingertips. it dances across their hands, enveloping when they barely intended for a small spark, a small flame jumping across the dry grass of unspent energy in your world. they extinguish it quickly, tightening their hand into a fist to stamp it out before they damage something, and something like awe shines in their eyes. there’s so much, their vision so eagerly lapping it up, and you.. don’t use it?

you have machines for everything, devices to harness the wind and waves, boats to travel across water at impossible speeds, strange flying machines that you can hear from the ground, mere specks in the sky, and yet… you have yet to capture them in their most essential forms. you speak of elements, sometimes, but you use different names and there seems to be many, many more. you say that the air holds ‘nitrogen’, that you seal things with foil of ‘aluminum’, and you even say that water itself is composed of ‘hydrogen’ and ‘oxygen’, something that they struggle to understand. how can water be made of something else? how can hydro users bend more than one thing to their will? how can anemo wielders command such a broad spectrum of things? you speak of other elements in the earth, and though some are familiar, such as iron and gold, others’ names hold no meaning. you say potassium is in fruit, that there’s multicolored rocks called bismuth and poisonous liquids named mercury. you say that there’s 118 elements, when all they’ve known is 7.

it takes them a while to come to terms with that one, and even then they settle on it being inherently outside of their understanding. after all, they are in a world crafted by a god.

speaking of..

there are multiple religions in your world?

and it’s not as if they’re different ways or interpretations of the same god, no, it’s entirely different ones. not in the ways of teyvat, where everybody’s aware of all seven and follows the one of their nation, not even that much. they’re wildly different, with different policies and ways of worship, some with multiple gods and others with just one. some are strict, ways of lifestyle chosen and laid out, whilst others are lax. and even within the same religion, it varies from one place of worship to another? somehow? some religions specify clothing, disallowing certain parts of the body to be exposed- which they can understand to an extent. it’s when they learn of religions that police love, ones that write in harsh lines where and when and who somebody can love, that they need to take a step away.

so many parts of your world are confusing. so bright, flashy, new, rumbling in the walls and barreling down the roads with nothing but a scream to warn. lights are everywhere, every sign and post and building vying for your attention. this they could understand, as who wouldn’t wish to be the object of your interest, but the most dizzying fact that they learn during their stay is that you are no different than anybody else. everybody is subject to these sights, everybody is pulled in by a particular shade or cut of cloth, everybody is startled by the bright lights and loud announcements. everybody. you’re lost in the ocean of people so different and yet endlessly identical, nobody’s eyes lingering on you or calling your name specifically. when you step into a crowd, nobody notices you, save for the select, precious few to whom you are known. you have to carve out a place in your world, go out of your way to make sure your name, your face, your interests are kept in somebody’s mind, and even then people dare to forget.

that’s the worst of all. overwhelming lights, sounds, smells: nothing. it makes sense that they’d be out of their depth in a world built for the divine. but to know that you’re not receiving any of the recognition you deserve, to know that nobody thinks highly of your work in teyvat, to know that you were kind enough descend and build yourself a new life amongst the world, and to share your creation across said world, only for nobody to appreciate it. nobody thinks twice. people dare to complain over something you’ve hand-crafted, over something that, even after completion, you revisited with a traveller, doing your best to save one sibling and fix the problems that had cropped up in your wake. you’ve done so much, you’ve cared after it so lovingly, and you boosted the power of some of those you granted a vision to. as somebody who had experienced this love first hand, the favored could not find the words to express their anger at the situation. your world was wrong, it was cruel, and though they found beauty in the most hidden of places, it didn’t change the fact that it didn’t love you.

it only strengthened their desire to take you back to teyvat, where you would be truly loved.

[yippee-optimistically]

HIII last dump I think. Maybe. Might have to dump after I do s3. ANYWAY these r, in order:

Mic, taco, test tube, fan, salt, pepper, paper, pickle, soap, yin-yang, cherries, tissues and trophy, then a tiny testy doodle and some closeups :0)

[thedrotter]

Re:Kinder Fun Facts of the day☺️!!! Have you ever wondered who talks the most from the main cast in Re:Kinder?? Well, I did😊. Today I'll be answering this question with some graphs and as a bonus telling you what words each character uses the most! I will warn you, this will be a bit long and I don't know how to be less verbose so, yeah!!!

First, I've made some basic rules as to what I counted regarding how much the characters speak. Not all lines really count as speaking, after all.

Any of the incoherent screaming lines don't count. There's a lot of screaming since the characters die a lot (as expected for a horror RPG game), but I don't really count that as speaking unless they're saying proper words. In that same vein, I didn't really count any of the panting or sniffing and such that are conveyed through words. Again, I don't really see that as a character actively speaking their thoughts!

If I cannot tell who a line belongs to, I will not give it to anyone. This happens for certain lines, so I felt this rule was important.

I won't be counting repetitions of the same line if it's on a variation of the same scene. This may sound a bit strange, but when a character dies, the game goes on to the same next scene it would regardless (unless the scene that follows it is an ending), with variations and new lines here and there to account for the dead character, but a lot will be reused and placed in the exact same beats it normally would have been in originally. So, this rule is here for that. Oh, and also the scenes with bits of Yuuichi's backstory that appear in Shunsuke's head won't be counted twice, because some appear twice line by line.

Of course, the "..." lines won't count. I am so sorry Aya!!!!😞

Now that the ground rules have been set, there's just one thing I want to mention. Though I will count all the total lines for Takumi and Yuuichi like any other character, I just want to mention that first I will have two separate counts for them! Takumi | Takumiel and Yuuichi | Yuuichi's Heart respectively.

Takumiel is separate because I was curious about how much Takumi spoke as an archangel compared to when he was alive. Yuuichi's Heart is because he speaks so much he feels notable enough to be given his own division, even if he and Yuuichi at the end of the day are one person

(I count the silly mind telepathy where Shunsuke is being directly spoken to [and being told things normal Yuu would avoid saying at that point] and the comical theater as Yuuichi's Heart. I clarify in case one assumes he only starts being counted the moment he's directly labelled as Yuuichi's Heart. Any line that can't be distinguished between Yuuichi's Heart and Yuuichi will be given to Yuuichi by default.)

With nothing else to be clarified let's get to the numbers!!!😊😊

First, the line counts with Takumiel and Yuuichi's Heart counted individually!! Here are the rankings:

Shunsuke (With a lead of 535 lines over second place!!)

Yuuichi

Rei

Yuuichi's Heart

Hiroto

Ryou

Sayaka

Aya

Takumi

Takumiel

You may be thinking— woah, does Shunsuke really speak that much?! You could say that, for a good chunk of those lines are from how he describes interactable points around the map and his inner thoughts, so they aren't all exactly said out loud. The benefit of being the protagonist, I suppose ww

Funny enough, Yuuichi's Heart has almost as many lines as Yuuichi does for not having that much time in the game, being on the higher end between the characters that don't get the benefit of being a protagonist (lol)!

Admittedly I had expected for Rei and Hiroto to have a more similar amount of lines given their nearly equal amount of presence, but for what it is Rei surpassed Hiroto by 51 lines! I also had expected for Takumiel to speak a little bit more than Takumi but turns out the opposite is true.

While the lack of lines of Takumi and Takumiel are to be expected due to their short time on the game, what stands out is Aya not even reaching triple digits between her other peers who are in there for most of the game. This is because a good chunk of Aya's lines in game are silence!^^" And thus weren't counted. If ellipses were a word, she surely would have reached triple digits, but unfortunately they're not.

Now the line count with combined sums of Takumi | Takumiel and Yuuichi | Yuuichi's Heart!!!

In here, the ranking isn't affected, with Yuuichi remaining second place and Takumi being last place. But the disparity of everyone's numbers compared to Takumi's feels a bit more clear to see when Takumiel isn't individually counted.

With Yuuichi's line counts combined, Shunsuke remains 318 lines ahead of him, but it also means Yuuichi has a 59% the amount of Shunsuke's lines; and impressive feat for someone who doesn't get the benefit of being the point of view for everything you press... Although he does also have an upper hand over everyone by essentially being the plot of this game ww

But maybe line counts do not suffice to tell how much a character speaks. Yes, Shunsuke has a bunch of lines from everything he interacts with, but is it really reliable to say he speaks all that much in all those lines? A good chunk of those could easily have 3 words each! So with this in mind, let's do a word count.

Even in a word count, Shunsuke has the lead, having a lead of 2,247 words over second place. But we'll see about that when we combine Yuuichi's numbers. Anyway, here's the ranking!

Shunsuke

Yuuichi's Heart

Yuuichi

Rei

Hiroto

Ryou

Sayaka

Aya

Takumi

Takumiel

This time, Yuuichi's Heart is the one at second place!!! It's pretty funny that he speaks more than his physical counterpart ww. I genuinely didnt think he'd out yap himself that way when I chose to count for him individually 😭!!! He has a lead of 63 words over himself, but a lead nonetheless.

In here, Rei and Hiroto are more even than in the line counts, with the difference seeming more minimal when put into words. But it also showcases that despite Rei having more lines than Yuuichi's Heart in the line count, those only get to have a bit over half of the amount of words he talks (To be fair he does get to infodump a lot in his section of the game).

And here's the combined word count!!! Suddenly Shunsuke's lead is only by a mere 55 words! So Yuuichi speaks about as much as he does with 318 less lines.

I must admit that I genuinely did not expect it to be that close. When I chose to count the lines for when you interact with things for Shunsuke, I thought he was granted to speak an absurd amount more than anyone else. But turns out that Yuuichi speaks about the same amount out loud when most of Shunsuke's are his own thoughts ww. But it does make sense! He is still the plot of this game.

So, after all those charts, here's the average/middle point of lines and words for characters to have, because why not, it's fun.

Average Line Count (YH and Takumiel counted individually): 197 lines

Average Line Count (When combined): 247 lines

Average Word Count (YH and Takumiel counted individually): 1,333 words

Average Word Count (When combined): 1,666 words

So there it is. That's how much the characters in Re:Kinder speak!

But wait!!! I am not done. I will share with you an additional fun fact... Did you ever want to know what word each of these characters said the most?! This one will be quicker, I do promise.

When it came to counting these words I did not count stop words, that being common words that are used all the time by everyone in English. "I, you, me, the, to, a, my, your, yes, no"... Words like that! Otherwise everyone would have one of those as their most said word and it'd be rather boring to look at. With that said, here are the words these characters say the most!

Shunsuke: Yuuichi - said 40 times! (this genuinely confused me so much im sorry he uses interjections so much I had expected it to be something like "huh" or "um" but no i dont know how this passed by me as i was rounding up all the lines he says or proofreading or writing all of those lines WHAT?!?! its been two days and it still takes me out)

Ryou: Shunsuke - Said 14 times

Sayaka: Murderer - Said 7 times (All in one sentence!)

Takumi | Takumiel (counted in one for how little he speaks.): Takumiel - Said 3 times (That name is so important, he said it thrice.)

Aya: Sorry - Said 5 times

Rei: Hell, gonna, look, Yuuchi - said 8 times (Most of the repeated words she says are stop words for she doesn't tend to speak about the same things repeatedly.)

Hiroto: Shunsuke - Said 17 times

Yuuichi (separate from YH): Problem - Said 17 times

Yuuichi's Heart: Mama - Said 24 times

Yuuichi (Overall): Mama - Said 31 times

So that is finally it. That is the fun fact of today.😊😊 Use this to woe your friends at parties!!!

I am aware Mami speaks about enough to be counted in, but this is pretty time consuming to do and I'm not sure anyone is invested on her enough to count her in. But if there's enough curiosity regarding that, I'll try counting her in. But for now this suffices.☺️ Thanks for reading!

[storywestistrash]

i am actually so tired of the way westerners treat eastern europeans

[rosenbergamot]

i like to think that theres just sometbing in the hermitcraft server code that transforms u into a hybrid. like. these were just regular ass humans before they started living there and by proximity the server has started to morph them into Something else. it started slowly at first in the earlier seasons and has only gotten more potent and effective as it goes on, almost as if its building and feeding off their energy.

and now doc is a. cyborg goat thing. rens a Dog. false and grian have bird wings. mumbo has shifted forms so many times that none of them can even tell if he was originally a human. cleo has become a FULL ON CORPSE. joe hills is a puppet now. like this is just normal for them. they just learn to live with it. these are permanent modifications made to their bodies and their minds and theyre all just like Yeah. Price i pay for being a hermit i guess XOXO

AND SOMETIMES IT CHANGES FROM SEASON TO SEASON (or from month to month, even) like joe wasnt a puppet last season but some force greater than him decided to yank his soul out of her body and now theyre a puppet. tango switched from blaze to Cold blaze and back to blaze between seasons. it FUCKED with him. imagine having ur core temperature shift so much like that. iskall rejoins and suddenly his bones are shifting all over again into a new form that the server has deemed is most appropriate for him this season. and its agonizing, sure, but its also like a 🙄🙄 eye roll moment bc we’ve been through this!!! god its like puberty all over again.

cub waking up one day and having to break the news to scar that hes no longer a vex . scar gets so sad he chews a hole through his base. jevin becoming less slimey and more solid and is so confused and uncertain about his entire life now because he cant fit in parts of his base when hes this solid. enderman mumbo who shifts and now no longer has a legitimate excuse to not make eye contact with people.

imagine being joel and skizz and talking to the past newcomers ab the weird stuff going on with ur body. skizz has noticed his shoulder blades have been aching recently, as if something underneath the skin is trying to pop out. joel has these weird growths on the top of his head. gem and pearl just laugh and go yeah man thats normal. shouldve been there when i became a weird alien thing last season lol.

theyre both just like ??? AND NOBODY WANTED TO TELL US ABOUT THIS???? to which all the other hermits shrug bc its such a widely accepted fact. its doing some cocomelon shit to their brain fr

[carnivalcarriondiscarded]

tell me why i wrote 4k words of fantasy au the other night but overall Absolutely Nothing Happened in it

[mollotovm]

made a Katana Zero oc. I liked the game, I found it very interesting, though the ending wasn’t the best for at least me ;; that’s more a krill issue though trust.

He isn’t the best oc, I know that there’s a billion things I could fix, but I like him, at least a bit. I know that the proper KZ fandom probably won’t, but I’ll accept any criticism as long as it isn’t just mean ^_^ ;; yet again I can explain him more if all 3 people to interact w this post want any explanation LOLSIES

[spectrum-color]

Just thinking about how much Robin Hobb had to do to force her OTP back together at the end of Fools Fate and being salty. It required:

-Burrich to be depicted as a decrepit old man when he’s like in his 50s and conveniently die, gifting Fitz with his family (!) as his last wish

-Fitz to finally realize and accept what “no limits” means with Beloved after an entire trilogy where this is a central theme and raise him from the dead because he refuses to live in a world that he isn’t part of, and then for this to not matter at all because Beloved decides actually he’s just an obstacle to Fitz’s true love Molly (?!) and leaves

-Fitz not being allowed to choose what he wants, because when he tries to choose Beloved he’s told no that’s not actually what’s good for you

-Molly not being able to choose if she would be ok with her ex bringing along his queerplatonic life partner because it’s already been decided for her that of course she wouldn’t

-Fitz getting lost in a Skill pillar for a month so he can’t have a rational discussion with Beloved about it as Prilkop the conveniently located agent of Clerres tells him all about how of course their Path is finished and staying by his Catalyst will only do harm

-Prilkop convincing Beloved that he should go back to Clerres, a place where he was physically and sexually abused before running away, because apparently it’s his job to fix them, and this actually working (!!!)

-Literally everyone in Fitz’s life, up to and including Burrich and Mollys eldest son who Fitz never speaks to on page again after this, pushing him to pursue her and telling him not to take no for an answer

-Molly and Burrich (actually Nettle) being granted Withywoods and a noble title by Patience so they no longer have to deal with the obvious issue of the class divide

-Molly magically accepting that he let her believe he was dead for 16 years and abandoned their daughter because he was upset she married someone else because her role in this book is to be his prize for completing the quest

-Neither Fitz nor Molly ever mentioning or even thinking about Burrich, his foster father and major formative influence and her husband of many years and father of her sons, except for a few passing references

So yeah, in a series where the characters generally act in believable ways even when it’s frustrating, this whole plot was just contrived as hell

[sammygender]

im new here- is dean abusive?

imo yeah. smarter people than me have written dissections of the way he treats sam & others (he’s also Awful to his psuedo-son jack, but i haven’t gotten to that season yet), i’ve probably reblogged a bunch of them.

he certainly doesn’t mean to be & i don’t say it to condemn him as a person or as a character & i’m still very attached to him & he loves sam very much (not that that makes a difference in whether u abuse someone or not) - but the way he treats sam a lot/some of the time is emotionally abusive and sam is clearly badly impacted. s4 and s8 come to mind as his worst moments also ofc moc era - after that there’s less interpersonal conflict (up to where i am at least) but that’s because sam mostly stops disagreeing with dean not because dean actually gets much better <3 spn is cycles of abuse show after all. family is hell. dean’s learnt pretty much everything about how to behave from his abusive father and as a result. well. cycle continues