#mp text

[maluspumilaa]

word ramble about the southerngothic farcille au bc im too tired to draw rn + i want to get better at talking about my fandom stuff on here !! below the cut since im still a bit shackled by cringe

so i had an entire whiteboard but its gone now because i am Not paying for premium but thats okay

this is pretty unstructured but i really like chewing on this au brainstyle

i think that imogen and laudna met on the island after separately being adventurers for a little bit (personally i think laudna wouldnt have had the best luck getting jobs, with the whole scary/off-putting thing about her, but still would be scraping by) – no magic academy, sorry farcille lovers

in terms of the bells hells: im honestly not sure !! i think that it would be cool to have them just be an adventuring party and all have ventured down to save laudna but i dont know how that would work, since it gets dangerous to adventure with a party larger than six or so... maybe someone joins after laudna dies, senshi style? i dont know how much meshi will be in the dungeon meshi au tbh

a lot of this au is me building around the fact i went "what if lesbians from one fandom were the lesbians from the other one" tbh

the treant that laudna is chimaeraed up with is definitely meant to do the same job as the red dragon from dunmeshi . im thinking about a crazy large treant btw. like a hulking monstrous mass of gnarled branches that shambles with alarming speed. bark so thick it seems like fire doesnt do anything except anger it. all that

also !! @/sharkodactyl 's comments on my first art post about this au made me insane (/pos), i def think that the imagery of replacing some of laudnas bones with parts of the treant is awesome... something something it ground up some of her bones to use like bone meal for itself and its not like they can just fix that damage

so they use parts from the treant in the ritual hoping that the absorbed bone will be okay to use . and it turns out fine (no it doesnt) !

ABOUT THE RESURRECTION: i think mashing the dnd and dungeon meshi resurrection scenes would be beautiful to me. i deeply enjoy laudnas resurrection in c3, maybe with the ancient magic ritual there has to be some calling of the spirit to beckon it forth or something?? i just want imogen to talk to laudna before the ritual . feels like it raises the stakes or something

also!! if you look at my au art youll see that laudna still has her ear cuff things. that is because i gave her different trauma for this au ♡

until there was some event like what happened in falins backstory, but after laudna was an adult, leading to worse, more direct treatment from her village/city – i was thinking that due to the general anti-elf/anti-magic attitude in her village, individuals deemed especially "dangerous" or suspected of practicing dark magic would have their ears cut to resemble elves (similar to the canaries but. worse i think)

from what ive gathered, a lot of tallman communities in dungeon meshi (specifically what ive seen of laios and falins northern village) are to some degree intolerant of magic, not super open minded, and to me laudna hails from a village or city around there (or somewhere similar to there) and ended up leaving because, like falin, she had an affinity towards seeing ghosts and performing magic and suffered for it

generally, she was a little bit of an outcast even as a child because she was just kind of scary? she had that weird girl swag but nothing that made her stick out all that much

SO BASICALLY thats why she has those ear covers. she doesnt like looking at the scars . maybe they also tried to hang her ? i dont know

also alsoo imogen in this au does have her lightning markies. frequently i forget those. i think theyre more subtle generally (to the point of looking like really pronounced veins) and restricted to mostly her wrists/hand area but they do glow when she uses magic (not a lot ! maybe a lot during the resurrection scene but thats for my enjoyment more than anything)

her lighning markies + hair color is still from her being ruidus-born. it has some sway over ley lines/mana in some way but the attitude in this au is very much the same as in exandria in cr (represents negative things to people, not seen as a good omen, and generally isnt focused on). it still flares and such, but the flares affect stuff with magic – something something it makes magic more volatile/is linked in some way to ancient magic

i think imogen (+ her mother) would have been fairly ostracized by the small village she grew up in (but not as severely as laudna) due to their unique appearances as a result of being ruidus-born. liliana still leaves relvin and a young imogen but not before introducing lifespan angst into her daughters mind

i think. ruidus flares fuck with peoples lifespan. generally elongates them by a good bit? since it has that connection with ancient magic which is from a time of longer lifespans and such

anyways. imogen ventured out from home to find out where her mother went + learn more about her ruidus-born status and such. she came to melini (or. the exandrian equivalent to it?) for research reasons, maybe to make money before setting off on her travels once again or something

and then met laudna and was charmed a normal amount by her on first meeting and decided to stay dungeon diving with her (and bells hells? for a little while after)

also dont ask about pate i dont know either. maybe he is just a little inanimate puppet made out of dead things or maybe hes a regular rat that wears a bird skull sometimes . maybe he has wings . hes a familiar he can do what he wants

if you made it this far, thank you for reading !! i would love interaction about this au :3 sorry if any of this got really long or ramble-y i have many thoughts LOL

[bloodfestgf]

1.02 | 2.04

[yutamayo]

[highdio]

Pleeease, write your thoughts about the musical lol. I really like your Dio meta posts <3

Just a disclaimer: this is really opinionated but I don't like to drag media for its own sake. There were lots of things to like in the Phantom Blood musical, just ... Dio wasn't one of them. Also, Mamoru Miyano threw himself into the performance he was asked for, so it's hardly his fault. It's just always amazing to me that people feel the need to rewrite Dio into someone else when the way Araki's written him is already perfect, complete and a lot of fun.

So, where to start? Basically, the Phantom Blood musical re-writes Dio, giving him a different personality and different motivations through OOC stage direction along with a bunch of original dialog and scenes. What results is a version of Phantom Blood where "Dio" is just a normal guy without charisma who had a bad childhood and spends most of the story being miserable. Dio as he's written in canon has an uncommon charisma and appeal that's allowed him to remain relevant as one of those 'all-time great' villains. Scene after scene in the musical prove that its creative team either didn't read the manga or just really didn't like Dio.

fwiw Araki wrote Dio as thoroughly fleshed-out, with consistent traits and behaviors and consistent motivations behind his actions. He also left a paper trail of interviews and author's commentaries that develop Dio even more fully beyond the manga. So there's really no excuse for media that treat Dio as some sort of empty vessel waiting to be filled by narrative cliches we already know and expect.

It's annoying too, because, along with its OOC content, the musical is peppered with occasional manga-consistent moments. It's like the musical is camouflaging its Very Bad Take on Dio by having Mamoru Miyano periodically re-enact the canon character's most famous panels. The musical wants simultaneously to take credit for bringing Araki's vision to life on the stage, while at the same time completely undermining its most important element: a capital V "Villain" who, according to Araki, "accepts and embraces his evil nature, and follows his dark path without hesitation." This is the biggest change the musical makes to Dio: musical!Dio has none of the confidence that allows canon Dio him to move so decisively and destructively through the narrative.

Musical Dio is introduced by a scene where he's bullied on his way home, before breaking into a song about how terrible his life is, where "everything is always taken from [him]" ("it's hell …I feel nauseated …[I'm] under a cloudy sky.") The song is alternately tearful and hopeful. "I'm going crazy from being robbed!" he laments and then pollyannaishly muses, "hey, Joestar, can you turn my [cloudy] skies to blue?"

If Dio being introduced as a sad sap and self-described perennial loser hoping for any break sounds attitudinally unfamiliar that's because it is. Araki went in the opposite direction: he started his story by subverting the cliche - wide-eyed poor boy victimized by circumstance leaves his sorrow-filled life hoping for a new start - and instead gave us a kid with surprising, even sinister agency. Dio is not just given a hero's upward narrative arc (something Araki crafted very deliberately), he's introduced improbably in his first scene from a position of control. This fact is important because in the manga it's a position he won't lose until four chapters and nearly 100 pages in, when Jonathan finally fights back. From the time young Dio is introduced - reading a book with his back turned to his bed-ridden father who he's secretly poisoning -

- to the time he's systematically broken down his adoptive brother's spirit by alienating him from his friends, taking Erina's first kiss, and of course kicking his dog, Dio is shown as being in control and on top (Erina drinking the muddy water is the only exception). It's OOC to imagine 12-year old Dio feeling sorry for himself because at the time he's introduced, he's already made a habit of getting what he wants. By the time he sets off for the Joestars after killing his first dad, he's already developed full confidence in his abilities and the inevitability of his rise to riches (something Araki has him explicitly state and then underscores with a panel illustration of a steam train signaling the rise of Modernity).

But the writers and director of the musical don't find this characterization interesting enough or something. So they lose the canon entirely and in its place they invent a version of Dio who's despondent. And they didn't get Araki's steam train memo so they miss the Modernity theme (even though Araki's tied Dio so tightly conceptually to the idea of the Modern that he has him "use a 20th century boxing technique in the 19th century"); instead they double down on class difference being determinative. It never occurs to them that Dio is written specifically by Araki with the freedom to move outside of his social status because he sees it as artificial (the "evil elite" monologue later reveals Dio thinks of the whole social contract thing is arbitrary and voluntary).

Throughout the musical, Dio (although it's not fair to Mamoru Miyano since he isn't responsible for writing this mess, let's use mamoDio from now on because it's easier) seems to idolize the Joestars for what he calls their "beautiful blood." Not "beautiful" because usable calories for the vampire he will become but "beautiful" because noble. The Joestars' noble status and the honor that's apparently behind that status become the shining "star" toward which mud-bound mamoDio flailingly, failingly reaches. I don't need to tell you that in canon Dio doesn't have respect for nobility.

"Mud and stars" is heavy-handedly introduced as a dominant theme of the musical. According to the play, Jonathan, noble and bright, looks to the stars while human Dio, pathetic, conflicted and even confused, can only see life as a mud-soaked prison.

Now, the mud and stars thing was only used in Part 1 as a single text element on a Volume 1 illustration but, in spite of its marginality, it's becomes a liturgical text for some fans looking for an explanation for Dio's actions beyond what Araki gives them in the actual narrative. To this sort of fan, a guy who embraces his inner talent for evil and never had the misfortune of developing a moral compass isn't the right type of villain because he's unapologetic. If the villain doesn't have excuses how can you apologize for him? So they need Dio and by extension Araki to give them a "good enough" reason to accept Dio's ever-escalating atrocities. If the reasons Dio has for doing the things he does lie outside of what's considered good or acceptable, they are simply rejected and new reasons are invented in the hope of making Dio much less objectionable.

Now, like I said earlier, Araki's repeatedly told us in his writings that Dio has an upward narrative trajectory, not a downward, "mud"-bound one. The mud and stars duality fails to describe the narrative journey of the two main characters: both look upward to transcend their circumstances and travel along a shonen manga hero's rising path. (In fact, it's Jonathan who needs a good push to realize his potential, something Dio happily provides). And it's Jonathan, not Dio, who Araki first gives a downward arc, being handed defeat after defeat for those first four chapters before gaining his footing and progressively rising to Dio's challenges. "Mud and stars" isn't just a bad choice of metaphor, it's a misleading one.

Back to the musical, mamoDio is the exact opposite. An air of sadness and insecurity haunts his performance. An original scene where George presents the mud and stars dilemma as a lesson highlights Dio's lack of confidence and the depression that lurks behind it, as Dio bemoans how people doomed to "struggle and die" cannot possibly summon the hope it takes to look up to the stars (he's talking of course about himself).

Likewise, and here's where mamoDio's failure as a character really comes into full relief, seven years after this, when Dio's machinations are revealed and he's about to be arrested, before he uses the stone mask, mamoDio drops to the floor and spends the better part of a musical number in tears, bemoaning his sorry life ("I'm trapped in a prison covered in mud… no matter how hard I struggle I'm crushed…") and his lack of noble blood.

(btw this is after the manga scene where Dio fake cries; here, mamoDio is genuinely distraught).

Contrast this to the actual scene in the manga. His expressions in these panels are memorable because of how assured Araki draws him. Dio's entire world - his poisoning scheme, his grab at what one can assume would have been the entirety of the Joestar estate - is about to end but instead of despairing, he launches into a philosophical soliloquy. His body language is haughty: this isn't mamoDio crawling on the ground and decrying his upbringing and lack of noble blood, instead this is a man who apparently, almost irrationally, perceives himself as noble. When he uses the mask, Dio is smiling widely. Metaphorically speaking, he's looking at the stars.

When mamoDio uses the mask? He's on his knees. He's in tears. On one night he interjects, "Mother…" In short, he's conflicted.

One of these depicts Dio. The other does not.

Now obviously the writers and director of the musical must think making these seismic changes adds something to Dio's character. But (and I feel like this is a theme whenever I write these things) I'd argue it only makes him more basic. It makes him predictable and formulaic, someone we've seen in countless other stories.

(Oh! and did I mention mamoDio repeatedly calls himself "useless"!! Because he does this.)

Now, because mamoDio has no confidence and as a human acts out of desperation, when he becomes a vampire he still isn't Dio. Mamoru tries to make his vampire Dio evil and scary by expending a lot of energy, running about the stage and sticking out his tongue ad nauseum. When you look at how Araki has Dio move physically throughout the manga, it's the opposite of kinetic. Dio is a point of fixity who's charisma draws others toward him (ask me for more on this if you want because there's enough here for its own post).

Now for the worst of the worst: at the very end of the production, after the manga ending that features Jonathan's death and Dio's (presumed) defeat as a head imprisoned in Jonathan's arms, the musical takes an original twist in which, following a finale number featuring most of the cast, mamoDio is lead offstage by Jonathan. You read that right. mamoDio is hunched over, resigned, and Jonathan seems to take on a paternal role. Although the lyrics would have you believe this has something to do with "two fates becoming one," it's clear from the stage direction that any embers of Dio's ambition are being tamed and extinguished as Jonathan takes Dio's grasping hand, subdues him, and leads him docilely into the darkness.

It turns out Dio's vampire arc was just a phase, a hurt and lonely child lashing out and making a mess for attention.

His body language here is obscenely out of character. Consider the following because, as I said in the opening, in spite of what all these re-writes of Dio would have you believe, Araki crafted Dio with specificity and consistency: Araki only draws Dio (with very few exceptions) 1) standing tall, looking down at you; 2) back turned, looking back and down at you; or simply 3) back turned, (performatively?) ignoring you. Dio is never on the ground except when he's knocked down (think, young Jonathan finally fighting back in the Joestar home or, much later, Jotaro stopping time and landing those punches). By constrast, mamoDio has spent an incessant amount of time of the ground, crouching, kneeling,, bowing, hunched down. Who is this guy? So his hunched-down exit in the final moments of the production, literally being led by Jonathan (controlled??), is so amazingly stupid that if I didn't have a gif as proof, you might think I'm just making this stuff up:

There's plenty more to unpack that I won't address here: ghost Dario. The lack of grave-spitting. The complete absence of true joy or leisure expressed by Dio especially during his vampire era: no woman eating her baby, no owlcats, no Poco's sister. No chaise lounge. No roses(!). No fun. Not for Dio. That would be too manga-consistent. That might mean Araki wasn't giving us the appropriate message that bad guys are actually just sad guys.

tl;dr Dio isn't in the Phantom Blood musical. He's replaced by a normal guy who's motivated by a lack of self-esteem and despair that he wasn't born into an upper-class household, or something. He's boring. The result? There can be no Part 3 in this musical's world (and presumably no Parts 4, 5 or 6, no Giorno, no Jolyne, … you get the picture) because mamoDio just gives up. It's a nicely produced little tale about Jonathan Joestar and some random other guy who at some point gets a funny green coat.

[cosmicintro]

Astro observations: Health aspects from the 6th house 💫

6th house in Aries: Be mindful of strong reactions, impulses and emotions as these could trigger high blood pressure, stress or unwanted headaches. Possible problems associated with the adrenal glands if health is not good. The person could be nearsighted/farsighted. Teeth issues and sensitive gums are common with this placement. 

6th house in Taurus: Be careful with ‘burnout’ and try to keep a healthy work-life balance. The individual is prone to respiratory conditions, jaw and neck pain/problems, weight gain (associated with thyroid issues). Thyroid disease. Problems with your voice or throat. Take it easy and follow a rhythm that honors your needs. 

6th house in Gemini: Allergies, infections, asthma, cough, breathing issues. Arms, hands and fingers might be sensitive. Anxiety and nervousness caused by too many unorganized/unwanted thoughts. Be careful with hand, arm and/or shoulder injuries. 

6th house in Cancer: Sensitive breasts/chest area. Inflammation associated with water/fluid retention. Pay close attention to your salt and fat consumption. Intolerance to different ingredients. It is vital for individuals with this placement to express their emotions as this can feel like a detox process for a 6th house cancer.

6th house in Leo: Hear what your heart is telling you. Don’t let stress or anger take you 'over the edge'. Similar to Aries in this house, it is common for the native to suffer from high blood pressure if a balanced lifestyle is not followed; a healthy diet will help this native tremendously. Be careful with hernias and your spine. Back pain/injuries. Spend more time outside. 

6th house in Virgo: Food sensitivities. Problems with digestion. Pay attention to sugar, fats, starches and the way your body reacts to them. Pancreatitis. Bloating associated with food intolerances. Meditation is recommended to calm an active mind and a healthy relationship with food will help with digestive issues. 

6th house in Libra: Lumbar pain. Problems with the lower back. Sensitivity to salt. Kidney stones. Insulin resistance. Diabetes. Partnerships have a big influence in your life; stress or strong (negative) emotions resulting from these relationships can have a big impact in your health. 

6th house in Scorpio: Constipation. Bladder/Urinary tract infections. Issues with libido/sex hormones. Cystitis (inflammation of the bladder; can cause pain or/and a burning sensation when peeing). Problems with the colon and elimination systems. Let go of any guilt/shame around your sexuality and keep a healthy relationship with your needs. 

6th house in Sagittarius: Issues associated with the pituitary gland. Hip mobility problems, pain or injuries. Obesity. For optimal liver health, alcohol and stress levels need to be monitored and, if possible, reduced to a minimum. Yoga can help ease stiffness around the hips and thighs. 

6th house in Capricorn: Knee pain. Injuries/procedures can cause significant scarring. Hair loss or scalp issues. Arthritis and joint pain. If your body is telling you to slow down, honor it and rest. Movement in every way is beneficial for the native. Be careful with your bones. 

6th house in Aquarius: Varicose veins. Frequent cramps. Arteries and veins might need to be monitored closely, as the native is prone to circulation problems. Calf pain. Stress, nervousness, anxiety, insomnia. Be careful with addictions. Stay hydrated. 

6th house in Pisces: Problems with the lymphatic system. Feet pain, inflammation, discomfort, injuries. Plantar fasciitis. Be careful with falls. Sleep problems, nightmares. Sadness that can lead into deep depression. Time alone is necessary. Make sure you’re getting the hours of sleep that your body requires to work harmoniously. 

Stay tuned for more! :)

[nostalgiahime]

Hallmark Teddy Bear Stickers, scanned by me

[asleepinawell]

having multiple characters in fallen london is great for a lot of reasons, such as being able to try all options and see all results. it's also great when i'm presented with an option where the bold warning text says 'this will kill you' or 'you will die' because then i get to look down at all my guys with love in my heart and be like which of you little bastards am i going to yeet into an angry mob of tigers to get mauled to death today

[whenthegoldrays]

Mansfield Park + text posts

[itsmariejanel]

73. roadtrip and shenanigans

previous [.beginning.] next > transcript under the cut

Makoto - ... I actually see myself moving here someday. [ sighs ] Now to figure out a way to drag you here with me- Kiara - [ laughs ] Buy me nice things and you might get a deal!

Makoto - easy peaaaasyyyy Serena - noice broooo Kiara - UGHHHHHHHHHHHH!!! Mark - FOFUCKSAKE!!!! slide 2 - text messages from Kiara's phone between her and Jace

Mark - GROUP HUG!!!!! Serena - I’m gonna miss you so much baby… Mia - Me too corazón... [ sighs ] one more week and we see each other again, yeah?

slide 5 - text messages from Kiara's phone on the group chat between Jace and Serena

Kiara - NOOO! DON’T GO IN THERE!!!!! Mia - Oh god!!! I can’t watch!!! Lucas - I don’t think the children can handle your movie choice, my love- Benjamin - Nonsense!! We’re just getting started. Pass the popcorn, babe.

slide 7 - text messages from Jace's phone between him and Kiara

L.Faba - There’s no way in hell you pulled that woman I’m- Jace - I KNOW- wait... SHUT UP! Grace - I love you, angel- Evanora - [ chuckles ] But I love you more!

Gemma - So yeah… I’m moving out- Jace - Pumpkin… Are you sure? Gemma - I’m sure! Darrel Darrel expects too much of me, and I can’t take it anymore. Being a spellcaster isn’t everything... Jace - Alright, [ takes a sip ] so what’s the plan? Gemma - Well for now I’m moving in with a girl named Ophelia? I think it was! She’s studying in Britechester, and I’ll apply for next year- Jace - Have you told your mom? Gemma - Nope!! You’ll help right, ghoul? Jace - ...Can I ever say no to you?

[crimeboys]

i appreciate that tommy makes dsmp references in like literally every video he makes he’s like ex-dsmp streamers chats who can’t shut up about dsmp as a person and it delights me bc he is just like me fr

[bloodurged]

[maluspumilaa]

southerngothic farcille au

[bloodfestgf]

Black Sails I. // Julius Caesar, Act 3 Scene 2, Shakespeare

[yutamayo]

whoops

[blamemma]

Daniel Ricciardo at the Red Bull Factory | 3.3.23 (x)

[lonely-dog-draws]

I tried out the AJ Art Studio again!!!! Naturally I had to draw my old muse, my OC & main avatar, Hyacintho