#im so sorry for the post length---

[drawnfamiliarfaces]

If Chase Yuong and the First Ninja start a fight, who will win in your opinion? Either way, it's going to be epic.

anon ANON thank you. I've been dying to think more about those two in the same context, ever since i realized the similarities of these two idiots i like (greenish hair? martial artist? magical? kinda lived long???) But i've shoved those crossover-ish ideas away since i am busy with other stuff lol. but this gives me an excuse >;)

Ok, if we do NOT take canons in consideration (because lets be truthful, cartoons rarely can give a full scope of a character to our satisfactions lol) so I have 2-3 vague scenarios in which they clash (IMO either of them can win??? (because i like them both, even if i am more of First fan, so I cant decide who of them winning would be more entertaining lol)):

If First Ninja in his prime (sometime after imprisoning Sorcerer but before the Ultimate Lesson) clashed with 700 yo Chase Young (since this fucker is canonically 1500 yo) who would probably try to defeat First in order to make him part of his Jungle Cats harem:

Chase is ridiculously, stupidly overpowered but one could argue that at 700 he hasn't yet reached the height of all his powers, so First would certainly have a fighting chance. First is supposedly uniquely trained since (probably) his birth by his Ninja Clan and continuous battles with the Sorcerer (and most likely other creatures, like Sorceress and Tengu and etc.) throughout his teenage-young adult life to take on enemies like Chase - overpowered magical beings/soulless monsters - with the help of Ninja Mask and all its powers.

Admittingly, in this case the win will most likely go to Chase, if only because of his experience and overwhelming array of powers at his disposal. Though considering we do not know the full scope of Ninja Mask's powers, First has like maybe 15-25% chance to win (and at least 30-45% in my mind if i consider my own hc about the mask lol), but not 0%.

If First Ninja's 800 yo. spirit somehow was released from/embodied by Ninjanomicon to clash with 1500 yo Chase Young in the Modern Present:

Here a lot of my hc come in play. I fully believe that if First - with all the developed abilities, experiences, memories, power (and possibly spirits) acquired during his stay/merge within the Ninjanomicon and from over like 200 people who ever used the mask over 800 years - fought 1500 yo Chase - who spent at least a century or 2 or 3?? hidden away in his Fortress, growing just a bit complacent, since he clearly became too strong and thus bored of the world when it couldn't offer him decent opponents anymore, at least not until current Monks - the fight could go either way.

Chase is still stupidly OP, but its clear that he was deprived of good opponents for a loooooong time, since he resorted to fight against/taunt teenagers and Omi, who is basically a kid still. And they frequently managed to outmanoeuvre him in their confrontations, if not in an actual hand-to-hand fight then at least in common sense lol.

Meanwhile First trained and learned with his each of his successors years in and out, and while we dont know exactly what sort of things happened, we can say for sure that the fighting was continuous. Ninja barely had any rest, for the Sorcerer probably attracted chaos inclined allies and minions and thus a never ending stream of enemies for Ninja to battle.

If basic bitches clash aka OG Good Chase and First Ninja before he was First Ninja:

This is just for fun and because I fully believe that pre-Ninja Mask First will trounce Good Chase. xD

We do not know Chase's past, and there are various headcanons on how he came to be a Xiaolin Monk, but let's just say that judging by his apperance and XS voice, he is probably a very young adult-ish before he drunk his Soup, so he most likely was a Monk since at least his pre-teen/teen years. He appears to be insecure in his Monk-ness and in his abilities to become the greatest warrior despite his competence, since he was swayed/manipulated/convinced? to sell his soul to a demon for more power and freedom from Monk values.

If we judge First's appearance and voice, he would be perhaps a slight bit older than Chase when he became The Ninja, and not to mention since he was born into the Ninja Clan, he was likely trained since he was very young. His personality appears to be very studious and there is certainly a great deal of strength in his character since he not only managed to continue on with his duty even after loosing his brothers but also not succumbing to the overwhelming Power of the Mask that can corrupt those of weak belief and hold the title of the Ninja longer than anyone else.

(Not to mention I am of very biased opinion that Ninjas are cooler than Monks. lol. Also we can assume they all have magic of some sort. Like think Naruto like Ninjas and Xiaolin Elemental Dragons/Monks.)

ALSO in case 1, obviously if they fought with the agreement that if Chase wins he would ABSOLUTELY add First into his Jungle Cat harem. First will most likely add/request a stipulation that Ninja Mask was not taken with First and I can see Chase honoring that agreement, so the Ninja legacy will continue on and Chase still gets an incredible warrior to his ranks, and perhaps more warriors if the future ex-Ninjas would decide to try and fight him later on. ;)

(first's animal form would be either a leopard or iriomote cat (both native to Japan) or a crow because tengu connection/associations ;D )

And if First wins, he certainly would figure out how to contain Chase, (perhaps even in the Ninjanomicon itself hohoho) since he somehow managed to contain a sorcerer that controls chaos with some binding, magic from a mythical beast and in a deep hole that perhaps connected to some dark realm, like??

;)

[spikeyphil]

have any other afab trans and/or nonbinary phannies gone through a gender crisis about phannie demographics? like when i was in middle school working through internalized misogyny and gender dysphoria at the same time, i struggled a lot with dan and phil having a majority female audience, not in the sense that it made it juvenile/silly (which. still pisses me off to this day. let teenage girls like things ffs) but in the sense that, as a closeted afab enby it felt like the only way to androgynize myself was through seeking out stereotypically “masculine” interests, and dnp were distinctly and proudly not that.

ive def come a long way in separating gender presentation and hobby demographics from gender identity, deconstructing gendered ideas altogether, and feeling more secure in my identity even if i’m still in the closet, but it was such a strange and difficult time and im just curious if anybody else has dealt with the same thing !

[fogwitchoftheevermore]

Yes! The ways the mechs and mcyt handle narrative have always been so similar to me but I've never been able to put it onto words. Would Love to hear what you have to say on the topic (after you have had a good sleep)

HI, it's time for me to get insane. Thank you for sending this ask cause now I have an excuse to maintag the post, lol. Also, I'm going to be using the term MCYT interchangeably with MCRP (Minecraft roleplay) for my own sanity. You'll know what I mean from context clues, I think.

So, hi, anyone who doesn't know about The Mechanisms. This post is going to be about some meta analysis tools that popped up in the Mechs fandom when it exploded in popularity back in 2020-2021. Due to the nature of both the Mechs and MCYT (which I'll get into in a moment), these concepts are generally very helpful for meta analysis of MCYT as well, and I think you guys would love them.

First of all, what was The Mechanisms?

The Mechanisms, originally known as Dr. Carmilla and The Mechanisms, was a band that formed in the late 2000s. It had a rotating cast of members, though most of the stuff you can easily find from them (such as their albums) was made when they had 8-9 consistent members. The Mechanisms officially released seven albums and one single before the band broke up in early 2020. The reason this band is similar at all to MCYT comes from a few things- the characters the band played, the stories the band told, and the archival aspect/age.

Because the Mechs were not a regular band, it was also a storytelling experience. Each Mechs album tells it's own self contained story (except for the Tales to be Told albums, which feature songs with their own stories that don't tie into the album at large). But furthermore, each Mechanism is a character. All the members of the band had characters they played, acting as a band of immortal space pirates moving through the galaxy on their ship, The Aurora.

The similarity to MCYT here is, of course, the characters. It's not always as simple to tell the difference between MCYT characters and actors as it was with The Mechanisms, seeing as (a lot of) MCYT doesn't start with the acting/roleplaying intention that the Mechs started with. But nonetheless, they share the understanding that even though this isn't a play or a TV show or whatever scripted medium, and that even though these characters (sometimes) share similar/the same names as their creators, they are, ultimately, characters the creators are putting on in order to tell a story. Whether that story is something more connected to the base characters (less roleplay heavy servers, Mechs backstory beats) or a story where the characters themselves are filling a role to tell a new story (more roleplay heavy servers, Mechs filling in for characters on the albums to tell their stories), there is always a story to be told.

There is also, as I said, the archival aspect. Archiving is massively important to both The Mechanisms and MCYT. It's definitely a lot harder with the Mechs than with most MCYT stuff, since the Mechs are a whole lot nicher, but that is not to say it's easy for either group. Archiving is vital to keeping both fanbases, and both sets of characters, alive, and there is only so much archiving you can rely on the creators of either to do. Those of you who take this task on are genuinely so awesome and I love you.

Alongside the archiving aspect (and as such, the lost media aspect), there's also the age of the Mechanisms, and (similarly to MCYT), the large number of people involved in the project, which results in lost and oftentimes conflicting canon beats. Mechs lore was not a strict, planned out thing. Large swaths of it were made up on the fly or forgotten down the line and rewritten or just made to work because the story needed it. As such, a lot of Mechanisms meta analysis had to reckon with the fact that the story was often telling you two or three or more things that could not be true at once nonetheless were, or was telling you something with the assumption that you knew something else, but that something else is now impossible to track down. So, sometimes, you just had to pick and choose, or try to reconstruct that lost knowledge. Similarly, varying POVs and gaps in time or gaps in story result in a similar concept for MCYT analysis- sometimes it doesn't really work if you take every piece of lore into account, so you just can't, even though every piece of lore is equally canon; or sometimes, a specific source is lost and you have to trust the memory of people who saw or were involved in the source instead.

Now, what is narratomancy? And how is it relevant to meta analysis of MCYT?

Narratomancy is the name for a few concepts of meta analysis that popped up when the Mechs fandom exploded in 2020-2021. The term was coined by @lucky-sevens (who, unlike anyone else I bring up in this post, I feel comfortable tagging because they're inactive, lol, so this won't clog their notifs), but the credit for various concepts under the umbrella of narratomancy can go to a ton of people. Personally, I'm going to be heavily referencing one post in particular by @/gunpowderedtim when it comes to the four main pillars of narratomancy, and how they are relevant here. (BTW I know OP of that post has shifted at least a bit to the MCYT fandom as well, so if you see this and would like me to tag you properly, please let me know!)

(EDIT: I was informed in the replies that lucky-sevens did not, in fact, coin this phrase, but they can't remember who specifically did. Alas another Mechs thing lost to time.)

Narratomancy refers to the general concept of the narrative as a thing within the Mechs universe. The narrative, a story that wants to be told, is an (at least semi) sentient creature that is bending the universe to its will in order to be told. This living narrative helps to explain and work through some of the problems or plot holes in the narrative, and understanding this helps a lot for meta analysis, or even just understanding the story. As stated above, I'm going to be breaking down four main pillars that the post above identified, and how they may be relevant to MCYT meta analysis. Not all of them are going to work- these were concepts made up for The Mechanisms, after all, and for all their similarities, it's not a perfect 1 to 1. Let's get into it!

Pillar 1: Universal Story

This is a pillar that has one really important and relevant concept, but I do have to bend a bit of it in order to make it work. Namely, what we're calling "the universe" here. But it's still quite important. You'll see.

As mentioned up top, The Mechanisms were originally called Dr. Carmilla and The Mechanisms. Dr. Carmilla (both the character and the creator) eventually left the Mechs to do her own thing, tell her own story, but the story of the universe at large is still hers. She's still got her name in the title, she's still the one who created the original lore, so to the universe, she's still the main character. She might not be the main character of any given story, even any given story she participates in, but it's all her universe in the end. As such, both her stories and the stories of The Mechanisms are canon, but they might not be strictly canon to each other. Because ultimately, The Mechanisms were the universe's vessel for telling stories, and sometimes the stories they told made for a weird concoction of conflicting canon, so you just had to accept that these conflicting canon beats were both canon, but which one was canon depended entirely on which story you were looking at, which one was trying to be told, who that story specifically was about (this is a concept that'll come up again later).

The reason this is a bit less relevant to MCYT in that, if a roleplay server is being well run, you (hopefully) won't have a main character in this way. And even if you do, that main character is not always going to be the creator of the server/universe, ala Carmilla. But again, it's not irrelevant, because I think this can be applied when you're looking at individual POVs of any given event or server.

Every character is the main character of their own POV, even if they might not be the main character of any given story beat or event. They have their own lore and story to tell in that POV, and when you sit down to watch their POV that is the story you'll get. It just so happens that said story might have things that are canon to it that are not canon to other POVs, that cannot be canon to other POVs, and you as the fan have to reckon with that. Sometimes these things might be small or not something that's gonna really throw you, like the conflicting Magic Mountain lore in this season of Hermitcraft. Other times, these might be really big things, like Martyn's Watcher lore in the Life Series.

But either way, while the idea that there is a Universal Story that has a clear main character doesn't really apply to servers, it certainly ties in to the idea of POVs. And furthermore, the "all of these stories are canon, but not strictly canon to each other" idea that comes along with Universal Story is a really vital thing to keep in mind when it comes to MCYT.

Pillar 2: Casting Call (Narrative Role Filling)

There are two main parts to Casting Call. The first is that The Mechanisms have a role in the stories they tell, even the stories that are not their own, like the album ones. These roles are often trope heavy, or based on pre-existing characters that the Mechanisms themselves have similarities too. The second is that the Mechanisms slot into these roles not necessarily because they want to, but because they have to in order to make the story work. Because the narrative wants them to help the story along to the ending.

This is definitely more relevant in roleplay heavy servers, but it still comes up on just about every server out there. While for the Mechanisms, the divide is between "the character I am" vs. "the character I am playing so the story gets told", the divide for MCYT tends to be a bit more "the person I am" vs. "the character I am playing so the story gets told". This divide (and people's inability to understand it) is the reason why MCYTs so often have to give the "Remember, we're all friends in real life and anything that the others weren't comfortable with wouldn't be in the videos" disclaimer. Everyone involved in this story is playing a character to move the story along, and that character may be totally removed from their real life person (such as Scott playing Xornoth in ESMP s1) or pretty similar to their real life person, but dialed up so they can tell a story, get a reaction (I don't know any of these people in real life, so I can't confidently pin someone down for this, but you get what I'm talking about).

Regardless, there is a story to be told, even if that story isn't thought out in advance, and that requires people playing the villain or the damsel in distress or the knight in shining armor sometimes in order to get it done. And, tying back into Universal Story, who is playing which of these roles can change as the canon of each POV changes (such as in Third Life, where who is filling the "villain" role depends entirely on which POV you're watching).

Pillar 3: Story Echoes

Story Echoes are a very Mechanisms based concept, because unlike everything else here, they are explicitly canon. This concept refers to the fact that The Mechanisms' stories "echo" throughout the universe, or repeat over and over again. It's in different places and different times, but these stories are out there, over and over again.

This one can apply to MCYT, but I have to admit, it's a stretch and a half. Ultimately, the way this applies here is in the fact that there's no such thing as an original story. Every story borrows from or is inspired by or is similar to another story out there. It's the nature of story telling. The first example for MCYT that comes to mind is fan Life Series, stories that take the mechanics of the Life Series but put them somewhere else, somewhen else, with someone else. However, Story Echoes are explicitly the same story repeating over and over again, which isn't really the case with this example. As I said, it's a stretch, but I didn't want to skip over this pillar entirely.

Pillar 4: Narrative Imperative

And the final pillar, Narrative Imperative, also referred to as Narrative Flow. Despite this one also being explicitly canon to The Mechanisms, it is also very relevant to MCYT, and in my opinion, the most important concept on this list for MCYT meta.

Narrative Imperative is explicitly canon in the Mechs universe when it comes to how The Mechanisms heal from injuries or death. As discussed in this post from the official Mechanisms tumblr, that healing factor functions at "whatever speed the story wants it to". This concept of "sometimes stuff just happens because it must for the story, even if it doesn't make sense or actively contradicts previously established canon" has been brought up before when we were discussing Universal Story, in respect to lore, to roleplay based story beats, for both groups. Here, it's more discussing a fact of the universe at large, a fact of how the Mechanisms function. And while the general concept of Narrative Imperative can be applied to literally any conflicting lore thing in any MCYT server or story (it's flexible in that way), I think it works best when talking about how game mechanics tie into the story.

What does death mean for this character? What does death mean for this character when on this specific server? What does death mean for this character on this specific server in this specific moment? What does logging off mean for this character, on this server, in this moment? What does voice mod or discord calls or chat mean to this character? What do skin changes mean? What does the Player Heads mod mean? What does sleep mean?

There are a million mechanics you can ask these questions about, and you can get a million different answers to each of them. Death can and does mean wildly different things on different servers (see: a Hardcore series like Naked and Afraid versus Hermitcraft). But it can also mean wildly different things on the same server to the same character at different points in time (see: the concept of "canon lives" on DSMP). Death, and numerous other game mechanics, mean whatever the hell the story (and the universe and creators involved) wants them to mean. You just have to take it in stride, the rules aren't clear because if they were, there wouldn't be enough freedom to tell a story.

Even on servers where it seems like the rules are clear, like the Life Series or other death games, death doesn't always mean what the rules say it does. Take glitch deaths, for example, like Loony's (almost) glitched death in season 1 of Deceit SMP. He glitched into a wall and should have died, but Legundo was allowed to cheat (use creative) to save him, or, had he died, been allowed to use cheats to bring him back, for fairness' sake. But this doesn't only apply to glitches- take one of Scar's off camera deaths in Third Life. I don't have the source for when Martyn talked about this on hand, but Martyn has mentioned that Scar technically died earlier in Third Life, when Martyn just snapped one day when Scar provoked him, killing Scar in a short, boring fight. There was nothing technically illegal or unfair about that kill, like with a glitched death, but when all was said and done, everyone agreed it just sort of... felt bad. That it didn't feel like a good story. So, the death was overturned, and the server went on as usual. The rules may have been clear here, but sometimes rules get in the way of a good story, so they're disregarded, simple as that.

MCYT stories are not being told in spite of their medium but in harmony with them. And as such, that means that sometimes, the narrative rules above all, and narrative imperative says that this mechanic is going to work like this, at least for now, at least for me. It might not ever work like that again, for me or for anyone else on the server, but it works like that in this moment, so you take it as is.

So, yeah, there's my essay! My final thoughts: Go listen to The Mechanisms. Go listen to Maki Yamazaki (Dr. Carmilla). I hope you enjoy these four concepts and keep them in mind when you are analyzing or playing the space of MCRP, because I think they are really helpful things to keep in mind. Have a good one.

[sneez]

some parallels i noticed on my most recent rewatch which made me explode [id in alt text]

[lighthouseshepard]

chapter four is finally up!

[qprpbj]

oh thank god ppl aren’t crucifying me for saying i like it better that darry dropped out of school over just not going at all i feel so vindicated. i think it makes sm more sense for his character and—-

[zoriety]

Notes on how the combat gameplay and synergy between Will Grip Sinclair and One Who Grips Faust reflect a relationship of unhappy reliance and control.

So starting from these words from my last post, which outline Sinclair’s relationship with Faust/Kromer as being one of someone so broken by her seizing control of his life that he cannot now do anything but look back to her for assurance!:

His life importantly has become completely stagnant; he is emphasized as being a chick with a broken shell because he cannot progress past this point of total control in his life as the Sinclair we have with us on the bus has done. He’s a version of himself who cannot stand up to her, nor break through the self denial he’s living in to fully accept that he will never be like her, sincerely believing in purging others despite his best attempts - thus he’s completely stuck in limbo.

The Units

The base facts are, all of N Corp Sinclair’s abilities take between 7-15 sanity (he cannot stand what he is doing) with the exception of his guard skill, ‘Enough’, a pause which regains him some

2/3 of his skills have effects that activate on tails hit, so the 'bad' side of the coin  you generally do not want to land for most units - low sanity is rewarded

His passive further encourages keeping sanity low or neutral even whilst winning clashes and defeating units.

Though you can keep Will Grip Sinclair balanced, he as a unit is going to always be running the risk during trickier fights of hitting that -45 sanity, becoming ego corrupted and wiping allies it’s always fucking Gregor out

COMPARE Faust: 

On killing a foe, her execution recovers all allies for 10 Sanity.

When she marks a target with gaze, the one to defeat it regains sanity, with further bonus of fanaticism if also N Corp.

You can already tell I’m going to say she keeps him in check statistically, but the final kicker is really her passive.

Her whistles - the little command sound she makes to round up the N Corp troops. With her sanity heal effecting the specific allies with the least SP, the chances are almost certain that it will be Will Grip Sinclair.

When her whistle passive is audibly activated, Sinclair responds with a strained sounding laugh - all but confirmed within his uptie story to be a false laugh/smile he makes while pretending he finds the violence and extremist ideology of N Corp enjoyable. (This is something Faust herself fully knows he does not, and finds his attempts mildly amusing.)

These two units are designed to work together perfectly.

Sinclair rapidly loses his sanity, and Kromer/Faust restores it for him.

It reflects their relationship in this way: Sinclair is prevented from fully losing his mind under the brunt of what his life has become, yet is living a nightmare, taking part in terrible actions he cannot bear to face the consequences of nor his feelings for, while besides him Kromer/Faust whistles and cajoles him back into centre when he falters.

Naturally we can use these units with others, it’s a team building game, but these particular units are so suited to work together that it becomes the obvious choice.

I keep being impressed by the way plot and character so cleverly effects the statistics and gameplay within project moon games, and these units have been the highlight for me so far. It’s especially when you hear that little combination of Faust’s whistle call and Sinclair’s responding, uneasy laugh, I think it really highlights the fact that Will Grip Sinclair as a unit is in the exact same place as his character is; a suspended in a state of miserable, powerless limbo

[hofftrans]

Getting real comfortable unfollowing and/or blocking blogs that only use political activism as a way to give themselves a feeling of like moral hierarchy. Like I think it's something we all struggle w to an extent, there's this long held concept of "I can only feel that I am good if I have someone bad to compare myself to" and in a terrifying world with so many terrible, terrible things going on in it I so understand the desire to be sure in the knowledge that you are a good person.

But part of kindness and community and compassion is being able to communicate patiently and empathetically with others, and so often I see posts or tags on this site that could be incredibly informative and create real change if they weren't written like somebody trying to get a mic drop moment instead of trying to get people to change and grow.

This is not to say minorities need to or should be polite to their oppressors, that's absolutely not the message of this post and I wanna clarify that to avoid a "love pancakes = hate waffles" situation.

The message of this post is about the amount of posts on here that bring up any issue in the world at all and phrase it as "not that any of you give a shit" or "and no one fucking cares" or "reblogging this is literally the least you can do" or "but I know you'll just ignore this so fuck you"

Like idk I just feel like we've accidentally recreated protestant values and catholic guilt over the idea of actual change, as well as the dangers involved in like "you should know to do the right thing because you're SCUM IF YOU DONT" instead of going "here's some education or a way to help" and then responding that way once someone refuses growth or change.

I'm going to try and practice what I preach here by explaining one of the reasons I think this is so dangerous without insisting you're a monster for not knowing: a large amount of the population suffers from obsessive compulsive disorder, and one of the major ways ocd can present itself is ocpd or as my mates and I have come to call it "ethical ocd." Ethical ocd (in vague terms bc I'm not a doctor) is the extreme anxiety/fear/obsession over being morally wrong or a bad person and sufferers often feel the need to prove absolutely that they are good and can often feel the need to self harm or partake in dangerous behaviour if they make any mistakes or have an intrusive thought of a violent or hurtful nature. I know this because I've suffered from this a lot throughout my life, and as a teenager I spent many years away from tumblr due to how the moral hierarchy culture here was just like pouring fuel directly onto an open bonfire. This is obviously an issue many people don't know about and I get that, I feel no judgement towards them for that. I'm just pleading with people to consider whether their activism on here is coming purely from a place of actually wanting to help people improve their behaviour and improve the world we live in or if it comes from a much deeper need to feel sure and right in yourself, which again is not something that is a moral failure or makes you a monster, just something I really hope people can get help with before it spirals into a more and more harmful behaviour

[monkayy]

Me the last few months

[bobmckenzie]

me: people are way too vain we really need to stop putting so much stock into our appearances it's not that serious

also me: cuts my hair too short and feels PHYSICALLY ILL over it

[heartorbit]

artfight attack for ~mavv!

[maskedchip]

yknow at this point i have drawn so many images i can draw pretty fast now. i think that's the best outcome after years of tormenting over how slow of an artist i was. mainly bc i really had no idea what i was doing, so i would spend HOURS on just a full-body character design or something of the like. of course all the practice and time spent studying anatomy or color makes things easy now (also obsession but we already know about all that)

i think its hard to learn that not all your art is precious and by that i mean of course u cant create masterpieces in a day and shouldnt torment over not being able to get something right the first time. the silly doodles all count towards something. i joke about having perpetual wips but i think my favorite thing is saving past ideas and reworking them later just to see how they changed. bc art, like people, is so dynamic. constantly changing.

and the best feeling is making the art u imagined years ago come to life or you get a bit closer to producing the work that you saw in your head. mmmmm growth.

[kellyscowboy]

꒰✧ᯇ✦꒱ OUTLAWS OF SANTA FE

ᯇ summary ! ✦ “You know what they say about cowboys who brag too loud about their women.” He sniffed and rubbed his nose. Jack gave a mock laugh. “Anyone in town would tell you I’m not queer. ‘Specially the ladies who pass through. Who do you think you are, anyway?” As the boy pushed his hat out of his face, he made direct eye-contact with the outlaw. "I think I'm the fella that can send the ‘famous’ Jack Kelly home crying to his mama." Jack was silent, stunned. His finger was still pressed into the man’s chest, but it had begun to shake. "What now, Cowboy? I'd tell you to take me down like you promised," Deadwood gave a slight shove to Jack’s shoulder, yet he found himself almost toppling over. "But you're too corned to even stand straight." aka the wild westsies au i've had in my drafts forever ᯇ tag list ! ✦ @bound-for-santa-fe ,, @fandomtrashcollector (taglist form is in my pinned post!!) ᯇ warnings ! ✦ cussing, alcohol consumption, violence, use of guns ᯇ vienna's thoughts ! ✦ here are the meanings of the wild west slang words in here:) paintin' his nose - to get drunk corned - drunk fogy - a stupid fellow dynamite - whiskey ANYWAY, i've had this in my drafts for forever and i just wanted to finally finish is so sorry that the ending is really rushed el oh el. also i recommend listening to Billy the Kid by Tex Ritter before reading!! as always, reblogs & comments are always appreciated <333 ALSO READ IT ON AO3 THE PLAYLIST 2883 WORDS © 2023 , 𝐤𝐞𝐥𝐥𝐲𝐬𝐜𝐨𝐰𝐛𝐨𝐲

WANTED Jack ‘Cowboy’ Kelly $1,000.000 REWARD Wanted for robbery, murder, and disruption of the public. Does not attack without motive. Contact Sheriff Charles Morris of Santa Fe, New Mexico.

WANTED The Delancey Brothers $500.000 REWARD Oscar and Morris Delancey are wanted for robbery and attempted murder. Contact Sheriff Charles Morris of Santa Fe, New Mexico.

WANTED DEAD OR ALIVE Deadwood David $5,000.000 REWARD Wanted for robbery and murder, on a large scale. Does not attack without motive. Contact Sheriff Charles Morris of Santa Fe, New Mexico.

A proud cowboy listened to the chatter of customers outside of Spots Shootin' Saddle Saloon. A cocky smirk played at his lips as he pushed through swinging doors. He heard gasps and the sound of multiple pistols being dragged from his holster. Then, the saloon went silent—save for the high-pitched squeak of wet glass being towel dried.

The bartender didn't even spare him a glance. "Well, well. If it ain’t the famous Jack Kelly."

“I could say the same to you, Spot. Lookit you, got yer own saloon and everything.”

One of the saloon boys perked up. "Jack!” The boy gave a half-hearted excuse to the men he was serving, he made up for his departure with a wink. He eagerly made his way behind the bar and began fixing the ex-cowboy a drink. "What brings you into town?"

Jack gratefully took the drink with a tip of his hat. “You’re a good man, Race.” He downed the drink before addressing the question before him. "Can't a lonely cowboy just visit his old friends?"

"Why, sure he could!” Racetrack grinned, already refilling his glass.

“That is, if that's what he was really doing." Spot added quickly. “Besides, can’t really be calling yourself a cowboy anymore. Not when a wanted poster names you an outlaw.”

“I can call myself whatever I please.” The cowboy realized it was a fight not worth fighting. He waved him off and dragged the newly poured whiskey closer. "Howd’ya know it was me?”

Spot laughed. "What, when you walked in? Yer the only fella I know who quiets my saloon like that.”

Racetrack leaned forward against the counter; his arm wrapped lovingly around Spot’s waist. He rested his head in his own hand, his elbow digging into marble, and gave Jack a pointed look. "Not anymore. Say, Jack; you heard of that David feller, yet? He paid us a visit couple’a days ago. Shoot, we didn’t hear much noise in here ‘till the next day!”

Jack's fingers squeezed his glass, before they relaxed and stretched. "Yeah, I've heard of him. Fill 'er up again, would'ya?"

Spot took the glass and kept his gaze on the outlaw whilst he poured the whiskey. He placed it in front of the boy with a thump, then glared at him through narrowed eyes. "What are you really here for, cowboy?"

"Just paintin’ my nose, Spot." Jack pushed away from the bar, drink in hand. He sat down with a boy who was lazily pulling at the strings of his guitar. “Tell me a story, Al."

The boy responded with a toothy grin, then tipped his hat up and out of his eyes. He slowly looked up and made eye contact with the outlaw. “Long time no see, Jackie." He plucked at his guitar more rhythmically than before. "What'cha wanna hear?"

"Why don’t you tell that one about ole Billy the Kid?”

"Only because you're an old friend." Albert chuckled. He took a deep breath before he put on his story-telling voice. His demeanor demanded the attention of those around him, and he always got it when he was performing. "Some folks do a lot of good in the world, that encourages us to do good. A few people start off on the wrong foot - their black deeds serve as a warning post to us. The song I'm gonna to sing for you now, fellers, is about a boy who sorta wandered off the straight and narrow trail, took up a crooked course. As usual with all outlaws, he paid with his life. His name,” a pause, “was Billy the Kid."

His singing was mesmerizing, just like his stories, and everyone in the saloon slowly began to sing along. Some of them absentmindedly hummed along as they gambled, and others gave the man their full attention. They swayed merrily back and forth with each other, their glasses raised to the gods as they hooted and hollered.

"I'll sing you a true song of Billy the Kid. I'll sing of the desperate deeds that he did. Out in New Mexico, long time ago, When a man's only chance was his own forty-four."

While everyone sang along, a boy slipped in through the doors, entirely unnoticed. He whispered to Spot and kept his head hung low. Had he made any noise, it had been covered up by obnoxious singing. The boy pushed a couple of coins across the counter before he slumped farther into his hat.

"When Billy the Kid was a very young lad, In old Silver City, he went to the bad. Way out in the West with a gun in his hand- At the age of twelve years, he killed his first man."

Racetrack wanted to tell Jack about the man at the bar, but Spot had instructed him to keep quiet. He had been told to loosen the outlaw up, and he did just that. Race kept a close eye on Jack’s drink and made sure he never reached the bottom of his glass.

"Fair Mexican maidens play guitars and sing A song about Billy, their boy bandit king. How ere his young man-hood had reached it's sad end, Had a notch on his pistol for twenty-one men."

To say the drinks had loosened him up would be an understatement. Jack pranced around the table­—dragging Racetrack along with him—with his glass raised. The whiskey sloshed over the side and splashed his boots. He jumped atop the tables and managed to gain the attention of all the customers. It wasn’t long before everyone was shouting and throwing their drinks into the air.

"Twas on the same night, when poor Billy died, He said to his friends, 'I'm not satisfied, Twenty-one men I have put bullets through. Sheriff Pat Garrett must make twenty-two."

Jack tried to sing along, but his mouth had other plans. He rambled to Albert, who just smiled as he sang, about his recent affairs. “I could take down the sheriff!” He bragged. “No! I could take down big ol’ Deadwood David… with my eyes closed!” Al shook his head and his eyes flitted quickly to the man at the bar.

"Now this is how Billy the Kid met his fate. The bright moon was shining, the hour was late. Shot down by Pat Garrett, who once was his friend. The young outlaw's life had now come to its end."

“Don’t make promises ya can’t keep, Kelly.” Spot warned with a sigh. Racetrack cocked an eyebrow from his place next to Jack. He raised the pitcher in question, and moved away from the table when Spot shook his head. The cowboy waved off Spot’s warning as the bartender whispered lowly to his customer.

"There's many a man with a face fine and fair, Who starts out in life with a chance to be square. But just like poor Billy, he wanders astray And loses his life in the very same way."

Everyone cheered in unison for the song; although, some might’ve been cheering for their gambling wins. Albert smiled and tipped his hat before he went back to strumming mindlessly at his guitar. A small grin made its way onto his face as Jack drunkenly droned on.

"D’ya hear Spot? Talkin’ bout promises I can't keep!" He scoffed; a drunk burp made its way up his throat. "I mean- Listen, I've got way more kills under my belt than Billy the Kid had got." Jack took a sip of his glass. Race had been filling it with coffee, but he was much too drunk to notice. “He would’ve never died if he was as experienced as me. Besides, this Deadwood guy’s a total poser. I betcha I could take him on with my-” He looked confused for a second. “With my- my eyes closed!”  

“So you’ve said.” Albert shook his head and chuckled. "Anyhow… the song ain’t a challenge, Cowboy. It's a warning. Don’t mess with something that ain’t botherin’ you.”

"You’re starting to sound like my Papaw, Al.” Jack bumped Albert’s shoulder with his cup. “He don’t look good on you. Oh! You know who looked good on me, though? Them gals over in Tombstone.”

"Yeah?"

"Yeah!" He slurred. "I mean, practically a different girl each night. Gorgeous women too. Unlike any lady out in these parts."

An obnoxious scoff came from the boy at the bar. He circled his finger around the rim of his glass as he spoke, his head still down. “I sure ain’t heard any Tombstone ladies bragging on about pirooting with a Jack Kelly.”

All conversation ceased at the boy’s words. The notes on Albert’s guitar suddenly became more dramatic, and Jack would’ve laughed if he wasn’t so offended. Spot let out an exasperated sigh, but the rest of the customers were visibly tense. Every man had a hand on his gun, waiting for a showdown.

Jack turned and stared the boy down. "Maybe you ain't talked to the right ladies.”

"Maybe you just ain’t worth bragging about.” The boy took a sip of his drink. Racetrack let out a short giggle, then nervously ducked under the counter to make a drink that nobody had asked for. “Or, maybe, you ain’t really been with as many ladies as you claim.”

Disgruntled, Jack got up and made his way to the bar. The boy laughed as the outlaw tripped a little over his own feet. Jack grabbed the man by a shoulder and forced him to spin in his chair. He shoved a mean finger into the man’s chest. The man at the bar snickered, his face still covered by his hat.

“What’s that supposed to mean? Huh?”

“You know what they say about cowboys who brag too loud about their women.” He sniffed and rubbed his nose.

Jack gave a mock laugh. “Anyone in town would tell you I’m not queer. ‘Specially the ladies who pass through. Who do you think you are, anyway?”

As the boy pushed his hat out of his face, he made direct eye-contact with the outlaw. "I think I'm the fella that can send the ‘famous’ Jack Kelly home crying to his mama." Jack was silent, stunned. His finger was still pressed into the man’s chest, but it had begun to shake. "What now, Cowboy? I'd tell you to take me down like you promised," Deadwood gave a slight shove to Jack’s shoulder, yet he found himself almost toppling over. "But you're too corned to even stand straight."

Spot cleared his throat. “I won’t have you dunderheads havin’ a showdown in my saloon. Be respectable, boys.”

“There wasn’t gonna be no showdown, anyhow. This feller’s too drunk to do anything. He couldn’t shoot at me even if he had his pistol to my head.” Deadwood flicked a coin to Spot. “Thanks for the dynamite, Spot.” And with that, he proudly walked out of the saloon.

Jack watched the man leave and stood tall with fake pride. After the man was gone, he made a drunken attempt to sit down but instead accepted his place on the floor. Racetrack sighed and raised the outlaw by his armpits before sitting him on a barstool. Spot scoffed as he handed the outlaw a glass of water. “I told you not to make promises you can’t keep, you stubborn ole fogy.”

"I'm fixin' to keep that promise. But right now,” He started to gag, “I think I'm gonna be sick."

“Steady, Izar.” Jack mumbled. “Ain’t too far from here.” His horse neighed, almost as if she was responding to him. She even sighed as he stumbled into her. Jack could almost hear her complain about his recklessness. “I ain’t that drunk, Izar. Honest.”

He led her into the stable behind the Conlon home. “Spot was kind ‘nough to give us a nice little place to stay in for the night.” Jack looked around the stable and flinched at the smell of manure. “Well, he offered to let me stay in the house. But ya know I can’t leave you, mama.”

“Second I heard about you, Jack Kelly, I knew you were insane.” A voice muttered from the corner. “But I never would’a figured you was the type of insane to talk to yourself.”

Jack groaned. “Fuckin’ Spot. He knew you’d be here. Ain’t that right, Deadwood?”

“Yup.”

A tense silence fell over them, but Jack was far too tired (and drunk) to start a fight. He began to take off Izar’s saddle. “I wasn’t talkin’ to myself. I was talking to Izar.” He explained and gestured to his horse. Though, as Deadwood laughed, he realized that wasn’t a much better excuse. “Listen, I don’t feel the need to explain myself to you.”

“Yet here you are. Doing it.” Deadwood snorted as he pulled his hat further over his face. The hay he was laying in enveloped him as he snuggled deeper into it. “Now, I promise not to kill ya if ya promise to shut up.”

Jack grunted in agreement. His intuition screamed at him not to let his guard down, but Izar had already nestled herself into the hay. At that moment, he figured his awful gut feeling was just the whiskey from earlier. Besides, Izar had a good judge of character, most of the time. She curled around Jack as he rested against her, and the two slowly drifted off to sleep, just inches away from one of the deadliest men in the country.

Yelling voices and the sound of cracked wood startled Jack awake. Once he came to his senses, he realized that Izar was no longer behind him. Panic filled his chest and he scrambled to his feet. As his eyes adjusted to the dark, he began to barely make out what was happening in the shadows.

Deadwood had a lanky boy pinned beneath him, his pistol to the person’s head. Another boy laid up against the wall of the barn; he was surrounded by splinters and his own blood. His head lolled against his shoulder, the blood from his nose pooled on his leather vest. The boy had a gun in his hand, the safety off and his hand on the trigger.

David lifted the boy underneath him by the collar of his shirt and shoved him against the wall. “I knew you were pathetic, Morris. But going so low as to kill a man in his sleep? We may be outlaws, but we have some sense of morality.” His hand in the Delancey brothers’ shirt tightened as he pushed the boy farther into the wall; Jack could hear the wood cracking beneath him. “And you don’t kill a man’s horse. Not unless you’re too much of a pussy to kill the owner.” Then, he dropped the man to the floor and spit at him.

Morris used a dramatic hand to wipe off his face before he scrambled to his feet. His hands shook as he moved to grab his pistol. “You place a single finger on that gun, and I will break every single one of your fingers-” Deadwood growled and grabbed the boy’s wrist. “One. By. One.”

After he let go of Morris’ wrist, the boy tripped over himself as he picked up his brother. Oscar barely seemed alive; his only sign of life had been the elongated groan he let out as Morris lifted him. David stopped the two before they could hurry out the door. “You two better never point a pistol at my Cowboy or his horse ever again. Next time, you don’t get a warning. I’ll line you two up and watch the bullets go straight through both of you.”

The two hesitantly nodded (Oscar moved his head down, and that was enough for David). Morris dragged his brother out the door, and it wasn’t long before the sound of galloping hoofs grew quieter and quieter.

“What the hell was that about?” Jack demanded. Deadwood rolled his eyes and led Izar out from behind his own horse.

“Don’t worry ‘bout it, Cowboy. Go back to sleep.”

“You’re losin’ it if you think I’m gonna let this shit go,” Jack argued as he moved to pet Izar’s neck. “They got you riled up enough to call me your cowboy.” He scoffed. “And you called me queer.”

David cocked his pistol in retaliation. “I defended you while you’s was asleep, but I’m not against shooting a man who’s awake.”

Jack couldn’t help but laugh. “Don’t worry, Deadwood. I won’t tell no-one ‘bout this. It wouldn’t be good for my reputation, anyhow. Cowboy don’t need no-one to save him.” He closed his eyes, an amused grin on his lips, and went back to resting against Izar.

The infamous outlaw stared at him, before he broke into laughter. “Spot was right. You are a stubborn ole fogy.”

[tahwarts]

i think ppl kinda miss the point of why pink femme girl power aesthetics are empowering to some women, and this isnt specifically about the barbie movie bc i havent seen it so idk how its gonna pull the whole thing off, but it has definitely sparked a lot of discourse around this. but its not about "telling girls its ok to be feminine" because of course the society already pushes femininity onto women. its just that women are devalued, and women are devalued no matter what they do, however femininity is FOR women and it is because of that association with women that femininity is also devalued (regardless of gender, but even when performed by women). it is an expectation, but it is taken for granted. like for example it is expected for women to do makeup and care about fashion, however it is simultaneously taken as something shallow and frivolous to have as an interest or hobby, and people who point out that it actually takes a lot of skill and artistry are dismissed and brushed off. and again this is a skill that is just expected that all women will have! and celebrating femininity, in for example movies like legally blonde, is saying that no, there is inherent value in this thing, there is inherent value and skill and use in having traditionally feminine hobbies, feminine women had to work and femininity doesnt make someone lesser. and when we accept these as their own skills, hobbies, interests, hopefully we can also separate them from womanhood, and we can accept women as, yknow, their natural state. femininity is an action and it has value but women should damn well opt out of it if they want to.

[lskamil27]

Hey, do you have any rpg maker horror/rpg maker game recommendations?

RPG MAKER GAME RECOMMENDATIONS,,, Oh boy,,!

I have some that I do like a lot, however, there is a chance some people may not be TOO crazy about it since I am someone who likes it a lot when a game has lots of lore & story that I can bite into and think about more when I’m done!!

I think, right now, what I like as of right now ( these are not ranked in any particular order ):

1. Fausts Alptraum - Free to Download, Artbook You Have to Pay For: A game about a girl named Elisabeth who visits her family’s old home after a funeral, being trapped inside and having to get out.

A BIIIGGG favorite of mine, due to having a nice balance of awe and admiration of its art direction, while balancing tension and unease as you explore

2. Angels of Death - Pay to Play: A game about a girl named Rachel who wakes up in a building and is forced to progress through its floor levels to get out, each floor having a leader who seek to hunt her down.

Another favorite of mine, because I love the story and characters! The symbolism and juxtaposition of Rachel and Zac is so fun, along with plot that had me hooked into it! ( I will say, I am not the best at playing high stress games so I had to watch play-throughs to see the endings LMAO )

3. Mad Father - Pay to Play: About a young girl named Aya who lives alone with her mad doctor of a father, and his assistant. Aya is forced to confront the horrors of her father’s crimes to try and save him when she hears his screams on this particular night.

This was a game I had gotten into when I was WAYY younger! It definitely left a lasting impact on me since I am a big fan of medical & body horror now. I don’t know how to say it, but trust me!! It’s a lot of fun!

4. Fear and Hunger - Pay to Play: Between a cast of 4 playable characters, you are tempted by a personal quest that leads to the Dungeons of Fear & Hunger, unaware of the horrors and depravity that lies inside.

This is a big time favorite of mine, HOWEVER - I do not recommend this to everyone, as the triggers and violence in this game can be extreme for some others to go through. I highly recommend reading any available list of triggers for this game before trying it out, because the content is pretty dark. However, I do like it for its art direction, the lore and its characters, that the creator has made for it’s story and sequel!

5. Flesh, Blood & Concrete - Free to Play: Focused on the protagonist, Lera, who’s car breaks down on a snowy and is invited into the apartment building nearby by a young girl named Nika. Exploring the strange building, Lera encounters unsettling visuals and strange feelings of deja vu.

I recently just played this, and I adore it a lot for the story that has been crafted by the creator, with its message - as well as the welcoming, yet unsettling art direction it has, with the various home-y apartments and depictions of meat & flesh.

Now, these aren’t RPG Maker games themselves, but I will recommend them because I think they are fun to play on free time:

Soul Void - Free to Play: Gameboy pixel style, regarding the protagonist who explores a strange world, looking for a way out. Very beautiful art, and beautiful message!

Saint Spell’s Love Guide to the Magical Student’s Spellbook - Free to Play: Pixel Visual Dating Sim, very pretty, very fun routes to play, my friends and I loved playing it during our lunch breaks in uni!!

[kanenites]

i ca nt fix him but we could have a crazy gay threesome and he would probably feel a little better at least