#my general idea of the stage characters

[statisticalcats2]

Another interesting set of characters in relation to my headcanons about Matehood are Mungojerrie and Rumpleteazer.

2019 movie Mungoteazer: Are and will always be each other's only official Mates and only pursue sexual relationships outside of Matehood together. You can't have just one, you get both.

General stage Mungoteazer: Mungojerrie is and will always be Rumpleteazer's only official Mate. If Mungojerrie and Demeter are sexually/romantically linked at all, they'll be official Mates. And then that's it. No other sexual or romantic relationships for Mungojerrie or Rumpleteazer.

[sysig]

Two big softies(?) (Patreon)

[puppppppppy]

[fragmentedblade]

Blade compared the relief from pain death brought him to the moments spent with his friends drinking together.

His desire for death as both a release from pain and from the condition of existence in which he finds himself now, so similar to that which he most hated (hated so much as to dedicate his entire life and self to fight, up to the point of crossing unthinkable barriers for shortlife species); but death also almost like a returning to the time that was, the joy and pride it brought him, and the friends and self he lost

[kyouka-supremacy]

I still feel so strongly about this. In my mind it'd be so cool to start a new Beast arc with the Higuchi alley ambush, with higher stakes and the reveal that a new boss took over the pm. Mori being the pm boss reveal in the main manga took place in an alley with everyone bowing before him; it'd be cool for Higuchi to parallel Morin in that: Higuchi presenting herself as a seemingly harmless and even sympathetic individual to the main character, and then the revelation of her being the new powerful boss. A thing about Higuchi's first appearance in the bsd manga is also how she openly declares war to the ada, so it'd be nice to parallel that by having Beast Higuchi do the same. And that's not even mentioning! How it'd be SO GOOD to see this flavour of Higuchi, a powerful and confident one- because Beast as a whole is a lot about stretching how the circumstances condition and shape people to be who they are, and I feel like a lot of Higuchi's insecurity and self-doubt come from her upbringing and especially being Akutagawa's assistant. It'd be great to see an Higuchi now confident and charismatic, a striking contrast to her canon counterpart.

Hot take but Higuchi is the new pm boss in Beast

[oldsoul007]

off script

nicholas chavez x co-star!reader

summary: nicholas and reader pull a publicity stunt to promote their new movie but maybe theres something more…

During a promotional interview for our movie, the interviewer couldn't help but notice the way Nicholas looked at me. With a curious smile, the interviewer leaned forward and said, "Nicholas, I have to ask—there's something in the way you look at y/n. It's like there's more than just acting going on here."

Nicholas glanced at me , his cheeks turning a slight shade of pink. He chuckled nervously before responding, "Well, you know, we've spent a lot of time together for this movie. It's hard not to develop a certain... connection."

The interviewer raised an eyebrow, sensing there was more to the story. "A connection, you say? It seems like it's more than just a professional one."

I felt her heart skip a beat as i looked at Nicholas. I could see the sincerity in his eyes. "We've become really good friends through this process," i added, trying to keep my voice steady.

Nicholas nodded, but the look he gave me spoke volumes. It was a look filled with admiration and something deeper, something that couldn't be hidden even under the bright lights of the interview set. The interviewer smiled knowingly, leaving the audience to wonder if there was more to their story than just a movie.

So of course mine and nicholas publicists had a brilliant idea to generate buzz for our upcoming movie. They decided to stage a publicity stunt, wanting us to pretend to be a couple. The plan was simple: act like they were dating, make a few public appearances together, and let the media do the rest.

Of course Cooper, was in on it and went ballistic, because he always couldn't help but tease us about how perfect we would look together.

At first, it was all fun and games. We attended premieres, had dinner dates in front of paparazzi, and even posted cute pictures on social media. The chemistry between us was undeniable, and soon, our "relationship" became the talk of the town. Fans were ecstatic, and the movie's anticipation skyrocketed.

However, as we spent more time together, something unexpected happened. The line between acting and reality began to blur. I couldn't deny the fluttering in my heart whenever Nicholas was around. We shared laughs, deep conversations, and moments that felt all too real.

Cooper, who had always shipped us, noticed the change. "You know, you two aren't just good actors," he said one evening. "I think there's something real here."

Me and Nicholas exchanged glances, both realizing that Cooper might be right. What started as a publicity stunt had turned into something much more profound. We had discovered genuine feelings for each other, and the world could see it too.

As we made our way to the quiet corner of the studio, Nicholas turns to me, his heart pounding. "Y/n, can we talk for a minute?" he asked, his voice tinged with nervousness.

I nodded, my curiosity piqued. "Of course, Nic. What's on your mind?"

Taking a deep breath, Nicholas gathered his thoughts. "During the interview, when the interviewer mentioned the way I look at you, it made me realize something important," he began, his eyes searching hers for understanding. "I've been trying to keep my feelings in check, but I can't ignore them anymore."

My eyes widened slightly, a mixture of surprise and anticipation flickering across her face. "Nic, what are you trying to say?"

Nicholas stepped closer, his voice soft but filled with conviction. "Y/n, I want something more, Working on this movie with you, spending all this time together, it's made me see that my feelings for you are real. It's not just the characters we played; it's us."

For a moment, there was silence as I processed his words. Then, a smile slowly spread across my face, my eyes shining with emotion. "Nicholas, I’ve felt the same way, but I was afraid to say anything."

Relief and joy washed over Nicholas as he closed the distance between them, grabbing my face and pulling me in for a heated kiss. "I'm so glad you feel the same," he whispered, his voice full of emotion in between kisses.

The movie's release was a massive success, but more importantly, Nicholas and i found something truly special in each other.

[signanothername]

Hi Anó! Do you have any advice for writing characters like killer? How do you achive that nuance? I love your comics and would love to learn about your artistic process a bit!

Hi Gal!! A delight to see you in my inbox! <3

Omg thank you sm hcchhcchch (have you seen your own comics???? *shakes you* /pos)

Ok but I say this genuinely, I think your ideas and comics are such a beautiful and refreshing take on these blorbos, you’re doing such an amazing job both writing and art wise (your 2 Killers idea is so fucking good eeeeee) <3333

Ok to the question xgzggxzg

Killer is definitely.. complicated to write, I struggle with him sometimes ngl shshhdh

I honestly went and reread his entire comics, lore and answered asks to get a deeper look into him to be able to write him

But when it comes to writing him, I generally try to keep 6 things in mind at all times

1-trauma: how does the resets, working for Chara, having his code get manipulated and killing over and over again till what was new became something old affect him? (the whole idea of Killer killing people started as an offer of trying something new, so he kept killing till he got bored and killing became something stagnant)

This can easily be portrayed in Killer’s canon inability to till what’s real or not, as well as his hallucinations and the guilt he’s ridden with, always running from his past yet never outrunning it, as it always catches up to him

2- conditioning: his conditioning started from the days of Chara, then continued into his days with Nightmare, how does his conditioning affect him in his daily life?

How was he conditioned specifically? And how does that contribute to Killer’s perception of self, autonomy, self worth, and life in general? How does it change his body and mind?

Does it make him believe he’s just a machine meant to please others even when it hurts him, does it make Killer perceive vulnerability as a death sentence

How does he feel about his masters? Does he hate them down to every bone, or does he not care?

3-personality: Killer’s personality always change depending on the stage, but what are the main traits that you know Killer will always have regardless of the stage? Being quiet is one thing, he keeps to himself (as much as the fandom loves to portray him as extremely hyperactive, he’s not at all the loud, talkative, hyperactive skelle the fandom makes him out to be)

He’s also extremely secretive, seems to have knowledge that others don’t, and seems to always be up for a social interaction regardless of who’s with him

He’s also actually extremely patient (another thing the fandom stripped away from Killer’s character), and is very docile (isn’t aggressive unless pushed and never is an attack on sight kinda person) yet holds a grudge big time

He seems to see himself as superior over others, he’s extremely fucking intelligent it’s actually scary

These traits are something I try to keep consistent within my writing for Killer

4- relationships: what are his relationships with other characters like, and why?

Taking the 3 points before into consideration, how does Killer’s trauma, conditioning, and personality make him perceive others and others perceive him?

Are his relationships healthy? Toxic? Are they one sided or mutual? Does he care about the person in his vicinity or are they just another nobody? If he cares why? If he doesn’t what would he do to them?

Would he take advantage of his relationship with someone or is it a relationship he wishes for it to vanish?

5-stages: I think this is truly what makes Killer extremely complicated, cause see all of the 4 points above? how does each stage differ from each other?

How does stage 1 deal with his guilt/truama and conditioning? How does stage 2, 3, and 4 deal with them?

Depending on each stage Killer’s outward perception, personality, attitude, thoughts, and actions change

But how do they change exactly?

This is something that you need to understand each stage for to be able to integrate into writing

Stage 1 is the stage where he’s most sans like, yet never sans enough, stage 2 is when he’s apathetic to everyone and everything and perceives killing as “fun” because he’s painfully understimulated , stage 3 is when he’d attack whoever is in front of him, and stage 4 is when killer is no longer present mentally

How does each stage deal with his environment, with the people around him, how does he deal with the dissociation and how does he perceive himself in each stage?

6-environments: how does the environment Killer lives in affect him?

Killer starts in an environment of time loops, how does that affect his perception of time and reality? He then becomes Nightmare’s subordinate, a dangerous environment with constant threats to his life from every angle, how does Killer feel about it? How does he deal with it?

Will he get to try his luck and escape, or has he given up on himself and the idea of freedom? Does he even believe he has a chance for a better life in a safer environment? Will he go for a safer environment or will he cling to the comfort of what he knows?

When he does finally go to a safer environment, how would that affect him? Both positively and negatively? Would he feel like something is missing? Would his mind constantly tell him that this safe environment isn’t really safe?

Then of course, beyond these main 6 things, there’s the in between, what are Killer’s likes? His dislikes? How does he feel about sleep, food?

Generally when writing characters, it’s important to keep in mind interpersonal factors, intrapersonal factors and environmental factors that ends up affecting the character’s behavior, or in this specific situation, Killer’s behavior (god I’m realizing how much my uni major affects my writing of characters rn chchc)

But I say the biggest life saving advice I have that helps with writing characters in general (and especially complicated ones like Killer) is having the question “why” as your closest friend

When you make a statement about a character, in this instance Killer, always attach the question “why” at the end till you can’t attach it anymore, until you reach a point where asking “why” becomes unnecessary and annoying

For example:

“Killer loves golden flower tea”

Why?

It reminds him of the bed of golden flowers he passed out on

Why does that matter?

Because it was the point of no return from a change that will always dictate who he is

Why is it a point of no return?

Because his soul had deformed beyond recognition and it can never be brought back to how it used to be

Why would it dictate who he is? Why can’t he just choose to be someone else?

Because he was conditioned to be this killer by a higher power out of his control

At this point, there are no more “why”s that would make something as simple as a golden flower tea statement more nuanced than it already is, so when you ask why again, you find that you’re unable to continue giving an answer, that’s the point of where you stop

In fact, allow me to test you by giving you a quick question about your own interpretation of the characters, why does your Nightmare admire Error? What is in Error that Nightmare admires specifically?

Of course, you don’t really need to answer me, but I’m just giving you an example of how asking “why” can help you make so many simple things more nuanced

Ok but what if you know there should be an answer to a “why” but you don’t know it yet? Then you keep it in mind for later, you won’t always have the answers to everything on the get go, sometimes, you need a bit of time to figure things out and write characters the way you feel satisfy you, until then, you can work on other things about the characters

*Cough* anyway, this is honestly everything I can think of off the top of my head? Hopefully I didn’t miss anything ydfhgchchchc

Do let me know if you’d like any more help or need clarification on anything, I’d be happy to help where I can <33333

Now have a sketch of your 2 Killers cause I love them dearly, they have a special place in my heart (genuinely adore how you write Killer already btw)

[sweetmariihs2]

We need to talk about Judge Claude Frollo in the Disney Parks (DURING THE 90's) (he didn't wore a mascot head before then)—————— ⊹₊ ⋆. ♱ ₊˚ .⊹

The fandom needs to know about this. Why is no one talking about it???

Recently I got hyperfocused on HOND and, after watching the movie multiple times, musicals, and tons of video analysis, I finally found the Disney Park content - and oh boy I got so lucky for finding it

I would like to say that, at first, my wish was that the content of this post was posted on tiktok in form of videos and small edits, and while I have a tiktok account, I only post my art and my family follows me there help (imagine what they would think if they saw me posting edits (simping for) of a guy in the disney parks dressed as the most horrific character from disney in the 90s). I also told a friend about this, who has a tiktok accont, wishing they would post something about it, but it didn't happened- So I decided to make a Tumblr post.

I'm not a Disney parks specialist, I don't know a lot about this topic in general, but if any of you are, please correct me if I'm wrong or give me info I didn't included because this would help a lot.

Going to the main topic, you guys probably know how Frollo looks like in the parks today. He barely appears, sure, but he wears a mascot head, and since his mouth is always shut, he's not able to talk, having to speak to people only through signs and body expressions. But during the 90s HE DIDN'T WORE A MASK. He was played by a face actor.

BACK THEN IN THE 90s, the movie of The Hunchback of Notre Dame was released (1996), and the parks started to include the characters in their attractions. As far as I know, we had three main attractions related to HOND back then:

The Hunchback of Notre Dame Topsy Turvy Cavalcade (it's a parade that happened at Disneyland and also Disneyland Paris in the 5th anniversary celebration of the park - overall based on the Festival of Fools scene);

The Hunchback of Notre Dame: Festival of Fools (Which I have NO IDEA of why it's described as similar to the musical adventure in that wiki, since the script, stage and everything is completely different from the musical adventure - The stage is WAY BIGGER and it's mainly focused on the Festival Of Fools, but the story cuts to the end a lot faster than in the movie)

The Hunchback of Notre Dame: A Musical Adventure (a musical theatre, stage show, that happened at Disney's Hollywood Studios, that tells us the whole story of the movie);

The parade has two versions, as I said. Since our main focus is Frollo in this post, in one of the versios Frollo is riding his horse, and in the other one he's standing over one of the floats. Most of the videos I found about it show us Frollo as a face character (no mask on), but somehow there are some videos dated as 1997 about the same parade with him wearing his mascot head, which is just very confusing to me.

I can't exactly explain why he stopped being a face character, I believe that it's related to what Disney did to Fairy Godmother (she's an elderly character, just like Frollo, the same happened to her: previously face character, eventually mask character. I heard a theory saying that Disney probably doesn't want to hire elders because of their physical limitations in having to stay standing in a costume during the whole day).

What confuses me is the fact that in some attractions (the parade at Paris) Frollo is already wearing a mask, but in others (Festival of Fools) he is not yet. You see, the parade ended in 1997, but the Festival ended in 1998, and there is a recording made of the last performance of the Festival on YouTube, and Frollo is still not wearing his mask.

That can be easily explained by them just taking the decision of making him wear the mask during the parade only and keep him as a face character during the Festival. But why? We also have to consider that these take place in different parks and different countries (France and USA).

Let's take a look at the dates:

Parade AT DISNEYLAND: started in 1996 and ended in 1997 - no mask

Parade AT PARIS: started in 1997 and ended in 1998 (in some the videos I found from there, Frollo IS wearing his mask)

but I am confused since I found a video where he wasn't wearing his mask at this same parade, at Disneyland, in front of a "It's a Small World" ride. English is not my main language so I am not sure if they're only speaking in english, because if it was in France (France also has a Disneyland and a It's a Small World) they would be talking in both languages: English and French. And I don't know if I'm crazy but I didn't heard any French there. Which means this is probably at USA. BUT WHY IS FROLLO NOT WEARING HIS MASK AT USA??? I don't know I'm just confused

Festival of Fools: started in June 21, 1996 and ended in April 18, 1998 - no mask (I would like to say that Hellfire is included in this one, it was cut in all the other attractions. Also, near the end, right before his death, Frollo seems to try to grab Esmeralda when Quasi attacks his back, which wasn't in the movie indeed.)

A Musical Adventure (theatre): started in june 21, 1996 and ended in september 28, 2002 - no mask (his actor got changed around 3 times as far as I know, based on the videos that I watched)

Also, between the USA and the France version of the parade, Frollo shows up in three different ways: riding his horse, standing on top of the Notre Dame float, or sitting at his chair at the festival (which appears to be like a mini float, and he wears his mask). They're mixed and it's confusing to me, I am not sure which is where. When I think I understood, I find new footage of these attractions where he appears on top of something else and I don't know what's happening anymore

I don't know guys, I am just really confused and I'll just keep enjoying all the videos I can find of him without his mask, because it's a rare thing to see Frollo showing his face, and now much rarer hearing him talk and express himself properly at the parks. I hate this damn mask. It's clear as the light of the day that it's the same costume from the 90s with no update, no better painting, or anything new for that matter. I don't HATE him, I'm happy that we have Frollo in the parks. It's just that it was better before... if they at least updated that mask and those pale hands...

Despite trying, I couldn't find any pictures from that face character Frollo. You know, pictures people take with the characters? None. All we have are low quality 90s videos on YouTube and that's it. Which makes me really upset, because those videos don't properly capture his costume and makeup, even though I'm really grateful to everyone who recorded them, it's very hard to see his face clearly. That gif at the start of the post is one of those rare moments someone showed us his face up close, and it's from a video recording "The Hunchback of Notre Dame Topsy Turvy Cavalcade" at Disneyland where Frollo rode his horse instead of just standing on top of the Notre Dame float. (It happens at 04:00 and I giggle every single time help)

I would like to make a mini list of all the videos I could find about this on the internet. It will be updated constantly, of course, and separated by topics (the attractions) and their names will be the names of the videos themselves. I would also like to say that the qualities of those videos aren't always the best, but we're lucky for at least having them in our hands in the first place. Sometimes I will point out when he appears, sometimes I won't because I'm lazy.

Edit: Turns out that there are millions of videos about them on YouTube and a lot of them are low quality, so I won't spend time adding *all of them*, just some of the best. If you find a interesting one that's not in the post, send me the link plz!

If any kind soul wants to make funny edits with compilations of best moments please send me the link, I appreciate it

The video list : —————— ⊹₊ ⋆. ♱ ₊˚ .⊹

The Hunchback of Notre Dame Topsy Turvy Cavalcade:

"The Hunchback of Notre Dame Topsy Turvy Cavalcade - Disneyland 1996" (close up view of his face (the death look) at the minute 04:00) (*happy giggles* that's the gif used in the title of the post!) (I would probably pass out if I were this person)

"Disneyland California - The Hunchback of Notre Dame Parade 1998" (he can be seen since 02:10 (during Esmeralda's dance, which he claims "look at this disgusting display!" (also that dance is kinda "uuuhhhhh disneyyy this parade is for children"), and apparently she goes down on the pole looking at him) but he really appears properly at the minute 04:50 and doesn't look at the camera - at the minute 05:30 he's seen pretty close to Esmeralda's float, apparently watching her dance - right after this moment the video is cut and he appears again, this time walking to the opposite way. At the end of the video he's seen again from afar!)

"The Hunchback Parade at Disneyland (at Small World" (he's the first thing we see when we open the video)

"The Hunchback Parade at Disneyland (From The Plaza)" (he's seen at 1:30 standing on top of the Notre Dame float)

"Disneyland-Parade-Hunchback of Notre Dame. Oct 31. 1997." (Frollo can be seen by the first time at the minute 04:40, but he can be seen really closely at the minute 07:05. That happened during a halloween night at Disneyland!)

There is a video that I JUST CAN'T FIND about this same parade, and I remember Frollo riding his horse at the end of the video. It was day and I remember being possible to see him dissapearing behind a curve, still riding his horse. I CAN'T FIND IT, not even in my history. I'll just update this post when I finally find it (IF I find it)

Second edit: Guys I think I'm stupid. I was rewatching the end of THE FIRST VIDEO OF THE LIST and it was that one. I feel dumb now

The Hunchback of Notre Dame: Festival Of Fools:

"Disney's The Hunchback of Notre Dame - Festival of Fools, Disneyland in 1996 part 2" (a journalistic report about the attraction - the person who updated this didn't published the part 1! Ugh! We only have one half! It's a great video by the way, the quality and the shots are awesome) (Frollo only appears once at 1:30, but the whole video is great)

"The Hunchback of Notre Dame: Festival Of Fools - Disneyland 1996" (That's a part of the show. It has good camera angles but not a very good quality. Frollo appears at 02:10 and at 03:30-04:00 and at 08:05)

"【Old Disney】 The Hunchback of Notre Dame Musical Show!-1996 / ノートルダム の鐘ミュージカルショー" (Full show once again - There is a change in here! At the second 20:26, Clopin went up the stairs and Frollo casually gets the flag from his hand. The flag is a crucial part for the ending, it works like Frollo's sword for a long period of time, and he fights Esmeralda and Quasimodo using it. In other recordings you can see that Frollo gets his flag forcefully from one of the dancer's hands in the middle of the main stage, not from Clopin already up the stairs. At 19:55 we can see Frollo holding the flag, running with it, but when we see him again, the flag is in Clopin's hand instead of Frollo's, and Frollo takes it from him later. What a mess!)

"1996 Disneyland Hunchback of Notre Dame: Festival of Fools" (terrible quality but it adds ✨️flavor✨️)

"Hunchback of Notre Dame Play Disneyland 1996" (The quality is also bad, but we can see the lights and overall hear the music and the spectacle itself here. I wish I was there!)

"Hunchback of Notre Dame: Festival of Fools - Disneyland 1996" (Footage of the whole show, the quality is... average)

"Hunchback of Notre Dame Festival Of Fools--Disneyland History--1990's--TMS-561" (footage of the festival but overall the quality is terrible in this one)

"Hunchback of Notre Dame Festival Of Fools | Disneyland | 1996" (low quality footage of the show. Frollo can barely be seen :c )

""Festival Of Fools" at Disneyland, Presented by Get Away Today (Part 1)" (a TV channel recorded the performance profissionally, even though it's old it's also a good video)

""Festival Of Fools" at Disneyland, Presented by Get Away Today (Part 2)" (part 2 of that same video)

— The last show footage needs to be properly separated here. This makes me bittersweet:

"Festival of Fools - Last Show - Warm Up - Disneyland" (part 0)

"Festival of Fools - Last Show - Part 1 - Disneyland" (part 1)

"Festival of Fools - Last Show - Part 2 - Disneyland" (part 2)

"Festival of Fools - Last Show - Part 3 - Disneyland" (part 3) (Frollo shows up really closely in this one, this person did a wonderful job when recording - and him singing Hellfire!! Ahhhhh!!! He appears again at the end of the video when the characters are thanking the audience)

The Hunchback Of Notre Dame: A Musical Adventure:

"The Hunchback of Notre Dame : A Musical Adventure - Full Show, Disney-MGM Studios 1996 Disney World" (full show)

"Hunchback of Notre Dame Disney-MGM" (full show recorded, great image quality, the camera man gives us zoom and great shots - WE CAN SEE FROLLO'S FACE PROPERLY AT 03:10)

"The Hunchback of Notre Dame: A Musical Adventure" - Full show from 1999 at MGM Studios in WDW" (HIS ACTOR IS AMAZING HERE - We can see his face closely at 02:55, and at 03:33 THE EVIL SMILE IS SO SIMILAR, he even LOOKS LIKE FROLLO HIMSELF! At 11:15 there's the Esmeralda's tease scene which is *chef's kiss* (we can see it really closely) AND IT WAS ALSO DONE PERFECTLY! aaahahshwhwhehsg that's my favorite performance of this show idc, we can see him closely again at 23:20 aaand also at 09:55 - 10:30) [this is where that Frollo and Esmeralda gif I added came from]

"Hunchback Of Notre Dame (2002)" (full show again but this person zooms the characters sometimes, awesome video too)

"The Hunchback of Notre Dame: A Musical Adventure" - Full performance at MGM Studios in WDW - 2000" (We can see Frollo's face from up close at 14:00 - it seems to be a different actor :c )

"1996 Walt Disney World The Hunchback of Notre Dame: A Musical Adventure" (The quality is not the best but I think it's cute the way the person recorded the surroundings. Really looks like a good memory to have. So sweet)

"Walt Disney World spectacle THE HUNCHBACK OF NOTRE DAME 06 02 1997" (the full show recorded - average quality)

"The Hunchback of Notre Dame: A Musical Adventure @ Disney-MGM Studios - August, 1997" (meh not really in a good quality but it's recorded so let's add it here)

""Hunchback of Notre Dame: A Musical Adventure" Photos and Video from 1996 at Disney-MGM Studios" (not a youtube video, this time it's a website filled with pics taken of the show)

Someone recorded 8 parts of the show, but I would like to add them since it's... you know, my fav Frollo actor until now:

Part 1 - Part 2 - Part 3 - Part 4 - Part 5 - Part 6 - Part 7 - Part 8

BONUS:

"Meeting Phoebus, from "The Hunchback of Notre Dame: A Musical Adventure" at MGM Studios in WDW" (this is so cute!)

"Festival Of Fools Construction at Disneyland" (the title speaks for itself)

"Disneyland Inside Out - "Festival Of Fools" (report about the attraction)

"Disneyland Paris * May 1997" (showing how the park looked like at that time- a lot of HOND stuff)

"DISNEYLAND: 50 Years of ImaginEARing CD 10-12 FESTIVAL OF FOOLS A Guy Like You" (I believe this is a remastered version of one of the songs that played during the parade. I wish I was there at that time)

"Hunchback of Notre Dame Carnival Disneyland Paris" (this is a video of the parade when Frollo was already wearing a mask, but look at how cute this is! It's a family memory)

[ctwinsduo]

woe cwilbur be upon ye. as promised here are my designs for every cwil era/stage/what have you + my reasons behind each design. design breakdown will be under the read more :>

as a disclaimer going forward: these designs are heavily informed by my own headcanons (namely the nature spirit headcanon, which i will only briefly explain here- if you want more of a background on that here's where I first shared the hc and explained it a bit) i'll be honest idk how much of these hcs/analysis abides by canon? so if you prefer to closely abide by canon this may not be for you. having said that, let's get into this. So one question that may initially come to mind when looking over this is "Why a nature spirit?" which is a reasonable question all things considered. I've already gone over the Watsonian explanation in the past, so instead I'll cover the Doylist take- which is more interesting as it pertains to these designs. Wilbur, as I see her, is a character that has many faces- she warps and changes to embody the view of herself she sees as necessary for the situation, whether that be the revolutionary or the villain. Simultaneously he has this core that's deeply eccentric and often difficult for the characters around him to grasp- this can come in the form of benign weirdness to the struggles with mental illness we see him go through throughout his various arcs. There's this push and pull between the person they want to portray and who they are fundamentally that's always at play.

Them being a nature spirit embodies this to an extreme. As a nature spirit their physical form is informed by their self perception (the one that's warped by the role they feel they need to take) and their own mental state, both aspects of the character that are foundational.

Another question that may arise upon reading all of this is "Why not just make him a shapeshifter?" which is also a valid question. Truthfully this one is rooted heavily in my own ideas of the character, so you'll have to take that with a grain of salt. I am, unfortunately, prone to making shit up /lh With that in mind however, the reason I choose nature spirit over shapeshifter is that, the way I interpret it, it's much more... animalistic? Let me explain: the way I tend to see shapeshifters portrayed is either a. having a base form that's relatively humanoid and then multiple other forms or b. having no base form but still presenting as generally humanoid. As a nature spirit Wilbur has a natural (ba-dum-tsss) tie to well... nature, and all that lives within it.

She's this manifestation of the wilderness whose form isn't even naturally human, yet she shapes herself into something presenting as such. As a nature spirit Wilbur occupies this weird nebulous space between human and beast, never fully embodying either. I find this incredibly interesting for a character that wants to feel and to be treated as human so badly, one that also clearly resents being seen as monstrous (despite leaning into that perception of themselves)

TLDR; Wilbur's 50 contradictions in a trenchcoat (literally) and being a nature spirit gives these contradictions/masks/ect. a physical manfiestation Now that we're 500+ words of analysis in, let me breakdown each individual stage :3 /lh

Pre-SMP + L'manburg

The most "human" Wilbur ever gets here- technically these two are different designs/eras but they have similar design notes so I'm lumping them together here

During this stage of his life Wilbur has a fairly good handle on his shapeshifting and is consciously choosing to look more human

Small details like the fangs, pointed ears, claws, and pupils allude to an inhuman nature. I like to think there's something uncanny valley about them- they look human but the longer you look at them the more small discrepancies you notice

Both look relatively generic appearance wise, if you can't tell this was Wilbur's "I am a Normal Human Man era" but with slightly more gender /lh

Decided to stick Wilbur in a different outfit Pre-SMP than the actual skin most people reference, mostly because I thought it'd be fun. The trenchcoat follows her throughout her development

Lots of goofy ass patches and pins on the coat

I personally hc that Wilbur always has some sort of oversized clothes on because it's a bit like a security blanket for him, very grounding and all that- anyways that's what the trenchcoat is here

Limited notes on L'manburg era- main thing is the glasses; they got cracked in conflict and they just never bothered to fix em

Pogtopia

As a result of stress (and personal perception) Wilbur lost control over his shifting entirely

Wilbur views their nature as inherently monstrous, thus when they think of themselves as monstrous or evil they lose most of their human appearance

Much taller in this form than usual, this reflects both how she feels she's perceived and how she perceives herself (monstrous, scary, inhuman, ect. ect.)

Their height also serves to emphasis the claustrophobic nature of the ravine and especially the button room

Eye color changes from brown to red, yet again another thing which reflects his self loathing

Coat is the same one worn pre-smp, just with some adjustments

Pins & patches removed from the jacket (my friend suggested it saying that he "ripped them out because they were too happy" and I find that mental image particularly silly so it stays)

Covered in stains, partially because the ravine is just. awful. and partially because this thing is not taking care of herself even a little bit

Lenses are even more cracked than they were during the revolution

Ghostbur

This section has a lot less points then the others on account of Ghostbur being fairly self explanatory, but shhhhhh

Reverted to "base form" post death, form is extremely fluid as a ghost- she tends to shift depending on the topic of conversation or the person she's speaking with (Explain being: whenever she talks about "alivebur" she becomes more human)

Less of a note and more rambling: fox ghostbur is especially fun to me given the hatred Wilbur has for Ghostbur. Ghostbur physically reflecting the parts of Wilbur that they hate the most in themselves

For Wilbur their base form- just a normal widdle fox- represents vulnerability. It is quite literally a small, fuzzy animal with little means to defend itself and it is also the culmination of everything Wilbur is running from. Ghostbur embraces this form fully yet is seen as more palatable by the people around her than Wilbur ever was

Constantly leaking a jammy, blue substance from his eyes and the cut in his chest, yucky

Especially long sections of "fur" like their tail and the back of their neck are constantly "dripping" little wisps like rain

Post-Revival

Post-revival his shifting is still fucked up (thank the mental illness for that) but he's got a slightly better handle on it, enough to look semi-human

Eyes have reverted back to brown but their lenses are tinted red anyways (often looks red)

The coat makes a comeback, edges are all fucked up from the explosion

That funky little overcoat/cloak/ect. got yoinked by Niki

Disheveled appearance meant to reflect her rancid ass mental state- namely the hair and the facial hair. Hair is grown out because she can't be bothered to cut it (you bet that shit is full of knots)

Nasty awful smeared eyeshadow as a treat <3 (I just think he deserves to be a little cunty yk?)

Got a little tired near the end here which is why the points got a bit sloppy, maybe I'll add more at a later date who knows. If you made it this far I hope you at least enjoyed reading all of this :>

[secondhandsorrows]

Some Vital Scenes to Include in a Romantic Subplot, pt. 1

I’ve been in the plotting stages of a novel I’ve been working on for some time now. It’s not a romance novel, per se, but the romantic aspect is very prevalent… dare I say important. Anyway, so as I was working on my scenes and character arcs, I began to realize that I didn’t have enough fleshed-out about romantic arc, nor deepened the protagonist’s love interest or their connection, for that matter. This led me to devise up some scenes that I felt were crucial to the story if I wanted to keep this romantic angle to it, and now that I’ve most of them arranged, I find now that I’m way more excited about my characters’ love story. 

These tips will be unnumbered because, obviously, the sequence of these events and how they will fall into your storyline will probably be different. Also, you don’t have to use only one scene for every suggestion that will be mentioned, as you can have multiple scenes of flirtations or deep conversations, for example. They usually blend all together into the narrative at this point. Just remember that there should be some relevance to the plot at hand in some of these scenes as to not derail completely from the main narrative or other conflicts.

I was going to post this all at once, but decided it was too long and wanted to split it into two parts to go more in-depth and for easy reading. /-\ Enjoy ~

- The meet-cute, or the meet-ugly:

Ah, yes, the first encounter. Or, as we sometimes like to call it: the meet-cute, or the meet-ugly if you’re feeling a little unconventional or perhaps mischievous. Though we may enjoy setting up our star-crossed characters in a whole range of moments from awkward to swoon-worthy, the initial meeting is what’s important (if your characters haven't already met before the beginning of the story, ofc, but this is useful to have in mind). Let us quickly define the two:

Meet-Cute: A charming and serendipitous first encounter between the characters in question that sets a positive, memorable, and oftentimes romantic tone.

Meet-Ugly: An unconventional, awkward, or disastrous initial meeting that adds a unique twist to the start of the romantic connection, often leading to unexpected chemistry and an added intrigue on whether or not they’ll get together.

You don’t have to nail your characters’ first encounter into a label or bubble such as these two examples, but I like bringing these up for a general idea. 

- Bouts of flirting and/or banter:

Just as the title suggests, these are scenes containing the flirtaious communication between the two characters. These kinds of interactions will, of course, develop over time and deepen the bond or relationship. Playful interactions, gazes, and witty exchanges between the characters can create a lighthearted and flirtatious atmosphere that hints at their growing attraction.

The way they might flirt or tease can reveal their personalities. For example, one character might be more sarcastic, while the other responds with quick wit, or quiet bashfulness. There’s an element of subtlety, as flirting lets the characters express their romantic interest without explicitly stating it (unless one of your characters lacks subtlety in general and prefers to shout their undying love from the rooftops, which would make for an interesting dynamic, but I’m only spit-balling). 

Banter, teasing, and romantic tension underscoring heated debates or loathsome gazes suit just as nicely, especially if you’re writing with enemies-to-lovers or rivalry tropes in mind. But be careful! A little goes a long way: too much all at once can repel any growth for the characters or narrative.

- Initial conflict or struggle:

Depending on your story’s big-picture conflict, the introduction of challenges or obstacles can create tension between the characters, adding depth to their relationship and making their eventual connection all the more satisfying. This might include cultural or class differences, opposing goals or values, history of past heartbreak, personality weaknesses such as stubbornness, or external pressures that threaten to keep the characters apart. Even a nosy family or a disapproving mother can be considered. How the characters navigate and resolve these conflicts contributes significantly to the overall emotional impact of the romance subplot, as well as allowing for some exploration of each character's strengths, weaknesses, and resilience. 

- Shared vulnerability:

This kind of scene involves the characters opening up to each other about their innermost fears, insecurities, past trauma, or personal struggles. Shared vulnerability goes beyond surface-level interactions. It involves characters revealing their authentic selves, exposing their emotional vulnerabilities, and allowing the other person to see them in an honest — and sometimes new — light.

This is a symbolic gesture of commitment we’re talking about, here… something that requires trust. As characters share their fears or past traumas, they are entrusting the other person with sensitive information, fostering a sense of trust and emotional intimacy. It might be scary, it could be out from left field, but they will end up learning something new about themselves, their situation, or about the other person, and thus deepen their connection, little by little.

[roonotrue]

Twisted Wonderland - He Hears You Singing (About Him)

Twisted Wonderland Writings Masterpost

Heartslabyul Edition, Savanaclaw Edition

Prompt: While relaxing, and doing chores around the Ramshackle dorm for your weekend restoration of the barely standing building, your thoughts drift to love songs from your old world. You think of songs that remind you of your closest fellow NRC student and significant other, and end up singing one while you work.

Reader: GN reader - They/Them pronouns and they are referred to as 'MC/Prefect' in this one. And let's all just agree that MC is a great singer- cuz some of these songs have mad vocals that I would never dream of trying to sing myself with my incredibly average voice, and I imagine a lot of you are the same.

Included Characters: Octavinelle Edition!

Warnings: None.

Request Rules & Information Here

~~~

Azul Ashengrotto - "Adore You" by Harry Styles

- Why did he stop by Ramshackle? He can't remember. It was something about taste testing the new spring menu, maybe? He's not sure it matters anymore, given how enamored he is with the sound of your voice right now.

- Is frozen in the doorway like a deer caught in headlights, he hadn't even realized it was you singing (he thought it was from your phone or something on a radio) until he turned the corner and saw you.

- When you see him, he turns all kind of shades of scarlet, embarrassed at being caught staring, but he quickly composes himself.

- Immediate compliments followed quickly by an offer to sing at the Mostro Lounge sometime- you'd be paid generously of course-

- On the outside he's acting cool, but the song in question really did fluster him quite a bit, and thoughts of you singing it again just for him keep intruding in his mind, and if you look closely you can see his ears remain a pretty shade of pink the whole conversation after.

- Does truly think you would look stunning dressed up in lavish clothes, preforming on the stage of the Mostro Lounge, are you sure you don't want to? He'll throw in a free meal plus pay!

"My, my, MC, that was a lovely performance. You should put those wonderful vocals to use, I'm sure everyone would be in awe of you at the Lounge. Some may even show up just to see you- I certainly would."

~~~

Jade Leech - "Dive" by Olivia Dean

- He's honestly quiet pleasantly surprised when he enters Ramshackle (without knocking of course) and hears your wonderful singing voice.

- A soft (dare I say genuine?) smile makes it's way to his face as he approaches the living area where you're cleaning, and stands patiently in the doorway for you to finish the song- one he's never heard before but it flows rather smoothly, much like the jazz played at the lounge.

- He finds the lyrics rather intriguing too, now what would inspire you to sing such a romantic song? A crush perhaps? The idea of you having enough of a crush on someone to sing such a song about them makes him... Well, he'll just focus on what he has right in front of him for now, and save those pesky feelings for later self-analysis.

- When you catch him he is completely shameless in his staring, as a matter of fact, his smile grows, before he gives a curious tilt of his head and motions with his hand for you to continue.

- What? Your voice was beautiful, of course he wants to hear it more. What's he doing here? Oh, well, he's come to ask if you'd like to be the first to taste test the Mostro Lounges new spring menu.

- Sure he didn't knock, but it's honestly your fault for not locking the front door- oh, the locks are broken? That can't possibly be safe. Perhaps you should stay at Octavinelle until they are fixed, that way he can hear your voice much more often.

- As a matter of fact, instead of 100 thaumarks a night for a room, he's sure he can arrange for you to sing at the Lounge every night for payment instead.

"Oh, please don't mind me, continue. Your voice is quite delightful, you should consider singing at the Lounge- though, I'm not sure I want anyone else to hear you but me..."

~~~

Floyd Leech - "Risk" by Gracie Abrams

- oHohOHo, you're never gonna live this down PT. 3

- The moment he barges into Ramshackle in a poor mood, looking for his favorite Shrimpy to cheer him up, he freezes at the sound of you're voice.

- But not for long.

- One second, you're alone, singing as you do some chores, and the next second you're being spun around in Floyd Leech's arms as he laughs cheerfully.

- He loves your voice. Keep singing! He wants to dance with you while you do! Forget those boring chores! He's here now, so you can both have fun! You're so adorable he could squeeze you till you pop!

- You should come by the lounge sometimes and sing to him to make his shifts less boring. He's sure Azul wouldn't mind- and if he does, then you two can just leave and have your own party elsewhere!

- He will, without a doubt, demand that you sing to and for him at the most random of times, hell, he might even barge into the middle of your class in a foul mood and demand a serenade from his Shrimpy.

- If you truly won't sing to him, his mood may worsen and you won't see him for awhile while he sorts himself out, whereas if you do sing for him, he will immediately start to feel better.

- The best moment he could ask for to fix his mood, is laying beside you his head in your lap, while you sing. It helps him decompress, and feel so much better from whatever was overwhelming him or souring his mood.

"Shrimpy~! Nice set of pipes! Well, don't stop singing, let's dance together! I knew you'd be doin' something fun, you always cheer me right up!"

~~~

Can you guys tell that Octavinelle is one of my favorite dorms? Particularly the twins? Especially Floyd, his unpredictability with his mood swings are very relatable as someone with severe untreated ADHD and bipolar tendencies. I just think he's neat guys. And fun to write. Anyway! Merry Christmas everyone, and I'll see you next post! ~ Roo

[glitter-stained]

A fun, happy dc story for a change

Look I can be very critical of Winick's writing because I'm so ambivalent about it but damn if it isn't, on a meta level, a really satisfying spite story.

At the core of this story, there is Jim Starlin. Now Starlin's writing has many flaws, not least of all the blatant racism and sexism. And if there's one thing Jim hates, it's Robin. He wants to kill that little boy so bad, oh how he hates that bright coloured child in tights that's just holding Batman back from reaching his true potential as an absolute badass... And hey, good news! Dc, in trying to bring a second Robin after the first got a new identity, has dropped the ball, and the new boy is unpopular amongst the fans who miss the previous iteration! This is his opportunity to kill Robin, definitely!

But how? People may not have voted him dead yet, but Jim is already planning, setting up plots and trying his damndest to get him killed. And the thing about Jim- the thing that makes him a good writer, you see, the thing that separates him from those losers who fail to see Batman's true potential, is that his writing is gritty. He's not afraid to write a true dark knight facing the grimdark horrors of a town laden with crime, to shy away from the real dark, gritty topic that are mature and dark like rape. And uh, sexual violence against women. And uh, serial raping and killing women. (I'm kidding, of course, I didn't forget the native american cult leader who bathes in blood to prolongate his life. Or about the kgb agent Batman straight-up kills after he tries to kill Reagan. Or about the suicides, god I haven't forgotten about that. Don't worry.) But anyway, sexual abuse in general is a big theme for Jim. It shows how serious and dark and gritty he can be. So he has an idea: why not make Robin a child sexual abuse victim and give him AIDS? That way that's a justification to write Robin unlikeable (by making him emotional when exposed to situations of sexual abuse, unable to restrain his anger when defending a prostitute...) and at the same time it's the perfect way to kill Robin! DC has been considering giving a character AIDS, it's perfect! It will show everyone how dark and gritty Jim's writing is, he can make Robin even more unlikeable on top of how people are upset about the transition between Robins, and then he can finally kill Robin! It's perfect! Jim is a genius!!!

Now, of course, we know that plan failed: first because dc rejected Starlin's idea for Jason to die of AIDS, and second because as soon as Jason (as a character, which is what DC apparently had a problem with) died, they fired Starlin as a Batman writer and introduced a new Robin, making Starlin's vehement campaign against a fictional fifteen years old completely vain.

So that's it, right? Crisis avoided, we almost had some even worst writing that what already was, everyone sigh in relief and go home?

Enter Judd Winick stage left.

Now, remember how DC wanted to give a character AIDS? In 2003, Green Arrow #43 reveals that Mia Dearden, Oliver Queen's ward and a csa survivor of underage prostitution, is HIV positive, and in #45, she takes on the mantle of the second Speedy, becoming, according to Wikipedia, the most prominent HIV-positive superhero to star in an ongoing comic book. (And also one of my favourite comics characters, but that's unrelated.) An important thing about Winick, who wrote those issues, is that he is personally invested in education about AIDS, continuing his friend Pedro Zamora's educational work after his death of AIDS-related progressive multifocal leukoencephalopathy. (He also wrote a graphic novel about it, called Pedro and Me: Friendship, Loss and What I've Learned). So kudos! We finally got someone who has done research and actually holds respect for HIV+ people writing HIV+ characters. And Mia is so cool, man- but not only is she a really interesting character, she is, first and foremost, a survivor. That's how she characterizes herself, sees what happened to her: she did what she had to do to survive, and now she's a fucking superhero and she's here to help others and you know what she's not gonna do? Die "of AIDS."

Yeah, I haven't forgotten Starlin's terrible writing. And, if Winick's writing is any identification, it seems like he hasn't either. The idea of making the second Speedy a parallel with the second Robin isn't groundbreaking, but it's cool that it's there (and also, incidentally, a reminder that parallels are interesting and fun and backstories are not a finite resource characters can run out of or steal from eachother.) Anyway, this includes Winick altering Mia's backstory and making her a street kid to make it more similar to Jason's, as well as Mia's on-screen murder offering a nice parallel to Jason's ambiguous murder in Starlin's Diplomat Son (a parallel I can't help but regard with vindicative snark, because that's how you handle a teenager who has just caused, directly or not, a man's death out of hopelessness in a situation that felt impossible. A little snark of See? Now this is how it's done. Yeah, Starlin's Bruce isn't winning any parenting against Winick's Ollie, that's for sure.) So there it is! Our fun spite story, Winick taking on Starlin's terrible ideas, a teen vigilante and survivor taking on a hero identity to mirror a teen vigilant's loss and death, a good old fashioned schooling. Cool? Cool!

And then, in 2005, Winick buries Starlin's last remaining impact on DC by bringing back Jason Todd, in a move so audacious in the back-then landscape it would be kinda akin to bringing Ben Parker back to life in Spiderman's life as a villain (please don't tell me this happens in the comics I don't read Marvel and if someone wrote that I would honestly prefer not to know). Now, of course, the impact of Jason's death on the narrative can't and shouldn't be undone by that move, but that's not important, because that's not what Starlin wanted when killing Jason - he wanted to kill Jason/Robin, not give everyone grief-induced hallucinations where Jason/Robin had an incredibly salient place in the narrative, so he didn't get what he wanted anyway.

Personally, my view on Winick's writing of Jason is contrasted (and the fact that there are some elements of Starlin's characterization of Jason that I prefer to Winick's deeply amazes me, incredibly ironic situation. Which only serves to point that even Starlin' goal of making us hate his version of robin failed drastically, as me and my jaybin fan mutuals can attest. Sucks to suck!). But as much as some of the decisions frustrate me, do you understand how much of a power move it is to take this child, this victim who has been victim-blamed for years, and bring him back to life with a vengeance and a demand that his life mattered, that his death was a bad thing that shouldn't be tolerated? Do you know how good that story feels, especially to victims when reading it and see that indignation validated, that rebellion against the status quo and victim-blaming, how good it feels to see a "bad victim" that refuses to stay down ? And in the context of Starlin's intent to write Jason a CSA victim, Winick writing Mia, the HIV+ plot for them both- do you understand the genuine and violent glee I feel, that it's Winick that wrote Jason coming back to life and hunting down the narrative with a machine gun?

So yeah. This is the context in which I talk about acknowledging the csa subtext in Green Arrow: Seeing Red, but this post isn't about lecturing you to accept it as canon or imply that you're bad for not sharing that interpretation. It's about spite -towards Jim Starlin specifically. And it's about that interpretation, but the context in which it was written in general, is not just a victory against Starlin, that guy lost long ago, but the narrative equivalent of that Green Arrow meme about taking a funny selfie over a gravestone. In Seeing Red (specifically in the line that's discussed when questioning the csa headcanon), Jason tells Mia they are similar because of what they had to do to survive, framing the sexual trauma on Mia's part (and thus allegedly also on Jason's) again firmly on the side of survival rather than victimhood. Whether it's by becoming a villain or a hero, there's this rebellion against being an object to the violence, which is at the core of Starlin's treatment of sexual violence. This is fun. We're having fun. I'm repeating myself, but do you understand how satisfying, electrifying it is? I'm filled with unreasonable amounts of glee. You don't always need the context in which a story was written to enjoy it but in this case, doesn't this make it so much more enjoyable? (And on top of that, kudos to Winick for killing Captain Nazi, I hope it was as satisfying to write as it looked.) Anyway, Mia Dearden and Jason Todd, the characters that you are. I love them so much.

[alicefromwhichplanet]

Why Optimus being a good person in upper class/ Megatron being an angry rebellious lower class is a great and meaningful plot

Recently, with TFOne coming out, I’ve learned that the new movie made changes to Optimus and Megatron’s backstories and instead of giving them different backgrounds, like coming from different classes (like in tfp or idw1), they’re put in the same class as colleagues in mines. I’ve already seen people celebrating this as “an innovation/ something new” and an uplifting of Optimus’s character, because as the lower class he gets to rebel, therefore Megatron’s character aura won’t overshadow his. But actually, I am quite disappointed at this change. I think such arrangement is a worse one, not a better one, especially to those who love character depth and realist plots.

First of all, I want to argue that Optimus and Megatron carry every different roles in all transformers shows in general. By this I mean no matter how the plots change, the foundation of their motivations are different—maybe only except for Shattered Glass, where their roles are exchanged. Megatron’s foundation of motivation is: war/chaos. No matter how much his actions are justified, Megatron is still a bad guy, because he sticks to a path of violence and destruction rather than peace and negotiations. In contrast, (I put Megatron first because Optimus’s motivation is clearer if compared with Megatron) Optimus’s underlying logic (the foundation of his character motivation) is: peace/order. No matter how brilliant the battle scenes were, no matter how much he talked about “stopping Megatron at all costs”, Optimus’s final goal is to seek peaceful solution to the conflicts he engaged in, and find a way to resume order. That is also the basic logic of every transformers show, and how the playwrights justify autobots as the good guys, decepticons the bad guys. (This can be easily understood through series that give Megatron and decepticons fully justifiable motivations, like tfp and idw. They started the war because they were angry at the unjust treatments, and became villains because they eventually became a source of ongoing chaos and destruction)

With this premise, it is not difficult to see how brilliant and intelligent it is to put Optimus and Megatron in two different classes. Because people’s thoughts vary with very different experiences. In the past successful shows like tfp, the conflict between Optimus/Megatron is perfectly explained with an idealist/realist contrast.

Being an idealist advocate of freedom and equality is a successful way most Optimus(es) are portrayed. Under this premise, Optimus is basically a good person with strong sense of morality. He is aware of the problems in his system, seeks a change, but because he is from a more “privileged” class, or to say, closer to the power holders, he tends to develop an idealistic view of solving problems with milder approaches: handing in proposals, talking with congress members, or growing his own influence and trying to persuade the congress. In any of these cases, Optimus’s ideas are in line with his background. And like any well-written character, he is limited by what he can see in the class he belongs to.

As we’ve analyzed at the very beginning, Megatron’s characterization mainly revolves around “war and chaos”, one clever way (tfp and idw) playwrights used to make him more than just an evil stage prop is to make him more of a realist, in contrast with Optimus’s idealism. This usually comes with the backstory of Megatron coming from the bottom of the society, rebels with violence against social suppression he could not endure— at the same time, he also has a natural tendency to seek radical solutions. With this disadvantaged background, Megatron’s violent behaviors and refusal of peace are not groundless actions. It is a clever way to reflect the reality and increase plot depth. In my opinion, explaining “why the villain does evil” is the key to a successful story.

Another thing I want to argue is that, I don’t think giving Megatron and decepticons a justifiable backstory is diminishing/ “overshadowing” Optimus’s character. Because as we analyzed above, Megatron and Optimus have different roles to play. One overthrows the old system, the other rebuilds the new system. One raises the question, the other spends more efforts to find a feasible solution. Optimus and Megatron are two sides of the same coin. The depth of Megatron’s motivation actually decides how brave/noble/meaningful Optimus is in the act of “defeating” Megatron. For example, If Megatron’s “evil” is flatly portrayed as a bad-tempered child throwing a tantrum, Optimus’s “act of justice” is merely an older child calming the naughtiest kid in class.

Some believe that “not being able to stand up and rebel against suppression (like idw Megatron did)” made Optimus somehow “uncool” compared to Megatron. But he’s not. In fact, Optimus’s journey is not a bit easier compared to Megatron.

Instead of “suppressed class rebelling when there’s nothing to lose”, Optimus’s growth arc follows the route of a compassionate upper class who can look beyond where he stands for, and resonate with people who’s living under him and away from his life. Compared to Megatron’s “outward rebellion”, Optimus’s rebellion is “inward”: he has to fight himself to reach the higher ground— fighting the urge to step back into his conventional ways of thinking, fighting his self-doubts and inborn modesty to step back from leadership (very well presented in TFA and TFP), and by the end of the war, in most Megop fictions, Optimus has to fight back the urge to continue the war as he is used to, and step forward to “see” and “move” Megatron— understanding him, reaching out to him, loving him. Many people take “fighting on with the villains” as a braver, manly act, but actually stopping the conflict takes more courage and wisdom. And in the long run, it’s always a superior choice.

In short, I still think writing Megatron as the rebellious lower class and Optimus a compassionate upper class is a genius idea beyond comparison. They’re bound to be different, and there’s no harm in creating separate backstories for them. Like I’ve read in an early megop novel that has become a classic: “I’m here to do things you wouldn’t, so that you can do what’s right.” (Megs to OP)

In my own impression, Megatron is a radical revolutionary, and Optimus is an idealist reformer. The two carry different aims and functions in the plots, their values contradict and supplement each other, and so when they’re finally united, sitting down and listening to each other, their unity is incomparable.

[satsuha]

i'm always really interested in how the characters call each other in japanese games, so i laid out a few differences between the japanese and english versions of some ace attorney games that particularly interest me. this isn't meant to be an exhaustive list but it did get really long 😭

i highlighted english nicknames/etc in blue while japanese nicknames/etc are orange just to make reading a little easier

AA1-2

while only playing the english version i liked that maya called phoenix nick, it's a nickname that makes sense and phoenix is annoying to say and write anyway (lol) but the reason maya gives for this nickname in english is that it's what larry uses for him, which pales in comparison to maya in the japanese version opting for how mia used to call him: naruhodo-kun.

to me, this is a LOT more meaningful and informative than the english nickname because it not only is evidence of how much maya heard about phoenix from mia using that nickname, it also gives us a glimpse of maya's personality and her relationship with phoenix. -kun is an honorific that's usually used for either male classmates or for teachers/superiors to use with their students/subordinates. maya falls into neither of these categories with phoenix, but it also lines up with how she acts like the boss of the office a lot of the time. SO LIKE... ultimately the nickname nick just does not hold up in terms of both maya's reasoning for using it, and phoenix's apprehension at her calling him that... which i just think is a shame!! in the same vein, this nickname is passed down to pearl, and again you see phoenix having a Reaction to it which makes sense considering it's funny that a kid is calling him naruhodo-kun...

i don't only want to talk about changes in english that i don't prefer, so i also want to mention that i'm very impressed that they managed to get phoenix and edgeworth referring to each other by their surnames in english to sound natural... because it's also exactly what they do in japanese except there, the idea of male friends using their surnames with each other is a very very normal thing. i AM torn on the fact that in japanese larry also refers to the two of them by their surnames, which means all 3 of them are on equal grounds in that respect. AT THE SAME TIME... english makes larry's "nick" and "edgey" work so well that i really can't say we missed out with this localization, but i do like the relationship between these 3 so i do like that the japanese is indicative of it too :)

AA4

i'm skipping ahead to aa4 because trucy's also a very interesting localization to me... the first time i played aa4 i felt like trucy wasn't sufficiently differentiated enough from maya's character which is like. debatable but those were my initial thoughts anyway. in japanese though she uses third-person pronouns (calling herself by her own name, minuki) which is VERY distinct from maya. there are a number of ways to interpret this choice but i like the one that indicates that it's part of her stage persona. aside from that though, she also has a very normal nickname for apollo (odoroki-san, with -san indicating general politeness) while polly is um well canonically the name of a parrot LOL

i do find it pretty interesting that the above exchange is the first instance trucy uses the polly nickname, because it's entirely different in the japanese version. phoenix says "if this onii-chan over here can't help you..." to which trucy responds by saying "how could you, onii-chan!" this exchange is hilarious to me because phoenix referring to apollo as an onii-chan is pretty normal? it's common to refer to any young man as that and in this case he's also referring to apollo from trucy's perspective. but trucy DIRECTLY calling apollo onii-chan (brother) is just so funny because HERE it's a lot closer to how an actual younger sister would refer to her older brother; there's a difference between saying "this onii-chan" and just "onii-chan". now i'm not saying this was direct foreshadowing because onii-chan is also used between close friends/acquaintances but like... the possibility is there.

AA5

now onto simon because i don't actually have a problem with the localization making him a british weeaboo i think that's really funny but i DO wish the nicknames he uses for the defense attorneys were more... appropriate? the honorific -dono that he uses in english does complement his samurai look but it's usually used in contexts where there's some respect involved, which is... not simon's intention in japanese. i'm admittedly not too familiar with the nicknames he uses in japanese; he uses "[kanji] no ji", while using a kanji from phoenix/apollo/athena's surnames. by searching it in japanese, i'm finding answers that it was medieval slang used by men usually in red light districts and such, and was used to refer to those with equal or lower status to oneself but never to those of higher status. this is kinda the opposite of what -dono is which is used for those of equal or higher status!!

i also find it pretty amusing that despite him using the first kanji in phoenix's name; 成 (turn into, grow), he uses the second kanji in both apollo and athena's names; 泥 (mud) and 月 (moon) respectively. i can only imagine that he did this because the first kanji in their names; 王 (king) and 希 (rare, hope) respectively, were too positive/complimentary for him? LOL

AA6

now i want to to talk about apollo in aa6 because NNGNRHGH i'm not normal about this one. because like, similarly to what i said up there about phoenix, edgeworth and larry's relationship, it's completely normal for close male friends to use their surnames with each other. phoenix, being apollo's boss, refers to him as odoroki-kun (mirroring how mia and maya call phoenix). trucy uses odoroki-san, indicating general politeness and athena uses odoroki-senpai, because he's her senior in their workplace. clay uses odoroki (no honorific), which is the same "level" as phoenix/edgeworth/larry's relationship.

a male character never being referred to as their first name is pretty normal, which is also the case in the aa games. franziska calls edgeworth by his first name reiji which is SUPPOSED to stand out because it's notably impolite/informal for someone who is younger than him, which suits the idea of her thinking of herself as the elder sibling. for additional reference, phoenix is only referred to by his first name by dahlia/iris; ryuu-chan ("feenie" equivalent) and desiree; ryuuichi-kun ("nicky boy" equivalent). so apollo is referred to exclusively by his surname, because there isn't anyone who's associated with him who would feasibly use his first name.

THAT IS. UNTIL we meet datz who is the first (!!) character to use apollo's first name in japanese. this moment doesn't stand out in english because i KNOOWWW datz uses the AJ nickname which is very cute but he doesn't actually use that nickname the first time he indicates that he knows apollo in case 6-3!! phoenix's momentary confusion here is also explained because while he obviously knows apollo's full name, he's never heard anyone refer to him with it!!!

so phoenix's thoughts in japanese here were originally "housuke... wait, that bracelet! that's odoroki-kun!"

dhurke and later nahyuta (during the last moments of the 6-5 trial) also refer to apollo with his first name, which is... really nice!!! they're family!!!! i mourn the fact that this distinction isn't visible in english because most characters just call him apollo but it's special in japanese... it's only dhurke, nahyuta and datz who use his first name.... i'm normal i promise

funnily enough i sort of have the opposite issue with nahyuta, who is generally referred to as prosecutor sahdmadhi in english but nayuta-kenji (prosecutor) in japanese. i'm assuming this is because his name is written with his given name first unlike japanese names, so they just used his given name instead of his surname...? unfortunately we don't have an example of any other foreign prosecutor as reference (i'm excluding van zieks here because they DO use his surname but it's also an entirely different time and place) but i prefer the english here since it also makes it stand out when apollo, dhurke and datz (with yuty hehe) use his first name with him.

but then again... rayfa also refers to him as prosecutor sahdmadhi in english, but just calls him nayuta in japanese. there aren't a lot of characters rayfa refers to by name but generally she's either overly polite (with ga'ran and inga) or overly impolite (with phoenix and apollo). it makes sense that the way she calls nahyuta is a little unique, since he's of lower status than her but not enough to get a rude nickname fdjhja... and then of course at the end of the game she tries to call him onii-(chan? san? sama? we just don't know) which nahyuta interprets as oni (demon) i think the localization here is really impressive actually. they somehow managed to seamlessly fit braid head into the mix of barbed head and horn head (both nicknames that refer to their hairstyles) while braid also begins with the same letters as brother... anyway i think i slightly prefer that rayfa (and ga'ran) call nahyuta by his first name rather than by his prosecutor title, it's indicative of their higher status because of the lack of an honorific but by the end of the game it fits in with the idea of them all being family...

TGAA1-2

you would think that because tgaa opted to leave japanese honorifics in the dialogue that there wouldn't be any differences in how the characters refer to each other but there are... first of all kazuma and ryunosuke are once again male friends who refer to each other by their surnames without an honorific in japanese, but the english has them use their first names with each other instead. i can understand this change because characters using only their surnames with each other feels oddly distant in english, and while it worked for phoenix and edgeworth's relationship it definitely doesn't suit kazuma and ryunosuke's.

additionally, the way susato calls ryunosuke was also changed from naruhodo-sama to naruhodo-san. this is... also an interesting change since it requires the player to have some basic knowledge of japanese honorifics but for some reason decided to change it anyway, despite the fact that susato also uses -sama with kazuma... one thing to note is that susato does use kazuma's first name instead of his surname like she does with ryunosuke, which helps indicate their closer relationship despite her still showing respect with the -sama honorific. in that sense naruhodo-san feels like an interesting middle ground because she's still using his surname but doesn't seem to view his position with her as equal to kazuma's? i assume that was the intent of the localization, similarly to how the way kazuma and ryunosuke call each other was changed to indicate closeness to the english-speaking player

--

anyway while i do prefer the original japanese version most of the time, my general view of original vs localization is like wow! two cakes! i might prefer one of those cakes more, but the english version usually provides enough that i like that both canons exist. because of this i can't agree with the idea that all localization is bad nor the side that believes the original doesn't matter because you're engaging only with the english side of the fandom. both are good and can reveal interesting things about the characters, story and setting!!

and thank you for reading if you got this far 🙇 i'm not an expert at japanese so i try to do my research and use multiple sources to get a better view of things, so please let me know if i got anything wrong! i also recommend checking out this post if you haven't seen it already since it's where i got some pointers on the trucy and simon segments

[petalsprompts]

Dame Margaret Natalie Smith, CH, DBE 28th of December, 1934 — 27th of September, 2024

She received  numerous  accolades,  including  two  Academy  Awards,  five  BAFTA  Awards,  four  Emmy  Awards,  three  Golden  Globe  Awards  and  a  Tony  Award,  as  well  as  nominations  for  six  Laurence  Olivier  Awards.  She  was  one  of  the  few  performers  to  earn  the  Triple  Crown  of  Acting.

“ Do  not  be  stilled  by  anger  or  grief.  Burn  them  both  and  use  that  fuel  to  keep  moving.  Look  up  at  the  clouds  and  tip  your  head  way  back  so  the  roofs  of  the  houses  disappear.  Keep  moving. ” — Dame Maggie Smith in her memoir; You Could Make This Place Beautiful (2023)

"My  wife  and  I  were  deeply  saddened  to  learn  of  the  death  of  Dame  Maggie  Smith.  As  the  curtain  comes  down  on  a  national  treasure,  we  join  all  those  around  the  world  in  remembering  with  the  fondest  admiration  and  affection  her  many  great  performances  and  her  warmth  and  wit  that  shone  through  both  on  and  off  the  stage." — King Charles III

"The  end  of  an  era  of  the  sheer  definition  of  what  it  means  to  be  an  actor.  You  created  characters  that  clung  to  us,  moved  us,  entertained  us  ......  made  us  look  within.  You  defied  the  expectations  of  age....  crossed  generations.  You  were  greatness  personified  Dame  Maggie  Smith.  'A  lady  always  knows  when  it's  time  to  leave'  [...]  Godspeed  ♥️"  —  Viola  Davis

"She  was  a  fierce  intellect, a  gloriously  sharp  tongue,  could  intimidate  and  charm  in  the  same  instant  and  was,  as  everyone  will  tell  you,  extremely  funny...  The  word  legend  is  overused  but  if  it  applies  to  anyone  in  our  industry  then  it  applies  to  her."  —  co-star  in  Harry  Potter,  Daniel  Radcliffe

"Maggie  Smith  was  a  truly  great  actress,  and  we  were  more  than  fortunate  to  be  part  of  the  last  act  in  her  stellar  career.  She  was  a  joy  to  write  for,  subtle,  many-layered,  intelligent,  funny  and  heart-breaking.  Working  with  her  has  been  the  greatest  privilege  of  my  career,  and  I  will  never  forget  her."  —  Downton  Abbey  creator,  Julian  Fellowes

"Maggie  Smith  was  a  great  woman  and  a  brilliant  actress.  I  still  can’t  believe  I  was  lucky  enough  to  work  with  the  “one-of-a-kind”.  My  heartfelt  condolences  go  out  to  the  family  …  RIP."  —  co-star  in  Sister  Act & Sister Act 2: Back In The Habit,  Whoopi  Goldberg

"When  I  was  younger  I  had  no  idea  of  Maggie’s  legend  –  the woman  I  was  fortunate  enough  to  share  space  with.  It  is  only  as  I’ve  become  an  adult  that  I’ve  come  to  appreciate  that  I  shared  the  screen  with  a  true  definition  of  greatness."  —  co-star  in the  Harry  Potter film series,  Emma  Watson

"Heartbroken  to  hear  about  Maggie.  She  was  so  special,  always  hilarious  and  always  kind.  I  feel  incredibly  lucky  to  have  shared  a  set  with  her  and  particularly  lucky  to  have  shared  a  dance."  —  co-star  in the  Harry  Potter film series,  Rupert  Grint

"Anyone  who  ever  shared  a  scene  with  Maggie  will  attest  to  her  sharp  eye,  sharp  wit  and  formidable  talent,"  on-screen  son  in  Downton  Abbey,  Hugh  Bonneville

"I  had  the  unforgettable  experience  of  working  with  her;  sharing  a  two-shot  was  like  being  paired  with  a  lion.  She  could  eat  anyone  alive,  and  often  did.  But  funny,  and  great  company.  And  suffered  no  fools.  We  will  never  see  another.  God  speed,  Ms.  Smith!"  —  co-star  in  Suddenly,  Last  Summer,  Rob  Lowe

[lyrablack1883]

Charon

They said, if you wish to cross the river Styx, you have to pay Charon, the ferryman, a single coin. Severus never actually meet Charon but he meet other ferryman during his lifetime. Men who pushed him gently into the silent of eternal night.

The first ferryman was his father, a muggle who hated magic and himself. To cross over, Severus pay him with his childhood. He remembered the belt, the stings of cold winter, the hunger and the sound of rats running around the alley. But it wasn’t enough. The second ferryman was a beautiful boy with silver eyes. To cross over, Severus continue to pay him throughout his teenage years. He remembered the stings of hexes, the humiliation, and the wetness of his robes clinging to his body as he was drop into the lake. The ferryman then deliver him to the wolf. But it wasn’t enough.

The third ferryman was a man with red eyes and charming smiles. The ferryman told him, he understood his suffering, and gently, he marked him as his own. To cross over, Severus pay him the one thing he ever loved. He remembered the anguish, the regret, the stain on his arm, and the never ending crucio. But again, it wasn’t enough. The fourth and final ferryman was a man one step before d3ath itself. To cross over, Severus pay him with the only thing he had left, his soul. He remembered how the ferryman’s body falls, the way his last word was of him begging him to end it. With this final payment, the third ferryman approached him and in turn will deliver him to his final rest. However again, it seems it wasn’t enough. As the boy with silver eyes, took both of his hand, together they ran and the boy rowed them back into the opposite direction.

(I genuinely forgot what I was going for the first time I had the idea, so above is just the general idea of Severus and his connection with men who controlled his whole life, who he paid dearly for every stage of his life, and after, at the end, he was finally rewarded with death, except I don’t want his story to end like that, so Sirius here had the role to bring him back, you can view him here as a ghost or alive [where he didn’t fall into the veil], why him especially? I viewed these two as characters who lived through the same hell, the type that goes “you put me through this hell, so I’ll drag you down here too” but also “you and I went through the same hell, I managed to get out, so I’ll do anything to get you out with me”) [according to the extremely biased characterization in my head ahaha]

The age of these characters portrayal is set during the time Severus felt closer to death because of them. Tom riddle in his 50s when he killed lily, Tobias in his 30-40s when Severus still lived with him, Sirius in his fifth year when he sent Severus to werewolf!remus and dumbledore in his 150s when he asked Severus to end his life. Since this was also done from Sirius pov, Severus here is also portrayed in his fifth year except for the last panel where he is portrayed a moment before his supposed death at 38.

This was loosely inspired by the song ‘Achilles come down’ by gang of youths and this wonderful fic two sides by blue_inking and Zain