#q's being answered

[ganondoodle]

(OC Lore and design time!)

(it got longer again ... sorry ... idk how to make things short, i just need to talk, but i guess if you can read the written stuff in the pic thats the barest bare bones of what i wrote here)

i was asked what new lore story stuff i had thought about that made me sad which i mentioned a bit ago, and while that is too hard to explain given all the missing context i thought i could at least talk about lore having to do with it :D

so, (Lord) Eadrya is one of my fav OCs (big blue lad, here a rough sketch in humanoid form) they are both one of if not THE most powerful demon alive and the most battle trained;

at the mid point of the story the demon world gets invaded by the celestials (the angel inspired things i talked about in the previous lore post with Xaror) and Shargon, as the king, should be their first and only frontline, but at this point his life is only being sustained by maschinery after being mortally wounded, he cannot fight (he realizes what is going on, rips himself off the maschinery to get at least his youngest child to safety, barely managing it before dying- the guardian, the demons god, takes over his body to attempt to fight against the celestials but cant keep itself alive long enough since its host is already dead) Eadrya takes the role of the frontline fighter (despite being very full of themselves and aggressive they care about their 'job' of protecting their own, also giving them the chance to show off just how strong they are); the fight was going well for them all things considered, but when the guardian activates it drains the power of all elemental lords (which Eadrya is one of, and since they have the most strength it also takes the most from them), so much so that they lose the fight and suffer deadly wounds (the worst being a spear through the chest made of a material that grows hard, root-like formations when in contact with demonic blood like a fungus but worse, also stopping any self healing processes) after the guardian falls apart it creates a huge shockwave of energy that stuns every living thing within a certain distance and possibly more-

Eadrya (in true demon form, so like a blue whale in size at least) was likely taken through an active gateway to the human world in a large tidal wave also created by the guardians fall; they wash up in the harbor of a small secluded village, the head of which is 'lady 13'; although never having seen a demon before and everyone being afraid (largely thinking its a strange hurt animal, only she suspected otherwise), they still gather all villagers to pull out the celestial spear, which is diffcult and brutal given that its already taken root, but the village lacked both knowledge and means to help any other way- doing so damaged their heart which is how they were able to collect samples of all three demonic blood types ('normal' -red like humans-, energy -essentially purely magic- and heartblood -highly concentrated energy only found within the heart of a demon and the only one to contain genetic material) (this is the start of Eadryas character arc, having to deal with the fact that their world is likely destroyed, them failing what they didnt think they could fail, having lost a battle so badly (even if not really their fault) for the first time and not knowing if literally anyone else has survived .. also being now stuck in the human world, which they dont like)

Lady 13 (placeholder name? stands for experiment 13) is a human that was tricked by demon hunters to enroll into a series of experiments trying to create hybrids of demons and humans, which they hoped would be powerful and easily controllable tools for their endeavours, though the two are inherently not compatible, they tried grafting body parts of demons on humans to make them compatible- all experiments failed except for her, more or less, though she never got to see the hybrid she carried and was then told it had died too, they threw her out believing she wouldnt survive much longer either and all such experiments were cancelled due to the high cost of human life, research material (demons are still rare) and upkeep with no successful results Lady 13 survived though (perhaps even via the pirates picking her up?) and she ended up living in said small village far away, hiding her half demonic body, though most know there soemthing 'wrong' with her (her being this tall when it doesnt fit the rest for one), only few know the full extent; she enjoys the life she has now, perhaps on the more poor side but safer and more loved than ever before; she largely lead the efforts to try and help Eadrya when they ended up in the harbor, though there wasnt that much anyone could do it was still enough- they leave immediately after waking up, but return after really having nowhere to go and struggling to deal with everything that has happened; over time (probably years) they start to open up towards the people there (though not .. very much) enough to get rather close with Lady 13 too- she actually falls madly in love but after Eadrya (extremely aro/ace) rejects all her attempts quite clearly she respects their boundaries

However, after hearing news of potential demon sightings Eadrya decides to leave in hopes of not being the last demon left after all; Lady 13 then decides to reveal her secret to them (though hearing and seeing what lengths hunters would go to for their experiments makes them absolutely seething with rage- she insists on not being out for revenge) and asks if they would be willing to donate a small amount of heartblood; shes always wanted to be a mother but is now incompatible with humans too- through things she picked up back at the experiments facillity, hers and her doctors research she is sure that is all that is needed, she dares to ask since she does not know when, if ever, she will meet another demon, much less one she could actually trust enough for this though Eadrya hesitates (why would she want to go through the same thing again that didnt work and threatened her life, if it does work, do they want to be involved with any of this? what if hunters find out it worked after all?) but after her ensuring that they would have no part in it other than giving up a little blood and would not be considered a parent in any way, nor made responsible for anything that might happen to her, but considering it all in the end they agree to it

only for her to reveal shes had a small bottle of it already, along with multiple samples of the other types, which she collected when Eadrya was bleeding out into the harbor not knowing if they will survive, though not wanting to make use of it without their consent either way (they are actuallly rather touched by this)

alot later the main group returns here and it turns out to have worked (though she is unable to walk/bedridden for a long while bc it did alot of damage to her body, which can heal since its demons parts, but only really slowly bc she does not have a full functioning system and no demonic blood of her own -she uses the other samples for the healing process-) though its a little awkward to explain, especially considering that 13.1 took alot after Eadrya xD (their theory as to why it worked so "well" that time is that even though the sample was already taken, them giving their consent for it still made it less likely to be rejected; demons dont need partners to have offspring, and all can do it, they just have to decide to- so them agreeing to it, even though its long been outside their body, still had an effect on the blood sample)

[tomfrogisblue]

ok but hideduo enjoyers

can we appreciate the fucking wild character development of how q!fit used to be unable to even admit he thinks q!pac is attractive, to today's events where he wrote That Sign about "kiss, marry, kill" today?

[badnewswhatsleft]

2023 september - rock sound #300 (fall out boy cover) scans

transcript below cut!

WHAT A TIME TO BE ALIVE

With the triumphant ‘So Much (For) Stardust’ capturing a whole new generation of fans, Fall Out Boy are riding high, celebrating their past while looking towards a bright future. Pete Wentz and Patrick Stump reflect on recent successes and the lessons learned from two decades of writing and performing together.

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

PETE: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era. PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

You seem generally a lot more comfortable celebrating your past success at this point in your career.

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome. PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do. I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

On ‘So Much (For) Stardust’, you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other… as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time has passed as people but the four of us got on better so we had more to bring to Neal. PETE: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little but scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing. PATRICK: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everyone liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. PETE: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it.

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I  remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise that the fans over there are real fans of music. It’s really awesome and pretty beautiful. PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour… PETE: This is why me and Patrick work so well together (laughs).  PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen.

[wundrousarts]

I wonder what sort of role the members of 919 will be fulfilling in later books. Currently I'm thinking of Mahir, and how his linguist abilities might help with the mystery in Silverborn- maybe he might use his abilities to translate a message of some sort? I don't even know, I'm just excited to see more of the other members.

There is an interview or Q&A SOMEWHERE where Jess talks about how each book sort of focuses on or highlights a different 919 member. I feel like Wundersmith was Lam and Hollowpox was Anah.

I want to say that Silverborn will focus on Hawthorne since we know it’s going to explore the dragonriding world more, but I have two concerns:

1. The “HAWTHORNE??!?” redacted message makes me think something is going to happen to him, and some of the Neverfour emojis are giving hospital and “get well soon” vibes so he might be injured and I don’t know how much he’ll be around. He’s still going to feature somewhat we know though, because Jess mentioned how he was the funniest character to write for the book. His personal knowledgeof the dragonriding world might also be helpful if the “murder mystery” happens at a dragonriding tournament, which I think it will.

2. In the same vein, we know that Mog and Cadence “spend quite a lot of time together in this one out of necessity of the things that are happening in the book”. I am thinking that this means that they will be detectives together, investigating the mystery (mysteries!). If Hawthorne is out for the count, it makes sense that Mog would turn to Cadence for help.

So I don’t know who Silverborn will focus on and I am ready to be surprised. Same for all of the future books!

One idea for Mahir specifically could be related to that part in Hollowpox where Squall hijacks Mog’s powers and she finds it weird to “listen to her own voice speaking in tones and languages she’d never heard before”. IDK what that’s all about but as Mog continues her Wundersmith journey I think that is totally something Mahir can help her out with!

[sabh0]

Is skk abusive? Other than the name calling and banter that I just don't take seriously, I've seen people say that Dazai is abusive since he planned for Chuuya to be tortured in stormbringer and didn't help because it would be boring, despite having the ability to do so. There's also the whole manipulating the sheep thing.

I've also seen people say that Chuuya is abusive because of how violent he is, how he punched Dazai to wake him up in Dead Apple and called him inhuman(? Ngl, I don't remember that part) and because Chuuya shot him more times than necessary in Meursault.

Personally, I struggle to see them as abusive r toxic, if only because of how much they trust and understand each other, and how they rile each other up for fun without letting it actually impact their relationship, but I may just be biased? What do you think?

Ok im just gonna say - dont take this post ad some 100% real wisdom or anything. It's just my personal opinion and it's definitely biased as well because of how much these two mean to me but yeah

I wouldn't call them abusive in relationship terms because all that banter and most of their fights are just, as u said it, unserious.

They're both fucked up a bit tho, so yeah there's definitely some toxic behaviours anyway.

Dazai manipulating Chuuya to join the sheep always made me real sad, but if you think about it more - Dazai knew The Sheep aren't any better for Chuuya. Plus if not like this, Mori would get Chuuya to join PM anyway in one way or another, since it was a plan from the beginning.

Dazai planned the whole 'helping Verlaine' thing to buy time so the PM forces could get ready to protect Mori and Chuuya later. That's mafia they're in - lives are not equal. Also Dazai wouldn't put Chuuya in danger he knew the other wouldn't be able to deal with. Either way, his whole yapping about wanting to see Chuuya being tortured is yet again that stupidly weird banter of theirs. After all, he's trying to find him and literally stop him from doing something he would regret. (Sab is trying to make some points but that still doesn't make whatever Dazai did something good. Just sayin. I just don't feel it's a black or white situation.)

I said it some time ago but lord, Chuuya is not abusive. Look, he knows when it's alright to fight Dazai and when he should stop himself not to hurt him. Even if they fight, he never does it seriously. Basement scene? He could've very well just punched Dazai without warning there. But instead he literally invited him to fight - and Dazai very much agreed to that sht with a smile on his lips. They're just very much not okay in the head on both sides. Later when Chuuya actually got angry, he himself threw his knife to the ground, which only shows he doesn't really have any intent of hurting Dazai seriously (In the manga. In the anime they changed it for whatever reason and he did strike him with the knife. But anime skk is just. Anime skk.).

That Dead Apple argument is so funny bc??? Chuuya was literally UNDER CORRUPTION AT THE TIME??? Corruption literally makes him lose control. He could kill a person with one touch. Instead??? Corruption Chuuya in dead apple somehow managed to hold himself back just enough not to actually hurt Dazai. Also, Dazai f knew he's gonna punch him anyway. I mean, bro kinda deserved it atp tbh /j

Cant really tell much about the shooting thing in Meursault - i stil have no f idea if these were even real, considering the fact Dazai is moving normally and there's no wounds/holes/blood visible on him or his clothes. These were probably just a play like the whole headshot thing?? (Tho dazai's scream and expression after that arm shot say otherwise),, really don't know, call it a better impression on Fyodor or Chuuya actually paying Dazai back for the other times

Ok so ,looks at all that sht i just wrote and tried to still excuse it somehow, I wouldn't call them abusive anyway just bc I've seen actual abusive relationships in real life and that's just uhh different in a way i cant really put my finger on,, there's some toxicity simply from the fact they're emotionally constipated and won't talk things thru like they should but,,, welp. Tbh i see most of their usual fighting as something unserious that both of em r okay with. Usually when they actually get into an argument about something it's because one actually got hurt by the other's words (for example that scene with Chuuya punching Dazai after he made jokes about Colonel's death). And they apologize without really apologizing, too (Dazai going to find Shibusawa and trying to take revenge on Colonel's death and later Chuuya going to rescue Dazai and saying to 'wait for him').

Unpopular opinion but i honestly feel that in the future they could very well form a normal, healthy relationship. They just really need to talk. Bickering and calling each other names for fun isn't imo really a form of abuse, when both sides know it's not meaning to hurt the other fr (if it was, then me and most of my friends would be fr abusing each other unfortunately) (and I don't feel abused even if we call each other names and say we hate each other, while watching cat reels together at the same time) (consider this some sibling-like stuff)

If nothing of whatever i just said makes sense, don't eat me please, it's just really hard for me to explain what i really think without being able to just talk for 5h straight while considering every ppint of view

[tiredofsatansbullshit]

do u think jason todd would be a good teacher and follow up question, what do you think bruce's reaction would be if he learned jason was actually alive and an english teacher in park row (au where jay became a teacher instead of red hood)

OOOH, OKAY (thank you for this ask, it's given me so many ideas)

Jason gets his GED, enlists in a university at 17 and gets his qualification to teach at 20 and so by 21 he's a teacher at Park Row High. He primarily teaches English but is also the cool teacher that students go to for anything an everything, especially because of how young he is. He occasionally helps out with gym class and takes part in a lot of school events.

Jason enjoys teaching so much and has gotten so many compliments on his teaching style and how it helps students and so he decides to offer tutoring on the side, both for high school and university students.

Stephanie Brown, recently enrolled at Gotham University has been struggling with an English essay (a course she took because she thought it would be fun) and decides to contact the English teacher from Park Row High for tutoring that everyone has been talking about. This leads to them becoming friends and Tim, the stalker that he is, gets suspicious of this tutor Stephanie has befriended, and immediately digs into the guys background, leading to a big reveal eventually that Jason Todd is alive, and a teacher.

Bruce would be so happy and proud. There probably would be a part of him that's relieved that at least one of his children is not a crime fighting vigilante anymore. Bruce would be fully supportive of Jason's career and would probably get a copy of Jason's teaching certification framed and put up in his study

[statementlou]

hello :) could you maybe explain a little bit how dan wootton blackmailed louis?

ugh sorry for taking a while to get to this. The problem is I feel like the only two ways to answer this are by spending a week and a half of full time labor sifting through old posts and evidence to get every detail right and lay out an airtight case, or to halfass something very serious, and so I felt a little stuck. So since I can't seem to find a good halfway point, apologies but here is the half assed version, if you want to get into it more I invite you to do your own deep dive or talk to other people, but here's how I remember things. Louis has almost never on video explicitly said things about Larry not being real and/or anything negative about fans and their theories (mostly the opposite), up until the last couple years when he obviously decided to make a major change he didn't talk about Freddie much at all let alone saying he was his kid, honestly not that much about Eleanor even; except for in two major interviews with Dan Wootton, each of which lined up with a serious traumatic Tomlinson family event that they managed to keep out of the tabloids until the very end (Jay's illness and Fizzy's struggles with substance abuse). After the fact of those events a lot of small things that didn't make sense at the time came together to look very much like Louis traded those interviews (and those answers) for having his family's private matters kept private. Story trading of this kind is a publicly known real thing that happens, and there were various clues that suggested he was being leaned on about those stories to lend legitimacy to the idea that it was something that happened in these cases. Given what we know about Dan Wootton and how he operates even before the recent flood of information and even more now, I think it's more than likely that he has been holding the threat of outing Louis (as he has done to many other public figures) over his head for over a decade, and has used his family's tragic struggles to get Louis to dance like a fucking puppet for him and I will REJOICE at his downfall when it comes whether it is now or 20 years from now... because someday it will, he has made too many enemies to stay above it forever

[raelis1]

As someone said, CW stands for Continuity Whomst?

[brisquad-unit-4402]

when that wilson enemies to lovers fic is posted, TRUST that i’ll get out my snacks and drinks while lounging on the couch to read it like i’m watching a movie in theaters 🤞

omg hi celeste. here take this except (body horror + insect warning)

[Wilson] had met you by circumstance. High-value jobs tend to target the same people, since their influence was seconded only by their value. One moment he had busted through the vents only to find that his target already died, a space on their neck turning pale blue from a poison bite. Then the next he felt the wind get knocked out of him as he was slammed against a wall with his feet in the air. The person that pinned him had a cloth face mask on their chin, and above it, insectoid mandibles writhed at the jaw, frothing with the cause of his target's death.

Wilson screamed, of course. Who wouldn't? Especially when he realized that only one arm held him in place even though he was paralyzed. It wasn't even an arm; hundreds of segmented legs held him down as a gigantic centipede body took place of the limb.

"I was instructed to kill a politician, not a bodyguard." The clicking mandibles melted into flesh, but you raised your mask before he could make out any of your features. The only thing he could see was your hair and eyes, thankfully human, though they shone with facets of compound eyes and the iridescence of an insect magnified. "I must offer a discount to my client for not following their criteria, but selling your organs will make up for the loss."

"Nope!" Wilson blustered, suddenly feeling very protective over his liver. "I-I-I also was supposed to kill them, but lucky me, it's already been done! Guess I'll…" he trailed off as the centipede legs inched up his neck and onto his face.

"...I'll go home?" He pleaded. He blinked owlishly, mustering up the best puppy eyes he could, and silently thanked his lucky stars his goggles were on properly. If those legs got any closer to his eyes he'd really start freaking out. "Please?"

You stared back at him unamused. Not that he could tell, considering the mask obscuring your face. "You got a name? One or two kidneys?"

"Yu Q. Wilson! I'm a hitman, and I think my client wanted them gone because they're political rivals, and it's really rare to work in this industry without selling a kidney along the way so please don't take mine, I like having them both—uff!"

You flicked your centipede arm away. Wilson crumpled to the ground, having lost his breath a second time. He held a hand to his chest to still his beating heart, especially since he was only a few feet away from the politician and the poison dripping from their bite.

"Our employer is an idiot," you say curtly. "They pay two separate assassins an upfront fee, and one of them doesn't even value their privacy."

"Hey, I do too value their privacy."

"Then you made a mistake telling me a single detail about them. Get up."

Wilson remembered how to walk at your command. He stood up, resting a hand on the wall, still affected by the shock of a centipede-person nearly biting his head off. "Wait, none of the alarms have gone off. There's supposed to be security checking this area soon, especially since I screamed."

"Then leave."

He opened his mouth to respond but failed to speak as you fell straight backward. The hitman reached out to grab you, but you've disappeared right before his very eyes.

Wilson stood there, the room turning acrid with the dead body and its poison, and no trace of the insectoid assassin. On cue, he bristled. Footsteps approached the door.

He scrambled back up the vents, shutting the grate behind him with a slam, not even noticing the spider that perched on the sheath of his sword as he rose, waiting for its opportunity to breach the surface in the dead of night as a killer is wont to do…

[longelk]

between kaycee's avatar constantly wearing the ring and her ebay user being leshys_gurl i have a fierce desire to know if these are intentionally pointing towards leshy and kaycee have feelings for each other yet i would rather explode in the kiln than email the dev a shipping inquiry so here im just sitting here

[pupstim]

I love that Baghera out of all the French streamers is also a bebou protector but she also told Forever to just let Bad steal things. Like she said that he didn't steal off the furniture ofc but at the same time she was like "Look at him, he's just a silly lil guy let him steal furniture, he's just silly and you can make it so easily" BBH truly has bebou privileges with the French

[madaqueue]

QUINN i love youuuuu you always make me smile, big congrats babyyyy!!!! <333 can you feel my kisses rn?? also how are youuu!!!!!!

HIIIII ALBAAAA MY SWEETHEART!!!!!! I LOVE YOU THANK YOU i saved this message for when i got home bc talking to you gave me something to look forward to :’) my day was GOOD except i almost fell asleep in class HAHAHAHAHAHA but rn im watching cartoons n playing w my cat :) how are you !!!!! how was your day????? kissing you back SO much!!!!!!

[zeb-z]

Foolish and Cellbit lore makes me crazy because their characters are very much influenced by the entities they each have chosen, and it comes in to play in key moments. It influences their desires and their actions significantly.

Foolish, who makes sacrifices to the Chaos entity constantly. Who is his usual silly, impulsive self, and then takes it a step further, thinking ‘what would Chaos enjoy?’ Not looking twice before jumping, living and thriving in chaos and unpredictability, even if it is at the cost of his health and well-being. Especially if it’s at the cost of others. He tries to play each side of the conflict, sometimes for whatever will benefit him directly, the rest of the time just by seemingly flipping a coin and going one way or the other for shits and giggles. He starts conflicts and he fans the flames because he wants to see the fallout. He leans into the chaos without a second thought.

Cellbit, who’s a little more subtle, but the effects are still there. He cannot find a single thread on the island without having to find the other end. He takes on the problems and mysteries of everyone else on top of his own. He keeps back to eavesdrop at any opportunity when he says he’s leaving a conversation. He digs his grave as a double agent in the federation, not only to sabotage, but because he cannot stand the idea of a mystery being out there that he can’t figure out. It costs his sanity, it costs his time, it gives him gray hair and puts him in constant danger, it piles on so much work and responsibility on him, it’s a large part of why he feels so alone on the island - and yet he wouldn’t have it any other way. Because who else would know what to do in the face of such puzzles?

The knowledge entity pushes Cellbit to seek that knowledge, damn the cost. His biggest weakness is that he cannot let anything lie - he has to solve whatever is put in front of him, because he has to know, it doesn’t matter what or why in some cases. Just as Foolish is always pushed to leave things to chance, because the unpredictability is exciting, enticing - even when the answer to a problem is obvious and he could easily take action to get the best known outcome.

[lazysunjade]

List 5 facts about a favorite character of yours, and send this to 10 simblrs whose sims you adore ♥♥♥

I'll play to the player then ;)

He is a bit of a tea connoisseur, though he'd absolutely never admit it. His favorite is Jasmine. Kaizen will often gift him with teas, both forthright and anonymously, as he knows it's the one thing Xiao can't refuse.

He is renowned for his swordsmanship. His skills are considered legendary. However, he loathes to use them against human opponents. He was conscripted in war many hundreds of years ago and deeply regrets his involvement. He won't talk about it to anyone (and no one is alive who remembers what really happened) but the legend goes that he defeated an entire army single-handedly. Whether it's truth or entirely fiction is up for debate.

Despite his skill with a blade and immense spiritual energy, he actually sucks at hand to hand combat. A weakness he's never been able to make peace with.

He dislikes most animals. Especially the idea that anyone might keep them as house pets. He does enjoy birds, to some extent, however.

He very rarely speaks more than necessary. He is very clipped and curt in reply. People who aren't familiar with him think him rude or arrogant. There might be some truth to that. He just doesn't find anyone worthy of having conversation with. Almost accidentally, the person he finds most interesting in conversation is Kaizen. Again, he'll never admit it, but it's obvious from the way the former manages to get more than five words out of him at a time.

[yellowocaballero]

"Come back to me when your work has invented new genders in the all-encompassing pursuit of toxic yaoi." so what do you think of omegaverse...

WHY WOULD YOU ASK ME, A NARNIA BLOG, THIS