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destinyc1020 · 8 months ago

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I dont care about timothee tom comparisons thats whatever, but defending cherry is wild b/c take away the acting for a sec but from technical / filmmakers perspective, cherry was poorly edited with blatant mistakes, a movie that is visually bland with poor choices in terms of cinematography and choices that make no sense to the plot that ultimately is like take a step back and think of film as more than just actors on screen. Script that is littered with sterotypes. A movie that was supposed to cover a topic like the opiod crisis but never once does anything with it nor has any meaningful conversation about it. The first part talks about the linkage between us imperialism and ptsd only for the russos to completely drop the critique of the us military mid way through the film there is literallly a lack of cohesion of what it wants to say b/c the script is muddled and unfocused. No movie is perfect but if you are not even open to actual critiques of the film is wild, is film that has potential but its poorly constructed with numerous plot holes and under developed themes. Its style over substance in this case style lacked any thematic purpose rather its used to tell the audience " hey look we can make an independent film" and visual style is never justifeid. Acting is subjective but I tend to argue that cherry blurs more into the realm of overacting, a more talented director would tell tom to control and to hold some things rather than go all the way to 100

the last 30 minutes border more on parody rather than being an honest representation of someone who is a addicted to drugs struggling with ptsd and geographical/ socio economic displacement. The best scene was him in the hospital after that it blurs into over the top hyper realism and fouth wall breaking which tom struggles constantly throughout.

Like Im sorry why are unafraid to engage in critique, tom is a great actor but cherry was all over the place in terms of acting. Like whenever someone critques him you and your anons are quick to dismiss it and say can people think for themselves well here you go I thought for myself its so dismissive and condesending when you think people do have opinions.

Timmy tom comaparisons are dumb, they go after different roles, timmy has admittedly has had more critical success but as that anon said he knows what works for him.

Tom is a great actor and shines in alot of his movies but his films outside of his performance do have flaws and alot of them are technical such as poor visuals ( uncharted) and mistakes in the editing room ( infinity war, end game) under developed script ( TDATT).

This isnt reserved just for toms films but timmys films as well. You also undercut timmy, you said I want the person with range as in tom but literally timmy, austin, zendaya, florence , anya , keke palmer, kelvin harrison, daniel kuluyaa,dev patel like the list goes on of people with range, I dont understand what you mean when you say range like do you just watch tom holland films or something 😭😭😭 i dont know how you can convincingly say one actor as more range than another based on what. Lee, Elio wonka, paul, king henry, yule is a diverse subset of characters, in the same way that arvin, cherry, peter parker, billy elliott are diverse characters.

Wow...This was a LOT Anon. I see you've already written a dissertation, so I'm not going to add on to this by writing a dissertation of my own. I'll just pick from a few things here and there.

but defending cherry is wild b/c take away the acting for a sec but from technical / filmmakers perspective, cherry was poorly edited with blatant mistakes

What mistakes? Can you list examples?

a movie that is visually bland with poor choices in terms of cinematography

What do you mean by this?? And did it ever occur to you that maybe this might have been done on purpose? 🤔 The movie is about drug addiction after all. I also disagree that the entire movie was "visually bland". Some scenes, maybe?? But I think there were quite a few visually appealing and well-shot scenes in "Cherry". You might disagree, but I felt that these shots in particular were quite nice with the lighting (imo). The Cherry and Emily scenes in particular.

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and choices that make no sense to the plot that ultimately is like take a step back and think of film as more than just actors on screen.

Again...if you provide some examples, maybe I can agree with you.

Look, I'm not saying "Cherry" was the best film ever made, but to say it was "horrendously awful" is a bit of a stretch to me.

And these might just be personal opinions? 🤷🏾‍♀️ But either way, what an actor has done in the past doesn't always equal what they will do in the future imo.

Maybe one day, a film that Tom does will live up to your expectations, but I just feel like you're being unnecessarily hard for no good reason.

You also undercut timmy, you said I want the person with range as in tom but literally timmy, austin, zendaya, florence , anya , keke palmer, kelvin harrison, daniel kuluyaa,dev patel like the list goes on of people with range,

Ummm....When have I EVER "undercut" Timmy (or any of these other actors you've mentioned above)??? 🥴 I've said plenty of times that Timmy (as well as the others you've mentioned) are great actors!

I dont understand what you mean when you say range like do you just watch tom holland films or something 😭😭😭

Okay, now I KNOW you're just trolling. 😒🙄 How many times have I talked about other movies and other actors here on my blog?? Like, literally ALL the time. I don't just watch "Tom Holland movies". 😒 If anything, I've been one who's always told fans to expand their film and actor horizons and appreciate a wide variety!

I've seen 98% of Tom's filmography though, so that's why I do feel like I have an honest view of his filmography overall.

i dont know how you can convincingly say one actor as more range than another based on what. Lee, Elio wonka, paul, king henry, yule is a diverse subset of characters, in the same way that arvin, cherry, peter parker, billy elliott are diverse characters.

Okay look, I know you're a huge Timmy fan and all, and that's okay! But I think you're misunderstanding what I meant. I didn't say "range", I said DIVERSITY of filmography. There's a difference! I never said Timmy doesn't have acting range. I just said that Tom has a more diverse filmography....and he DOES! That's just a fact.

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gayautismblog · 2 years ago

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Alrighty, introduction time!

Hello! I am gayautism! Im a writer on ao3!

This blog is so i can communicate with folks and post my fics, my drawings, and engage in fandom content!

Current fandoms: Splatoon, Demon Slayer, Trigun, Welcome Home (more of a hyperfixation), JJBA, The Owl House, Bleach, Halo, Viva Pinata, Skyrim, Star Wars (not the new trilogy) and independent work (PLEASE ASK ME ABOUT MY INDEPENDENT STUFF-)

I also will take writing requests and even possibly commissions in the future! See under the cut for details. Rules also below the cut.

This post will remain pinned for convenience. Check for updates frequently.

Rules:

This blog is 16+ and all mature content will be labeled accordingly. I will not be taking nsfw requests of any kind from minors. It makes me uncomfortable. Nsfw requests are allowed by 18+ only and will be sent privately. It will not be posted. Mature content, excluding nsfw, is permissible.. If I find out you lied to me, you will be blocked.

Basic tags and warnings will be provided on principle, but specific tags such as curated blacklist tags must be requested. I have the right to refuse ridiculous requests. If you do not like my content, you are not required to stay.

I also have the right to refuse a writing request on the basis of "This Is My Blog" and "People Can Be Weird".

If I post content you do not like, do not harass me or "critique"* me. Leave without conflict. I would do the same for you, so extend me the courtesy.

(*proper critique is accepted if its actually constructive)

Anon and submissions will remain on, until I am otherwise against the idea of them being open. Anon no longer protects you from the block button. This is a promise of reaction if you decide to be weird.

Finally, this blog believes in human rights, and as such, any hateful language or political discourse, including but not limited to current events, that is directed at me will see you removed from interaction for as long as this blog stands.

Commission rules:

If I open them, those will be posted here.

Check back for updates.

#blog introduction #gayautism #writing blog #artists on tumblr #multi-fandom welcome #writing requests #commissions (possibly)

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terraliensvent · 7 months ago

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Why are people complaining about people liking Roblox here. That isn’t even remotely close to anything related to terraliens. Let people enjoy the games they play.

Anyways so I’m not a total hypocrite I have a question, if the Terralien server and staff genuinely took a turn for the better, even if you don’t believe it’ll ever happen, would you ever consider not hating the species? Or stay on the hate train? (no offense) Just wondering.

post related

yeah i agree, there are a lot worse thing you can complain about

also i dont hate terras as a concept, honestly i dont even hate the staff. im just incredibly disappointed by how deeply thing within the species are mishandled and how constructive criticism has (in the past) consistently been tossed out because it was "too much work"

with that said though it seems theyre more open to new implementations now, and i think that if we lived in a perfect world where terras suddenly got its whole shit together i would still run this blog, since sometimes its difficult to convey certain critiques directly to a persons face, but i think id be a lot happier to be in the species

#closed species vent #terralien #closed species #terraliens #not a vent

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lordsardine · 3 years ago

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#okay so i had my first 15 pages critiqued in this writer's group and it felt constructive #like clearly it's better than the last time the agent told me the first ten pages were shit #one person gave me a brilliant idea for how to start the story -- and i think that could like. that could be what im missing #also i made a note for scenes i need to add an expand. but i like. i think we're getting there with these first fucking pages #my post recent chapter is like reaching out to me shaking just begging me to continue and instead im turning back and re-editing #*my most recent chapter #the beginning for the 6th time but that's writing #miscellaneous #like i know i have things to work on but all these changes feel tangible. it feels like im almost #there. like there are scenes finally that are solid #obvi these earliest pages are the most important too......#im gonna have to do a full re-through after i re-write this opening of my current 70k words until i can write more ...........#oh we will get past that 70k mark eventually. ... eventually..........

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attemptsonherlifepdf · 3 years ago

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fantastic mr fox: humanising animals, animalising men, and an exploration of masculine identity

‘this story is too predictable.’ / ‘predictable? really? what happens in the end?’ / ‘in the end, we all die. unless you change.’

mr fox, the titular character of wes anderson’s 2009 stop-motion adaptation of roald dahl’s children’s book, is a portrait of two conflicting manifestations of masculinity. he is built to demonstrate the crossover between tradition and modernity, between wild and civilised. characterised as a charming gentleman, almost renowned for his recklessness, mr fox combines his undomesticated instincts with a carefully crafted domestic life. he appears to spend more time manufacturing a perfect home and family than he does actually participating in it. the events of the movie serve to strip away his facade and present both the audience and protagonist with a harsh reality to deal with: the juxtaposing aspects of his identity that he must contend with in order to survive his situation. these aspects are demonstrated through the use of anthropomorphic animals. in essence, the text attempts to convey the message that while you can associate your actions with animal or human traits in order to characterise and frame them, you cannot change their value and their consequences. it serves as a critique of how the nature of male identity is exploited to shunt responsibility, and the movie specifically promotes a more collectivist mentality.

there are four key scenes that mark mr fox’s journey in terms of his identity. initially, we first see his identity openly questioned once he has moved into a new home (a large and expensive tree), just prior to him revealing his ‘master plan’ to kylie, who becomes his assistant of sorts. he asks, ‘why a fox? why not a horse, or a beetle, or a bald eagle? i’m saying this more as, like, existentialism, you know? who am i? and how can a fox ever be happy without, you’ll forgive the expression, a chicken in its teeth?’ he attributes his identity with the ability to fulfil his base desires, like he could in his youth. aspects of his later life such as employment, family, and safety restrict his ability and leaves him feeling untethered from himself. the movie opens with his youthful vibrance and recklessness, and is quickly contrasted with his dissatisfaction with his job, home, and life in general.

MR FOX

i dont want to live in a hole anymore. it makes me feel poor.

MRS FOX

we are poor, but we’re happy.

MR FOX

comme ci, come ca...

does anyone actually read my column?

having been moved out of the hole and into an expensive tree, mrs fox asks her husband:

MRS FOX

do you still feel poor?

MR FOX

less so.

constructing the ideal domestic space for himself and his family does not satisfy mr fox and he yearns for more, which is where is existentialism and ‘master plan’ come into play. domesticity was never going to satisfy mr fox, as he yearns for something youthful and risky and dazzling, adjectives not usually applied to a quiet and content home life. the consequences of this dissatisfaction are drastic and almost immediate.

soon, having been forced out of his new home and underground by an attack from the farmers, mr fox is faced with a situation he cannot charm his way out of. he attempts to apologise to his son and recite a speech to raise the morale of his family, and both of these attempts are shut down by those around him. the facade of his elaborate home, his monologues, even his suits, are abruptly stripped away leaving him with only his actions which he cannot charm his way out of. the reality is that he and his family, his neighbourhood, is stuck underground with no means of food as a result of his selfish actions. this prompts yet another key scene; his argument with felicity, which begins with her viciously hissing and scratching his face.

MRS FOX

why did you lie to me?

MR FOX

because im a wild animal.

MRS FOX

you are also a husband, and a father.

MR FOX

im trying to tell you the truth about myself.

MRS FOX

i dont care about the truth about yourself. this story is too predictable.

MR FOX

predictable? really? what happens in the end?

MRS FOX

in the end, we all die. unless you change.

mrs fox’s physical attack on her husbands face serves as a display of genuine animal ferocity, making mr fox’s claim to being a ‘wild animal’ appear as a flimsy excuse for his behaviour. his chicken theft, which he was insistent upon regardless of the consequences, was motivated not by animal instincts but a selfish desire to feel a particular version of his own masculinity. disregarding the safety of his family actually seems like a natural byproduct of his master plans because he is trying to reclaim his masculinity from a time before his family existed, and in his eyes, restricted him. the very recent loss of his tail, combined with this conversation with his wife, is a harsh reality check for mr fox in terms of the dangers of his masculinity.

the audience sees the outcome of this conversation later on, in the waterfall scene. here mr fox admits to his insecurities and suggests sacrificing himself to the farmers to save the local community.

MR FOX

darling, maybe they’ll let everyone else live!

…

MR FOX

foxes traditionally like to court danger, hunt prey and outsmart predators, and that’s what im actually good at…i guess at the end of the day im just-

MRS FOX

i know. we’re wild animals.

the difference between this admission to animalism and the one from his argument with felicity is that here, both parties gain some acceptance of their animalism without using it as an excuse for their behaviour. the inclusion of others in animalism – ‘we’re’ wild animals, rather than ‘i am’ a wild animal – contributes to illustrate how wildness is not specific to masculinity. it is not femininity vs masculinity but animals vs man.

the movie also questions the nature of an animal in the final key scene known as ‘canis lupus.’ wes Anderson referred to this scene as ‘the reason im making this movie.’ throughout the movie, mr fox alludes to his ‘phobia of wolves’ and shuts down any conversation surrounding them:

MR FOX

scared? no, i have a phobia of them!...a wolf? what’s with all the wolf talk? can we give it a rest for once?

arguably, these reactions are representative of mr fox’s aversion to competitive masculinity. he shuts down any opportunity for those around him to discuss something he sees as more masculine than himself in order to feel secure in his own masculinity. critic shana mlawski argues that ‘the wolf is described as the wildest, most frightening, and yet most beautiful creature in the world. mr fox fears the wolf and yet wants to be exactly like him. we can thus say that mr fox fears pure, wild masculinity yet also yearns to own it himself.’ the scene holds an eerie familiarity to it; mr fox is recognising something that he thought would be a reflection of himself, but the wild animal is no longer familiar to him anymore. he now accepts his role as a husband and a father and no longer fights to overtly express his animalism in the same way as the wolf. the most he can offer the wolf is raising his fist in solidarity. he calls out to the wolf, ‘i have a phobia of wolves!’, which is an interesting moment to admit this in. it’s his acceptance that allows him to admit this. the scene is entirely compromised of male characters: mr fox, kristofferson, ash, kylie and the wolf. mr fox’s admission to his fear allows him to be vulnerable in front of these people he cares about, and to use this as a teaching moment for the young boys.

MR FOX

what a beautiful creature. wish him luck out there, boys.

here mr fox openly admits his admiration for someone else’s masculinity in front of others without showing signs of his own insecurity. he can admire the wolf for what he is without seeing him as competition. the scene allows the audience to see and directly compare two forms of masculinity and animalism, and to understand that there is no one true expression of either of those traits. the wolf has connotations of violence and ferocity, whereas mr fox and his suit and display of multilingualism are entirely modern, but both are masculine animals who are valid in their own right. either way, both animals rely on violence for survival at times.

kupfer frames violence in three ways: symbolically, structurally and as a narrative essential. there are various forms of violence within this narrative, namely mr fox killing chickens and squabs, and the three farmers’ attack on the animal community. symbolically, mr fox’s chicken theft is attributed to his masculinity. while it is often presented as thought-out ‘master plans’, his desire to enact this violence in the first place supposedly stems from his ‘wild animal’ instincts. he associates a time where he felt secure in his masculinity with his actions at the time (violence). structurally, we see the potential for this violence in the opening scene, where mr fox takes his wife chicken-stealing and they become trapped. he is stuck in a fox trap with his wife when he receives the news of his impending fatherhood, a relatively obvious symbol for his view of fatherhood in general. the news of his wife’s pregnancy disrupts his ability to continue stealing chickens, not just on this specific occasion but through the coming years as well. mr fox appears to view family life as an unfulfilling, less raw expression of his masculinity, and is shown to be wholly dissatisfied with his life.

the violence on the farmers’ behalf is almost always in reaction to mr fox’s violence, already giving it a structural framing. boggis, bunch and bean are referred to early on in the film as the ‘meanest, nastiest and ugliest farmers on the side of the river.’ their violence against mr fox and subsequently the local animal community is an attempt to gain back power and status. mr fox’s actions are “humiliating’ and the local news coverage of this exchange between the farmers and animals raises the stakes as now the reputation of these farmers is on the line as well as their power. violence here serves as a narrative essential because it drives mr fox into a situation that forces him to confront his issues with masculinity and splitting between his animal and human traits, giving the text/movie a fulfilling arc. violence is

introduced as inherently masculine, but is decoupled from masculinity by the ending. mrs fox also plays a small but significant role in this; at various moments in the movie she exhibits her own displays of aggression equal in intensity to the men around her, suggesting to the audience that forms of violence should be categorised as human vs animal rather than male vs female. examples of this behaviour include her clawing at her husband’s face, and a parallel between her and a male human character wherein they both connect two wires and shout ‘contact!’, causing an explosion. while this moment is brief, it highlights a distinct difference between animals being violent and men. humans’ aggression is driven by the need for power, whereas that of animals is driven by the need for survival. the man paralleled with felicity only sparked the explosion to destroy mr fox’s home and assert the dominance of the three farmers, while mrs fox used the same form of violence to enact a plan to save her nephew’s life. petey’s song even alludes to this sentiment: ‘well he stole, and he cheated, and he lied just to survive.’

mr fox’s tail becomes a symbol of power; bean wears it as a necktie, and mr fox feels emasculated by his loss.

MR FOX

one of those slovenly farmers is probably wearing my tail as a necktie right now.

…

BADGER

i cant even imagine how painful, even just emotionally, that must be for you… oh but foxy how humiliating, having your tail blown clean off by-

MR FOX

can we drop it?

the use of the tail as a necktie is a symbol of the power that mr fox and the farmers end up jostling to achieve: at first it belongs to mr fox, then to the farmers, and is eventually reclaimed once more by the fox.

MR FOX

you shot off my tail.

[through gritted teeth] i’m not leaving here without that necktie.

when he reclaims his tail towards the end of the movie, it has been torn to shreds and needs ‘dry cleaning twice a week’ to maintain itself. this can be interpreted as a symbol for his evolved definitions of masculinity and power: his masculinity is no longer defined by impressing people or stealing or killing chickens, but in the quiet satisfaction of having a family. the final scene reveals that mrs fox is pregnant again, and instead of her glowing and her husband giving an awkward grin like in the opening scene, both of the spouses ‘glow.’ the structural framing of these pregnancy reveals bookending the events of the movie allows anderson to demonstrate mr fox’s growth and change in his priorities. the domestic life appears to be enough for him, and he no longer seems to find it emasculating,

what stands out as particularly modern about mr fox is how he unconsciously separates himself from both his wildness and his suburban self in his effort to combine them. he uses his ‘wildness’ as an excuse for his violence and selfishness, but is ultimately not willing to participate in truly wild forms of violence and selfishness, such has hunting. his chicken thefts always include infiltrating a human site, like boggis, bunce and bean’s farms, and the fun of it is in outsmarting them, rather than finding those animals himself out in the wild. the local animal community essentially functions as we would expect a rural village occupied by humans to function: everyone knows everyone, there is one local school and various small and quaint homes. while the setting reflects anderson’s signature style, it is also reflective of dahl’s framing of the community in the original text.

mr fox comes across as an individual who believes himself to be above the somewhat backward mentality of his village, that he is the most civilised and dazzling and original, and he exaggerates these traits in himself out of insecurity: ‘if they arent dazzled and blown away and kind of intimidated by me, then i dont feel good about myself.’this is also reflected in his consistent ‘trademark’, his whistle-and-click combination that he uses to set himself apart from other foxes. his home is also a reflection of this:

MRS FOX

you know, foxes live in holes for a reason.

MR FOX

[grunts and tilts head in disagreement]

yes and no.

this insecurity and desire for outsider approval and individuality is inherently human, a quality of his that cannot really be associated with his animalised parts. this precarious sense of identity and self doubt separates him from his ‘wildness’ as it stands, which is only intensified by the fact that he compensates by exaggerating his human traits in order to be liked and feel worthy, as those are the traits he believes have the most value. towards the end of mr fox’s character arc, he is forced to admit that his need for external validation is flawed and unsustainable. when the façade of carefully constructed grandeur is literally washed away by bean, he is left with nothing but his actions and their implications for those around him. foxy reconciles with the relative insignificance of an identity based on other’s perceptions of you when rat dies soon after, reacting to the suggestion that he redeemed himself last minute by revealing ash’s location:

MR FOX

redemption? sure. but in the end, he’s just another dead rat in a garbage pail behind a chinese restaurant.

this moment is also used to inadvertently allow the audience to evaluate the significance of motivation and intention to the value of an action. although rat did reveal useful information to aid the group in saving Kristofferson, mr fox recognises that he only did so because he realised he could not win this fight.

MR FOX

would you have told me if i didn’t kill you first?

RAT

never.

mr fox’s own motivations throughout the movie have devalued his actions as they have mostly been self-serving. as his motivations evolve to centre around his family, he gains the perspective to understand why one’s intentions are so important. while intention does not entirely dictate how good one’s actions are, they certainly characterise the person who’s action it is. your actions have value and consequences as they are, and that cannot be changed by dressing them up or animalising them to distance yourself.

in essence, fantastic mr fox is a lesson in the value of including those around you in your mentality and worldview. it paints masculinity as something that is inherent and complex in nature, but promotes the idea that it is not stuck with its traditional connotations of violence and egoism. mr fox’s emotional development throughout the text mostly centres around his own insecurities surrounding his masculinity and how that causes him to overcompensate in ways that harm those around him. by the end he recognises that more tame and domestic forms of masculinity are just as valid, and that basing his self-worth on how ‘dazzled’ his peers are by him is immature and not constructive. his family now liberates him and allows him to be vulnerable rather than restricting how he feels he can express himself, and as a unit the animals beat the farmers in their game of power-seeking. mr fox recognises and appreciates both his human and animal traits, without using them as a means to excuse his behaviour or to feel bad about his worth.

MR FOX

i guess my point is, we’ll eat tonight, and we’ll eat together. and even in this not particularly flattering light, you are without a doubt the five and a half most wonderful wild animals ive ever met in my life. so let’s raise our boxes – to our survival.

i.k.b

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antiloreolympus · 3 years ago

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10 Anti LO Asks

1. What I don't get is you have LO fans defending the questionable art choices as "that's just her style!!!" which sure ok, but but then shouldn't we give that same leeway to artists who draw even more sexualized, over-sexualized art too? It's their style, right? Like jesus christ LO fans, just let people critique it constructively over policing all thoughts, because you're only opening yourselves up to being called hypocrites and excusers for far worse in the name of refusing even minor criticism.

2. literally the only HxP media i've seen that's almost all universally loved is Hadestown and that's it lmao, but go figure LO fans hate it. Where's this idea LO critics love other greek myth pieces of work unconditionally or don't critique them? All my homies hate PJO too.

3. ya know the massive gap is also bad because rachel obviously wants to put persephone in sexual situations (ares, hades, and hermes as examples) but because made her SO young that unless this all just HAPPENED to all happen in the last two years of her life, then we're left with the realization that persephone could have been an underage girl being naked and physically intimate with ADULT MEN. this could have been avoided if she was even just 119 but no, that's asking too much apparently.

4. IDK how anyone is supposed to buy RS is some masterclass in mythology knowledge when the few times she tries to set it in reality she has them being in ITALY. There's so much resources pointing to HxP and Demeter's worship and origins being in Krete/Athens/Eleusis, but she'd rather go with their imported worship from literal centuries AFTER Hesiod, Homer, and other poets already wrote down the hymns and myths? She doesn't even let them be in GREECE for her GREEK myth story. Like what the fuck.

5. The reason Leuce or any half way decnt relationship doesn't exist between Hades or Persephone is because that would require RS having to actually develop Hades and Persephone as realistic people with lives that don't revolve around obsessing over each other and not write through the most black and white mentality in recent memory. She's trying to push the "soulmate" idea but instead because of the lack of actual relationships/development it really just comes across as "this is all that's left".

6. I wonder if one of the reasons LO is being dragged on is because RS know anything she makes afterwards will not be as successful. There's another creator who had a popular romance series but is now upset their new comic isn't as popular and I can see RS having the same issue. Her thin skin with criticism is well known, so we can safely guess how she'd react a post-LO series not being the company darling. Better to cling to the pedestal as long as she can before someone new takes it.

7. another popular webtoon creator was called out for their use of sexual assault to push a story along and of course rachel came to their defense. im not saying as victims themselves they cant write about this stuff, but them trying to police how other people (especially other victims) feel hurt by their work and their use of a serious crime as cheap drama/"character development" by going "oh youre just haters!"/blocking/harassing them is not very helpful or a mature way to go about criticism,

8. I know this is a ~design quirk~ but why does Rachel love drawing women with their mouths open so wide that it looks like they're just screaming? Does anyone else notice this? I swear she has the most bizarre facial expression designs and it makes trying to make sense of the tone (both in scene and dialogue) very confusing most of the time.

9. Listen I’m not going to dictate what Rachel likes to draw, that’s her thing, but it is a show of a weak artist that she can’t even try to diversify her characters design beyond hourglass women with huge boobs and bulky men. A lot of male comic artists are rightfully called out for drawing their characters this way, so why should she get excused for it? Especially when her style is so less detailed than more traditional comic artists? She has no excuse for it beyond laziness and lack of skill.

10. it's not just the lack of short kings, where my tall queens at?? apparently minthe, artemis, demeter, and hera are supposed to be "tall", yet they're all a head or more shorter than every man? especially artemis, who you would assume she'd be as tall or close to it with her twin brother. athena i guess is the "tall" woman but even she shrinks down whenever next to a man. does rachel know it's ok for a woman to be over 5'2 and the men don't always have to be looming over everyone. it's ok rachel.

#anti lo #anti lore olympus #lo critical #lore olympus critical

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runeterrankhaleesi · 3 years ago

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Fuck it Imma ask for a LMMU for League of Legends.

I'm a gay trans man in my early 20s. I do freelance art, Am starting a Youtube Channel with some friends, and I have a job as a librarian at the town's centre where I live. Im 5'5, pretty chubby, and I use a walking cane because one of my legs is slightly too short.

I like Jazz/classical/lofi music, I've started a collection of teas, and I like to sew, knit, and paint when Im not doing commissioned work. I dont really care if someone shares my interests or not, as long as they're ok with me enjoying them and they arent afraid to talk about what's important to them.

My love language (giving) is acts of service, quality time, and gift giving. My love language (recieving) is quality time or physical touch.

What I look for in a partner is someone reliable, willing to listen and accomodate my weirdness and my disability, and someone who I can trust completely. I have abandonment issues and am very touch-starved, so someone bouncing once they hear I might want kids one day is something I dont want.

Thank you sorry for being so late.

[A/N: Just as you asked, darling, I consulted my matchmaker for this one. ;)]

I pair you with...

VIKTOR!

Why? Because...

I'm sure you're already aware that science and technology is Viktor's bread and butter so when you tell him that you're starting your own Youtube channel with your friends, he runs to get his hands on the nearest computer to help you. He comes and helps you set up the channel (if you haven't already) and tweaks the coding of the website itself to make it a bit more personalized for you and your friends.

As you can tell, Viktor fully supports your hobbies and interests, he wants nothing but the best for you. There once was a time where he offered to create a website where you can advertise your art and receive commissions and to this day, he stills bugs you about it, begging you to just let him do it.

He has a warehouse where he stores all his inventions and spare parts. Ever since you've said you've started collecting teas, Viktor has taken the liberty to set aside a space for you in said warehouse. He knows that it's a bit much but it's his way of showing his dedication for you. You're free to whatever you want with the free space, you can turn into a workspace, you can store your teas, your art supplies or even your finished pieces (though Viktor would rather have those framed and hanged around his workplace).

If you do decide to turn it into a workplace, Viktor would mark the space under construction as he works to build a surround sound system in the place so you can play music whenever you like.

He loves having you close whenever he works. You don't actually have to be close, he just wants to feel your presence in the room, it provides him that sense of comfort he can't quite explain. It's like he never wants to be away from you-wanting to share and spend every minute of his life with you.

Viktor loves to infodump and share his ideas (he would make sure you're free, comfortable, and open to listen first before proceeding). He'd like to hear your opinions, feedback, and critiques, he likes to take note of it to improve. He'd also like to hear your ideas as well, even helping you bring it to life.

Due to his...enhancements, he's almost all metal. It makes it hard for him to display affection, especially physical but that doesn't mean he won't try. The temperature of his metal body is near unpredictable so he settles to show his love for you verbally by words of affirmation or simple things such as calling you by nicknames.

You don't have to worry about Viktor, he's loyal and dedicated, the thought of ever leaving you has never crossed his mind. He's more than reliable, he makes sure to remind you that he's there for you always and that you can lean on him when things are tough. And sure, he can't physically give you kids but that doesn't mean you can't adopt, especially since he has thought of having a family once or twice ever since he met you.

💝~Happy Valentines Day!~💝

[You were matched together by @mellonzinho]

#runeterrankhaleesi #league of legends x reader #lol x reader #league of legends #lol #viktor #LMMU #lmmu #love month match up

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garbagesalt · 2 years ago

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so i decide to listen to all of the magnus archives within like two weeks, so here’s a bunch of low quality sketches + where im up to with that stein sketch i started forever ago, feeling like im never actually gonna finish it :-( sorry if there’s any spoilers in this post, i tried to remove all the possible spoilers from the screenshots but i could’ve easily missed stuff [design for tim is basically ripped directly from @/digital.dingo cause they’re better at character design than me lol] - story reshares appreciated but please do not repost without permission and credit — open to constructive critique tags #themagnusarchives #tma #magnusarchives #themagnusarchivesfanart #tmafanart #commissionsopen #comissionsopen #koficommissions #digitalartist #procreate #procreateart #martinblackwood #jonathansims #timothystoker #agnesmontague #eliasbouchard #drawfeefanart man i feel like i haven’t put tags on a post in forever idk what im doing with these anymore https://www.instagram.com/p/CiAKcOxvcdI/?igshid=NGJjMDIxMWI=

#themagnusarchives #tma #magnusarchives #themagnusarchivesfanart #tmafanart #commissionsopen #comissionsopen #koficommissions #digitalartist #procreate #procreateart #martinblackwood #jonathansims #timothystoker #agnesmontague #eliasbouchard #drawfeefanart

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sailorhyunjinz · 3 years ago

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hi cherry a little vent if that's OK w u

so on this app I had 2 people who I had notifs on for, you and my fav sfw writer right? over time though I realized I didn't actually like that person as an author I just got really attached because they were the first blog I was anon on and they responded well. but like 👁👄👁 recently they've been downplaying skz alot tbh and I don't mean in a critique way, in a way where they were saying certain things were just plain bad with little to no valid explanation and just being overall nasty? I think that might be what made me realize that I didn't actually like them a ton tbh, I unfollowed them today cause I got a notif from them and it was a post saying the song that is currently my favorite was bad and didn't deserve a mv :// obv that post wasn't directed at anyone I just think I got tired of only seeing negative things about the boys when I open their blog. I also would find myself going directly to ur blog after reading shitty stuff on their blog because this place is just a place full of general excitement and support, I really enjoy it. but anyways uh, I wanna thank u for being such a cool author and for supporting the boys the way u do :) the author I'm referring to was never directly slamming on the boys themselves, but they just never seemed to have anything good to say yk? I really enjoy being here way more

also congrats on now being the only blog I have notifs on for luv <3

ok end rant//

anyways

my sleep schedule is still utterly fucked in every way, I got distracted trying (and succeeding!!) at making a Kandi cuff but by the time I was done it was 4:30 am so now im just chilling watching anime for now till I feel like getting up for school. since it's so early maybe ill stop at mickydees otw 😌😌

also, I've been streaming literally all day and the new album is SO GOOD BRO SJDJJXDHE

I was expecting something really sad from silent cry and star lost but BRO?? 10/10 think star lost will be the Blueprint of this era

and CHRISTOPHER? mans said nah fuck the shirt yall get bandages take it or leave it

AND I MEAN OBVIOUSLY TAKE IT

also I don't think words can express how down fucking bad I am for seo changbin like 😫😫 please Mr seo just one chance

and like skz making us think the beginning of the unveil for domino was the beginning of the song feels like they're laughing at us rn like zjjxjd ALSO DOMINO IS SO GOTDAMN FUCKING GOOD HOLY FUCKING DUCK the like high pitched thingy he does for like two syllables (idk how to describe it I'm sorry??) is SO HOT I CANNOT

awwwh >:((( DAMN I FEEL SO HONORED BRO THANK YOUUUU <33 ah but i kinda feel bad for your phone HASHSAH WHEN I START SPAMMING SHIT- nah but seriously thank you <33

i mean i can understand that its not everyones favorite album, i really liked it but we cant all have the same opinion can we but theres a difference between constructive criticism and just being mean SO im happy that you noticed the difference and just kinda,,, dont try to associate with people that dont have anything positive to say.

my god your poor sleep schedule,,, DONT U HAVE SCHOOL?? HOW THE FUCK DO U EVEN SCHOOL BRO

also yes can we just say that both silent cry and star lost are amazing songs?? i really like songs with those kinda,,, vibes so i was pleasantly surprised and i just think that everyones vocals fit those songs as well <333 but if we talking favorite song here mine is probably cheese?? idk something about that songs is very unique,,, its fresh, it doesnt sound like anything ive heard before and the concept is very cool and fitting for skz so i just love it, love love love!!! <33

#fluffybitch0325 #Cherrymail🍒

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mousehole5000 · 4 years ago

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okay im just thinking about sucker punch now ramble time. major spoilers and opinions under the cut

that was really good???? i heard from people whose taste i trust that i was good but yeah it was really good!! i really enjoyed watching it and i really enjoyed the story even tho it also made me sad and i loved the twist i think its cool to see an escape story from the pov of someone who doesnt make it out, there usually is a character like that who makes a sacrifice for the main character so they can live and idk i havent seen any movies like this one where you dont quite know that the main character youve been following is going to be the one who makes that sacrifice. you could probably guess that babydoll isnt likely to make it due to the way the movie opens but idk i just thought that was really interesting. i liked how everything was set up i thought it was well constructed and also i did enjoy the action scenes i really did i enjoyed watching girls in their outfits kick ass

was reading up on responses to it and i have thoughts. apparently zack synder somewhat intended it to be a critique of the way women are treated in action movies specifically within geek culture and i can see that. the way that babydoll’s dancing is described as being provocative but the audience only gets to see the action sequences can definitely be read as “hot girls in skimpy outfits fighting is equivalent to their fetishization and exploitation” and i get that and i think thats interesting but also on a much simpler level as a girl i 100% get having a fantasy where you’re like “and my special power is that i dance and its so captivating but also actually im fighting a dragon with my friends who are also hot girls” like im being sincere about this i really get it

basically i love reading the “critical reception” section of wiki pages for movies with a lot of women in them and imo critics for sucker punch trying to talk about this movie as being really misogynistic are hmmmm wrong and ngl i think some of them are projecting. im not saying it was the like the ultimate feminist masterpiece or anything and obviously im not the ultimate authority but it was an interesting, original and female-led story and the situations that the girls were in definitely resonated

the whole movie was about fantasies and thats all an interesting conversation but also i just liked it and it was fun to watch and the music was good and the story was good and my internet cut out while i was mid-sob so i had watch rocket dying like three times :(

also i thought the old man was leonard nimoy and i was so sad it wasnt. also i thought selena gomez was in this movie the whole time but it was actually vanessa hudgens fjadlkfjlsd

i liked the movie visually a lot im about to go rb a ton of gifs from it i liked the outfits i liked the framing i really liked the all girls i liked sweet pea im sad about rocket and im glad something good came of all the shit that happened to babydoll

#mouse mumbles #this was a good change of pace #im really enjoying tgcf but also. women #and this movie definitely says. women.

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the-scottish-costume-guy · 4 years ago

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Art - improvement - the lens of the internet

I want to talk about constructive criticism hopefully without getting too long and rambly but long and rambly is my strong suit so be warned. I feel like there’s a huge shift in the ability to give and receive CC on the internet now and its a very complicated issue. Many people post only their best work online - but many post anything at all.

Disclaimer one: without constructive criticism it is hard to improve.

That said I have a note on my art blog saying I dont want constructive criticism unless otherwise stated on an individual image. For me this is to guard against Burn Out. I’m a full time student working in design and costume - as well as an on and off freelance artist and crafter. The very nature of my work means Im constantly receiving constructive feedback in my day to day life. Every design, costume and commission is continually reviewed and adjusted based on my clients needs. So when I come to tumblr I want a break from that and to share something fun and easy without worrying about the particulars. So while my first point stands.

Disclaimer two: Its okay to need a break from constructive criticism.

A second reason I personally dont accept criticism from non-paying clients is because I think the internet has forgotten how to give good criticism. Dont get me wrong there are some people out there who can, and i personally know of some who I’d trust to give me great advice or point out helpful things (some lean more to writing so not my area but still valid). But the vast majority of criticism I got when I accepted it was stuff about not liking the lighting, preferring a different design or disliking a stylistic choice.... SO. There needs to be a shift. I do personally think people should learn to give Constructive criticism again - emphasis on the constructive. Under the readmore find some tips on giving constructive criticism:

1) Always be sure the person is open to the critique. It wont go in if they aren’t and its embarrassing for all people involved if you happen to be trying to critique a piece thats 15 years old, or was done in 10 minutes or was never intended to be the creators best work.

2) Be objective, not subjective. If something isn’t your preference its not actually constructive to mention it unless the piece is tailored to you. If you personally dont like lined pieces or writing in the first person thats a you problem.

3) Be observant, not personal. “The colours are a bit oversaturated here which is distracting” is better than “I dont like the colours.” Art is weird, sometimes a ‘bad’ choice can contextually fit, so you need to be clear why something isn’t working This time.

4) Mention what was done well in a balanced way. If something stood out as terrible it helps to point out something that really works. This does not have to be a 50/50 split but this is part of the ‘constructive’ thing - it helps to know where you are going in the right direction.

#mini rant #constructive criticism

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diepower · 4 years ago

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THE MEGA RP PLOTTING SHEET / MEME.

First and foremost, recall that no one is perfect, we all had witnessed some plotting once which did not went too well, be it because of us or our partner. So here have this, which may help for future plotting. It’s a lot! Yes, but perhaps give your partners some insight? Anyway BOLD what fully applies, italicize if only somewhat.

MUN NAME: Kaiman AGE: 27 CONTACT: IM, ask, discord

CHARACTER(S): Meninas McAllon, Orihime Inoue, Retsu Unohana, Mashiro Kuna, Tier Harribel, Charlotte Chuuhlhourne

CURRENT FANDOM(S): That I write in? It’s gonna be Bleach, OVW (super selectively im just here for one person), ASOIAF (barely- literally when the mood strikes and that one is private also). I have a lot of current interests in general though.

BLEACH FANDOM(S) YOU HAVE AN AU FOR: While I don’t have anything fully established... I’ve been working with an ASOIAF au (for Harribel & Unohana specifically, though I’m considering it with other characters too), A Dorohedoro AU (for Unohana and Orihime), as well as a Persona AU (more specifically 2&3) for Orihime. I’ve also got a number of post-canon AUs or continuities for all my characters as well!

MY LANGUAGE(S): English, super basic Spanish, barest ASL, fairly good French

THEMES I’M INTERESTED IN FOR RP: FANTASY / SCIENCE FICTION / HORROR / WESTERN / ROMANCE / THRILLER / MYSTERY / DYSTOPIA / ADVENTURE / MODERN / EROTIC / CRIME / MYTHOLOGY / CLASSIC / HISTORY / RENAISSANCE / MEDIEVAL / ANCIENT / WAR / FAMILY / POLITICS / RELIGION / SCHOOL / ADULTHOOD / CHILDHOOD / APOCALYPTIC / GODS / SPORT / MUSIC / SCIENCE / FIGHTS / ANGST / SMUT / DRAMA

PREFERRED THREAD LENGTH: ONE-LINER / 1 PARA / 2 PARA / 3+ / NOVELLA (2para is a sweet spot but it really doesn’t matter to me)

ASKS CAN BE SEND BY: MUTUALS / NON-MUTUALS / PERSONALS / ANONS.

CAN ASKS BE CONTINUED?: YES / NO ONLY BY MUTUALS?: YES / NO

PREFERRED THREAD TYPE: CRACK / CASUAL NOTHING TOO DEEP / SERIOUS / DEEP AS HECK.

IS REALISM / RESEARCH IMPORTANT FOR YOU IN CERTAIN THEMES?: YES / NO.

ARE YOU ATM OPEN FOR NEW PLOTS?: YES / NO / DEPENDS.

DO YOU HANDLE YOUR DRAFT / ASK - COUNT WELL?: YES / NO / SOMEWHAT. (i let them build up too often but some of yall are too quick to reply jkglfjdgsd)

HOW LONG DO YOU USUALLY TAKE TO REPLY?: 24H / 1 WEEK / 2 WEEKS / 3+ / MONTHS / YEARS / DEPENDS ON MOOD AND INSPIRATION, AND IF I’M BUSY

I’M OKAY WITH INTERACTING: ORIGINAL CHARACTERS / A RELATIVE OF MY CHARACTER (AN OC) / DUPLICATES / MY FANDOM / CROSSOVERS / MULTI-MUSES / SELF-INSERTS / PEOPLE WITH NO AU VERSE FOR MY FANDOM / CANON-DIVERGENT PORTRAYALS / AU-VERSIONS (italicized are okay, but under really specific circumstances)

DO YOU POST MORE IC OR OOC?: IC / OOC.

ARE YOU SELECTIVE WITH FOLLOWING OTHERS?: YES / NO / DEPENDS

BEST WAYS TO APPROACH YOU FOR RP/PLOTTING: I’m pretty anal about plotting in that I often refuse to RP unless it’s been plotted or I liked a starter call. And in the case of the latter, I’ll still hop into DMs to plot further depending on where the thread takes us. That said, the best way to reach me is through IMs or Discord (available on request). The only time I turn down plots is if I feel like it would put my character in an OOC situation, and I especially dislike my character being one-sidedly used as a tool to further another character’s development without anything being reciprocated (this happens often especially wrt my healer characters)

WHAT EXPECTATIONS DO YOU HOLD TOWARDS YOUR PLOTTING PARTNER: Communication is really important to me, especially with regards to comfort regarding certain plot elements, and approaching other in-character situations that might have multiple different solutions. I think it’s important that both characters involved get the same amount of development out of writing a thread, and I really hate the idea of being imbalanced as far as that goes (more on that below). That said, I’m always perfectly down to spitball plot ideas and tweak/refine other concepts because I really do enjoy plotting, it’s just super important to me that things are communicated clearly. I get extremely distressed and frustrated IRL if people just kinda throw stuff at me, and it often kills my muse.

WHEN YOU NOTICE THE PLOTTING IS RATHER ONE-SIDED, WHAT DO YOU DO?: I make an active effort to come up with plots that are engaging and beneficial fairly equally to both parties. I mentioned this above, but especially in the case of writing my healer characters, I have a huge disdain for characters being used as tools to further development while getting nothing substantial in return. That said, I try to be very aware of this in terms of a potential writing partner being on the receiving end. IMO it feels like shit, but I definitely don’t want to make someone else feel that way either. That said, so long as stuff is plotted out clearly and me and the writer are both okay with it, then it’s fine. COMMUNICATION IS KEY, BASICALLY.

HOW DO YOU USUALLY PLOT WITH OTHERS, DO YOU GIVE INPUT OR LEAVE MOST WORK TOWARDS YOUR PARTNER?: I kinda just like to throw spaghetti at the wall and whatever sticks, I’m down to fly with. I have a lot of ideas, but again, I like to give my partners the option of doing whatever they’re comfortable with, and h aving equal contribution opportunities.

WHEN A PARTNER DROPS THE THREAD, DO YOU WISH TO KNOW?: YES / NO / DEPENDS.

- AND WHY?: Everyone has their own circumstances, I really don’t mind. If it’s one I’ve been especially looking forward to, I might be bummed, but it’s no skin off my nose really.

WHAT COULD POSSIBLY LEAD YOU TO DROP A THREAD?: I don’t typically drop threads or abandon them during their writing. The only thing that would make me do so is offensive content, or huge plot elements being introduced that makes my character ooc and wasn’t previously discussed during plotting.

WILL YOU TELL YOUR PARTNER?: YES / NO / DEPENDS.

IS COMMUNICATION IN THE RPC IMPORTANT TO YOU? YES / NO.

-AND WHY?: I already feel like I need to take a lot of extra steps to understand others and be understood, and that isn’t something often reciprocated. In my experience, just honest communication is the quickest solution to issues that crop up during writing. For those who HAVE actually had me reach out to them in this way, I really do try to be polite and respectful while being straightforward so the situation can be resolved without any hurt feelings.

ARE YOU OKAY WITH ABSOLUTE HONESTY, EVEN IF IT MAY MEANS HEARING SOMETHING NEGATIVE ABOUT YOU AND/OR PORTRAYAL?: As long as it’s constructive, and not merely negativity, I welcome it. After all, I can’t fix a huge flaw in my writing without having an alternative solution. I’m open to accepting feedback and critique, especially wrt Meninas since my portrayal is quite a large departure from popular fanon perception (from those who choose to pay attention to her, lol), but I also thrive on suggested remedies and solutions to issues in my writing.

DO YOU THINK YOU CAN HANDLE SUCH SITUATION IN A MATURE WAY? YES / NO.

WHY DO YOU RP AGAIN, IS THERE A GOAL?: I like to tell stories, and I like to tell narratives that take root in emotional expression and how those feelings can act as a vehicle to the storytelling. I want to move people through feeling, because it can be a powerful experience. I use a lot of inspiration from themes in my other favorite series, as well as inspiration from my own personal experiences as well. I tend to pick characters who have one or two traits in common with myself, whether those be negative or positive. I’m very excited to share all the things I have planned for Meninas, as she’s certainly my most ambitious project to date.

WISHLIST, BE IT PLOTS OR SCENARIOS: For Meninas specifically, I want to interact with Squad 11 and Squad 9 during the CFYOW verse I have planned. Hisagi specifically would be interesting because of the clash of ideals, in addition to being the only other living person to be able to relate to the horror of being under Pepe’s thrall. I’d also like to steal Ikkaku’s bankai, and have more fight scenes. Lastly, Meninas doesn’t do much of anything in CFYOW, so more interactions with Mayuri and Squad 12 would be cool.

THEMES I WON’T EVER RP / EXPLORE: I don’t mind briefly referencing darker themes in my writing, especially wrt my own personal experiences, but I want to be very clear that I refuse to write at length or romanticize these themes. I refuse to write anything involving rape, homophobia, transphobia, racism, pedophilia, etc, with this in mind.

WHAT TYPE OF STARTERS DO YOU PREFER / DISLIKE, CAN’T WORK WITH?: Unless previously discussed, I struggle with starters that have a character pushing mine away. If the situation is super OOC for my character to be in, or frankly too mundane. In Meninas’ case, most domestic stuff is a snoozefest for me (but I LOVE this for other characters).

WHAT TYPE OF CHARACTERS CATCH YOUR INTEREST THE MOST?: *saoirse ronan voice* Women. UHHH but no, for real... I like fleshing out female characters quite a bit. Personality types are varied, but I like characters who have some level of nuance to their emotional expression whether it’s an internal or external struggle. I like powerful women too, and the exploration of “strength” as a theme (esp at the intersection of the theme of “femininity” and its expressions) whether this is external strength or internal fortitude. I think I play a wide variety of characters who have vastly different thoughts, beliefs, and forms of expression, but I try to find something in common with who I portray to act as a touch stone. I also like characters who have themes of “justice” and nuanced morality.

WHAT TYPE OF CHARACTERS CATCH YOUR INTEREST THE LEAST?: 99% of male characters. And I also hate tsunderes gjklsdjfd

WHAT ARE YOUR STRONG ASPECTS AS RP PARTNER?: I really like my writing style especially wrt using emotion to set a cinematic scene and overall tone. I think I’m really strong with conveying emotion, especially with things that are often unspoken. I try to communicate with partners clearly and establish rapports. I love writing headcanons and have a TON of plot ideas as well.

WHAT ARE YOUR WEAK ASPECTS AS RP PARTNER?: Oh I’m the slowest replier on the planet and I’m apparently intimidating lol

DO YOU RP SMUT?: YES / NO / DEPENDS.

DO YOU PREFER TO GO INTO DETAIL?: YES / NO / DEPENDS (i prefer to go into detail about sensations, rather than the actual acts as it comes off stifled and weirdly technical)

ARE YOU OKAY WITH BLACK CURTAIN?: YES / NO

- WHEN DO YOU RP SMUT? MORE OUT OF FUN OR CHARACTER DEVELOPMENT?: Honestly I just do what Meninas tells me.

- ANYTHING YOU WOULD NOT WANT TO RP THERE?: Kink stuff is weird territory for me, absolutely gotta be discussed in private and comfort levels clearly established.

ARE SHIPS IMPORTANT TO YOU?: YES / NO. Relationships in general rule, and while I do have a romantic ship that plays a large part in Meninas’ plot, the romance comes secondary to the plot itself. I really enjoy writing and developing romances, but more than that I like establishing connections. I love the relationships I’ve got planned with Giselle, Candice, Liltotto, and Bambietta because there are going to be a LOT of drastically different things that inform my portrayal of Meninas coming from these relationships (both positive and negative, but ultimately places of growth).

WOULD YOU SAY YOUR BLOG IS SHIP-FOCUSED?: YES / NO. Like I said, plot comes first. And especially in the case of Meninas, she has a lot of self exploration and reflection to do before she can engage in a healthy relationship or address any feelings of romance. I do place a large focus on the formation of her relationships and how they shape the way she relates to other people and grows as a person, but I am extremely sensitive to making sure I’m not writing a female character who’s entire development is dependent on a romance with a male character- perish the thought lol.

DO YOU USE READ MORE?: YES / NO / SOMETIMES WHEN I WRITE LONG STUFF.

ARE YOU: MULTI-SHIP / SINGLE-SHIP / DUAL-SHIP — MULTIVERSE / Singleverse.

WHAT DO YOU LOVE TO EXPLORE THE MOST IN YOUR SHIPS?: For Meninas, it’s a matter of her acknowledging, understanding, and accepting that she can be worth more than how useful she is to others. She had a series of traumatizing and character defining experiences regarding love, romance, and personal worth that strongly shaped the way she perceives her relationships to others and her emotional expression. Trust is another huge factor for me, Meninas needs to be around someone she believes in. Strength is another aspect. She likes someone who challenges her, keeps her on her toes, and is sturdy like physically. Because she’ll break you. THAT SAID- Meninas tends to be open wrt her body, but closed off when it comes to her heart. Hate to see it, love to write it.

ARE YOU OKAY WITH PRE-ESTABLISHED RELATIONSHIPS?: YES / NO. As long as the premise makes sense. I like relationships to have some matter of significance and planning, especially because of how I’ve written the way Meninas picks and chooses who to get close to in Silbern depending on what suits her interests. Genuine friendship is a weird thing for Meninas, as most of her relationships are formed out of convenience. If you aren’t useful to Meninas’ schemeing, then she has no interest in dealing with you beyond platitudes and keeping up appearances and will interact with you as such.

► SECTION ABOUT YOUR MUSE.

- WHAT COULD POSSIBLY MAKE YOUR MUSE INTERESTING TOWARDS OTHERS, WHY SHOULD THEY RP WITH THIS PARTICULAR CHARACTER OF YOURS NOW, WHAT POSSIBLE PLOTS DO THEY OFFER?: WE LOVE DUPLICITOUS WOMEN! No, but at the core of my Meninas characterization, the sentiment is “Everything is not as it appears” even down to the relationships she has with others. Meninas’ entire personality is constructed as a survival tactic from an early age (in addition to being a way to make herself more useful as a tool to others, and thus seen as having more worth in general), and as a result, she hasn’t really allowed herself to live life as a fully realized person. Her plots generally offer silent rebellion, playing a role in regards to her self presentation, chaotic mean girl level bullshit, and cool fights/training. Also you get to interact with a big buff lady. That said about her personality, it depends on the verse. CFYOW Meninas will be more unhinged, while post-CFYOW Meninas will be more honest and rowdy.

- WITH WHAT TYPE OF MUSES DO YOU USUALLY STRUGGLE TO RP WITH?: Muses who are standoffish or disengage right at the start. Meninas doesn’t interact with people without a certain purpose, so if they aren’t interested, she’s not going to be either.

- WHAT DO THEY DESIRE, IS THEIR GOAL?: Revenge, strength, redefining what “power” means in terms of how the world works. She wants to see the Shinigami dead for their role in her parents deaths, and feels the same about Yhwach.

- WHAT CATCHES THEIR INTEREST FIRST WHEN MEETING SOMEONE NEW?: Ability, potential threat, perceived strength, where loyalty lies; how potentially useful you can be to her.

- WHAT DO THEY VALUE IN A PERSON?: Strength both in a physical sense, but also in belief and convictions. Honesty, and understanding the flaws of the world they live in.

- WHAT THEMES DO THEY LIKE TALKING ABOUT?: Fighting, beauty, freedom, abolishing Quincy classism based on blood purity, music, fashion, blacksmithing.

- WHICH THEMES BORE THEM?: Blind loyalty to Yhwach, talking about the horrors of war as if it doesn’t concern them, Bambietta, Quincy supremacy,

- DID THEY EVER WENT THROUGH SOMETHING TRAUMATIC?: Her parents were killed in the first Quincy war and she was left abandoned and grew up literally fighting for her life and living on the streets. She often likens fighting pits to the bowels of Hell (and I often play with the ironic theme of crawling out of hell to appear as an angel or something divine). She is consumed by a quest for revenge, and strongly believes her ends will justify the means taken to fulfill her ideal. As a direct result of these experiences, her emotional health and maturity is severely affected, and she doesn’t view herself as a person worthy or capable of feeling as much as a tool who, in the right hands, can be utilized to bring about the revenge she craves.

- WHAT COULD LEAD TO AN INSTANT KILL?: (1) Men who feel non-consensually entitled to her body. That said, she’s done a fairly excellent job at maintaining control and an unassuming threatening nature despite the widely known understanding of her Schrift ability and how it augments. (2) Someone touching her Quincy cross, as it’s her most precious and private item. (3) Anyone who dares get in the way of her plans that can’t be manipulated in some other useful aspect.

- IS THERE SOMEONE /-THING THEY HATE?: Meninas hates Yhwach, and the Shinigami most predominately, but she also harbors disgust for Hollows as an instinct. That said, her young life was spent detached from Quincy culture (in addition to being a Gemischt and the inherent isolation that comes with that status), so despite her early induction into the Wandenreich ranks, Meninas does not harbor the same Quincy nationalism and loyalty that others of her race do. They’re a means to an end, and just happen to help her become stronger.

IS YOUR MUSE EASY TO APPROACH?: YES / NO. - Best ways to approach them?: She comes off as easy to approach, but if you want genuine Meninas I’m sorry the number you’re trying to reach has been disconnected. Goodbye!

SOMETHING YOU MAY STILL WANT TO POINT OUT ABOUT YOUR MUSE?: Everything I’ve written about her is based in headcanon! I’ve got both a lengthy biography as well as headcanons gathered in the sidebar links on my blog.

CONGRATS!!! You managed it, now tag your mutuals! ♥

TAGGED BY: @bazzardburner TAGGING: i think this has made its rounds so steal it!

#MEME / ANSWERED #HANDS OF THE DIVINE ; A SELF MADE CREATION / HEADCANON #ok take 2 dont delete all my bolded shit pls

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imnotcameraready · 5 years ago

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chivalry is dead (18)

A/N: im unsure of what to say for this one, in all honesty! im just so excited for the ball im Vibrating about it — and writing the damsel is. always an experience. :^)

WARNINGS: Remus mention, suggested murder, disassociation (?), self-deprication, self-hatred, suicidal thoughts (small mentions!), being held captive/kidnapping, wound mention — i think that's all, but let me know if there're any others!!!

Words: 3290

AO3 link!

MASTERPOST! <– look here!! for the longterm warnings!! including sympathetic Deceit and cursing/swearing!

*taglist was moved down purely bc i aesthetically dont like it up here lmao (also i wish it WORK ED— *

enjoy !!! <3 <3 <3

If this Roman was anything, he was too quiet.

“Damsel, I wanna get us all out,” Virgil hissed, arm slung around the bars to his and the Child’s cell as he tried again to coax a reaction out of the terrified figment, “But I need your help with that.”

The Child was pacing quietly, his feet shuffling around the background noise to Virgil’s voice. The Damsel hadn’t spoken again since he introduced himself and, judging by how Virgil could see his single wide, petrified eye watching him, he wasn’t planning on speaking any more. His hand was grasping his mouth so tight that Virgil could almost believe it was Deceit’s doing, if he wasn’t certain Deceit weren’t here.

Plus, it’d been, like, hours. He was getting tired, his side stung, and he really just wanted to go home. His gut was telling him that the others were going to get him out, but that voice was getting more quiet as time passed.

Virgil was mostly anxious about what the hell was taking so long! They knew where the castle was. Maybe they got caught by some guards?

The Thief was in bad shape last he saw. He might even be dead.

A part of Roman coulda been dead, and Virgil wouldn’t even know, because he was locked in a cell far apart from the others and he had no way to get out and no way to contact them and see if they were okay. And he was locked in here with bits and pieces of Roman that seemed discarded. His own anxieties and insecurities.

He knew Roman wasn’t confident about some things, but damn.

….Maybe he should take a nap or something. He was exhausted.

Fat chance he’d be able to rest in this kinda atmosphere. Virgil really needed a back massage and a hot bath after this quest. It was grinding on the last of his brain cells like…..like….like a grindstone?

Wow, even his internal monologue couldn’t come up with anything. He was useless.

“Hey, hey,” two small hands rested on his head, gently hugging his head, “No, you aren’t. You’re Virgil and you’re great.”

He must have said that aloud, then. Virgil sighed, closing his eyes and reaching around to pat the Child’s leg. “I’m sorry,” he tried to wave it off, downplay what he’d been thinking, but the Child wasn’t letting go.

So Virgil did. He went back to having an arm slung out the slits between the bars, watching the Damsel as he shifted his sitting position, hugging his knees. He began to hum quietly, to the tune of a song that Virgil could recognize was Disney but didn’t quite know the name of. And then he started singing.

“Come on, you poor unfortunate soul~” the Damsel’s voice was barely above a whisper, soft and missable as it had been earlier, “Go ahead, make your choice. I’m a very busy Side and I haven’t got all day~”

A sudden thought struck him, and he sat upright. The Damsel had reacted to the Child wanting water. Maybe…. “Child, hey,” Virgil said, “Have you ever met the Damsel?”

“Yeppers!” the Child said, a smile in his voice, “We hung out at the beginning of all this!”

“So you’re friends?” Virgil asked.

“It won’t cost much~”

The Child shrugged. “I dunno. I hope we are! We’re friends, right, Damsel?”

He sunk down behind Virgil, wrapping around his back like a koala and resting his face in such a way that he could watch the Damsel as well. No response, though.

That WAS still his name, right?

“Just your voice!”

“You wanna go by Damsel, right?” the Child asked, brow furrowed.

His singing stopped.

“Yes,” the Damsel said, voice soft and croaky, “Please.”

“Why’d you pick that name?” the Child asked.

They could see him make a small gesture, as though to say ‘isn’t it obvious?’, but the Child shook his head. The Damsel wasn’t always like this.

He giggled to himself quietly. “It’s a fitting name. I’m no prince, no thief, artist, playwright, I’m not anything. Just in distress. Useless,” he rested his head against the side wall, “Damsel.”

Virgil frowned. “Roman’s not useless. He’s….” c’mon, think, but nothing TOO sappy, “We need him.”

Yeah, that was good.

They could vaguely see the Damsel shake his head. “Fine, helpless. I’m locked in a cage. I’ve BEEN locked in a cage for days.”

He looked up again, at the sky.

“Thanks, Virgil,” his eye flicked over, “But….too bad your big-big admission is dwarfed by your gargantuan failures.”

Virgil’s nose scrunched up, recoiling.

A pit of dread opened in his stomach as he realized Roman was still holding onto that, Virgil had said it a long while ago. Sure, a part of him was exasperated, shouted STILL? But it made sense, didn’t it, for the ego to internalize those sorts of critiques.

He felt the Child let go of him, and Virgil leaned forward against the bars.

“Roman, I didn’t—”

“Sorry,” the Damsel cut him off, voice growing more clear, more stern, “I cannot contr-contribute an ounce of constructive input.”

“I wasn’t—”

“You’re the one who says to not encourage me,” the Damsel leaned forward, growling, “All of you think it. Roman, the dramatic one. The insecure one. The stupid one. We WON’T be stupid after this!”

Virgil leaned back. This was illuminating. And a situation he was not equip to handle in the slightest.

He looked to the side briefly, where the Child sat. His legs were crossed and he was watching the other cell with a focused...worry. He was worried about the Damsel.

Virgil turned back at the sound of scraping. The Damsel had stood up. He shuffled to his bed and fell face first onto it, groaning quietly. Painfully. He was pitiful, sure, and he was part of Roman. Virgil couldn’t just ignore that.

He had to work with him, not against him. He didn’t know how or why the Damsel was still holding onto Virgil’s past words, but he did know that whatever was feeding the insecurities (and he shuddered to think it was himself or any of the others, even Remus) was wrong. And that, like it or not, the Damsel was a part of Roman. A sad part but a part nonetheless. He just had to convince him that they l-word-ed Roman.

He shifted again, sitting cross legged now. “You’re not stupid,” he said, “You can be dumb, but so can all of us. And you’re valued.”

The Damsel scoffed and rolled onto his side, into the fetal position.

“Roman, look at me,” the Damsel full on flinched, curling tighter.

“Don’t call me that. I’m not good enough to be.”

Virgil bit his lip. These identity crises sure were confusing. “But you’re Roman, too. You’re important enough to be a whole part.”

“I know I am, but-but that’s what’s wrong,” the Damsel looked aside. “I shouldn’t be...here. Alive.”

The Child scooted up to sit beside Virgil. “No! I was telling you that earlier!” he stage whispered at the Damsel, full of naive optimism, “You’re important! You’re an important part of Roman!”

“Stop,” the Damsel croaked.

They were finally breaking through, Virgil thought.

Footsteps in the distance shattered that hopeful thought. Virgil waved his hand, indicating for silence, and the two Romans immediately fell quiet. The Damsel sat upright on his bed, then hugged his pillow tight to his chest.

Oh.

The footsteps got louder, heels clacking on the stone floor. The Child tugged on Virgil’s cloak and mouthed ‘Dragon.’

They could hear him talking to no one in particular. Probably the guards, but the guards weren’t sentient, so probably himself. That was pretty Roman of him, right?

He wasn’t Roman, though. The Child knew. He smiled at the Damsel, who ignored him, and looked out between the bars again, head just barely fitting. Yep, there was the Dragon, walking towards them.

“Helloooooooo!” the Dragon’s voice echoed along the hall, “Are my favorite three stooges awake?”

The Damsel rolled his single visible eye so vehemently that Virgil almost laughed. Good to see that the Dragon’s theatrics were looked down upon by all of them.

He sauntered into view, standing between the two cells with his hands behind his back. The Dragon huffed out his nose, smoke expelling from the movement as he winked at Virgil, then barred his teeth at the Child. Neither flinched.

He raised an eyebrow and turned to the Damsel, who flinched upon eye contact. Gotcha. The Dragon stepped closer to the bars, leaning against them as he focused on the Damsel.

“Awh, why the long face, Captain Incapacitated,” the Dragon dragged his fingers along the crossbar, grinning wider when the Damsel flinched.

“Leave him alone,” Virgil hissed.

The Dragon turned back to him, still leaning on the other wall’s bars, and stuck his tongue out at Virgil. It had a pointed tip, much more like a dragon’s than a human’s. He withdrew, looking at Virgil and the Child sitting on the ground, and leaned his head against a bar. His emo nightmare was certainly a dream.

“I wish I could let you out for the ball tonight,” the Dragon sighed, a small smile on his face, “Wouldn’t it be lovely to dance?”

Virgil scowled. Dancing with the Dragon was the last thing he wanted to do, thanks. But another word caught his attention. “Ball?”

“Oh, yes!” the Dragon clapped happily as he spoke, “Why else would we need the Child here?”

The Child frowned and mouthed the word ‘we’ to himself as the Damsel met Virgil’s eyes for a second. ‘We.’

“He’s bait,” the Damsel mumbled, looking down at the Dragon’s cape.

“Genius, isn’t it! I mean, look at that worthless, pudgy, snot-nosed face! Any of the others would die protecting him,” the Dragon laughed.

The Damsel turned away.

“We,” the Child squeaked out.

“We indeed,” the Dragon looped his arm through the bars and hugged the Damsel around the neck, ignoring how he flinched and shook, “The Damned-sel here has been so lovely, helping me plan everything.”

No. No way. Virgil and the Child watched the Damsel, who ducked his head and focused intently on the Dragon’s cape, swaying as he spoke. He was explaining his elaborate evil plan.

But, honestly, the Child was furious. He’d trusted the Damsel. Maybe he was right. Maybe he WAS just the Damsel now. He was a no-good sad distressed Damsel who should stay in this little cage and rot and then turn into fertilizer for some flowers!

“Oh, it’s going to be fantastic! Every inhabitant of the Imagination was invited! It’s our annual Creativity ball, you know the one,” the Dragon waved his hand dismissively at the Child, who frowned, “The other Sides were all invited too! Oh, they’re going to look so dashing — the Playwright and the Artist will probably end up dressing them, and they’re going to look magnificent, delectable!”

He clapped in happiness. “And then I’ll get to dance with them! And kiss them! And then, since the others will be here, too, I’ll get them all in once place….to slaughter!”

The Dragon laughed, a high pitched cackle with his hands over his chest.

Everyone else just watched.

Virgil was actually growing angry. The Damsel was working with this clown? And he thought the other Sides would like HIM? Maybe he was wrong, Roman was an idiot.

“....You’re such a stereotype, Maleficent,” the Damsel said, stepping away from the bars again, only for the Dragon to grab his arm.

He wagged his finger at the Damsel and pulled him a little closer, gesturing to the other cell. His mouth was half open when the Child cut him off.

“How’re you going to get everyone?” he asked, loud.

“I, uh, what?” the Dragon turned to the Child, blinking in confusion, “I don’t know, I haven’t thought that far.”

He looked at the Damsel, who seemed equally as confused, but who managed to regain his composure faster.

The Damsel turned away from all of them, head bobbing back and forth slightly as he considered.

“Well,” he said with a sigh, “They are going to come. They will probably try to search for us.”

Was….was he scheming? Just right in front of them. Virgil could feel his anger festering, subsiding into resentment. Of course. The Dragon couldn’t have concocted thorough plans on his own. Of course.

To be honest, though, he’d thought his partner was Remus. Not….

“They won’t know their way around the castle, but it’s not hard to assume they’ve gotta go down. They’ll find us,” the Damsel glanced at Virgil and the Child, who were both watching him with equally betrayed glares, “You-You could...I dunno. Something. Then.”

The Dragon grinned. “Wonderful! I’ll start setting something up in the dungeons — we can talk more about the specifics when you’re getting your dress fitted.”

They all now turned to the Dragon with confusion. The Damsel spluttered a little, pointing to himself with his shaky right hand, and asked “MY dress?”

“Of COURSE your dress, you’re coming to the ball tonight!” the Dragon kissed his cheek, ignoring how the Damsel jerked away, “We can’t have a ball without a prince, and you’re close enough!”

The Damsel was paling so much, one would have thought his wounds had reopened. He looked at Virgil and the Child with a confused frown, then back at the Dragon. “Why? That’s...That wasn’t in the plan.”

“Oh, I know, but I thought the plan could use a little editing. Remus suggested—”

Ah, there it was. Speak of the devil.

The Damsel cast the Dragon a look of despair and disappointment. At least the dislike of Remus ran pretty thoroughly through him.

“You’re still listening Remus?” the Damsel’s voice grew, “We’re still taking pointers from the Duke of Trashville? From Oscar the gross? You’re ridiculous.”

“Hey, hey, you did agree that THIS,” the Dragon pointed to himself, then to the Damsel, then to the Child, before continuing, “Was a decent idea. Besides, I prefer his creations. He’s so much better at it than us.”

Record scratch? Virgil shot the Dragon a glare infused with as much confusion as it could be, because what the heck? “Uh, no, of course he’s not? What’re you even thinking?”

“Well,” Virgil whipped around to the Damsel, who had deflated faster than a mutilated balloon, “He-he’s still….he’s good at making ideas.”

“So are YOU!” Virgil wrung his hands, then grabbed the bars to his cell, gripping them tight enough to whiten his own knuckles.

When they’d first entered the Imagination, Virgil forgot that it was, to some extent, also inhabited by the Duke. Where even was that wild card?

“Where is he?” he asked, “You’ve gotta have him close if he’s got input on this.”

The Dragon waved his hand flippantly, then inspected his nails. His hands were gloved, sure, but if Deceit could do it then so could he. “Oh, he’s just upstairs! I don’t let him out much, having his energy just roaming around would be too much of a wild card for our little game.”

The Damsel raised a hand, eye flicking back to the Dragon every so often. “Locked up. Chained, right? Or at least trying to?”

Trying to? Virgil and the Child shared a confused look before turning back to the other pair. “Trying to?” the Child asked.

“Well,” the Dragon shrugged, “He keeps eating the chains.”

Virgil was confused, but the Child just nodded with a soft “ah,” as though that were to be expected. Which, granted, now that Virgil thought about the Duke, a train of thought he actively avoided boarding, the more he realized that yeah that’s some shit Remus would pull.

“I just visit him every so often, and that keeps him put,” the Dragon shrugged, then clapped, “He does like an audience, as do we! And now we need an audience with you, Kingdom Heart-ache. The show’s about to start!”

The Damsel raised a hand, terror streaking across his face in a moment.

It was hard to not feel bad for the guy. Sure, he might be working with the Dragon, just to an extent, but it seemed out of necessity. Out of some kinda backwards self-validation of deep insecurities.

Virgil was super not equip to deal with that, but he also knew he couldn’t just leave the Damsel alone.

“I’m not going,” the Damsel said, hands balling at his sides, “I….”

His eyes widened. Slowly, he became more….transparent? Virgil squinted. The Dragon too glowed a little, the both of them turning see-through and glowing red and gold.

He turned to the Child and saw him frozen as well, small hands holding the bars to their cell, body glowing.

What the hell was this? Why did all the Romans keep freezing up like this, was something happening in the Imagination? His throat clenched in fear.

Oh my God, was Remus hurting them? Virgil swore quietly. Was THOMAS hurting them? Was he trying to summon Roman too forcefully? What was going on?

They didn’t look in pain, but Virgil didn’t know what happened when a Side disappeared, maybe THAT’S what happened! And he didn’t know what happened when Roman split up like this — maybe THAT happened?

They all solidified again, and the Damsel shot back into his cell, hoarsely screaming incoherently loud enough for Virgil to jump.

The Dragon laughed, a light glowing in his eyes, and the Child sank against the ground, giggling into his hands, happy as a clam.

The Damsel curled up in the corner and hugged himself, body trembling.

Quite the reactions. Virgil stepped closer to the bars again, hands holding the cross bar. “What just happened?” he asked.

The Dragon turned to him, glowing embers in his eyes alight with joy.

He didn’t answer. Rather, he turned to the Damsel’s cell and snapped off the lock, striding in with one large step. He bent down and grabbed the Damsel’s wrist, then arm, then threw him over his shoulder like a sack. The Damsel stiffened, trembling still, and Virgil had no idea what had excited the Child and the Dragon but left the Damsel a petrified mess. He didn’t even argue as the Dragon trotted out of his cell still holding him. He didn’t look up when Virgil called his name.

The two left down the hall, the Dragon whistling a tune as his cape swept along his back.

What the hell. Virgil sank down to his knees, watching the empty end of the hall. “What was that?” he asked, turning slowly to the Child.

Who was still beaming. He sat next to Virgil and leaned closer, hugging him tight. “Patton kissed, uh, um, Bard!” he said, “Patton said he loves us!”

Oh. Virgil hugged the Child. Patton...was in love with Roman. Okay. So that was why he was a little out of it while they were in here, that’s fine. He didn’t even feel the theoretical pain that should be coming from the wound in his side. He was a little….numb.

Patton and Roman. That was fine!

It was fine.

Virgil ignored the yearning that yanked at his heart, didn’t dwell on the tears that pricked the edges of his eyes. That was fine.

“We’re gonna be Roman again,” the Child said against Virgil’s arm, “I know it.”

For the first time in this entire escapade, Virgil found that a part of him didn’t want that. A small, miniscule part, wanted one of the different figments of Roman to trapeze into the cell and sweep him off his feet. Wanted to be able to love Roman.

He wished he weren’t so afraid of it.

TAGS!

chivalry au: @starlightvirgil @forrestwyrm @daflangstlairde @marshmallow-the-panda @askthesnake (i think you asked me to tag @devil-towne too?? im gonna fight tumblr’s tagging system) @k9cat @patromlogil @theobsessor1 @ninja-wizard101 @fandomsofrandom

general: @jemthebookworm @okay-finne

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