#ips verse

[cryptidcassie]

Gwen Stacy your theme lives rent free in my head and is scratching at the walls nonstop making me feel like I'm a kid reading the OG comic run again. I hope Daniel Pemberton is proud of himself.

[mushed-kid]

i’m this 🤏 close to writing the worst into the spider verse fanfic known to mankind

[coolattasclown]

more spsiderverse the eepy virus got me..,,,,,

[sahrabarik]

Had a VERY controversial dream where a play claimed jesus and lucifer were the same guy and how they had everyone fooled

[alibabastreasure]

"I'm being cyber bullied Futaba, help me deal with them" Ren asked in a totally upset voice.

@myuzucompendium

"Their name is Miyako Akihito, a 10 year old boy who lives in Okinawa," she replied as if already aware of the situation. "Just tell me when you wanna go to Mementos."

No one is safe when you have a master hacker on the team, not even people who hide behind online anonymity. She's not even going to mention that he's getting bullied by a 10 year old; she knows how scary kids are.

[koimethehorizon]

Fionna and Cake theory: Simon the Artist

Nothing like a good old creative panic attack.

Fionna and Cake good. Haven’t been excited about a show like this in a long time, though it being a part of Adventure Time does help quite a bit. I was holding on to some cautious optimism for the show when it was announced as yet another big IP series covering the multiverse (still waiting to groan at THAT scene where Prismo has to explain to us about there being infinite universes), but as usual, Adventure Time’s crew continues to surprise me with its creativity, humor, and thematic resonance.

The most striking part about Fionna and Cake so far is just how deliberately the show wants us to differentiate it from the original Adventure Time.

We’re getting shots where Simon pops an artery from his arm, a theme song that explicitly talks about suicidal ideation, discussions of rent and financial problems, and curses no longer disguised with AT’s usual dialogue. Adventure Time has always had violence, thematic density, and juvenile rating pushers, but they were always reserved at small points. Meanwhile, these are factors that are just casually shown and discussed in Fionna and Cake every 3 minutes or so. This is not an all-ages miniseries, it’s for young adults. (hint: this will be relevant later)

Let’s get right into it. This is much less a speculative lore theory and more on what thematic direction the story may be going.

Before we do, let’s get this out of the way first. This theory assumes that the current Fionna and Cake world is all a part of Simon’s head and not merely a separate multiverse, which… I’m certain is fact for the following reasons.

The immediately obvious piece is that Fionna and Cake was always the Ice King’s fanfiction. Now if you’re versed in AT’s continuity you’re probably going to be asking about the red light in Fionna and Cake + Fionna and… I’ve no answer for it unfortunately. It’ll probably be relevant later in the series and possibly age this post like milk but for now, we’re not here to focus on the how, but the why.

Second is that the intro and the ending of Ep 2 literally show Fionna’s world spilling right out of Simon’s head like an animated world out of a frozen brain. If that isn’t clear enough-

Didn't realize this until writing, but these glasses are just plastic made to look like Betty's

There’s no other explanation for this other than that this world is artificial or influenced by Simon in some sense. Fionna even specifies that the statue went under renovation 12 years ago, but nobody seems to know who it is. Considering how Finn looks in the episode, it’s likely that it’s been that long since Betty’s sacrifice in the finale.

With that out of the way, here it goes.

The reason Fionna and Cake exist in the first place is because the creators found Natasha Allegri’s genderswap designs charming and wanted an in-universe reason to use them the Ice King wanted to create trashy, wish fulfillment through art. It was a phase.

Definitely changed that image for publishing.

Simon can argue if they’re good or bad but it’s undeniably his art. It’s not just a portfolio he left behind in a closet, it’s an experience that was shared with a larger audience.

And even if wasn’t liked at first, the citizens of Ooo seemed to have come around to it. And some of them love it!

Whether Simon likes it or not, he has a fan base that is so endeared to the story he made all those years ago that they demand he makes more. Why let a good story, loved by many, go to rest when you still have some life and creativity left in you?

Can't move on in more ways than one.

Except, the problem is that Simon isn’t Ice King anymore. He’s aged out of it.

His real passion is history, he's an adult who who finds passion in the mundane and antiques from the past. And frankly, there isn’t much room for wish-fulfillment and fantasy anymore. Simon has responsibilities. He has a job and a daughter in a world that is moving faster than he can process.

And where Ice King wrote about looking for love, Simon has already had it.

And lost it. His mind isn’t focused on the rosiness of finding new love, it’s grieving the one he already thought was the one.

Wasn't he supposed to be good with kids?

Despite his new life experiences, all his peers seem to want from him is to make more of what they’re familiar with.

A story made from wants and wishes that he doesn’t even have anymore.

A story that was literally made by someone else at a different time. It’s a fiction he cannot connect to anymore, art that he’s embarrassed by. Yet also jealous of. Because at one point, the body Simon used to be in understood what exactly was missing from his life and could express that easily.

Seeing it again is like experiencing a retrospection of a cringey loser you don’t want to imagine having ever been. It’s not you anymore, and you don’t want to be reminded of that.

Because despite him having a new creative passion, no one seems to care about that. All they want is Fionna and Cake. And what is more lonely than other people misunderstanding what you’re trying to express?

If I failed to make it clear somehow, my theory is that: Simon’s relationship with Fionna and Cake is a metaphor for creators growing out of their art. And this new Fionna and Cake world is still comfort art born out of Simon’s current desires and perceptions.

The snippet subtitles this “child holding a phone”. I guess I’m wrong. Essay over.

Episode 1 and 2 both have direct parallels with each other. They’re both about a protagonist who are feeling displaced from their world, living a phase of losing a significant other, leaving a thankless job, wearing a mask of stability in front of the people they care for, seeking a guru at the heart of the forest, and concluding that they no longer belong in their current world.

But more importantly, Fionna and Cake (the characters, the world, and the show) are no longer for an all-ages crowd. Fionna and Cake now feature young adults, curses, gore, alcohol, partial nudity, financial issues, morning routines, mid-life crisis, and overt suicidal ideation. These are the feelings that Simon relates to and possibly desires to express through art. Thus, his story and our new miniseries have warped that way.

Am I overthinking this? No. How dare you assume that.

Is equating the unconscious writings of his dementia-ridden self to Simon as his younger self seem a bit odd? ….Kinda. Again, it’s not the how but the why that matters in this case. I'm NOT crazy, I have proof that there is some acknowledgment of this directly in the show.

Rewatch the bar scene and apply this reading of the episode to what Simon says there:

“Your old stuff, Fionna and Cake, honest to glob my man, is an inspiration to me.”

“My old stuff, I don’t really want to talk about my old stuff…”

“Why not? You should be proud! You wrote an entire extended universe in a fugue state if you think about it.”

"Simon cringes"

If you have ever shared art with a group of people in the past, you’ve had this conversation.

Not likely, not possibly, no perhapses. You HAVE.

And Fionna and Cake being an epilogue to a massive award-winning, near-decade-spanning, cultural sensation 5 years after it ended, might result in its creators feeling very retrospective about what audiences want from them now.

And how difficult it’s going to be to tell new experiences and tones from what’s come before. Also, come on. “Extended Universe?” That doesn’t sound like Fionna and Cake. That sounds a lot like something else.

Again, seems bad with this kid.

One of the more profound shots in the main trailer for the show features the inconspicuously Finn-like kid crouching at her Fionna and Cake book in Simon’s trash. I believe this character is going to have a major role in two ways. Convincing Simon to be proud of what he’s accomplished and/or embracing that Simon wants to move away from his original work in order to create something new, or perhaps more likely, reinvent Fionna and Cake into what Simon relates to now.

We’ll just have to see what Simon thinks of his new Fionna next week.

PS. Talking as a fan now, WHAT IS UP WITH THE 1000+ TREEHOUSE IN THE INTRO?!!! ARE WE REVISITING THIS TIMELINE AGAIN?

SOMEONE TELL ME NOW!!!

[dagaz-s-disastrous-descent]

I had to make this post or I'd explode. Death Korps of Krieg and Vostroyan Firstborn are really similar, yet they show how your experiences shape you as a person.

Lets start with the Krieg boys and girls. They are a uniquely dour bunch that are willing to give their lives just to buy some time for their allies or to gain mere meters of ground in prolonged conflict. Contrary to what popular memes will make you believe they are not suicidal (hell during the Vraks conflict there is one recored instance of krieg soldiers executing their commissar because he ordered a suicide charge on enemy positions), they and their generals just see themselves as assets to be spent atoning for sins of their past. In one of the best books from 40k verse i've ever read "Dead men walking" it's portrayed briantly. Local populations inducted into DKoK regiments are stripped of their personalities and made to forget their names, their past lives and faces of their brothers and sisters to turn them into perfect meat shields ready to kill and die for smallest of advantages. Honestly, that book was brutal and it showed how dehumanising the training regime Kriegans go through really is, and to think that they are shipped off to active war zones at the age of (at most) 16 is really horrifying.

Now, about Vostroya: they too are spending their lives atoning for the sins of their forefathers; they too are a siege regiment focused on CQB and positional warfare; and they too have cool gas masks. Yet, despite all of those similarities, they could not be more different. While DKoK needs commissars just to talk with other members of the Empire because they are so devoid of common humanity, others simply feel uneasy around them. Vostroyans are one big family, ready to kill and die for each other. They are the firstborn sons and daughters of their world, being welcomed into the regiment by their aunts and uncles, who are taking care of them and keeping an eye on them on the battlefields of the dangerous galaxy of the 40k's universe. Their distant brothers and sisters prepare mastercrafted equipment, knowing fully well that the lasguns they create will be used by their kin. They are fanatical to the point of madness and their effectiveness is on par of that of the Dead Korps of krieg yet their attrition rate is much, much lower, and I think that it's not only owed to differences in equipment but also to the fact that they are loyal not only to the empire but also to each other. After all, blood is thicker than water.

Now a word about irl inspirations for both regiments: contrary to popular belief DKoK are based off FRENCH soldiers of WW1, not Germans and no, they do not use shovels more than any other regiments. A mace is a much better weapon in trench warfare because shovels have a nasty tendency to getting stuck in things that go squish. Vostroyans are a blend of cossacks, russian streltsi, Polish nobility, and professional soldiers of XVIIth century, as well as a healthy dose of Nikola Tesla-inspired dieselpunk. It's criminal how underrepresented slavs are in popular sci-fi IP's btw.

[lxmelle]

Headcannon alert!

In the night parade of a hundred demons, Gojo was fighting with Miguel, the strongest from his continent:

Can I also just add that the animation is fiiiiinnneeee 👌🏼 AF - gets my heart going and I knew I recognised the fight scene movements - it was from Ip Man. 💘

Oh be still my heart.

Anyway, sorry, back on topic!

We know Gojo has done the following:

(Image unashamedly stole from reddit)

Which leads me to surmise that he probably really really hates the idea of anything messing with his skills/technique, and possibly affecting his impenetrable defences - limitless.

This circles back to isolating himself and how this comes round to backfire on the poor man.

It goes to show how a significant event, like losing to Toji, how it is internalised and processed, greatly affects people, whether they categorise or recognise it as trauma or not. Combined with Geto defecting, it’s understandable how Gojo effectively seals himself in a coffin of sorts. They both dealt with it in differing ways, but end up sacrificing a part of themselves in the process.

Back to Miguel.

Gojo is irritated. He is MAD.

He just blasts away the giant curse without bothering about anything. He just focuses on Miguel. If I’m not mistaken, we rarely see him like this. Sparring, having a strong opponent has been... fun for him? Either that, or he goes into extreme dominance mode. Engaging with multiple targets.

There source of his irritation that even ichiji comments something? It goes without saying that the whole issue with Geto sparking war would be getting to him, too. Especially considering the build up and entire situation where forces are all at two locations and Geto is scheming something he had just become aware of.

AND. This is satosugu indulgent: He’s possibly annoyed that Geto had this strong dude by his side all this while, whom he confided in, to provide INTEL AGAINST HIM, no less!

Making light of a really dark situation here, and I’m sorry (not really) but a jealous Gojo tickles me. Did that also make him a bit irritated? That Geto had specifically found someone to target him? Did he feel insulted that he was replaced by someone else - weaker, no less?

Yes, we are now entering pure headcanon indulgence. In my SatoSugu head, Gojo is irritated that Miguel could’ve been sparring with Geto. This man is buff and strong, and has been around Geto for an unknown duration of time. We know Geto likes sparring and he is goooood at it. Did geto change? Can he still trust Geto not to kill any of the young sorcerers? (Yes, Yuta included. Because we can see Geto was battling within himself about following through, and doing so would mean a loss of his humanity in favour of strength - something not really in his nature - he nevertheless tries and we know how it ends when someone in the verse strays from themselves...).

I digress. Gojo probably also wanted to just go see Geto already, but dreading it at the same time. They both were under no illusions about how it was going to end, hence the sombre nature of the anime.

This scene always hurts when I see it… Side note: I did always feel like Gojo in jjk 0 (manga-only) was a little cold and to aloof compared to when Gege’s well into the series. I wonder what Gege would change if he rewrote/redrew it? Not that he will, ofc.

Whatever it was, I’m just going to allow myself a small pleasure in that maybe the idea of Geto and Miguel in an alliance ruffled his feathers a little. And then Miguel lets slip that “if I die I’ll curse you, Geto” - and I’m left wondering about the significance of that, if anything, whether it provided context to Gojo or the reader.

And in the aftermath of it all, Gojo recognised Miguel’s strength, utilising him for Yuta’s growth (so in a way Geto and Gojo train him?!? [yes I am hopelessly deep in satosugu shipping]) and I guess it was a link to Geto too. Gojo seemed to have no harsh feelings towards Miguel. Entrusting him with Yuta... and maybe also regarded him as someone who was important to his friend (Geto)...

They became his family, after all.

In light of the most recent leaked chapter - I hope Miguel makes it - and that we also get blessed with some crumbs in the form of flashbacks... it would be nice to see a bit more backstory.

[domreader-headcannon-scenarios]

Kinktober day 14: Master/Slave /Claiming Servant, Diavolo + Barbatos (branding, treating servant like property, pain play, no real smut)

-

“Are you sure you’re comfortable with this?” You asked, carefully adjusting the restraints around Barbatos’ wrist. “If this is an important tradition, I don’t want to butcher it-“

Diavolo interrupted you. “Don’t worry, it’s different when a human does this verses a demon, if you make mistakes there’s no consequences especially given how well trained Barbatos is.” Diavolo ruffled his hair, speaking about his servant like he’s a dog.

“Thank you, young Master.” Barbatos replied quietly, looking ip to you. “You needn’t worry, I wouldn’t have suggested this if I didn’t want it, I want you both to officially be my Masters.”

To think…he’s saying it so calmly when you’re basically going to claim ownership over him along side Diavolo. You carefully adjust to remove his collar, revealing the pale skin underneath. “Do I need to actually leave a mark? Even for a demon this has gotta hurt.”

Barbatos nodded. Diavolo was the one who responded. “It’s to symbolize that he cant leave you, the mark can be healed with magic, but he’ll probably want to keep it, right?”

Barbatos excitedly nodded. “Somewhere I can see it please? I wish to see it everyday.” You don’t miss the smile that goes across his face.

You look him over, his shoulder is too visible, he cant see it if it’s on his back…maybe thigh? “Here?” Your foot nudges his outer thigh. He nodded, quickly undoing his belt and pants and pulling them down just to his knees.

Like this his boxers were exposed, leaving little to the imagination though you’ve seen him naked before. “Leave the iron on his thigh for thirty to sixty seconds, remember he has a safe word if it’s too much.” Diavolo chimed in.

Barbatos braced as soon as you picked the branding iron up. You were wanted to let it cook for a second but if it cooled too much, you’d have to do it again. You press it to his thigh with not much pressure, testing the waters briefly.

He hissed but actually leans into it. “H-harder.” He hissed out with clear discomfort in his tone. “if you don’t use enough pressure, it w-won’t stay.” Barbatos groaned out.

Diavolo grabs your hand, putting enough weight into the iron that made you feel like you’d cause him bruising. To your surprise though, there was a visible tent forming in his boxers.

“See? He likes it.” Diavolo hummed out, notifying you that enough time has passed. You hesitate to pull away now that you know it’s arousing him.

“You enjoyed being marked?” Barbatos nodded, collapsing as soon as you released him. He was panting fast, to your confusion there was a wet spot where his cock head was resting in his boxers. “Shit it looks like you peed yourself a bit.” You nudge his arousal with your foot and earn a moan.

Diavolo checked Barbatos’ branding, grabbing one of the water bottles put aside and pouring it over the wound. Barbatos yelped, jumping a bit before relaxing enough that Diavolo could clean the wound. “Want to keep this?”

Diavolo asked Barbatos, who in turn moaned out a ‘yes’.

[ceilidho]

Do you have any advice on doing a character study for a character before writing them? Stuff like how they’d act/respond 👁👄👁

haha it's quite tricky, I won't lie! it's definitely one of the things I struggle with the most (writing really well-rounded and defined characters). Here are a couple things that I do, but keep in mind that I'm reeaaalllyyyy not an expert on this. I'm still learning so much about characterization every day.

If you're writing fanfiction, watch or read the source material as much as possible, until you can almost hear the way the character sounds in your head. Take time to understand things like their accent and how they speak (do they talk a lot or very little? do they use slang or enunciate everything? do they speak quickly or slowly?). Here, you just want to concentrate on the cadence of their speech / their speech patterns. If they speak plainly or use lots of proverbs or turns of phrases, that sort of thing. If you have that down, you've honestly done half the work. Even I often reread my work and go "fuck, all of these people SOUND the same even though they're saying different things".

This is harder if you're not writing fanfiction and have to create your own universe, but regardless of whether you're writing for an existing IP or your own 'verse, I think understanding your character's cultural and religious background is so crucial to developing them. It's a big part of the lens through which they see the world, whether consciously (if they're a very religious character for example, or raised in a specific country) or subconsciously (for example, I grew up catholic so I relate to the world through that lens, even though I'm not a religious person - it just heavily informed me in my childhood years). For this Bear story, I had to do a bit of research around Baptist theology because I knew Bear would be a religious character (whether or not he's struggling with that religion) and it would heavily inform how he sees the world around him. I listened to some sermons, talked to someone with a Baptist background, and also thought about how that background with tie into his desire to have a family).

Pick like 3-5 words that you think best describe your character and just write them down somewhere. I've never been very successful when I make huge character sheets for my characters or try to write a super detailed background for them, so I try to give myself a bit of grace and be brief about it. You can always expand on it going forward. Like for someone like Bear, I might pick: family-oriented, religious (Christian), gruff, and scrupulous. You can also do this in the reverse way and try to think of what they're not (same example with Bear, I might go: conniving, hedonistic, flighty, and optimistic LMAO). This is a nice way to put like, boundaries around your character.

In the framework of your story, try to pick a trajectory for your character, or a goal. At least have one, but you could have a couple. If they're directionless, that works too! But they should want something or aspire to be something. This counts even if they think that thing they want is beyond them or unattainable - it's still a want/goal pushing them forward. This can also be an unconscious goal by the way -> like a very hedonistic character that likes to party who's slowly getting worn down from that life and doesn't even realize they want to settle down, or vice versa! Someone who feels trapped in their mundane life but thinks that's what's expected of them. The character doesn't have to know they want this goal.

Fatal flaws. This is a big one. What is something that might get in the way of them achieving their goal or might influence how they get it? Easiest way to think of this is just looking at the 7 deadly sins (soooo corny, but it's a good place to start). Characters are never perfect, so give them a reason to struggle.

And honestly lastly? Trial and error, baby. Take your vaguely defined character and figure out what you want them to achieve (whether or not they get it is beside the point), and then work out how they might go about achieving that. If they'd run full throttle towards it because they think they deserve it or whether they'd fight it every step of the way because they either don't think they want it or don't think they deserve it.

I'm sorry if this is very messy!! It also totally depends on you as a writer. When I try to make "character background sheets", it gives me anxiety and I end up not following through with my writing versus when I try to keep it brief and just dive into the writing and slowly change things and edit as I write. But maybe a sheet works best for you!

[tyrantisterror]

You Don't Remember Muncher

Sony, as a film-making company, has reeked of desperation for at least a decade at this point. They have IPs that they know SHOULD be making them more money but they just. Can't. Get them to. And sometimes this results in them taking some big creative swings, to be completely fair - I love the Spider-Verse movies, and you don't get movies that expensive and conceptually heavy with a studio executive who's playing it safe. And I think the fact that they keep taking these big swings even when some of them end up duds like Sausage Party is commendable.

But I do think one of their big problems is this inability to understand that 1. films are a form of art and 2. what art is. They're good enough to understand that artists know what art is, which is more than a lot of studio leadership can say, and those big creative swings they take come from trusting artists to do their art thing. And even their misfires tend to have laudable stuff - Sausage Party may be an SNL gag that someone decided to stuff full of the most dated racism and bigoted jokes imaginable to get up to movie feature runtime, but the animation in it is oddly beautiful, even when depicting things that are repulsive. Like a protestant on the way to Dracula's castle, the heads at Sony seem to treat their artists with respect despite not understanding why they gave them a rosary and other primitive superstitious charms to protect them from vampires.

But when they have to make choices themselves, hoo boy, those poor bastards. They don't know what they're doing.

So Ghostbusters is one of those valuable IPs Sony is desperate to monetize, right? They just know they can have a huge hit on their hands with Ghostbusters. It was popular in the 80's, and things that were popular in the 80's are HUGE now! Look at that Stranger Things, baby!

Now, the heads at Sony may not be able to understand art, but they try. They are at the very least good at picking apart a piece of art and sussing out what ingredients made it, like Claire Saffitz trying to recreate an oreo. For their 2016 reboot, they correctly deduced that the original Ghostbusters was 1. a comedy 2. starring at least two actors from SNL and using their star power for promotion and 3. was liked by nerds because the heroes are out-of-shape nerds rather than chiseled Rambo/Arnie types. Also it has ghosts in it, probably.

Now, the problem is, the SNL actor-led comedy was taken out into a dark alley and slowly beaten to death by Adam Sandler and his cadre of goblin men starting somewhere around the time Little Nicky was made. It gave way to the era of cringe comedies like The Hangover and Judd Apatow bromances, which were led less by SNL stars and more by actors and actresses who'd gotten their start on NBC thursday night sitcoms - a minor difference, perhaps, but notable I think. And, like, even then, by 2016, that era was also pretty much over. The cringe comedy was a dying genre. Comedy itself, at least pure comedies, was kind of losing its place in film, being supplanted by action movies with more quips than they used to have. We were three years deep into THE WHEDONING.

But being three years behind the curve has never been a problem Sony worried about. I mean, historically it should be, but they never do. So Sony tried to assemble the best Ghostbusters they could make from the ingredients they could suss out, using the closest equivalents they could make. Grab some of the actresses from Bridesmaids, and an SNL star or two if you can. Kristen Wiig and Melissa McCarthy have a pretty good banter going on ala Bill Murray and Dan Akroyd, really put them front and center. Oh, and we sussed out another ingredient! The original Ghostbusters had Sigourney Weaver as a love interest, and she was the star of Alien, which our Sony genre determining bot claims is an action movie, so let's get a hot action star as a love interest. Chris Hemsworth! Oh, we can make him be a silly goober like we did with John Hamm in Bridesmaids! People love handsome guys being silly goobers! (in this, Sony is correct)

The result was... fine, I think, if missing a few crucial ingredients. You know the ghosts in Ghostbusters? First syllable of the title? Most of the ones in the 2016 movie are just, you know, transparent humans, maybe a bit bluer than normal, making maniacal faces. Whereas in the original:

Well, they got some fucked up freaks in the original.

A lot of fans didn't like the 2016 movie, some for stupid sexism reasons, some for "I don't see why you need to remake Ghostbusters at all really" reasons, and some for, like, just personal taste reasons. It did not provide the big box office hit Sony wanted. Their first attempt to recreate the oreo was a failure.

So they go back to the drawing board, listening to the loudest, angriest criticism and looking to what's working outside of their influence for answers. Fans thought the 2016 movie was too different, not reverent towards the original as the perfect golden calf of Bill Murray comedies that it is. So this new reboot would be oozing with reverence. Fans didn't like the cast of ladies, so, yes, got it, scrap the lady-led ghostbusters.

Star Wars Fans loved that J.J. Abrams Star Wars reboot, The Force Awakens, for being a sequel rather than a full reboot, but also for just telling the same story they already love but slightly different. And nerds in general still fucking love that Stranger Things show - they even had an episode where the Stranger Things kids wore ghostbusters costumes! Hey, there's a million dollar idea, Stranger Things kids... as ghostbusters...

Now, the one thing they can't take from The Force Awakens is copying the tone of their original movie, because they tried copying the irreverent tone of the original Ghostbusters and fans did not like it. They need to be reverent to the original, because that's what The Force Awakens, even if showing reverence at all is antithetical to the tone of the original movie itself (which it is, because Ghostbusters is an irreverent Bill Murray comedy, like that's its whole schtick). But if they can drape this new-found reverence in 80's nostalgia, maybe, just maybe, nostalgic fans will be too dumb to notice.

And hey, they love that Stranger Things, which is a big homage to The Goonies and E.T. and Steven Spielberg-esque stories about pubescent kids going on perilous adventures where they face bad guys and learn life lessons in the process, reverent but dated in the same time period as Ghostbusters. And what an idea... Stranger Things kids... as ghostbusters...

This was admittedly a lot of preamble to get to the actual topic: Muncher. See, in that Force Awakens style, they needed to not only bring old characters from Ghostbusters back, but also make new characters who are really just the old characters but slightly different. For example, The Force Awakens brings us BB-8, who's basically just R2-D2, but visually different enough to feel new, and maybe a little cuter. Instead of moving on treads, he moves on this big ball, which is more complicated from a puppetry aspect and thus looks a lot more impressive and just a bit more "modern" while still basically being R2-D2 again.

Such was the genesis of Muncher.

Slimer (originally called Onionhead by the production staff and John Belushi's Ghost by Bill Murray) wasn't intended to be the franchise mascot, in part because Ghostbusters was never meant to be a franchise. He was a one off ghost who's iconic design and role as the first ghost to be busted made him a fan favorite, and eventually became, like, the ghostbusters' dog in the cartoon series. We love that for him, but the fact remains that Slimer's success was accidental.

Muncher, by contrast, was an attempt to recreate Slimer. But different! He's a gross gluttonous monster, because that's what Slimer is, but there's a lot less focus on wet goo when he eats and more solid chunks. See, it's different? And you know what's popular now thanks to, like, a cracked article or something? Tardigrades! They're these cool little microscopic things that everyone's making into monster designs now, they're even on a Star Trek! Why, if we made Slimer 2 - err, that is, Muncher have some tardigrade elements, he'd look weird and, like, modern - but not too modern! Like Slimer, but different!

Before Ghostbusters: Afterlife came out, there was a LOT of Muncher merchandise. A lot. Which makes sense, Slimer had so much goddamn merch in the heyday of the original Ghostbusters. There was fucking Slimer toothpaste. Toothpaste! From Slimer's teats!

It looked identical to Slimer bubblegum.

But, for whatever reason, Muncher did not connect like Slimer did, and so Sony did a last minute trend-chasing pivot and tried to focus on the new hotness: cute baby versions of characters who were old and not cute in the original movie.

I don't know if this scene was planned to be in the movie before The Mandalorian was a big success, or if it was a hasty addition to it, but it doesn't matter, because what does matter is the late marketing shift to focus on these little fuckers, and giving them lots of toys. They're already in the marketing for the sequel, where Muncher is nowhere to be found.

Because you don't remember Muncher, do you?

Muncher didn't connect. They took a swing with Muncher and they fucking whiffed. They made a shitload of Muncher toys and all those little blue fuckers ended up clearanced to Hell. Muncher is a failure, a loser.

You don't remember Muncher.

And you never will.

[aloevhello]

I’ve been seeing some speculation about how Miguel is out of character in ATSV. I’m not sure how much I can speak on this, since I haven’t finished reading Miguel’s 90’s run yet. But as someone who views Miguel’s story in the SV films to be a continuation of this particular comic line, his tragic comic ending likely paved the way for his current jaded and fatalistic personality.

However, something I find noteworthy for this ooc discussion is how the film includes elements from his modern comics, such as him being a father figure, Lyla’s redesign, and the construction of his white suit. However, Miguel’s story from the 90’s is only alluded to, such as Gabriella’s namesake and Miguel’s 90’s comics being briefly shown. While creative liberties are to be expected when it comes to adaptations, the lack of references to Miguel’s earlier works is reminiscent of the current comics’ treatment of Miguel where the focus is more on his newer stories and features rather than adding to his character work from the 90’s.

Then there’s Miguel’s storyline in the SV films where he spends a majority of his time transversing the multiverse, rather than staying in his home dimension of Nueva York. This is very reminiscent of how sm2099’s modern comics take Miguel out of Nueva York and the year 2099 and place him in modern day New York (essentially making Miguel far from home), which prevents any type of continuation or adaptation of Miguel’s original 90’s comics. Even Miguel’s origin story is brushed aside and is replaced with a pamphlet of his current expeditions with the Spider Society. This could be reflective of how Miguel’s longevity is partly attributed to him holding the Spider-Man mantle as it helped him be the only enduring character of Marvel 2099’s character line-up, along with his modern resurgence being a result of his appearance in the Spider-Verse comics. With all these deviations to Miguel’s character in both ATSV and the modern comics, I wonder if the film is meant as act as commentary on these comics removing Miguel from his original context and how it can make him appear ooc. How the character behind the mask can be lost if their current story does not engage with their past work and believes their ties to a larger IP (ie. Spider-Man) is what gives their character value.

It’s just interesting to see, since much of Miguel’s character arc in his 90’s comics is to understand the importance of the past, both for Nueva York and his personal history, in order to pave the way for a better future. However, much of Miguel’s current comics refuse to engage with his previous works, which comes at the expense of this theme. My hope is for BTSV to rectify this by having Miguel reveal his true origin story and the events from his 90’s comics that led to Miguel being in the current position that he’s in today.

[withasideofshakespeare]

In light of recent discoveries, I will be changing the name of this blog to honor the true author of these 37/8 plays we all know and love: Christopher Marlowe.

It has been unequivocally proven as of this week that Marlowe did not in fact meet his judgment in 1593, but rather lived on to continue his career as a great poet and playwright.

Previously, it was believed that his works left unfinished and the body identified as his were solid proof that the plays he wrote under the name of “William Shakespeare” could not have been written by the same hand as the great Tragical History of Doctor Faustus and Hero and Leander.

But as of this week, it has been proven that this evidence has long been misinterpreted. It is true that he left behind unfinished poems and that there was a body identified as his. In fact, it is even true that the body identified that day was his.

Where generations of scholars went awry, however, was in their lack of consideration for the spirit of the man whose body died that day. Using modern technology including EMWA (electromagnetic writing analysis), it was discovered that William Shakespeare did physically write the plays, but it was the spirit of the great Christopher Marlowe who was behind them via the ancient art of human consciousness possession (HCP).

Yes, you heard that right: it has been scientifically proven “Shakespeare’s” posthumously published folio which brought us some of our most beloved plays is simply radiating with electromagnetic particles that suggest the mind behind the text was not Shakespeare’s but Marlowe’s, in possession the former’s body.

I study English rather than paranormal writing analysis, so I can only explain what little I know about the subject, but from what I understand, analysis of an original printing of the first folio produced these results. Modern paranormal expert Sam Winchester says of the discovery: “It reshapes the fields of both English literature and paranormology. Most cases of PoP [Possession of Poets] are fairly low-profile. It’s rare to see a case like this. We studied the folio by analyzing the IPs [inspiration particles] and comparing them against a text authentically written by Marlowe and then one we could expect Shakespeare’s possession by Kit wouldn’t have influenced—his will. The IPs analyzed from over six hundred lines of the folio were similar in shape, color, and potency to those detected from lines of Marlowe’s Faustus, Tamburlaine, Edward II, and Hero and Leander but markedly different from those of Shakespeare’s will. The variations in the hue of the particles between Marlowe’s writings while living and those produced after his death via his possession of William Shakespeare showed that “Shakespeare’s” plays were consistent with the particles we see in other cases of PoP, proving that they were in fact written posthumously by the mind of Marlowe and the hand of Shakespeare.”

Anne Hathaway, actress and immortal wife of the late William Shakespeare said that she was “not surprised” by the new development. “Will sure seemed odd after ‘93—sorry, that’s 1593 for you all. He became suddenly obsessed with writing plays and sonnets. I was pretty excited about the sonnets initially until I realized most of them were written to some twink and not me. I suppose that’s how these things go. I still think Will would be proud of his legacy even if it wasn’t entirely his.”

Winchester recommends that “Shakespeare” scholars worldwide “acknowledge Marlowe as the true author of the plays, sonnets, and poems both out of respect for the mind behind the verse and to avoid being possessed [them]selves.” He says that paranormologists have “no reason to believe that Marlowe isn’t still out there waiting to add a few more plays to his repertoire.” In fact, he and his team are currently analyzing Tom Stoppard’s plays to rule out the possibility of another case of possession by Marlowe.

[matt0044]

Disney's Wish: A Simple Meal Well Made.

As somebody who enjoys all sorts of animation that hits that sweet spot for me, I agree with the general consensus of fellow cartoon fans that animation is NOT just for kids nor should it only enjoyable to kids.

I also agree that while some are made with kids in mind, that doesn't mean that they are bereft of thought put into them. Avatar might be overdone as the go-to example but that it is does speak to its quality and all those it had inspired.

Even so, even wacky comedies like Billy & Mandy have a lot of thought put into them in terms of what the creators think will bust a gut. They don't just settle for wacky comedies because it's what the kids want but more what they wanna show. Even if some are strongarmed into being more comical, most will at least roll up their sleeves and have bit of fun.

However, I feel like this need to highlight animation's appeal across generations can often have a lot of fans put pressure on certain projects from certain studios of significant recognition. That is to say, there's little room to be just "mid" as the kids call it.

Like... we all know the Oscars are bull, right? Like many even admit as much. However, this dismissal of animation each year gets to use largely because there are those who by their hype. We feel our medium has a lot to prove so each movie has to be go big or go home.

Especially after big name companies put out projects that go GIANT between Spider-Verse and The Last Wish.

Of course, as it pertains to Wish, many would consider Disney not going big was unbefitting of their centenary film. I'm not here to advocate for expecting less or that one can't feel more meat could've been added to what they feel is a bit bare bones. I mean, 100 years of movie making is nothing to sneeze at.

But baring that and all else I've discussed above, it can be REALLY easy to fall into the pit trap of seeing Wish far less for what it is and a lot more for what it isn't.

For me?

I found the pacing fairly brisk from start to finish with the songs rarely ever feeling like non sequiturs. Rarely did any moment truly drag out with or was there just because of marketing or comic relief.

I love how we had less of a mystery around King Magnifico being a very selfish behind the scene from Act 1 and only getting worse when he perceives a threat to his power. It very much reads like a fantastical take on Walt Disney's rise in power and shadiness behind the charming facade.

While the heroine was archetypical, I found Asha's story and her friends getting swept up in facing the king more true to life than you think. Especially when viewed through the lens of being analogous to Disney:

King Magnifico as this benevolent ruler who harbors many wishes he promised he might grant. Many of which either come down to how they may not serve him or even threaten him like Saba's. That is, anything new or off-beat that could undermine what he's accomplished or feels entitled to.

Asha being this castle worker who tries to get the position of working with the big man himself and does... only to learn his shady side. Much like how Disney fans find any position in the company to not be the dream job they thought it'd be before learning how deep the rabbit hole goes.

Asha finds another source of magic that grants wishes and unintentionally threatens Magnifico. Given the indie animation boom, it's hard to not see this as creators taking IPs into their own hands without the backing of big megacorps.

Magnifico delves into dark magic that depreive him more and more of whatever scruples he had left in order to quash this rebellion. I think we've seen too many examples of bigger companies trying to outdo the little guys via unethical means of increasing production for money.

The King utilizes the wishes to get more power. Gee, where have I heard the creation of others being stolen/locked away for personal greed? Know anything, Davey-boy?

Asha rounds up her friend to expose the truth. Many of them organize a way to stop this injustice while the King buy out one of their own to try and undermine them. Hmmmm. Anybody hear of any strikes that went on recently?

The climax involves the king's people collectively embracing their inner stars to stand up to the tyrant he's become. Again, strikes?

Hell, I can't help but feel like the Easter Eggs were as lowkey as they could if only so these elements could be highlighted. Surprising considering how nostalgia baiting has been en vogue lately.

But that's a grand chunk of my disorganized thoughts on a movie that I feel many will get worked up now but look back on with a touch more of appreciation. It's hardly the best movie ever and maybe a "Go Giant" ambitious film would have been a crowd pleaser.

But the movie is what it is. And I like it for what it is.

[walkingstackofbooks]

I was thinking last night about how it would have affected Julian if he'd arrived a few seconds too late to that Cargo Bay in Hard Time and Miles had died in front of him (because that's always a fun (distressing) scene to imagine 👀) and that kind of spiralled into a whole canon-divergent 'verse...

Because then I got to The Quickening, and while I don't think Kira and Dax would have let a more emotionally-vulnerable Julian actually stay on the planet by himself for that whole time, if they did (or if he refused to beam up/ threw away his badge so they couldn't find him/ idk otherwise made it so they had to leave him) (because if anything he's going to be even MORE convinced he has to save every life he possibly can) it would obviously be even more devastating.

And I can imagine that, after all that time that Julian has spent with Ekoria and looking after her, Trevean might ask if Julian's going to take her baby or leave him to be raised on Teplan. In the canon universe Julian's obviously like *nervous laughter* "no I think he'll be better off with you... I could not raise a child" but in this 'verse he's entered his Feeling-All-The-Loneliness-Feels phase early and so is like "fuck I can't raise a kid but also I Literally Cannot Leave This Child It Would Kill Me" and so he takes Ekoria's baby back to DS9.

He takes his kid to the medical conference he goes to with Jake which, valid, but then they get the distress call from Ajilon Prime* and he's like "I can't take my baby to a warzone" and Jake's like "I'll look after him, it sounds like these people need you" and Julian's pretty torn but also he does Need To Save People so they go and, uh. Like I think reactions are pretty mixed about the baby but Julian is literally a Lifesaver so no-one's gonna complain too much and some of the patients want to hold Maris (the kid's called Maris after Ekoria's husband I decided) and it's sweet, y'know, to have a moment outside of the war and pain with this tiny lil bab.

[*Umm yeah this was just me jumping to the most fun (traumatic) events to imagine as I tried to go to sleep so forgive me but...]

Obviously Jake doesn't go off to the runabout with the kid so he still gets lost and when he returns Julian's cradling the baby and idk but my heart just imagining the scene where Julian's like "I should never have brought you here, what was I thinking?" is just MORE with him having his own son there too.

And then we skip to IPS/BIL and Julian's in the prison camp not knowing if his baby is alive and then coming back to realise the changeling has been parenting his son for a month (and having to run multiple test on Maris to check if his baby is actually his or if Maris is a changeling too) and also no-one even noticed he was missing even though apparently his kid had been crying like all the time (and fuck, how fucked up is that going to leave Maris because that sort of thing affects kids when it happens that young, right? anxietyyyy)

(also Miles would have noticed I wasn't me, Julian thinks. because he needs more reasons to feel sad.)

And then DBIP in this 'verse makes me UNHINGED because IMAGINE a Julian Bashir who hit his depression point a season earlier but has been teetering along okay since Maris came along now that he has this whole little life to look after and he will do Anything for his child. (okay apart from stay away from warzones when there are people to save but you know. basically anything)

Anyway yeah so Julian's got Maris with him in Sisko's office when Jadzia turns up with his parents and he is FAR less able to cope than canon Julian is because 1. more emotional instability, but mostly 2. he is a Dad with a Kid and NOPE he cannot have his parents anywhere near his baby that is Not Happening.

He has his oh, my god moment and then hands Maris to Sisko being like "Your grandson is lovely, Commander" and Ben and Jadzia are like ??? but play along and Julian finds some quarters for his parents and by the time they've got there with all the small talk of "hah, for a second there I thought you'd be telling us we have grandkids! when are you going to settle down with a nice girl, Jules?" he's ready to burst but his kid's still with Sisko so he just excuses himself with "I've got to work" and hurries back...

Dax and Sisko totally haven't been gossiping about him and they're all like "So what was that about? Grandson??" and he's like "You saw how they kept calling me Jules, right? I haven't gone by that name since I was 15. And my dad saying he had to convince me to do medicine?? He hated the idea of me being a doctor. I had to study for Starfleet in secret because he just couldn't let go of the idea of his son being a famous tennis player. And now he's convinced himself my career was all his idea!" and is getting angrier and sadder and Maris starts crying and so he's hushing him like "it's okay, i'm sorry, i'm not angry with you, i love you, you're safe, i'm not going to hurt you" -- just idle things he's not really thinking about

Ofc Sisko and Dax are immediately on it like, "Why are you saying that? Did your parents hurt you...?"

And Julian's like a deer in the headlights, and awkwardly replying, "Not, like... My father didn't get as angry with me once I was seven and had grown up a bit, got more capable.. and I hit my growth spurt when I was 14, I got bigger than him, he didn't really do anything after that."

And Sisko tells him, "that's not really an answer."

Julian: "Isn't it?"

...

And then Sisko gets Kira involved to kick his parents off the station and you think the augment reveal isn't going to happen because Julian deserves a break and his parents are gone and can't fuck it up anymore ...

BUT, nah: Zimmerman - realising he's not going to get his precious interviews after all - decides to bug Julian's parents (because what's privacy when you have a job to do?). And then Rom realises that Zimmerman is cocking up a load of things on the LMH deliberately because he doesn't want to replace the EMH* and looks into Zimmerman's files and finds the report he's going to send and blackmails the guy* (there's gotta be a rule of acquisition about that right?) into not sending the report.

[*Not my idea -- this was the original plan for the episode, though with Miles, not Rom.]

Also after all this Julian really feels like he needs to punch something he goes to Quark's to viciously hurl sharp pointy objects at a board because that's the next best thing -- but also he hasn't exactly done that since Miles, and why is the fucking dartboard still up anyway it's not like anyone else ever uses it so he has another minor breakdown over that and tries to rip it down until Leeta drags him into a storeroom.

(oh yeah I totally think Leeta would have broken up with him when he turned up with a baby -- like not in a mean way, just in a "i'm sorry Julian, I love you, but I'm not ready for a kid (and also you did just leave me for a month without sending a message and you definitely didn't think about me before agreeing to adopt the kid, did you?)" kind of way, y'know? but they're still friends and she still definitely cares for him.)

(idk when rom tells julian what he did to zimmerman but when he does he's also awkwardly like "oh and i wish you and leeta all the best and julian's like ???? and rom's like "i saw you with her in the storeroom earlier. she called you sweetheart" or something and has assumed they're back together.)

--

And that's as far as I got but I just had to write it up so far because it has haunted me all day and I just need to get it out there.

Thanks for reading my stream of thoughts 💔

[sn4pozu]

my headcanons of Eddie Gluskin if he had a twitter :

he'd repost those RETVRN incel trad memes where its like a woman doing house chores & man doing job stuff

would get into arguments with a woman and subscribe to her onlyfans at the same time (gets mad when blocked)

tries to be professional and a know-it-all but also his entire likes tab is porn (he doesnt know it shows publicly)

calls someone a whore & drops a bible verse in the same thread arguing with them

idk if he'd be delighted with minion memes or viscerally hate them

USES DISNEY REACTION GIFS WITH NO SHAME , USES A CRYING STITCH GIF AT A DODO VIDEO OF A DOG DYING

If twitter bans his account mid argument he'd flip the fuck out and make 3 gmails & alts at the same hour

100% posts creepy comments under peoples post and gets upset if it gets hidden

flirts so much you'd think hes a bot but no he's just sending random women his number (does he care if they're married or not is completely dependant on his mood)

uses the nice guy card whenever shit starts going south

he gets doxxed he goes like "that's not me" (lies, is scared)

either that or he lashes out and start sending them death threats who knows

menace with the twitter Voice Note feature

not even a mutual KYS no hes going to write out his whole murder fantasy in a person's DMs and blocks them before they could respond

gets IP banned on twitter like, weekly, he just figures out VPN apps and finds a way to harrass people constantly

media tab is his breakfast and someones mutilated genitals, bi-weekly photo updates maybe

im not saying he would complain about hairloss but he would complain about hairloss

"i got declined by the pharmacist for asthma medication, fucking bitch *insert something mysogonistic*"

thinks bitcoin is stupid and not a real "manly job" so he dogs on them pretty horribly

thinks tech jobs are for NERDS and says it outloud whenever them NFT bros are commenting under his shit attacking him for calling them nerds

Cracked phone screen with blood in the cracks (he tried to clean it with soapy water on a towel but it just ruined the lcd now its forever stained yellow) ((free bluescreen eye protector mode ?)) (((also has to violently tap the home button because its already broken & that part of the screen died))) ((((has an odd smell))))

he wishes he'd have glasses for the phone screen but all he does is squint

would post dress updates though <3 maybe retweets sewing patterns and videos of old women knitting and go "my grandmother used to do that pattern, ❤️ Wow."

goes back to shitting on women

*posts black coffee with 2 fruitflies in it* "A Good Way To Start A Morning ☕"

posts half eaten food and the dirty plate and would be like "Delicious food today 😋 i almost forgot to pots." -- deletes & reposts because of the typo. PEOPLE CANNOT THINK HE'S WEAK.

His vest would 100% be posted on those gimmick accounts and gets picked on for it being crusty & grody 😔

DMs like multiple women at the same time and either gets immediately blocked or ghosted after a face reveal

he Has cried because of twitter comments before, never again......

has twitter warning threads made of him and has tried to draw a stupid fucking wojack on paper with pencil & pen because he doesnt know how to edit photos but he still wants to own the haters

posts gore to own the haters as well and then got mass reported to death when people found 0 similar images of the gore he posted

'A Thread On @/Eddie287367927 TW: Gore, Mutilation, Harassment, Transphobia, Misogyny'

probably had a youtube documentary made about his twitter acc and all the drama he got himself into (either by accident or for fun)

ok this idea kinda came up to me after i saw a trad meme come up on my tl and i just HAD to dump this all out somewhere