#it's the most entertaining thing to exist

[vanwolffen]

Here is the thing.

That's how US entertainment industry works.

Writers and comedians move to either New York or Los Angeles to work in the industry so they can learn directly from the people that are already working in the industry, that's also why the "Animation family tree" exists.

People that work in the same show have a higher chance to not only improve their writing/routines/acting/artwork, but they also have a higher chance of creating and producing a newer show themselves.

SNL alone has let loose most of the biggest comedians and inadvertently shaped pop culture over the last fifty years with stars like John Belushi, Dan Aykroyd, Bill Murray, Eddie Murphy, Jim Carrey, Adam Sandler andI can keep going on and on until we get all the way to nowadays with John Mullaney and Andy Samberg.

Same way you can get an easier chance of producing a show or movie if you already had a chance of working with say... Dan Harmon, or Alex Hirsch.

Saw the old like a boss music video on the timeline. Is that John Mulaney

[divorceblogger]

I think the most difficult thing that armand struggles to come to terms with (re: his feelings about marius) is very much that marius seemingly steps into his life and performs actions that are, at a superficial glance, meant to be liberatory or empowering but are unequivocally very predatory if you start to dig into the meat of their relationship.

Marius rescues armand from starvation and sexual slavery at a point in his life when armand is actively entertaining thoughts of suicide. marius sweeps in, purchases him, and transfers him from abhorrent conditions of existence to a life of material comfort, although it’s not really a safe one, but at this point armand doesn’t necessarily have the ability to have a critical dialogue about safety with himself because he’s so glad to be rescued from slavery that he ascribes divinity to marius. he also receives an allowance and he’s taught swordplay. he’s taught swordplay. but what kind of harm could a child ever cause to a 1500 year old vampire?

And the material reality is that marius is not really interested in empowering armand at all. he actively fosters an unhealthy codependency between them, he withholds information about his nature, he performs sexual acts on him even when armand doesn’t necessarily comprehend that these acts are sexual in nature. he also strategises methods that he reasons are supposed to sexually liberate armand but these instances just contribute to the overall conversation on how he grooms him. armand is 15 years old when marius sends him out to brothels “to learn how to couple properly”. do you remember that he was supposed to be forced into prostitution. marius now offers him the illusion of sexual power by allowing him to experience sexual pleasure instead of offering it to predatory customers instead. but armand also says that he doesn’t enjoy the experiences at the brothels because he craves sexual relations with marius solely, to a point where he feels resentful about being asked to participate in these acts even when he derives sexual pleasure from them. he endures the experiences because his master gives him no other choice, but it’s also in these brothels that he discovers that sex doesn’t have to be associated with pain as it often tends to be with marius.

When he returns ‘home’ from the brothels he’s perceptive enough to understand that marius really sent him to receive a sexual education on marius’s behalf and attempts to replicate these acts on him. he unconsciously takes up the role of a sex worker, but again he’s a child, and it’s horrifying that he thinks he’s harassing marius by initiating sexual relations with him. it’s also not very surprising that when he does display sexual interest in other people marius emotionally shuts him off (because these experiences were never instituted with armand’s interest in mind) and these moments shape up to be very harrowing experiences for armand - he’s been taught to crave marius’s affection and never do anything that might displease him. armand often has to beg his way back into marius’s good graces and allow himself to be subjected to corporal punishment to achieve this. it’s terrifying that one of the first ideas the boys in the villa convey to armand despite the language barrier is that their master will never hurt him.

And the alarming fact about armand’s transformation is that vampirism serves to just further reinforce this abuse, even though, once again, it might seem like an empowering act. his newly acquired powers don’t change his reality - he’s still under marius’s control the whole time. he’s also further isolated from boys his age who share his interests, and his nights with marius are insular and suffocating. the corporal punishments continue. they’re now adjusted to account for his vampirism. “usual brain jarring blow” is a term floated in the book. marius calls armand’s coffin a “crib”. he very seriously asks armand if he’s ever been cruel to him soon after he transforms him. armand’s codependency with marius is in fact further reinforced by the vampiric transformation that marius carries out. so much of armand’s initiation into vampirsm is once again rooted in sexual instruction, once again evoking patterns of behaviour that are associated with grooming. it’s very in-character for marius to teach him the fundamental principles of seducing his victims before killing them. he also advices him to develop emotionally frigid relationships and never reveal his true self to the people he cares for, further establishing marius as the most significant figure in his life, as the person he constructs his entire identity around. how was he ever supposed to turn out well-adjusted?

[wings-of-ink]

I'm trying to make my own IF story, if it's ok to ask how'd you come up with the ideas? Or how'd you build off it to make a whole (beautiful and amazing) story?

I've had a few ideas but get caught up in trying to make everything in one section fit, and then I feel like I'm getting no where

if you have any tips Id love to hear (your game has become one of my favorites in the 24 hours it took to play ♥️)

Hello Nony! I am so glad you enjoy GC, and am happy to answer that question as best I can. I'm free-styling here, so this will be a bit long.

For me, most ideas just sort of spring up, but they aren't full ideas when they do. GC started from a thought about a cursed MC. That was it. I just dwelt on it and sort of answered questions about it - where did the curse come from, etc... It grew a lot from there as I tried to answer questions about it. The nature of those details gave me my fantasy setting, which I grew as well. I just started small and found a place for each layer that I needed to add to the structure. This can take quite a while depending on what you're cooking up. GC had months and months of building and background before I ever started writing the actual story.

In this poll, the IF idea I had for "Shivers" was literally inspired by my brother-in-law. He actually has that nervous tick, and he jokes about it, and we tease him (good-naturedly). He says that his future gravesite must be under a parking lot or a sidewalk because people keep walking on it, lol. It just made my imagination spin.

The "gritty drama" idea from this same poll stemmed from one of my OCs. I just made a setting for her and then thought of the type of world she lives in and what I could do with it.

Other ideas I have had came from thinking of a cool "scene" while listening to music. Music is a great medium for me to help me think about my characters especially. Just listen to your favorite tunes and let your brain go wild.

It just sort of also depends on how you think. There's nothing that says an idea just needs to come to you, you can set out to find one.

I would recommend focusing on themes and genres that you enjoy reading as well. I am a long-time fan of fantasy, I have written several fantasy stories in the past, and it just feels comfortable for me. You are more inclined to think of story ideas in the niches that you love the most.

One thing I would highly recommend for IF's especially is that you make sure the MC is the center/focus of your story. Some IFs can feel like the MC is a secondary character, and the story is really about the ROs. They can still be great stories, but your reader is often looking for a personal experience in addition to the story and romances.

And just an aside that I think is important, since in the IF communities you see themes repeated, especially popular ones. Do not worry about if your story is completely unique. As long as you do not pluck ideas and words directly from others, it's okay. In the literary and entertainment world, truly unique ideas are very rare if not non-existent, but your version of it has not been told before. You also don't need an earth-shattering idea to make it interesting.

I hope this helps you a bit. If you have more questions or comments about any of this, feel free to send in another ask. If you tell me more about your personal process and experience, maybe I can think of other things that would help if you like. ^_^

[king-nyx]

me on a random tuesday following an Apollo and Hermes greek god rp accounts for funsies only to watch them slowly dissolve into choas, war and destruction and apparently marriage???? (Apollo and Hyacinthus rp) and as more shit happens and more people join the rps is my roman empire.

[argentinianidiota]

I also respect yours, I believe in terms of comedy and writing the first two movies are far better than the third and fourth. I saw the Schafrillas video but I felt strongly about the fourth one for a lot of time before that became the bastion of Shrek-4-lovers. I watched that video like 2 years ago by now so sorry if I repeat some of the takes Schafrillas has, it's not intentional.

In a sequel the thing I search for the most is expanding of the concepts or characters, in Shrek 2 we see Shrek changing for Fiona to make her happy instead of the other way around, the first one already closed perfectly but the second movie talks about what we are willing to change because of love, however, the change we see is physical to appease the parents, but Shrek is still Shrek and in both movies he would absolutely prefer living in the swamp only with Fiona, minimal responsibilities and peace of mind.

So then Shrek 3 and 4 happen.

Shrek 3 isn't my favorite, but I wouldn't say it's bad, I believe it is a poorly executed idea of Shrek coming to terms with being a father by putting him together with a young teen, however, Shrek in the first 2 movies isn't afraid of commitment, he was afraid of leaving his peaceful and calm life behind, that's why he went on the mission in the first place, Farquad's law inconvenienced him.

For me, Shrek 3 isn't funny, I believe the frog wedding to be entertaining, and the princess subplot is one of the best on the whole SCU, but it comes as too little too late, the movie drags on with the least interesting characters and a tropey mind-swap between Donkey and Puss. In short, Shrek 3 isn't my type of movie, I prefer other kind of comedy perhaps, I didn't find it funny but entertaining at best and cringey at worst.

Shrek 4 talks about the last plot point the franchise leads to, "What happens after the happily ever after?" I believe this, plus "Shrek isn't really happy with leaving his past self in the past" gives us Shrek 4. Although Rumpelstiltskin isn't the best villain I believe he is better than prince charming and more interesting than Farquaad, he ties perfectly with the story, after all we thought the king and queen just abandoned Fiona to her luck (which they did still).

Shrek being stressed and out of his comfort zone is on character and we have seen him blow up in similar circumstances, the straw that breaks the camel back being the birthday cake, he feels he isn't him, after all that talk about not changing who you are to appease others, he feels his responsibilities and new role changed him, no, changed his life around him, so he has an identity crisis.

To be honest the jokes didnland for me, I believe fat Puss is cute and plot contrivance and all, the flute enchanter (in spanish he was called El Flautista but I don't know how to translate it) was a really original concept and I loved the ogres living in community, now Shrek knows he can do it, it's not essential of an Ogre to live alone like he does.

Shrek 4 takes Shrek to an alternate reality where he didn't exist It's a Wonderful Life style, for me the most important part is the ogres and Fiona not loving him back, it's a better and more profound character analysis of the two and their lives if they didn't know each other. The ogres show shrek he can live in community, and when life changes, you change with it, you can't keep the clock on the same place, it's illogical.

Even with it's shortcomings (the writing felt reslly weird in some places, the jokes were fewer but in my opinion funnier than Shrek 3's) I believe Shrek 4 should be the way you close the SCU.

Also rumpelstiltskin wasnt played straight either imo, he was a better Farquaad, he had all the power in the world and flaunted it to try and stop Shrek before the day passed.

Even then, I know people see Shrek as a fun franchise instead of a deep, interesting franchise, so it's really subjective. Your take is really interesting too and it feels good to talk about Shrek, I didn't mean to sound like you needed to explain yourself, you are entitled to like the movies you like, I love movie Musicals which a lot of people say are lower/worse versions of the original

Rewatching the Shrek movies and I still don’t understand why people think the 4th one is good. I think it might actually be worse then the third one.

[sparky-is-spiders]

Jonelias Week Day 1 (Which is definitely today I swear), for the prompt "No Powers AU"

This one... maybe got away from me. This is actually only the first half of what I've written so far, and probably the first third overall! I do plan to post this to Ao3 at some point (although I suspect I'll need to do a lengthy round of editing first lmao). It's some very self-indulgent nonsense, which is a lot of what I write, but now it's getting put in the main tags of a ship during said ship's event week. So. It may also be a little bit "aromantic dude tries to figure out what having a crush is supposed to be like." Also a lot of "dude who took Principals of Accounting once pretending it knows what office work is like." Anyway, quick warning before we begin, and the rest will be under the read-more:

Stalking (played for laughs) for most of the fic.

Just. A weird amount of obsession.

Ok that should be it I think. Fic under the cut.

Jon's new boss was, quite possibly, the most boring man in the world. He wore the same outfit every day (pale dress shirt with dark unpatterned tie and gray slacks and matching suit jacket). The only personal effect in his entire office was a potted plant on the windowsill (some sort of succulent, and definitely fake). He always arrived to work exactly half an hour early and left exactly half an hour late. The only hobby he appeared to show any interest in was scheduling, which he seemed to find both deeply engaging and remarkably irritating. In fact, he was apparently so opposed to the idea of mixing his work with his personal life that he might as well not have existed beyond the walls of their office. Jon had never been more fascinated by anyone else in his entire life.

It stared with the transfer to the accounting department. Elias had met with him personally to get him acclimated to his new role. He had been blandly polite, and blandly handsome, and Jon had stopped listening to him about five minutes into their conversation. It was probably bad form, really. The software Elias was droning on and on about sounded like it was about to become a central feature of his days. He really should've been paying attention to it. Instead, he pretended to make eye contact while zeroing in on the top of Bouchard's forehead (a very useful trick, really) and became inordinately focused on the small lock of hair that had fallen across it. It was terribly distracting, and Jon had wondered how he hadn't noticed it. And then he wondered how it had come to be there. And then he had built up an entire story involving a murder, an illicit affair with the assistant director of marketing, and the potted succulent. And then he had noticed Bouchard eying him with what could've been suspicion or amusement or irritation or nothing whatsoever, and had been forced to rapidly pretend to care about their company's bad debt expense policy. Bouchard had indulged him, and had spoken with the calm authority of someone who knew what they were talking about, and had even managed to avoid being overtly condescending (a feat forever out of Jon's reach). At the end he had shaken Jon's hand (with a nice, firm grip), and had told him "I'm looking forward to working with you, I'm sure you'll make a wonderful member of our team." Jon had left that meeting with a mind shrouded in a fog of boredom and a faint sensation of warmth which he decided was best attributed to curiosity and left otherwise unexamined. Over the next few weeks, Jon had tried to subtly inquire into Bouchard's life. At the time, he had been naively under the impression that surely he must have let slip something about his life; some odd quirk or funny story or harmless bit of information which could justify Jon's blooming curiosity. Unfortunately; "He lives in Chelsea, I'm pretty sure?" (Sasha) "He's currently in a meeting. Honestly Jon, you'll be better off just sending an email. Now can I please get back to work?" (Rosie, probably lying about the meeting) "He actually lives here in the office. Set up a cozy little home away from home in one of the storage closets and sneaks out at night to raid the canteen. And he's having an affair with the assistant director of marketing." (Tim, definitely lying (but maybe a mind reader? Also, full of brilliant ideas for places Jon could maybe set up a cot whenever he needs to stay overnight)) Clearly, Jon would have to take matters into his own hands if he wanted answers. That was fine. It could be his own private little research project.

Jon liked to think that the entire thing had actually been quite reasonable, and that he had acted within the bounds of their pre-established relationship as employee and supervisor. Surely any rational person had to realize that nobody could possibly be that uninteresting. Anyone would be curious as to what dark secrets Bouchard his behind his well-tailored suits and polite, professional demeanor. … perhaps most rational persons would not meticulously record the movements, behavior, and daily appearance of their colleague in a discreet notebook (with annotations, color-coding, and graphs where appropriate), but Jon had always prided himself on his dedication to research and understanding. So far Jon had collected frustratingly little data. If Bouchard was hiding anything, it wasn't apparent from his schedule (see pages 8-13, figure 2.b), his eating habits (see page 22), or his lone plant (see page five, figure 1.c). His breaks did seem specially timed to avoid other people (and he appeared not to engage in many social behaviors generally), but he never acted irritated or otherwise unhappy to encounter one of his subordinates, so Jon wasn't entirely sure if it was deliberate avoidance or simple coincidence. Really, the only truly odd thing about him was his inexplicable interest in Jon. That very morning, for example, Bouchard had stopped by his cubicle for a fifteen minute discussion on the upcoming Annual Team Luncheon, an event Jon had never attended before (due to an annual migraine which coincidentally always happened to occur on the exact date of the luncheon), which Jon did not plan to attend, and which honestly sounded like some sort of violation of the Geneva Convention. The topic itself was not especially odd (small talk was an archaic tradition which had stubbornly clung on in every workplace Jon had ever set foot in), but Bouchard's low propensity for inter-office socialization combined with the fact that he had both chosen Jon specifically as his conversational partner was… highly suspicious. Most people who encountered Jon inevitably concluded that he was more effort than he was worth (an attitude Jon mostly appreciated).

And of course, there had also been their interaction two days ago, when Elias had paused briefly to inquire as to whether Jon would be staying late, and what he was working on, and if he might perhaps consider heading home soon because there was only so much overtime they could pay him. Or on Friday, when he had managed to hold two separate conversations with Jon where very little was said. Honestly, Jon somewhat suspected that Elias had spoken to him more in the past few weeks than he had spoken to any of their colleagues for the entire time Jon had been there to observe him. Most of Jon's notes were now dedicated to their interactions. From his cot in the unused storage room (which was indeed a good place to stay overnight, thank you Tim), he could jot down everything he recalled about their interaction; it had begun at 8:32 and had concluded at 8:47; the weather was warm and slightly humid, although the office interior remained at a comfortable 21 °C. Bouchard's shirt had been a nice, cool gray, which complemented the silver of his eyes. Jon (who had been busy digging for his favorite pen (the ink was a lovely deep green color, and it was usually kept on the left side of the top desk drawer, and Jon had no idea where else it could have possibly gone)) had settled on "irritation" as his tone, which Bouchard either had not noticed or had not cared enough to acknowledge. He had easily dominated the conversation, and Jon could admit in the sanctity of his research journal that his voice had been soothing enough to cool away some of Jon's annoyance. He wrote his conclusion: Subject behaved near-identically in tone, posture, body language, and apparent mood as he has in all previous communications. Subject displayed no strong thoughts or opinions on subject of discussion nor conversational partner. Interaction was pleasant but slightly dull, no new information discovered. It was almost exactly the same as every previous conclusion. Jon had to admit, so many months with so little progress was… discouraging. He shifted on the narrow mattress and winced when his movements aggravated his backache (which was surely unrelated to his frequent occupancy of the cot). It was becoming more and more apparent that the only possible solution was to do some actual, direct investigation. His first idea (break into Bouchard's office) seemed a tad far (also, he didn't know how to pick locks). His second idea (follow him home) seemed a stretch further than the previous one, and was perhaps best saved as a last resort. His third idea (something something computers? (perhaps "idea" was a bit generous)) would almost certainly require Sasha, who would have questions Jon couldn't answer. He flipped idly through his notes, half-skimming, half-thinking. It was only when his gaze landed on figure 2.b, Weekly Schedule of E. Bouchard, that he actually came up with something reasonable. Something actionable.

[nyan-bynary]

My controversial jjk take is that mahito should've remained the main threat/antagonist throughout the whole thing

[ask-emily-em-emmy]

*Emily stood, her wings spreading wide as the eyes on both her halo and her chest opened up*

“Oh, it’s not the place affecting me. It’s you. You are the most entitled, elitist, crude, arrogant, egotistical-” *she punctuated each word with a finger to his chest before throwing her hands in the air*

“Why am I even using these words with you?! You probably don’t even understand half of them. How many millennia did you squander by harassing women and putting the exorcists through hell? You’re older than me and yet you know next to nothing! You were incompetent when you were alive, you were incompetent when you were in heaven, and you’re a brainless idiot now!”

*Eyes began to open behind feathers in her wings. Emily didn’t even have the mind to notice the camera’s that had been recording since she had begun her tirade, too full of wrath as she stared down the man who had caused her lover so much grief*

“You’ve had every opportunity to change, more days than most to turn it around and more good examples than necessary to follow in their footsteps. You’re a liar and a coward who hid behind exorcists a thousand times more courageous than you while you used the exterminations as entertainment of all things! How very heavenly of you!”

*Hot angry tears welled in her eyes but she willed them not to fall even as light consumed her and left her in her full seraphim form for the first time since Charlie had been in heaven*

“You treated Ass like- like shit! You just bullied her for years! And she may have gotten the brunt of it but she was certainly not the only one who had received that treatment! She’s done more good in the past year than you’ve done your entire existence! The only good thing to come from you was humanity and you didn’t even do any of the hard work!”

*Her gaze was alight like fire as she pushed in close to him, the stench of his breath burning her skin as she whispered the last part to him*

“Tell me Adam, have you met your son in hell?”

(( @adam-the-dickmaster ))

~The Dance~

Leviathan stands from their throne. Behind them servants move Leviathan’s throne and the waterfall behind it splits open revealing grand doors wide enough to fit a crowd through.

“Congratulations to the auction winners and thank you to those who donated, Emily the seraphim for the sackbut that you won back so… valiantly, and Asmodeus for your best dancer! Payment will be accepted through the clerk of the court and then the first dance will commence! Please, enjoy the open bar and hors d’oeuvres, they’re special treats sent in from Gluttony and Wrath. May tonight bring you everything you want and nothing you deserve!”

Leviathan spins, his dress twirling behind him as he makes his way through the split falls and enters through doors as they open, as if parting solely for him.

On the other side of the threshold is the ballroom. A simple platform is set with a chair where the first dance will commence, though few notice. Many looking to the ceiling, an ocean in the sky filled with bioluminescence swirling above the crowd.

“Hit it DJ Slime!”

[homosociallyyours]

Never gonna get over the fact that if I hadn't gotten sick I might actually be able to afford to live alone and have the second room in this apartment as a guest room. Never. Having a housemate who's not a partner low-key sucks.

[bijoumikhawal]

I think diversity in Jewish practice is good because it indicates a healthy culture, and part of that for Judaism is obviously debate

But I DESPISE the way so many people talk about non-Rabbinic movements- especially Karaites (who are very old) and Kohenets (who are new) because the arguments are almost never like. Respectful.

People don't care to analyze what these people think, where they come from, how they root themselves in Jewish history and how their philosophies developed from their parent traditions. They aren't fair or accurate. They don't care to listen to what they have to say and how they view themselves.

I did a live tweeting while I was reading the introductory Kohenet book, and while I don't agree entirely with the movement I was presented with (I think it's very white, cis, hetero-centric "metaphysics" that idealizes ideas like motherhood too much), I still found value in it, and Kohenet/Rabbi Hammer was able to explain the cultural and textual roots of her movement. It's well rooted enough that some of the people against her straight up feel that Kabbalah is also unacceptable in Judaism, because it's clear a lot of her inspiration IS Kabbalist. The difference is she isn't centering the lives of married men, but instead the lives of (some) women. I don't think I'd ever consider myself an adherent of her movement, but I think it has value and there are aspects of what she said that I've internalized.

The other thing is that the prohibition on "outside" influence, legally and socially, has always been vague, up for debate, and partly influenced by xenophobia. It is both a way of maintaining traditions in a good sense, and a weapon against those advocating changes that just "feel icky". This is true of any attempt at maintaining tradition, honestly. But I find it distasteful because people will scoff at Kohenets but then happily accept a Rabbi who wears a reverend's robe and uses Christian language like "pulpit". Most Jews have accepted outside practices- WHITE, CHRISTIAN outside practices. While I thought the book was too white, there are non-white Kohenets, and it is notable to me in these conversations that Hammer's co-author leads a Sufi interfaith group and has experience with Candomblé- i.e. she at least somewhat is in community with Arab and Black spiritual movements.

And again, this doesn't apply to new groups only. Beta Israelite's traditional Judaism is probably a thousand years old at least, and it and other traditional practices are not "legitimate" because they don't look Rabbinic. Same for Karaites and all other non-Rabbinic groups. It's fucking terrible that Rabbinic Judaism isn't only privileged this way, but actively tries to make non-Rabbinic Jews convert to Rabbinic Judaism. It's not healthy, it's some might makes right bullshit.

[gayhenrycreel]

i hate that "adult" animation is.... like that. dont get me wrong, i like rick n morty, its mindless and silly, but adult cartoons deserve to tell complex stories with themes and good writing. there are many mature childrens cartoons but i cant name a single mature adult cartoon. imagine if something as good as adventure time was allowed to be for adults. the new fiona and cake show is sorta for older audiences and thats as close to mature adult animation as there is. western adult animation i should specify, because anime is great at being both mature and adult. beastars and dungeon meshi are the sort of thing we could have more of if adult animation wasnt always trying to rip off south park.

[cherrymoonvol6]

.

[ifuckingloveryoshu]

How do you feel about the "Yuzuki = The Sword" theory? I don't know what backing it may or may not have other than simple vibes and like, the basic symbolism in the EGO art, but I'm curious to hear what you think!

Hello Kili! Or I assume this is Kili. I follow the "Yuzuki = The Sword" theory but I'm begging and pleading that it doesn't come true. I have an alternative theory that the Hell Screen is a screen door corridor you can walk into with all the individual tortures are suspended in time. There is no real proof for that one execept seeing some Ring art in Leviathan. I don't know what's worst though, Yuzuki being dead for good and just the sword, or they pull out some mirror identity shit. I'd like to throw my own crack theory into The Ring. Rip it apart.

Yuzuki is coming back from the dead from another mirror world and Ryoshu has to confront revenge Yuzuki with burns on her body and the other subjects of her arts who were subjected to tortures. Or, Bitch Ass Lord Of Horiwaka is a Ring higher up and sicks a monolith group of Abnormalities at the Limbus Company gang while also just showing everyone Yuzuki. Yoshihide had dreams about the Hell Screen and Yuzuki calling out for him to join her in Hell and Project Moon seems to love bringing loved ones back but messed up. (Library Of Ruina, Leviathan, Lobotomy Corp with Carmen)

( Off-topic but I missed a lot on my very shallow dive on the Wild Hunt I did a long time ago and I made lots of mistakes there. I don't think ill come back to it but a concern to think about next time.) The Wild Hunt seems to happen often enough for Faust to have a name for it. There is no way the mirror stuff only gets used in Heathcliff's chapter and The Ring has this idententity technology. Also, that Ghost Parade Of 100 Demons refrence can potentially be foreshadowing. For me, there's no way Heathcliff's chapter will be the only time we get mirror shenaigans, esspecially when there's no way The Ring will not be in Ryoshu's chapter, or any of the other fingers given her art.

For me, it is vibes but I am one of the few who has read all of Leviathan with the unoffical fan translation. It was just a very long time ago. Because of what I know from Leviathan, I can totally see the Ring and by extention, Yuzuki becoming a sword and provide, at least something. Also this random reddit comment from this threat that I retained in my head when I barely step on reddit. X.

Yuzuki seemed to be Yoshihide's everything and the sword errupts into flames everytime that EGO is cast. (One time I need to go here and talk about the horrifying thought that R.B. Ryoshu might have cut up and eatten Yuzuki if we follow the sword theory..)

Under the cut are Leviathan spoilers. If you want my final thoughts, I do follow the "Yuzuki = Sword" theory until we get conformation otherwise, but I don't rule out any possibilities. I am open to other theories. "Yuzuki = Sword" will not be the whole story, it won't be the only thing happening there, mark my words. I follow off vibes and This link has nothing of substance, ignore the Spiderman stuff but I think it would be fun to share my old thoughts before the Ryoshu Mania fully took over my head. x Their not good and I don't totally agree with the stuff I said back then.

Thank you so much for the ask!

Welcome back and here we are. Most memoriable to me is all the orphans. (Book 15)

They turned the orphans into the picatulum in the effort to do the identity experiment stuff. Actually looking back, I need to re-read Leviathan again, it makes so much more sense now.

I don't think there's anything else actually for Sword = Yuzuki because im just skiming. I don't have the energy to read back right now. I'm really sorry. Sleepy.

Sword Yuzuki is not out of the question if their doing things like this.

Chapter 10 (Is this meat?)

While Im still here, might as well save screenshots for my own refrence. (Chaper 9)

(Chapter 11)

Chapter 3

[waitineedaname]

im now halfway through lbfad!! this show is so sweet

[the-kipsabian]

hey you know that writer mindset of wanting to talk about your projects but also loving the idea of keeping everything as a secret until youre ready to publish things for your audience?

well, throw that in the bin tbh. seriously, share everything. talk about the things youre writing, the plots your doing, the ideas you have. yeah it will ruin some surprises (so if you want to keep those, thats valid, but also kinda works against you unless you are really determined to get that far in a project/are already there tbh), but you know what the pros are?

you still get to share that story with people. it wont be in finished, written form, sure, but its still out there for the people, just in a different form. rambles, headcanons, what have you. it still exists and other people can enjoy it. its a little bit less work, potentially, and yet it exists. and people can see it, its not just in your head anymore

also if someone sees it, likes it, talks to you about it and brainstorms it more with you.. it can help bloom it into an actual fic. but even if it never does, that little story lives now out there in some shape or form either way

and i just think thats really cool 💜

[valnizs]

question, why does nobody talk about the scene from the actor OVA where abberline reveals himself to be Vincent, did this scene pop into existence to haunt me?