#these drawings are also like a year old but i still like them

[zorilleerrant]

"You consider me your priestess?" the girl - the old woman, now, but you can still see her rosy cheeks the first time she came to visit you - asks you. It's hard to determine her tone of voice. She doesn't sound offended, at least, although she also doesn't sound like she believes you're a god. That, at least, is expected.

You wave your hand vaguely. You didn't get the gesture quite right, but humans always change their body language, and it's been too long since you needed to be human for anything. "It's not that you are. But you're the closest I've had in generations, and I would mark you one, if you want me to." You sit, casually, on a bench that wasn't there a moment before, hoping she'll do the same.

The old woman eyes it suspiciously. She's been here for every birthday since she found the place, and many informal days besides, and she knows there was never a bench here. Still, with a weary sigh, she sits beside you. "I'd like that, I think. I never had the test scores to join any of the big priesthoods. Get one over on them, a little bit." She laughs, and her teen years, writing scathing takedowns of theological papers, come back into view for a moment.

You touch her hand. There's a spark of magic. You don't need to, you never used to, but humans are more skeptical these days, and even your most devoted follower doesn't remember the old ways.

For a moment fleeting even by her standards, you wonder if she might have brought them back. But the fishing town isn't what it once was, and no one much makes the hike up here anymore, save curious children and nostalgic adults.

"Do you want me to do anything?" your priestess asks you, a wry smiling wrinkling the still plump curve of her cheeks. "Carry a sign, maybe? Rush into the town and curse their names for not giving you your due respect? I can do a mean scolding these days."

You laugh, hand still resting over hers. "If you like." The idea of her running among the fishmongers, giving over amulets with every sale, making rude gestures when they're refused, is incomparable. The only thing she really needs is The Book, though. You fold open your altar, the way she's done so many times, and bring out the box she admired enough to start polishing gently when she came to visit, telling you about her travels and her art.

"Oh, you again," your priestess says, in delight, laying a delicate hand on the smooth wood. "I learned woodworking and inlay because of you, you little scamp." When she draws her fingers down the sides, this time, the box opens, with a click she can barely hear. Her ears aren't what they once were. Her gasp is the same as it ever was, though, and she taps The Book reverently.

"I never had many rules, even back in the beginning," you tell her, opening the cover so she knows it's safe. "What ones I had don't matter so much, I think - although I'd ask you to be careful where you summon storms, if you try it." You don't know if she has the power for that, anymore. She delved deep into magic in her mid-life crisis, but you've rarely seen her use it since, and you don't know if hers has waned or blossomed in her twilight years.

She looks over the spells. She can read the annotations, still, at least. "It's a lot of power for one person." She flexes her fingers, summoning wisps of what might be the core of some major working, if she concentrated a little harder. "Would you mind if I taught these to people? Not to join your priesthood, mind, just so there could be a little more magic in the world."

You pause. You should have considered that. Many of your siblings have left their words and their magics to the world as their respect faded away, and even more have begun recovery as lost arts. You didn't know your priestess was a teacher. You knew she'd taught a few times, when the calling struck her, but never that she felt the need in her heart. "Of course," you say. The spells are mostly weak now, you think. The time for hiding them is long past. If there's something in there that can help, so be it.

She grins at you. Her teeth are still hardy, and the candlelight flashes pleasingly against them. "Of course you'd mind, or of course you wouldn't? Don't give me any loopholes, now, Your Divinity," she laughs at her own joke, the way she started doing when she broke free of childish attempts at maturity, but still, she waits for your answer, taking your hand in hers again.

"Share them however you'd like," you tell her, knowing that it means she'll record it down to scans and recreations, "the knowledge within is yours." It's clear she'll get years of delight out of it. You don't know how much she might change the world of the handful of enthusiasts she chooses to work with her. It's a nice bookend for a life full of adventure, you think, a discovery like that.

She kisses the book, gently, on the gilded cover. Then, almost as an afterthought, she kisses your cheek as well. "Thank you," she says. Then she opens it again, absorbed in the pages, well past when the evening grows dark. You keep the candles burning higher for her, so she never has to stop her perusal. It's soothing, to watch a priestess once again hard at work. She looks up. "Is this the gift?"

"What?" you ask, caught off guard. Even through all your disciples, you never managed to learn which times connect to each other in the mind of a human. You'd thought that question long forgotten, and hadn't planned on answering right now.

"The gift you said you wanted to give me. Is The Book the gift?" she asks, in confusion. Books are wonderful, powerful things, of course, but they aren't secret. Hidden, often, and protected, and sometimes held to only the most intimate of worshipers, but they're nothing unexpected, not for a deity to give.

You lean back on the bench you never rose from, and wonder if you should bring in desks for those she plans to teach. "No. I was going to offer you your choice of afterlife, when the time comes." You watch her as she frowns. You wonder if she already has an answer in mind. You wonder if she knew since she was knee high with a scraped arm, or since she was a teenager bent on escaping her classmates, or since she was learning to grow and just choosing her passion. She just looks at you, not answering.

Then, weary minutes later - weary for her, where each night brings aches the day didn't; you're happy to wait - she asks, almost rudely, "not soon, I hope?" Her chin juts out as it used to.

"Not so soon for you," you say, thoughtfully, "although too soon for me, I must admit."

She nods, still cradling The Book carefully. "I thought, once you'd made me your priestess, I'd end up going where all your servants go," she says, sounding, of all thing, patient about it. You don't know how much she knows about your afterlife. You've never discussed it with her. Even when you were popular, once, that was never much of the details that caught people's eye.

"Normally only monks go there," you say, not that you'd discourage her, if she wanted to stay always by your side. "It's a place for quiet contemplation, mostly. Even of my priesthood, only the ones who valued their silence ever stayed." You can see her, in a long gown, roaming the halls in a circle, thinking. You can't see her enjoying it for more than a short time.

"You'd have to send me away," she says, ruefully. Then she pauses to think. "You won't pick for me? I can pick?"

Still, you think, she might have you picking her home, anyway. So many of yours did. Even the ones who earned the highest honors left everything in your hands, and here she is a priestess of moments only, ready to upset everything. Or nothing, if you ask her not to. You close her hands around The Book again.

"Think on it," you say, and wait for next year.

While other god's shrines are magnificent, yours is a bit too humbling. And yet a little girl visits you every year after stumbling upon it, never missing a year even as she grows old. Deeply moved, you decide to give her a parting gift greater than what any other God would dare to give.

[miss-dollette]

Person Of Interest - Chapter 1. Muse.

Warning: Stalking. Really fucked up opinions on the less fortunate. Remember, this is the salesman we’re talking about.

(A/N): I wrote this over the course of a few days. I haven’t written anything this long in some time, so let me know if I got anything wrong. Also, I’m not Korean and have never visited Korea, so I’m not familiar with Korean culture. Please be easy on me - I don’t even listen to K-Pop and this is my like, second Korean show I’ve watched 😭. Okay, it’s two in the morning and my eyes hurt. Enjoy :)

The little waif appeared at the train station again, as she did every day of the week except Sunday.

He knew that because he had developed a routine of his own-one where he ensured he’d catch a glimpse of her. She was a slight thing, all knobby knees and elbows, with a rounder face that still clung stubbornly to remnants of baby fat. It gave her an air of innocence that would likely never fade into maturity.

Twenty-two years old. A dropout from a prestigious university - why, he didn’t know. She lived with a roommate in a tacky apartment building and was unemployed. Instead, she earned her money playing her violin in the busier sections of the city.

A talented little thing. No matter the weather, her thin but strong fingers coaxed melodies from her instrument, drawing the attention of passersby. The locals knew her well, and they must have appreciated the way her music lured customers to their shops and stands.

The first time he saw her, she was on a concrete platform, playing one of his favorite songs. His hand had stung, his shoulder ached - a long day of recruiting Nothings - but the sound had stopped him in his tracks.

Passersby dropped won into the worn Breton cap she’d laid out in front of her, and each time, she flashed a brief, grateful smile before resuming her tune.

His breath hitched in his chest, his fingers slackening around the handle of his suitcase full of won and two dirty ddakji papers. Even dressed in an oversized coat with patched-up hemlines, she caught his attention in a way that left him stunned.

An elderly man shuffled past her, dropping a few won into her cap before bowing deeply. She paused just long enough to bow back, even lower than he had, before continuing to play.

As the sun sank lower in the sky, lingering spectators began to drift away, heading toward the station to catch their trains. Salarymen and women filed out of their offices, and nearby shops started to close for the night.

When the last stragglers were gone, she stepped down from the platform and retrieved her cap. One by one, she smoothed out the crumpled bills with delicate precision, as though each note were a treasure.

An elderly woman from a nearby food stall approached her, carrying a steaming skewer of dakkochi. Though the girl began counting her bills, ready to pay, the woman shook her head, pressing the food into her hands.

She hesitated, staring at the meat with wide, hungry eyes, before accepting it and bowing low in gratitude.

He watched as she took the first bite, her eyes fluttering shut as though she were savoring the warmth, the taste, the comfort of it. She chewed slowly, and though he couldn’t hear it, he could almost imagine the hum of satisfaction she must have let slip.

It was ridiculous. Fascination with someone so ordinary.

And yet, he couldn’t look away.

How could it be that this crumpled-up, discarded girl had managed to fascinate him so completely?

If he had seen her on any other day, he would have caught her alone, offered her a game of Ddakji, and slapped her cheeks until their softness gave way to mottled bruises. Those babyish cheeks of hers, stained with tears—he could picture it so vividly. Female recruits usually cried by the third slap, but they never stopped playing. The glimmer of hope, of winning back their dignity or even just a few won, kept them in the game.

They were all the same. Male or female. Persistent, pathetic pieces of garbage. That’s what they all had in common.

When she finished her food, she stuffed the crumpled won into a sash tied around her waist, her movements quick yet deliberate. Then she turned her attention to her violin, lifting it with a tenderness that bordered on reverence. She placed the chipped instrument into its worn case so gently that anyone watching might have thought she was laying an infant into its crib.

It was laughable, really.

And yet, he kept watching.

When she stood, she practically skipped toward the train station. Light, careless steps, as though the weight of the world hadn’t settled on her shoulders like it had on everyone else’s. He watched her descend the stairs, each movement unguarded, as though she had nothing to fear.

His fingers tightened around the handle of his suitcase, and his eyes flicked to his watch. The seconds ticked away steadily, a reminder that if he wanted to catch the last train home, he’d need to hurry.

But as he stood there, staring at the spot where she’d disappeared, he felt himself torn.

Head home... or follow her?

The decision hovered in the air, tantalizing and heavy, as the seconds marched on.

He realized that if he didn’t follow her, she’d haunt his thoughts all night. The sound of her tunes, the gleam in her eyes—it would all linger, nagging at him. And what if he never saw the little waif again?

The thought was unbearable.

He took a step toward the station, then another, and another, until he found himself at the platform, watching as she disappeared through the train’s doors.

“Pardon me,” he murmured, brushing past another passenger in his haste.

The man turned sharply, venom already rising to his face - until his gaze fell on him. The glare faltered, melting into something more subdued. Respectful.

It was remarkable, really, how quickly people changed their tune when they caught sight of his tailored coat and polished shoes. They didn’t need to know him, his past, or his purpose. The price tag of his appearance was enough to earn their deference.

How pitiful, he thought, as he adjusted his grip on his suitcase. Once, he’d been nothing - just like them. But now?

Now, he was above them all.

She sat in the distance, wedged between a mother with a toddler clinging to her thighs and a weary salaryman fighting to keep his eyes open. Her violin case rested on her lap, cradled against her chest as though it were something precious, something alive.

He watched her from the corner of his eye, careful not to let his gaze linger too long. If she caught him staring, she’d realize far too soon that she had an observer - and that wouldn’t do. Not that he had any plans of revealing himself.

Fortunately, he was practiced in the art of pursuit. Years of experience had honed his craft, though his targets were typically for a very different purpose.

The train jolted forward, and he swayed slightly, using the motion to adjust his stance, keeping her just within his peripheral vision. She was so unassuming, so small in this world of hurried professionals and exhausted parents. Yet, there was something magnetic about her.

Her oversized coat hung awkwardly off her frame, the patched hemlines almost brushing her knees. It was too large, almost comical, but she wore it without a hint of self-consciousness. Perhaps she didn’t care how it looked, or perhaps she was simply used to making do. The thought both irritated and fascinated him.

He shifted his grip on his suitcase, the leather pressing against his calluses. Would she even be worth it? She wasn’t like the others he had approached. There was a quiet resolve in her, something different. She didn’t wear her desperation as plainly as the others, yet he knew it was there - lurking beneath the surface.

Wasn’t it always?

His lips twitched into the faintest smirk. Everyone had their breaking point. The game just revealed it sooner.

She glanced up briefly, her eyes scanning the train, and his heart seized for a moment. Had she noticed him? No - her gaze swept right past him, uninterested and unseeing. He let out a slow, controlled breath, reminding himself that he was a master at this. Years of practice had taught him how to melt into the background, to become just another face in the crowd.

But watching her, he felt something unusual - a spark of impatience. Normally, he could bide his time, savoring the slow unraveling of his prey’s composure. But with her, the anticipation was different. Her every movement - so small, so deliberate - pulled at something in him, though he couldn’t quite name what.

The train rattled through another stop, and a few passengers shuffled off. She remained in her seat, her hands absently brushing over the scratched surface of her violin case. Did she know how fragile she looked in that moment? The way her fingers lingered on the case, as though drawing strength from it, made his chest tighten in a way that annoyed him.

Perhaps that was it - the illusion of fragility. People like her always looked so easy to break, so willing to bend under pressure. But they never went quietly. No, they always had a streak of stubbornness, a refusal to yield that made the process all the more satisfying.

He swallowed, his mind flickering between possibilities. If he approached her now, how would she react? Would she freeze, caught off guard by someone acknowledging her for any other reason besides her violin? Or would she look at him with suspicion, sensing something amiss?

The train slowed, and the voice over the intercom announced the next station. His pulse quickened. She adjusted her grip on her case, her body shifting as she got ready to stand.

He waited until the distance between them widened before stepping off the train. The crowd of passengers spilling onto the platform was his cover, their hurried steps and muted chatter blending him seamlessly into the flow of bodies. Not that she would suspect anyone was following her. Who would?

Once outside the station, she weaved her way past the gleaming high-rises and into narrower, dimly lit streets. The transition was stark - the polished facade of the city gave way to crumbling walls, cracked sidewalks, and flickering streetlights. It made sense for her to live in this part of town. He never imagined she could afford anything more secure.

She paused in front of a small brick building, its exterior worn and unremarkable, much like her. He hung back, watching as she disappeared through the front doors. His pulse steadied, and he exhaled slowly. Following her inside would be foolish - far too risky. A smaller building like this meant she likely knew her neighbors, and a stranger’s presence wouldn’t go unnoticed.

Still, his lips curved into a faint smile. The journey might have ended here, but now he knew where she lived. A detail worth savoring.

Just as he turned to retrace his steps to the station, a light flickered on in one of the windows. His head snapped up, and his gaze locked onto it. A shadow moved against the thin curtain, a familiar silhouette. Her slight frame was unmistakable, and so was that oversized Breton cap perched awkwardly on her head.

Yes, it was her.

For a moment, he stood frozen, watching her shadow shift. She set something down - likely the violin case she had cradled so protectively on the train. He could almost picture her now, brushing the dust off her coat, pulling her hair free from under the cap, perhaps exhaling with relief to finally be home.

His grip on his suitcase tightened.

“I should leave now,” he thought. Lingering too long would be reckless, but something about that glowing window and her faint outline held him captive. It was a glimpse into her world - simple, predictable, fragile. A world so easy to disrupt.

Finally, he turned away, but his steps were slow, reluctant. He had what he came for, but the thought of her shadow, the dim light framing her every movement, stayed with him.

Time to say Goodbye.

[diushek]

Shen Yuan concept without being a NEET just because my sister and I thought of this and lol we had a good time

So Shen Yuan is this rich kid and all, but he actually has this hobby that started taking up 80% of his free time: designing clothes. He started out as a cosmaker, can you blame him? Cosplays are so poor quality these days. And Shen Yuan is used to good quality clothes even if they are just simple t-shirts. So when he started realizing how pathetically expensive some cosplays were compared to their quality, he just... Well, he had to design his own!

Little by little, he evolved. And one day his wealthy family found him this job designing clothes for xianxia dramas, and Shen Yuan, a little delirious, accepted. It's okay! He designed a lot of sketches inspired by arts, historical research here and there, things that also looked nice and realistic. Shen Yuan enjoys his job almost as much as he enjoys criticizing each new PIDW chapter. How is it possible that they've been thirty chapters into that subplot and there have been more papapa scenes than a resolution?! Outrageous!

Shen Yuan designs a lot. He still works as a cosmaker, as he really enjoys doing embroidery. It's a time-consuming job, but he gets paid well and his cosplays are the best in the entire community. His family is happy that he has left his lonely life and has this job and this new business experience, they congratulate him on his new achievements, they urge him to enroll in some university fashion or clothing design.

Shen Yuan dismisses it. He misses his life as a NEET a little, but in reality on his days off he just plays around and does nothing, which is the same thing he does on his work days, except he embroiders and sews or draw on those work days. Days so busy, they are not.

So Airplane ends PIDW like absolute shit, Shen Yuan drowns and dies.

And he opens his eyes. Well, what the hell. It doesn't take long for him to discover that he transmigrated into an NPC. Tailored, apparently, because he's an no-name NPC apprentice to a spider demon seamstress!

He has a lot of knowledge about all of this, so it doesn't take him long to put it into practice. His teacher congratulates him and he makes a lot of sales. Soon, he gains a very good reputation. Maidens from other kingdoms come to Shen Yuan to design clothes for them for festivals, for dances, for family celebrations. Shen Yuan designs, sews, embroiders. It's not far from his old life, although he misses Project Sekai and caffeine a little.

He opens his own workshop almost a year later, with the goodwill of his demon teacher. She warns him of something: Shen Yuan is a thread woven to another soul. And soon, his soulmate will come for him.

Shen Yuan is a little nervous, but, oh well! A soulmate! If only!

He knows, for a fact, that that's impossible. They're in the disgusting world of PIDW, and at least half of the dresses he's made have been for Binghe's future wives. Some would even be torn apart without any care! What a waste of his time and effort!

He doesn't think about it too much. Shen Yuan just focuses on his work. He designs, sews, embroiders. He sleeps little but enjoys the smile on the faces of the Meimei's when they hug the pretty fabrics. It is, despite everything, a good life.

Then, Emperor Luo Binghe arrives at his door.

In person. Not with servants, not with a letter, not with an invitation. It is Emperor Luo Binghe who arrives at his door.

Of course Shen Yuan is going to make robes for the emperor! There's no need for him to ask or offer to pay for them! He's nervous and a little scared, but Luo Binghe is... well, he doesn't seem to have no kind of threatening aura or any kind of charm. He asks him for the designs of some robes and stays there while Shen Yuan makes the first sketches. Luo Binghe gives more directions, more corrections... And Shen Yuan discovers that Luo Binghe is requesting Qing Jing robes from him, if the fanarts are accurate. He tears off that sheet of paper, starts another sketch with Qing Jing's exact robes without uttering any words, leaving Luo Binghe speechless as well. Luo Binghe nods, correcting details of length and shape, not even asking or saying anything about designs of cultivators clothing, and Shen Yuan has to move on to the... er, awkward part. He has to almost strip Luo Binghe to take his measurements!

Ignore that part. His face is very red when he finishes, but he has the exact measurements of his back, his arms, the size of his fit, his length and width, everything necessary to work with the first molds.

Shen Yuan has no idea why Emperor Luo Binghe wants Qing Jing's robes. He won't ask either, he values his tongue very much. So, he just decides to continue his work like a good professional, embroidering every detail to perfection (he has done two Ning Yingying cosplays in the past, so, it was easy to him remember the embroidered patterns).

Maybe he makes it too perfect.

Luo Binghe is looming over him, his new robes on display, eyes red with fury, zuiyin shining on his forehead.

"Cang Qiong has been burned for more than two hundred years. How can a weak mortal like you recreate these patterns so perfectly?"

Shen Yuan has three options, honestly.

a) Tell him he's a transmigrator. He doesn't have any fucking System, and maybe telling him he's from another world will save him from his imminent death... But he highly doubts Luo Binghe will believe him.

b) Telling him that he's a reborn soul! That he may have worked for the sect in the past! It's not a bad idea, and it's actually quite common, isn't it? Some souls are reborn with some memories, huh, not bad...

c) Not saying anything and playing dumb.

Shen Yuan chooses to play dumb, only because he doesn't have enough brain cells and is so panicked that he can play the reborn.

"I don't know what Junshang is telling me! I just followed the directions and patterns in the design given by Jungshang!"

Luo Binghe does not strangle him. Makes things worse.

Luo Binghe carries him over his shoulder and carries him away. This is kidnapping?! Shen Yuan is being kidnapped from his own shop in broad daylight!? And obviously no one is going to stop him!!

And so, Luo Binghe simply puts him in a room somewhere in the palace, gives him some papers and many tools so he can draw and tells him to design something that he like. And he leaves.

... That is, a kind of test? Is Luo Binghe testing him in some way? Ah, he hopes his customers will be understanding. He's sorry for the delay in their dresses, but Emperor Luo Binghe has kidnapped this seamstress, but he hope to get back to business soon!!

(Luo Binghe is having the closest thing to astral travel. Why does that boy who looks like a young and sweet version of Shen Qingqiu know the patterns of Qing Jing so well? Is he his own "kind" Shen Qingqiu in this world? So why does he act like this and not like a haughty teacher? What should he do?

At least he brought him to his palace. He's not sure if he's the person he's looking for, but, well... he's not really going to let him out of his sight. Just in case.)

[localwhiskeyuncle]

In my last post [x] I briefly touched on (book) Hannibal showing repeated kindness to women, children, and animals and I feel like that's worthy of expansion so here's my breakdown on that:

As far as the animals go - we see this as early as like 13? 14? years old when he beheads Paul Momund. He kills Paul, but he takes the time to free all the fish he had hooked on his line.

We see it again when he is in the last stretch of his revenge killings. After killing Kolnas, he knows he is low on time to find Grutas and save Lady Murasaki, but he still takes the time to free all the ortolans in the cages before setting course for the boat.

And, perhaps this is a little disconnected, but it happens again with Mason Verger. Mason is keeping dogs in a cage, starving them just to see what will happen, and in his attempt at murdering him, Hannibal makes him feed the dogs (his own face, but still lmao).

You'd think a man like Hannibal wouldn't react well to children, but there's material to back up how patient he could be with them.

To start, Mischa is a glaring example, and perhaps the driving influence as to why he is so forgiving to children later in life. Even before tragedy struck, he was described as an odd, cold child - but not with Mischa, never with Mischa. He had an instant overwhelming affection and fascination for her and sacrificed everything he had for her up until the very end of her life.

This trend continues - at the orphanage when Robert Lecter comes to pick him up, after he's found by the Soviets, the headmaster warns Robert of his violent streak. Robert expresses shock that Hannibal is a bully, but the headmaster clarifies that Hannibal is not a bully, he is violent only to the bullies.

Then in France, the reason he is booted from the local school is that he attacked a bully picking on a smaller, weaker child.

The last example you see is when he is leaving Florence, well into adulthood, and he is stuck next to a young child on the plane to America. The kid pesters him for the expensive meal he brought from France, and his parents are terrible and entitled and are offended when Hannibal (understandably) doesn't want to share with this random kid he doesn't know. He begrudgingly gives it to him (mostly bc the kid's mom already shoved her fingers in it and he was like uh gross) and retreats to his mind palace to pout pass the time. He falls into a nightmare about his past and comes to with a shout, making a bit of a scene, but the child shows him high levels of empathy and he is struck by it, and able to return it:

"You had a bad dream, huh?" The child is not frightened, nor does he care about the complaints from the forward rows.

"Yes."

"I have bad dreams lots of times too. I'm not laughing at you."

[...] He bent his head to the child and said in a confidential tone, "You're right not to eat this swill [airline food], you know."

At first he only kept his cool because he was trying to lay low and not draw attention to himself, but the child's reaction to his momentary fear was to comfort him and he was almost stunned by that, and instead of becoming further upset, he starts looking for something to like about the kid. That kid would even drive me insane, it's impressive he could not only keep his composure but find kindness for someone that annoys him so deeply (bc we all know how he feels about annoying people; he killed that cello player in Florence simply bc they sucked but were a nepo baby and wouldn't be fired and he was not gonna put up with bad music lol).

And I suppose you could also tie Mason Verger into this category as well; Mason was an unpleasant man, there were plenty of reasons for Hannibal to want to kill him, but I do think that his crimes against children - children Mischa's age - especially disgusted Hannibal. This is never explicitly stated, but he has a special kind of disdain for Mason.

And lastly, because I believe he feels this the strongest, is his fondness for women.

Very early on in his life, his mother was clearly one of his favorite people. The very first room he built in his mind palace was her bedroom. We don't get a ton on his relationship with his parents, but it's clear he preferred his mother to his father. He admired her beauty, her lineage, her grace, her class. And while Mischa falls under the category of child, she is also a woman, and he loved her most of all.

The next woman he shows reverence for is Lady Murasaki and - while that was driven by romantic feelings - he was still incredibly respectful and kind, even when he felt overwhelmingly bitter about her rejection and her friendly relationship with Inspector Popil.

And then there's Clarice. He did drug her a whole lot for a bit there while he poked around in her psyche (very on brand lol), but he also loved how rough around the edges she was, how she was a 'rude' woman (the kind of woman that gets called a bitch and a cunt by insecure men), how expressive she was, how she had "too much nerve for her own good" (as he put it), he described her as "cursed with taste" much like himself, and he deeply valued her opinion and input. He derailed his entire plan for his (their?) future because he was more than willing to sit and genuinely listen to what she had to say instead of sticking steadfast to his own ideals. When Barney is called on to talk about his take on Hannibal's relationship with Clarice, he first hears a (stupid) psychiatrist talk about how Hannibal only responds to Clarice when she's in distress (I'll get into that whole convo in another post because there's a lot to dig into). In response, Barney says: "In the asylum, Dr. Lecter responded to her when she held onto herself, stood there wiping come off her face and did her job. In the letters he calls her a warrior, and points out that she saved that child in the shoot out. He admires and respects her courage and her discipline." Barney didn't really spend all that much time around the two of them and he was still able to grasp the level of admiration and respect he had for Clarice (and know how stupid it was to believe that his sole interest in her was her distress).

Say what you will about Hannibal Lecter, you cannot deny that he had a soft spot for victims/marginalized people. He was deemed a 'monster', but he was honestly kind of gentle at times. Of course, he was also highly dangerous, but that was not always his default mode.

[kabuki-draws]

Soooo, Gladiator OC anyone?

I kinda had this girl in mind for quite some time now and i needed a bit of redrawings and all until i was happy with her final design now. Also this was great chance to draw a lil sketch of Macrinus for the first time, probably going to draw more of him, bc Denzel ROCKS.

Ariadne is a slave of Macrinus and kind of his right hand. She is originally from Greece, where she grew up as a priestess in the Temple of Apollo in Delphi. From her early childhood, she was meant to become a Pythia, an oracle, but on a pilgrimage her ship got raided by pirates in the Aegean sea. Those pirates sold the captured people to slave traders, which was why Ariadne ended up on a slave market in Rome, where Macrinus bought her. He raised Ariadne, who was 13-years old back then, to trick the Roman upper class as an oracle scam to manipulate gladiator and chariot race bets.

Over the years Macrinus developed a soft spot for the young woman, which he treated better than the other slaves he owned. He never laid a hand on her. In a way she became more like a 'daughter' to the older man, even though he still manipulated her to do things that would be in his advantage such as seducing Emperor Geta (who tried to buy her a couple of times to make her his concubine, but Macrinus always declined).

Beside her role as an oracle, she helped Ravi caring for the wounds of Macrinus' gladiators and often used these moments to talk with them - a little bit like a therapist sometimes. During that, she got in contact with Macrinus' latest purchase: Hanno.

Feel free to ask me about Ariadne or interact with her through your own OCs.

[noahs-blue-jeans]

Unspoken Moments

Desktop means title! this is a long one btw

I've been thinking about the unspoken moments between Byler which brings to mind that, for Season 5, they've cast young versions of Mike, Will, and Jonathan. I'm not the first to speculate that we'll be getting some Lonnie scenes, nor the first to probably suggest this, but I wanna parse it out anyway.

I think Mike and Will may have done something gay without realizing it, and Lonnie and Jonathan found them. Lonnie first, even. What could they have done? Any innocent thing lonely young gay boys would do: caught holding hands, sharing a space very closely (looking at Will's drawings in bed together perhaps). Any number of things that a fuck like Lonnie clocks as fag behavior.

And I think this could be the inflection point in both boys' sources of trauma, in regards to their internalized homophobia. A trauma that Mike took further to heart which didn't break until seasons 3 and sort of 4, when he becomes the way he is in those periods.

Parents are also, despite popular belief, not often stupid when reading their children. Lonnie is horrible and Ted Wheeler is a lame ass bitch, but they are still correct in clocking their sons' queerness the same as Joyce and Karen, who of course have a loving and accepting approach. Joyce is most explicit in accepting Will, and Karen gives Mike The Speech that many queer kids get from their well meaning parents, a big signal that she knows Mike loves will as more than just a friend.

Alongside this moment at 8 years old, I think both boys have become increasingly aware of how they behave with each other, and other moments may have happened off screen that we could see in S5 flashbacks.

Even in the 80s, little gay boys knew they are gay and liked their best friends. I have no doubt Mike--as much as Will--is aware that he loves his best friend romantically. You know how you feel about people, even at a young age, and in the moments of Mike's solitude, after spending time with El and playing at kissing, you cannot tell me he doesn't instead think about Will. That he doesn't think about when they'd play together, or watch movies just them, or when they would sit close and look at Will's drawing together. That fingers or knees would touch and they're too young to really notice the implications, but they know they like it and each other.

This, to me, adds to the many explanations for Mike's behavior in seasons 3 and 4, and why he begins to come around by the end of the latest season, since he's old enough to be physically unable to deny it anymore, and beginning to accept that he and El won't work because of how he feels about Will. I like to imagine that those few times Mike's calls got through, he and Will would exchange a few pleasantries but then they'd sit there in silence, not even realizing they're listening to the other's breathing. A tension felt across the continent, sure as the sun sets in the west.

This freaks them both out, we don't see it, and instead we see Will coming to terms with his feelings as best he can by way of The Painting; Mike, in contrast, puts on a false persona to hide from these feelings.

In conclusion! I think these two shared some unspoken, unseen moments that we will soon get in flashbacks and Vecna Visions, and we will see these boys go on the journey of accepting them and finding power in the love they've always shared.

[ordinaryschmuck]

Why I Love The Owl House: Part Six-Praises, Problems, and Perotations

Prev Part

…Perotations is a synonym for “Conclusions.” Had to stretch for illiteracy, there…Anyways.

Salutations, random people on the internet who are already skimming past this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

Here it is, friends and followers. The very last thing I have to say about The Owl House. Or things, plural. You see, this isn’t like the previous parts. In the past, we’ve discussed the show in every possible aspect all while circulating around a common theme, whether it’d be the characters, their relationships, the arcs, and the messages that the series is trying to tell. However, there’s a lot more to discuss about The Owl House than just those four things. It’s just difficult to find a theme for each topic because, well, I don’t have much left to say. That and there’s nothing these last few points have in common with each other to lump into a shared post. So this final part of this whole long ass thing is sort of me just me listing out the last few praises and problems I have with the series before reaching that perotation. And yes, I’m still sticking with perotation. Might as well commit.

Also, to keep things fair, each praise I give the show will be immediately followed up with a nitpick—I mean, problem. That’s how it’s gonna go for this whole part, as we go back and forth from praise to problem, praise to problem, and so on and so forth until we reach the end. We’re in the homestretch here, folks, so let’s stop stalling and finally wrap up a review that’s three years in the making as I finally answer WHY I love The Owl House.

Praise: It rewards multiple rewatches

That’s the best thing to say about a serialized show like The Owl House. Knowing about big reveals or the direction of the story is going helps make rewatching it a little more fun. You get to pick up on all the little clues that the writers left behind or how moments can be recontextualized. There’s little stuff like how Amity tried running away from Luz in the ROMANCE section of the library or the proud look in Alador’s eye as Amity fends off the abomaton, showing that there were ideas that the crew were planning to set up but left behind these hints, both subtle and not, and making fans realize that the writers thought that far ahead (Most of the time). Even the little things like seeing a Grom poster in the background in an episode leaves a nice teaser for something fun that’s to come while making fans smile at that particular attention to detail.

But it gets better with the bigger reveals. Raine especially is a great example of this, as they have two big moments that recontextualize how they interact with Eda in previous episodes. In “Eda’s Requiem,” it’s clear that there’s some romantic tension between the two, with Eda particularly being a blushing mess. It leads viewers to believe that the two share feelings for each other, but never admit it, with a few fans even joking that Eda isn’t that suave if she’s so flustered around an old crush. Then in the VERY NEXT EPISODE, we learn that Eda and Raine aren’t old crushes but are instead exes. It makes all the romantic tension in that episode feel more engaging now that you have that information in mind, as it tells you that these two still have feelings for each other, with Eda’s being the strongest seeing how she didn’t want the relationship to end but willing to keep quiet because she’s not willing to admit it. It’s a great utilization of recontextualization that makes the text more engaging, with the crazy part being the writers do it AGAIN in the same season. In “Follies of the Coven Day Parade,” we’re led to believe that Raine’s brainwashed by some potion Terra gives them, with Eda’s attempts to break Raine out looking like they’re WORKING but not hard enough. The biggest sign that Eda broke through was a tear from Raine, but even then it didn’t look like much as Raine went right back to chugging Terra’s concoction. Only for “Them’s the Breaks, Kid” to reveal that Raine was NEVER under any hypnosis or spell. They used bard magic to change the mixture with just a whistle, which we see Raine do when they first drink something Terra gave them. Not only is that a brilliant case of laying down the groundwork for a bigger reveal down the road, but it makes all of Raine’s actions in that episode have an extra sense of drama to them as we now know they’re faking being brainwashed and are trying to push Eda away from the oncoming conflict. “Follies at the Coven Day Parade” is already an engaging episode, especially with the Eda and Raine subplot alone, but the prior knowledge of what’s really going on with Raine just gives it an extra bit of edge that it didn’t even need but I’m appreciative of it anyway.

The same applies when fan theories turn out to be true. Now, there were a LOT of crackpot theories in this fandom, some of them going so far as believing that Luz would be possessed by The Collector (Remember that?). As for other theories, the show didn’t have much that was as big as that. There was Hunter being a grimwalker, but the show basically spelled that out to us with how it practically shoved that spell book into our faces. There was King being a Titan, but that originally felt like a crack theory based on the SLIGHTEST things with no follow through only for the show to give us all the information we needed in one fell swoop. The only real theory that had any weight, large in part because the clues felt subtle enough to glance over and were frequent enough to remind fans of its possibility, is Belos being Philip/a human. I personally picked up on the possibility as early as “Young Blood, Old Souls.” He didn’t cast spells like other witches and his staff and parts of his robe looked more mechanical than magical. It made me think he had no natural magic of his own and, with humans being the only beings who lacked magic, the logical conclusion was that HE might be human too. Sure, his face revealed he had pointy ears, but they were noticeably smaller than most witches. Almost as if he sliced up his own ears to help make them look more like a witch’s. And I know you can’t SHOW something like that in a kid’s show, but you can heavily imply it…which the series did through a portrait in Belos’ mind. Regardless, the show always left the validity of the theory as a possibility, with new information being thrown into the mix of whether Belos used to be Philip. They certainly sounded similar and, upon meeting Philip, a lot more of the pieces started to fall into place. His charm, inflections, and demeanor all pointed to the signs that these two were the same guy, with “Hollow Mind” only confirming it to the audience. With all this proper build up and explanations of who Belos is and why he acts in a certain way, not only does it make forming and reforming the theory more fun, but it makes rewatching Belos’ actions become more engaging as you get a better idea of what he’s going for. We know why he’s vague about his plans for the Day of Unity, why he treats Hunter so disrespectfully, and why he wants a portal to the Human Realm. It makes an already threatening villain more vile and intriguing all because we know exactly who he is, rewarding fans who already got close to predicting the truth by giving them more than what they bet on.

This is the fun of watching a show like The Owl House. With its tight continuity and story consistently building off of itself, it makes you appreciate all the finer details and see how it all mostly lines up. Not everything was planned out, but, for the stuff that was, it makes rewatching the series feel better and better as you know the writers spent so much time making sure everything they make lines up perfectly as they could. By knowing the truth, it can make fans appreciate even the TINIEST of moments in Season One that would HEIGHTEN the experience once you you got to Season Three…Unfortunately, though, there is ONE thing that the writers didn’t fully work out, to the point where it kind of breaks the series when we get to that final season.

Problem: The timeline is all kinds of wonky

I don’t mean all the stuff in the past. Caleb running away with Evelyn, Belos’ rise to power, Eda’s curse and all the consequences that came with it all line up well enough. What I’m talking about is all the things that happened in the present. From “A Lying Witch and a Warden” to “Thanks to Them,” a lot of the show’s attempts at making a timeline of events falls short.

At first, it seemed that they were doing a good job of it. They said that “I Was a Teenage Abomination” and “Covention” were a week apart from each other, with the same being the case with the ladder episode and “Lost in Language.” There, the writers were explicitly giving us an exact timeline of events, being relatively easy to follow. But either they realized that they’re making the summer move along a little faster or they stopped caring about consistency, because they stopped mapping things out after “Lost in Language.” From there on, the writers become noticeably vague about how far apart these events occurred. “Keeping Up A-Fear-Ances” has Luz assume that summer is over, so it’s definitely been months since the first episode, meaning we’re probably in Fall…but then it gets trickier. Because by the end of “Reaching Out,” it shows us this calendar next to Camila that it’s currently the last week of August. Now, some summer camps don’t last the WHOLE summer, I’m sure…But Camila, in the very first episode, specifically said, “The next THREE MONTHS will fly by.” If it’s been three months, depending on the school Luz went to, we would be in August by “Keeping Up A-Fear-Ances.” However, it’s weird that we’re STILL in August in “Reaching Out.” In order for that to make sense, every episode after “Keeping Up A-Fear-Ances” would be a day apart from each other. Is that plausible? Probably. But ONLY if camp ended at the exact time as “Keeping Up A-Fear-Ances.” What we saw in the ending could have been a few days, maybe a week at some random point of August. 

And even IF events were a day apart, that still wouldn’t work. Assuming it’s the middle of August, that either has not enough episodes or not enough days. And even then, to think that all of these episodes, EACH ONE, takes place a day after the other is INSANE. It definitely doesn’t do Hunter’s redemption arc any favors if it took less than a month to change his perception of reality. Plus, something Raine said in “Follies at the Coven Day Parade” makes things MORE confusing. They said they’ve spent a MONTH in bed. Could be a part of the “brainwashing” that’s making them say that, but still, a month WHEN? A month BEFORE or AFTER “Eda’s Requiem?” Because if it was a month BEFORE, why would the Emperor’s Coven make Raine think they’ve been taken care of BEFORE becoming an official Bard Head? And if it’s a month AFTER, then HOW?! IS IT?! STILL AUGUST?! I’m telling you, it HURTS the brain to think about, and it hurts even MORE when there’s a frickin’ scrap book in “Thanks to Them” that explicitly says the Hexsquad spent a  SUMMER together, WHICH THE PHOTOS PROVE TO BE ACCURATE! When’s the last time you’ve seen people go to the beach in the mid to late September? Or go tubing when we’re getting close to October? Or relaxing in the sun or enjoying your time in the garden when it’s the middle of FALL?! The math is NOT mathing in this scenario, and it really almost breaks the series.

Now, the question is this: HOW did this happen? Well, there are two theories, one generous and the other reasonable. The generous theory is that, given most of the timeline started getting broken in the second half of Season Two, it’s possible that this was a result of the story getting shortened (Yes, I’m playing that card. Stick with me). The writers confirmed that the first half of Season Two was already written and put into production before Disney decided we can’t have nice things and shortened the series. There were a LOT of things that were likely to happen in that longer version of The Owl House, with a “summer” in the human realm being something they thought up as a way to make the story more interesting despite the constrained time limit. However, like I said, that’s being generous. Because the reality, in what I can assume, is that writers didn’t do the math right and failed to properly communicate with the art department. Stuff like the calendar and scrapbook is something made by the background, prop, and storyboard artists, likely trying to clean things up and add more fun to the story, only for it to turn out that they didn’t get the proper notes they needed. The results…doesn’t fundamentally destroy the series, but it does break things everytime you think about it. If you’re not paying attention, you won’t be bothered by any of it, but if the only solution is to tell people not to think about something in the series that’s so broken…is a bit of an unfair suggestion to make. You can’t tell people to ignore something wrong with the story, no matter how good the rest of it is. It’s still worth being brought up, even if it’s something small that turns into something BIGGER down the line. That way, it could help future writers, or people working on this show moving onto bigger things, to avoid facing a similar issue and make the NEXT story end up being a little less broken…But I can tell you what ISN’T broken in THIS series.

Praise: The Characters all feel solid.

“What does that even mean?”

Good question! Because I don’t know.

Yeah, this one’s more based on a FEELING I get when watching the show. It’s something I notice when watching it alongside Amphibia, Gravity Falls, or most other 2D shows. It’s even something I noticed with MoringMark’s comics, which often nails a close approximation of the show’s art style, but SOMETHING always felt a little off. And it’s not when looking at the show do I realize the reason WHY is because The Owl House has a certain…volume to it. Like, I can almost TOUCH these characters when they’re on screen. As for how, again, I have no idea. It could be how the characters are colored, the weight in their lines, the way they’re shaded, or even the ways they’re meant to move. I don’t know how or why The Owl House accomplishes this feeling I get from it, but I feel like it’s something worth mentioning, even if briefly.

See? Not every part of this final review will be long winded. Sometimes, I just gotta bring up small things that enough people talk about, to show how I appreciate The Owl House in most facets. Certainly helps when I bring up something that might get people angry.

Problem: The animation’s a bit too stiff at times 

Not all the time, mind you. There are a lot of scenes where the series goes all out and adds so much fluidity in such a short scene. The problem comes when you realize how great THOSE scenes look causes the rest of the show to…NOT look like that.

To be clear, the animation’s not AWFUL. I’d say more times than not, the show looks good. It’s just that you can see where most of the budget went into for certain scenes. It’s a tactic that action oriented shows use all the time, to have the dialogue heavy and character focused scenes be slow and stiff so that they can save the best work on the  weekly fight scenes. However…The Owl House isn’t an action oriented series. It’s a fully character driven one, as I’ve thoroughly established for five frickin’ parts now. There are only a handful of big fight scenes, with only a quarter of them having that smooth as butter animation. Yeah, while hype up the big battles like Eda’s duel with Lilith, there’s actually SOME fights where it’s the usual standard for the rest of the series, looking a bit stiff and slow. Sometimes, the same episode can have different animation for fights, with “Follies at the Coven Day Parade” having a stiff fight between Eda and Raine and a smooth one with Luz and Amity teaming up against Kikimora. The difference is noticeable and, the crazy thing is, I don’t dislike either battle, regardless of its quality. I think both are still good in their own right, but the noticeable difference sticks out and makes you realize…how the rest of the series looks. Again, it’s still good, especially in Season Two where it feels like most of the stiffness got cleaned up a bit. It’s just a thing where, despite how good some things look, it makes one almost feel that they’re watching a different show when it suddenly turns up the quality. It feels weird that the show looking amazing is a problem, but it only is when it sticks out like a sore thumb…That being said, though, the show DOES look frickin’ awesome when it wants to.

Praise: It has AWESOME fight scenes and cool uses of magic.

Is this contradictory? Only a little. And, to be fair, while there are times when the FLUID fight scenes DO stick out, they deserve all the praise in the world. Because unlike a certain book series that has magical fights in it, there’s more of an attempt to go NUTS with the action outside of “I’m pointing my wand as hard as I can!” Shout out to How It Should Have Ended for nailing that, by the way, because…Yeah, it’s accurate. If the best magical action you can come up with is characters pointing their wands at each other, it’s not really that visually compelling. Now, for The Owl House, you get a LOT more than pointing wands. You have characters dashing themselves away from big, magical blasts. Abomination goop being used as a shield, fists, or swords. Our plucky protagonist flying at the seat of her pants to try and defend herself from an evil emperor throwing everything he has at her. When the series wants to go hard, it does, regardless of how noticeable the quality difference is. And I appreciate the fact that The Owl House crew try so hard to make all magic that characters can do look awesome, regardless of it being an action scene or not. Outside of Oracle Magic, which never really got that much of a spotlight, all the other eight magical tracks are often shown to be–To put it bluntly–super cool. “Eda’s Requiem” has a ton of moments like that with bard magic, giving us an actual idea of what it’s capable of and, albeit briefly with a guard putting on earmuffs, imply that it’s limited by people being able to HEAR the tunes bards play. Plus, the final act shows the capabilities of Abomination and Beast Keeping Magic with Darius being able to teleport people with goop and morph his body into goo while Eberwolf has better tracking skills and being able to summon beasts. Sure, it adds intensity to the scene and proves just how powerful these two are, but it also shows us–Without telling us–what their magic types can do and how powerful one can get with a type of skill. Even something as simple as Viney casting a shield through healing magic or Bria making stone columns through construction is enough to tell the audience what we need to know about these types of magic and infer what ELSE witches like them can do in their respective tracks. It creates fun speculation on top of making the magic more interesting to watch as compared to the film adaptations of the unspoken book series. You should know which one by now.

However, as cool as the magic CAN be, how it’s casted could use some more punching up.

Problem: The magic system is kind of boring.

KIND OF. There being eight magic tracks is interesting and, as established, how those different magical spells are used can look visually intriguing. They definitely avoided the problem of characters just pointing wands for a fight, but they ran into this new issue of how the magic is casted. For every spell in every single track…it’s just the characters drawing circles. Sometimes big circles, sometimes small circles, and sometimes multiple circles at once. The only time a circle isn’t drawn is when a character uses a staff…most of the time. Even then, there are instances when a circle needs to be drawn, even if they’re not as frequent as a character casting magic without a staff. And I’m not gonna lie, this is an issue I’ve had since the first few episodes of Season One. It’s just such an uninteresting  way for characters to cast magic, especially since it’s done by everybody, regardless of what spell it is. And you wanna know the worst part is? The show offers a more INTERESTING magic system than what most witches have.

Luz’s glyphs, much more than the spells, sucked in a lot of fans’ attention. There were people drawing their own ideas for glyphs that matched what COULD be in the show, or coming up with possible combinations when Season Two established that glyph combos are a possibility. And the reason WHY is because the glyphs are a more fascinating concept. They offer more variety of what they can do for Luz, and look more visually interesting than a circle in the air. What also benefits the glyphs are the limitations they have. They can do anything Luz wants, but she has to draw them EXACTLY as they’re meant to. No line can be out of place, and the circle has to be perfect every single time. Amity proved what happens if you draw the glyph wrong in “Reaching Out,” and that was just with ONE glyph. When it comes to drawing glyph combos, not only do you need to combine the right kinds of glyphs with a specific amount, but you need to draw them in a specific way. It’s more than just drawing two glyphs on the same page, it’s drawing one on one part of a circle that connects it to another. It’s complicated, and gets more so, depending on the spell. Belos’ teleportation glyph proves that you need more than paper to draw the whole thing out. And that’s not getting into the other limitations Luz has with glyphs, like how the invisibility glyph can only work for as long as the user holds their breath. That’s a cool concept and makes one wonder how other glyphs can be limited despite the power they present. Which is more than I can say about spell circles.

Spell circles are just missing that little extra OOMPH. It’s interesting that performing magic is more like a skill that a person needs to train themselves how to do. Like learning how to whistle or learning how to balance on one leg. Nothing strenuous, but nothing easy, either. Plus, the fact that there’s occasional strain from doing a spell too big or characters collapsing after doing one for too long does at least SHOW that magic’s not easy to do. It just doesn’t always LOOK hard, not from a viewer’s perspective. Maybe if something like Beast Keepers needed to make claw marks in the air or Plant Witches needed to draw squiggly lines to mimic vines. Or even if a spell requires a different colored circle, and being able to mix spells means you have to draw a variety of circles. Just…ANYTHING to make it seem like there’s more of an effort outside of drawing circles, all while impressing audiences with how cool the magic system could be. It doesn’t kill the show in any way, but it does feel like there could have been more creativity. It’d be difficult, but the show isn’t afraid to present something engaging through visuals. And not just through the fight scenes…

Praise: The show does great at showing development  through outward appearances.

It might not be on the same level as an epic action scene, but this IS a nice attention to detail. You know why you often see characters wearing the same clothes in every episode, often with little variety? It’s because doing so makes it easier for the animators, giving them a sense of consistency to know how to draw a character each time throughout the series, only changing it up for one episode, specific scenes, or even a quick gag. So to either make a permanent or even gradual change to the character’s design as we reach a certain point in the story, it’s got to take a great attention to detail and continuity to make the change stay. Not only that, but there has to be a GOOD reason to do it. Sometimes, there isn’t. Like, for Eda, I feel as though some higher ups started to discover the lewd art fans were making and told the animators to show less skin on her (Didn’t work, they just made her look hotter). And for Gus, it’s just because the voice of his VA started getting deeper so they gave the character an older design to reflect that…even though, to this day, it makes me question what the hell “witch puberty” is. But while those are small cases that are either done “just because” or “for convenience,” there are some design changes that are often used to help tell the story and show how characters have grown and developed through the course of the series.

In a more permanent case, you have King and Amity. In “Echos of the Past,” King regains a piece of his old horn that Luz then glues back onto him…It’s weird that the horn fits perfectly and that it continues to grow as he ages, but, eh. He’s a baby god. There’s probably some god magic they’re that we’re not aware of.

Regardless of how the horn’s apparently magic, there’s significance to why this horn is now reattached to King. In that episode, he learns that there’s this new part of himself and his history that he wasn’t aware of before. Because of that, he wants to TRY to connect to his roots, even though he doesn’t know who or WHAT he is. Having his horn back is the first step in that journey, making him look more like what he EXPECTS his species to look like. It’s a small thing, but it still does so much to represent King’s character and the journey he’s about to take.

As for Amity, her big change is a bit more significant. After finally wanting to be her own person, she decided to change her hair to help reflect that. Instead of a colder shade of green that makes Amity look like her mother, Amity had it dyed into a warmer shade of lavender. Even how Amity has her hair made up offers this more welcoming appearance as opposed to looking like a smaller Odalia. Whether Anity wears her hair long or short, it frames her face in a much friendlier manner, showing off how much she grew into a kinder person. When I often think of Amity, I think of the nicer young lady with adorable cotton candy hair, as opposed to the snarkier, more intense teen with a colder appearance. It actually breaks my brain a little when I rewatch earlier Season One episodes, because I don’t associate that look with Amity anymore, let alone her behavior. It proves how much she’s changed, inside and out, all while trying to be her own person instead of a carbon copy of someone worse. Sure, the change was a bit jarring and, admittedly, I missed the green hair upon the big reveal, but it’s a necessary change to make the fandom’s favorite white girl happy. It’s not like everyone can have a more gradual change like the fandom’s favorite white boy.

Hunter’s interesting because he’s the only character in the show who has a different appearance in almost every episode. Whether it’s something subtle like a new emblem being added to his cape or something drastic like…whatever you could call his outfit in “Labyrinth Runners.” Either way, he never really sticks to the same style, and that’s fine. His whole character is about discovering himself and who he wants to be instead of becoming the soldier and symbol Belos wanted. It’s why, during the final season, he starts wearing messier, looser clothing that is an outcry to the more professional outfits he went for. And while he ends the series the most scarred he’s ever been, it’s a nice detail that it looks like Hunter is the happiest he’s ever lived through his smile, lack of eye bags, and more loose body movement. It’s a mix of subtle and obvious details that showed how Hunter became a changed person despite all the hardships he went through. It’s beautiful and he’s not the only character that goes through this kind of change.

When I saw what Lilith looked like in the past, and how the bright vibrancy clashed with Lilith’s cold presence in the present, I was hopeful that her road to redemption would be her trying to look more like her old self. And while her redemption was rushed in more ways than one, it is great that the art team did lean into the idea of Lilith slowly shedding her old design for a warmer, kinder one. She ditches a proper set of robes for some spare rags Eda had laying around, eventually gained a uniform when she found stability in her life, allowing her hair to curl once more while adding a pair of specs, and ends the series with her red hair fully returning. At the start, she looked like the most blatantly evil antagonist with how much darkness encompassed her design. By the time skip, she still wears those cold colors, but the short orange hair, the specs, and even how loose that outfit looks gives this sort of eccentric professor appearance. Sort of like she’s Miss Frizzle’s cousin, but one that goes against dressing brightly and colorfully. It definitely fits the vibe Lilith’s current personality goes for, and it works. It’s another case of a character’s improved behavior reflecting in their appearance. However, sometimes the show can do well in the opposite direction by showing how WORSE a character has gotten.

Luz and Belos are the main instances of this. Luz was more brief, as she looked disheveled during “Thanks to Them.” Her clothes were baggier, her smile is basically gone, and it looks like she’s stopped caring about herself or her appearance. It perfectly shows us the mental and emotional state that Luz is in throughout the special, caused by her stress and guilt formed by Belos’ manipulation. Speaking of, through the final season, Belos gradually looks more monstrous and decayed as he continues his quest to kill all witches. It appropriately reveals how much of his true self started taking physical form and overshadowing the charismatic manipulator, all while his body melts and breaks apart to show that time is catching up with him every second. It’s the best kind of visual representation of what Belos has become and this final season will be his final moments. Both him and Luz have perfect visual representation for how worse they got this season, even if Luz’s change was more temporary than Belos’. But, even then, she spends the rest of the season dressed as her hero Azura, making her look like everything she wanted to be in the Boiling Isles as she gains determination to save it. So even though this season started with Luz at her worst, she still managed to evolve into becoming her best self while Belos continued to devolve into his worst self. There’s some hero/villain symbolism for ya.

The art and animation team work their hardest in making the show look as good as they possibly could, often aiding the equally great writing. Changing up the characters outfits and designs can say so much without needing the characters to say anything at all. It’s the perfect cooperation of writing and animation that makes some of the best animated shows function so well. In this case, it offered a great attention to the story at play and made for great visuals at the same time…Though, those same visuals aren’t exactly PERFECT…

Problem: The color scheme is a little off.

“That seems subjective.”

Oh, it’s VERY subjective. I’m not one who knows color theory or what some colors represent (Honestly, I find the whole thing nonsensical). I’m a guy who goes off of gut feeling and thinking to myself “Do these assortment of colors look good?” And the colors in The Owl House don’t look AWFUL, as there’s never a point where I feel like the show is unwatchable. I’ve seen uglier looking works of fiction, all because the creator or director thought it might “improve” the film. Whether it’s to hide the obvious CGI or because the director wanted to match the “grittiness” of the real world, there have been clearer cases where artistic expression or intent tends to harm how a show looks. Even things I like, such as Hazbin Hotel/Helluva Boss, run into the problem where the red and black characters tend to blend too much in the red and black backgrounds. I get that we’re in Hell and the shows often look gorgeous otherwises, but holy hell this must be torture for people who are colorblind. But again, The Owl House never gets THAT bad, even though it matches a similar intent.

Dana Terrace wanted to make a magical world that isn’t as pretty as your usual fare. Doing that means you have to avoid using bright and inviting colors, allowing viewers to appreciate the beauty in what others considered ugly. A nice sentiment, sure, and they don’t completely use unappealing colors. For the most part, the orange, red, and browns of this world create this sort of Fall atmosphere, while the blues, greens, and also browns of certain creatures and characters look devilish and/or ghoulish. The intent is clear and it’s not a bad look at all, but there’s something a little off going on.

I THINK it’s how the colors mix with the characters? It’s hard to explain, but when I look at a character like Gus, who frequently wears his Hexside uniform, something is off. Like…the cold blues and blacks of his uniform clash with the warm hues around him. Or how something like Willow’s original casual outfit had colors that blended in the rest of the world. Or how Luz’s bright white and purple hoodie contrasts her dark jeans and leggings. I guess what I’m getting at is that the colors of the character’s outfits are the problem? They either clash or blend in, to my eyes, at least. Again, NOT a color theorist, I’m probably just talking out of my ass here and going too much into detail about something that’s basically a nitpick. The colors of The Owl House don’t ruin the show for me, I still like the majority of how it looks. This is just a little thing that stops me, personally, from saying it looks perfect. Don’t take it too seriously, this is, again, totally subjective. It’d be the same as me complaining about the show’s comedy or music…Speaking of the music, though, I have NO complaints regarding that.

Praise: The Music is amazing.

Told ya.

And again, this is totally subjective. A show’s soundtrack is either going to strike a chord in you (ha) or not. And while The Owl House doesn’t have an AMAZING score, it’s still one that often fills me with delight no matter what episode I’m watching. Composers TJ Hill and Brad Breeck do a great job in giving The Owl House its own sound. There’s themes that can fit a certain character, like with how The Collector has this very bouncy yet very off-putting base whenever they’re doing wacky nonsense. There are also motifs that suit a relationship, like how Luz and Amity had this little tune that got warmer and gentler as the two got closer to becoming an pair. And, there are cases where there are songs that play just for a certain episode or theme, like that beat that played during “Echoes of the Past” when Jean-Luc was on screen. There’s a lot of effort put into the music of the series like there is in a lot of the show, and it’s often pleasant to the ears like how the visuals are pleasant to the eyes. There’s a total of ONE case where the score got a little lazy and that’s when they played the same track for when Lumity became canon during the scene where Gus introduces Cosmic Frontier to Hunter. That’s a very specific score that never got used again, and works well for the FIRST scene it’s used in. To reuse it for such a minimal moment is baffling, but it’s at least the ONLY time the composers did it. In a lot of other cases, they go hard with the instrumentals, with TJ Hill’s theme for the show being a pretty good listen. Wouldn’t rank it among some of the best theme songs for cartoons, but definitely better than most.

The closest I can find to a problem with the show’s music, outside of the one weird reuse of a specific track, is that it almost sounds TOO similar to Gravity Falls. Like, if you were to play a few notes from the background, half the time, it’s gonna take me a minute to figure out if it’s from The Owl House or Gravity Falls. I can let it go, of course, because both shows share a composer and The Owl House has a bit more of a…magical feeling to its sound, I guess. You know it when you listen closely, and it helps give The Owl House more of that unique feeling…But since I brought up similarities, there’s more to notice than just the music.

Problem: The show feels…similar to other modern cartoons.

Though, to be fair, almost every huge show since Adventure Time and Gravity Falls feels similar. There’s definitely been a trend where modern animation tends to start as comedic and mostly episodic, becomes gradually serious over time, starts telling a more cohesive story arc, and shocking twists that even surprise a few adults a lot of the time. It’s a trend tiring for some while exciting to most, with The Owl House being one of the better examples of this pattern done RIGHT. I have no problems with what the show wants to be, but I can’t help but notice instances where it does something similar to other shows that came out. Dana Terrace and her writers have put their own spin on ideas, but don’t stop these feelings like how The Collector’s playtime is a chiller Weirdmageddon, or how the final season is a repackaged version of Amphibia’s. I already went over that ladder two parts ago, so I’m not going to repeat myself here. As for the former, I’m not going to dwell on it because more than enough people did when “For the Future” started. The Collector is NOTHING like Bill Cipher, so they both go about causing chaos in different ways, with The Collector’s actions being unintentionally messed up while Bill fully knows what he’s doing and loves it anyway. The differences lead to two apocalyptic scenarios that are unique in their own right. Still, the similarities ARE there and are fairly noticeable.

I don’t like giving problems like that attention, though. It’s a nitpick at best and it’s always people using surface level similarities just to make a nonsensical argument about how nothing is original anymore. As someone who believes that originality is a myth and that it’s near impossible for people to make something wholly original, I find it pointless to point out how similarities are a problem, especially if what’s being made is still good.

“Then why bring it up at all?”

Well…because it does stop The Owl House from standing out, just a little bit. If you offer a story that’s too similar to others, you need to offer some differences that make it more appealing. To make it STAND OUT more from the crowd of great cartoons that tell their own great stories. Otherwise, why bother watching a show when there’s another version of it that’s just the same, if not better? And sure, whether something is better or not is purely subjective. I personally enjoy something like The Owl House more than Amphibia, and I’m sure I’m not the only one who thinks that. But there’s also people who disagree with that and treat Amphibia as untouchable where it’s The Owl House that’s flawed. Trying to be better isn’t a big enough difference because not everyone is going to believe your story stands higher than others. But keep in mind, that doesn’t stop the show from being GOOD. Even if there are some familiarities with other things, you’ll still have a good time with what you watch. But think of it like this: There are dozens of sitcoms out there, each of them following a certain formula or character dynamics. Yet the ones people remember the most aren’t just the funniest but the things they did differently. Boy Meets World sort of grew up with its audience by having its main character grow up, going from simple plots of Corey painting his neighbor’s fence for a super soaker to him defending the right to punch a guy who sexually assaulted his girlfriend. Malcolm in the Middle forgoes having a simple, caring family household for a messy family of a-holes that are often at odds with each other but still look out for one another, even if it causes chaos for themselves and others. And The Office, instead of having people go through extreme and almost cartoonish situations, has real types of people living out realistic scenarios and laughing at how stupid and secondhand embarrassing they can be…At least at first. Things get a little bit off the rails later on in the series. Regardless, shows tend to stand out in pop culture due to the differences they presented, not just the quality. The same applies for cartoons like The Owl House, which has a similar vibe to other shows, not just ones produced by Disney. Now, it has differences that make it stand out ENOUGH, but I can’t really blame people for thinking that the series is a little similar to others. I only draw the line when people treat it as an actual detriment when, again, it’s nothing more than a minor nitpick. YOU might not think it stands out, but there’s an entire fandom that says otherwise. And to keep things fair, let’s go over a few differences to prove how well the show stands out.

Praise: The look of the world is great

I said it in the colors section, but Dana Terrace didn’t want a PRETTY magical world. She wanted something a little spooky and demonic, taking art inspiration from paintings by Heironymous Bosch. And while things never get to that level of intensity, let it be known that The Owl House tries to match the same level of weirdness. Or, at least, try as much as Disney would allow. Because if you’ve seen Dana’s non Owl House art on her socials, you can see for yourself how much she was restrained by making something family friendly. Hell, by the time I’m posting this, the teaser for her next big show came out and it definitely looks like Dana Terrace unfiltered. But no matter the limitations, the final result makes for a pretty unique world. By the second episode alone, the show reveals that everything takes place upon the corpse of a Titan. That’s already an awesome idea that I’ve never heard of before and things just get crazier as we see the many demons, witches, and creatures that exist in this world. You have obvious reimaginings of classic beasts and monsters in mythology, with the series putting their own spin on both the designs and what they can do, making these creatures fit with the mythology that the writers are trying to make for this series. As for the NEW creatures that exist solely in this series, there’s not a LOT of ideas that the show puts a lot of emphasis on aside from slitherbeasts and those…weird butterflies, but there’s still a good amount of random one-off monsters, both friendly and menacing, that have a good amount of creativity that puts into how they look. Even that tentacle monster Luz said good morning to in “Witches Before Wizards” has a lot more effort put into its design despite showing up once for the entire series. In fact, that brings up another positive in the look of this world: There’s a lot of effort in making EVERYONE look unique. Every single character and demon that Luz interacts with has a different design to them, with it being rare for the show to reuse character models to fill out a crowd. Now, most of them don’t have a consistent VOICE, but at least the animators and artists did good in making the people of the Boiling Isles look as weird as possible. None of them really look horrifying, but that might help the series more than you think.

The whole point of The Owl House is finding beauty in the bizarre. To accomplish that, you need to create a world that’s weird but not horrific. Make the people odd but not creepy. Have the creatures look dangerous but not horrendous. Basically, it’s all about finding that balance of looking off-putting to any normal person but never to the extent that it isn't something you can’t get used to. The show applies this to characters and the backgrounds, creating a world that’s odd everywhere you look but in a way that’s almost inviting. The Boiling Isles isn’t a place that the main character would want to escape from, but wishes to stay in because of how “at-home” she feels. It’s handled well in every episode, giving the series a look that allows it to stand out on its own just well enough…I just wish we could have seen MORE of this world.

Problem: The world feels small.

I said this before when talking about the arcs, but The Owl House doesn’t really have that expansive of a magical world. Granted, it’s a character driven series, it doesn’t NEED to have a GRAND landscape filled with adventure, it needs a place that the characters can interact and hang out in. It’s totally fine to tell small-scale stories in a small, contained area. There’s just two problems with that: For one, Dana Terrace clearly wanted a larger narrative near the end of Season Two, and doing so led to realizing how little we’ve seen of the Isles. More than that, it makes a fan like me realize I simply don’t care about the rest of the Isles. I care about the primary characters and I don’t want anyone to die, but I also realized that I don’t have the same strong connection to the Isles that Luz does because I haven’t much of it.

As for problem number two, it feels like a waste to limit such an interesting realm. Everything is either near or in Bonesborough, while occasionally moving through forests during SOME adventures. There’s an entire ISLAND to explore and we mostly stay in one area. What’s crazy is that, after Season One wrapped up, Dana Terrace did a Q&A where she promised that Season Two would have more island exploration. And all we really did was see a new city and a FEW islands that were only made for one-off adventures. Granted, I think she promised this BEFORE being told that the show would get cut down, and it’s possible that plans had to change at the last minute, but it doesn’t change how the Isles feel smaller than they are. And with how interesting this world looks, it’s a shame we only get to see it in a microscope view instead of seeing it expanded. The story isn’t RUINED by this, it’s just a missed opportunity caused by spending most of Season One in the same five places and having no time to explore more. Fortunately, the show’s good at a lot of other things regardless of limitations.

Praise: They made something OUTSTANDING despite restrictions

And there are more than just THE BIG ONE. I’ll admit that The Owl House is one of the few shows that adjusted well to a forced cancellation, knowing exactly what to keep in the original plan, how to combine one plotline with another, and come up with an epic, satisfying ending even though it wasn’t the ending the writers originally planned. In all regards, The Owl House managed to soar past expectations and still make some really great episodes and specials when, for other shows, getting a shortened series may as well have been a death sentence (Just look at what happened to Danny Phantom). But as much as the show deserves this kind of praise, it’s also worth mentioning that a shortened series is NOT the only restriction the writers had to deal with. They also managed to surpass expectations when you remember EXACTLY what The Owl House is.

The Owl House, first and foremost, is a children’s cartoon on the Disney Channel. Because of that, there are ideas and elements that the writers and artists can’t go all the way with because Disney still wants to appeal to that family-friendly crowd. So when the show gets away with something that you wouldn’t expect, it makes you appreciate it all the more. Sometimes it’s getting incredibly dark, both in the story and it’s humor, and other times it’s as simple as showing two girls in love. This is a REALLY LGBTQIA+ friendly series produced by DISNEY, and that’s somehow more surprising than ninety percent of what happens in “Hollow Mind.” And that’s an episode filled with death, torture, and destruction, so that says a lot, really.

The Owl House, much like Gravity Falls and Amphibia, really tries to push the envelope of what’s okay for kids or not. To me, though, it feels like it managed to push things further, mainly because cartoons of the past really helped in pushing boundaries too but also because of how deeply it managed to strike a chord in me. Like, I was an ADULT by the time the first episode premiered. I was NOT in this show’s age range and yet I managed to be both impressed and invested with every episode and what it managed to do. And keep in mind, that’s not an easy task to accomplish. As I get older and older, the more I realize that cartoons meant for children aren’t meant for ME (Shocking, I know). Themes are fairly simple, stories are becoming predictable, and the humor’s definitely more for younger audiences and not just ME. So if a series made for children still manages to get strong reactions out of a schmuck my age, it’s clearly doing something right. That effect isn’t going to be the same for everyone, but I personally see it as the show doing something incredible. Dana Terrace wanted to tell a GREAT story with wonderful characters, all with themes and imagery that certainly challenge younger minds, and created JUST that…Though, the story itself isn’t exactly PERFECT.

Problem: There are noticeable retcons caused by the writers wanting to go in a different direction.

This isn’t new for ANY show, let alone serialized cartoons. Adventure Time basically improvised its lore and backstories on the spot, and every reveal and change is almost perfect with only the SLIGHTEST retcons to make it coherent. And don’t even get me STARTED on the things comics have done. Did you know that Alfred wasn’t Bruce Wayne’s family butler? He was just some wannabe detective that actively chose to work for Batman and Robin.

The point is that I get WHY retcons happen. Large or small, subtle or blunt, it’s all because the writers decide they want to tell the story differently and try to change things around so it can fit with everything else they’ve already written. At its best, you barely care that it happens. At its worst, it’s blatantly obvious and you can tell that the writers decided at the last minute that they didn’t like the direction they were going in. And The Owl House…is right between that.

Keep in mind, the changes the show made is almost never towards the story. The narrative is often kept intact regardless of forced shortenings and censorship. The only times the writers decided to make any changes was towards antagonistic characters that the writers wanted to be redeemable. Amity, Ed and Em, Alador, and The Collector are VERY MUCH different characters from how they were introduced and how the writers decided they SHOULD be written soon after. Amity is definitely the best written out of this lineup, as the writers already knew that she had to be redeemed sooner than later and laid out a plan to make it work. However, the plan kind of falls apart when they reveal Amity feels regret for being mean to Willow only to show no form of regret at all in “I Was A Teenage Abomination.” I went over that scene enough, but it still shows how flawed The Owl House is in changing course when it comes to these characters.

Even with changes that I like, it comes across as something more sudden instead of an idea they had from the start. If Edric and Emira were meant to be Amity’s support system, then why would they do something so heinous as leak her diary onto the internet? That’s not tough love, that’s reprehensible. And if The Collector was just a child who didn’t understand how dangerous they were, then why make him act so malicious in their introduction. Yes, it was in a memory and you could argue this is how Belos remembered the scene, but everything else was exact so why would JUST The Collector act differently? These are very clear cases of the show wanting to do something different but only AFTER they were too far into production with certain episodes and soon decided to change course when we see them next. I at least LIKE these changes, I prefer them, but there is ONE case where this type of decision making did NOT work out in everyone’s favor.

Yeah, let’s go ahead and beat the dead horse that is Alador’s redemption again. I originally said that I’m not TOO bothered by this. I get the intent and, to Dana’s credit, she DID state beforehand that Alador is more complicated than fans might think. So I get that redeeming Alador was always part of the plan, but given the strong negative reactions this decision had, especially from fans who have had BAD experiences with parents like him, it’s clear that the writers didn’t plan far ahead enough. You can defend this decision all you want. I’VE definitely tried. But there’s no escaping the fact that showing us Alador acting just as bad as Odalia only to LATER say he’s not is a bold and flawed choice that feels worse the more you think about it. 

Who knows why these particular changes were made to these characters after introducing us to them. Maybe it’s a decision of the writers that they didn’t think through or maybe it’s Disney influencing how some characters are written. One thing’s for sure, I don’t want to use the “There wasn’t enough time” excuse for this one. These were sudden retcons that weren’t properly done when it came to changing these characters. At the end of the day, I still PREFER these changes but I would have loved it if they were better eased into the series. Especially since the show IS good at taking its time for other things.

Praise: The writers waste no time giving fans exactly what they want in a timely manner.

Do you want answers to your fan theories? Do you want to see if a ship you love becomes canon? Do you want one narrative to be continued instead of pushed to the side to the point where it’s basically forgotten? Well, good news! The Owl House gives you pretty much what you want to see and you don’t have to wait that long to get it!

It always amazes me with how little time is wasted in The Owl House. Almost every episode has SOMETHING going on with it, whether it’s a story thread being continued, a relationship being developed, or a character you love making another appearance. The series is often good at delivering what the majority of fans want and doing so without really having that much input to work with. The first season and a half of The Owl House was being developed before any of the cast or crew were aware of how big of a fanbase they’d get and were already on their way in making fans satisfied. I mean, there were already Lumity fans hyper fixating on the ship LONG before “Enchanted Grom Fright” confirmed that they WILL become canon at some point. And even then, the writers still planned to feed the fans well by making it canon halfway through Season Two, potentially hoping to have more episodes in the series dedicated to these two nerds being in love. They planned something this special, not knowing how popular a ship Lumity would be. Just like how they planned to give Hunter a lot of attention without knowing he’d be a fan favorite character or make Steve the most lovable coven guard without expecting fans to love a SINGLE interaction he had with Lilith. I’m sure Dana Terrace and her writers went in hoping to make every character, relationship, and story excellent, but when you’re making something, you can never be too sure what fans are going to gravitate more to. So the fact that they managed to hit a bullseye over what the majority wanted is VERY impressive. Now, not EVERY fan is satisfied. There are some underrated concepts, characters, and relationships that some fans wished would have gotten more attention, both in the show and the fandom. I can certainly understand that, but I can also argue that it's more of you wanting more from The Owl House instead of appreciating what it already gave you. And yes, I know I just complained about not seeing more of the world not that long ago, but there’s a difference between wishing to see the creator of this insane world create more insane things…and wanting an episode dedicated to Emira Blight. Yeah, I’d like that too, but sometimes you need to judge what the creator and their writers gave you and not so much what YOU wanted.

When I say that The Owl House gave fans what they wanted, I’m almost always talking about the vast majority, and they certainly seem pleased enough. Especially with how they didn’t have to wait long to get what they wanted. There’s a total of TWO episodes that I’d consider filler because of how little they offered, both for the series and fans (You probably know which ones). The rest of the time, the show is perfect at delivering what it needs to, and it’s almost always at the right time in the series. Things are constantly moving forward, and it sometimes leads to a small complaint about how the show is badly paced. For me, though, I always describe the series as differently paced. We’re so used to shows that take their time building up to a ship becoming canon, carefully integrating characters into the main cast, or slowly writing out this big arc that when something like The Owl House practically speedruns the whole process, it causes this idea that its pacing must be off. Except that I never really think that it is, as almost every interaction these characters have often feels like a natural progression as you’re watching these people improve themselves and the relationships they have around them. Or the way they’re running out of time to solve these BIG problems leads to feeling the intensity of the situation as there’s not much room for error left for them. It creates a new experience compared to other shows and it makes sense why The Owl House in particular wastes no time. Some say that the writing was on the wall that the show wasn’t going to get that third season, I say…that Dana Terrace knows how things work with televised animation at Disney. The average lifespan of a Disney cartoon is three seasons. Very rarely does anything get four and it’s even RARER to get up to five. Not everything can be like Big City Greens where it’s basically The Simpsons but for kids. And keep in mind, this is a problem BEFORE streaming made things ten times worse for televised animation. Disney does NOT play the long game when it comes to their shows, with it often being inconsistent with what lasts long and what doesn’t. Dana likely expected her show wouldn’t get much time so she planned accordingly, getting to those big moments for the characters and story as quickly as possible without it feeling TOO quick. For the most part, I still say that the final result is handled well, giving fans exactly what they want with little to no fluff or filler…However, there are SOME cases where I can’t help but admit–

Problem: The series clearly needed another season. 

Stop me if you heard this before: This aspect of The Owl House would have worked better–

“--if the show had enough time.”

Yeah, you get it by now. EVERYONE gets it by now. It’s the main criticism thrown around a lot, being applicable to a good amount of the show’s problems. Not EVERY issue, mind you, as Lilith’s redemption in particular is still all kinds of rushed BEFORE the writers were told they only have a season and three specials to wrap up the series. Regardless, The Owl House is a series that is BURSTING with potential with dozens of characters, story concepts, and themes, only to be restricted with how much they can cover. And oftentimes, the end result is still GOOD. I almost never feel like there’s an aspect of the show that was handled poorly with the time that the writers were given. Yet, as good as everything is, I can’t help but often feel like it could have been handled better. Luz’s conflict about choosing the Isles or the Human Realm, Willow and Amity’s friendship, and Raine’s rebellion are just SOME of the things that would benefit with a longer series. And the thing is that I’m not blaming the WRITERS for most of this. They were given a bad hand and tried to deal with it in the best way they could. I still stand by that what they made is AMAZING regardless of how little time they had, even if it’s clear that some ideas had to be cut out entirely or get rushed to an adequate conclusion. It isn’t perfect, but our favorite media rarely is.

Still, I won’t say this fixes EVERY problem in the show. An extra season would have benefited in giving more characters and narratives focus, allowing the writers to further explore these ideas they had better, but not necessarily helping the OTHER problems in the series, especially ones I’ve mentioned before in this part alone. Having more time just allows the writers more of a chance to let the series BREATHE and fully expand on what was necessary. As is, The Owl House will forever be one of the most popular cases, to me, where a show reaching perfection got held back by a network limiting how much they could have done. It’s not the first, it likely won’t be the last, unfortunately, but it’s still one that comes to my mind frequently. And a part of me can’t help but wonder what could have been if the series was allowed to go on longer. As well as make assumptions as to why it wasn’t, because so far the best bet is that it has to do with the NEXT praise I have with the series.

Praise: It has GREAT diversity.

Before you say the shortening ISN’T because of diversity, Disney is currently trying to scrub out any sense of transgender storyline out of its popular programming and seems a bit too keen to end shows early that continues to diversify casts and normalize certain aspects in society. So don’t F**KING tell me that there’s not any other reason The Owl House suddenly didn’t fit the brand, when the higher ups are making it clear that they want the brownie points for being inclusive but don’t want to go too far to scare off their conservative audiences! Well, guess what! THEY’RE not getting the brownie points, Dana Terrace and the writers are…And they really do deserve it.

The Owl House has a pretty colorful cast, to say the least, with the majority of the primary characters being people of color with only a handful of white people thrown in. And pretty much all of them are on the LGBTQIA+ spectrum, highlighting and normalizing different sexualities, genders, and gender norms with the show explicitly stating it, implying it, or having the cast and crew come in to confirm or deny certain headcanons. I know we should take Hunter and Willow being bi and pan with a grain of salt because DANA confirmed it instead of putting it in the show…but is it really going to stop anyone? I think when your show has two thirds of your main trio be confirmed bisexuals, I say it’s perfectly fine to believe that anyone in the show can at least be a LITTLE gay, confirmation be damned. The show is very LGBTQIA+ friendly, like I said earlier, with several characters that many people can see themselves in. Though, some viewers to have notes about how…perfectly accepted races and sexualities are, as that’s not exactly realistic or it ignores the experience that many people tend to go through. To that I say…valid, but I get why it’s not exactly handled here.

Dana Terrace has gone on record that she wanted to create a world without any REAL discrimination for the sake of escapism. Kids likely get too much of that crap enough, and this is a way to appreciate watching characters who look like them, act like them, and seeing it without being reminded of what the real world’s like. The Owl House is a series to help children feel seen without reminding them of the stress they have to go through. Would it be a BOLD choice to talk about the homophobia and racism in the Human Realm and the culture shock Luz faces when she realizes that doesn’t exist in The Boiling Isles? Absolutely. But I do feel like, because The Owl House is a kids’ show, you gotta keep the kids happy. Doing that means showing them that who they are is NORMAL and they shouldn’t feel shame for it. I don’t hold it against the series to do things like make Camila accept Luz’s sexuality, I just think it's beautiful that this series is telling kids they can and WILL be accepted by the right people. Unfortunately, that’s not going to be the case for everyone, but I still say it’s good to tell kids that there’s nothing wrong with who they are.

Another benefit is that because The Owl House is a kids show, it teaches kids, specifically white and/or straight kids, that there’s nothing wrong with ANYTHING The Owl House presents. The color of a person’s skin does not stop you from seeing yourself in them. That person’s sexuality also doesn’t stop them from being nice or welcoming. Gender? It doesn’t matter because this show goes out of its way to prove gender’s a social construct, if anything else. A girl can dress up as a boy, a man can dress up more flamboyantly, and some characters can just say “screw two genders” altogether and be non-binary. Heck, one of the short-term antagonists has He/They pronouns, that the characters inexplicably respect despite not knowing The Collector has he/they pronouns, proving that no matter what a person is like, you should still acknowledge what labels they go by. And that’s GREAT! Normalization educates kids who AREN’T part of these races or sexualities that they should be ACCEPTING of it. It’s okay if two girls want to kiss, it’s okay for two men of different races to raise a daughter, and it’s okay for a Black kid to be one of the highest performing kids in his grade. Even if SOME parents get so mad at these ideas that they break their child’s TV and Funko pop collection (That happened, by the way. It’s a core memory I have when seeing this show trend on Twitter once).

The Owl House doesn’t NAIL the full experience of all these groups, but that’s not entirely a HUGE detriment to the series. A kid is going to see Lumity become canon for the first time and feel happy to know that they’re not alone in this world. They’re going to see great characters like Raine and see that it’s good to look and be a certain way. It’s less about educating kids about the culture of lives these types of people might have, but it’s perfect in teaching children that there’s nothing wrong with being a certain way. I feel like the writers deserve SOME type of credit for what they wanted to do, because that in of itself is ADMIRABLE…But admittedly, there is ONE note that can’t be denied.

Problem: It puts a LOT more importance on the WHITE characters.

You remember that handful of white characters I mentioned earlier? Well, they seem to be the writers’ favorites with how often they get more attention than the POCs.

“But the main protagonist is an Afro-Latina!”

That she is…but how much do we know about Luz’s history and family compared to Eda’s? Or compared to Amity’s? Hell, you could argue that we know more about BELOS than Luz. We learn it through portraits in the background of his mind, but we still learn.

“So, what? You think that the writers are RACISTS?!”

I did not say that. I never said that. NO ONE who brings up this criticism has ever said that. The writers aren’t racists for putting a lot more attention on their whiter characters as opposed to the NON white ones. The non-white characters are still well-written and highly regarded in the fandom, with some having more popularity than most of the white characters. In fact, I think I see more fan art of Skara than I do of Viney, despite both having very little presence in the series. The writers did good at making us love the characters who are POC and wrote them to be endearing to anyone regardless of race. There’s just this imbalance between them and the white characters, and it gets more noticeable in Season Two when the fandom’s favorite white boy gets a prominent role in SIX episodes while his half-Korean girlfriend is forced to share one with him. And share HALF a role with her white best friend. And keep in mind, I…wouldn’t willingly trade away Hunter’s screen time. I love Hunter, and so does the majority of the fandom. INCLUDING the POC fans, who don’t like it when white critics talk FOR them in saying that only racists can like Hunter. I’ve seen it. But as much as I love Hunter and his story, I would ALSO love it if Willow got just as much attention in the show as he did.

“Well, maybe if the show had more time—“

Don’t do it. Don’t even try it. Alright? Because I told you, the extra season would have fixed a lot of problems but not ALL of them. This imbalance started becoming more of an issue as early as the FIRST half of Season Two, a portion of the series already written before the writers were told that the show would get cut down. In that first half, fans were already pointing out how little screen time characters like Willow and Gus were getting despite being in a close, chaotic friendship with Luz. The first season started with them being major characters, and now it felt like they were being written out of the plot. In an episode where Luz, Gus, and Willow are ALL expelled, it’s mostly about the family drama Amity has with her parents while Willow and Gus do nothing to save Luz so AMITY can look the most badass and Luz gets a crush on her. In an episode where Luz is too sick to go on an adventure, AMITY gets to go and help reform HUNTER, while Willow and Gus have to stay behind and look after Luz. And even then, they don’t do anything. They just sit there listening to whale songs with Hooty as they remain ignorant to a crisis. Plus, while Gus may have HALF an episode to himself, he’s playing second fiddle to Lumity getting closer to canonicity. Meanwhile, Willow got squat, despite being the third person Luz met in the Isles that became an important part of her life and having a ton more prevalence in the previous season. I first dismissed it as maybe it’s because Willow’s arc of finding confidence came to a complete end in Season One, so maybe they didn’t know what else to do with her…but looking back, that’s a pretty flimsy excuse. A completed arc doesn’t mean a show should just STOP using that same character. You just need to find more uses for them other than being someone defined by their relationships.

“Well, what if people thought Willow was boring?”

I mean…Fair? Kind of? Not everyone’s going to like the same characters and if one isn’t your cup of tea then you’re not really going to miss seeing them, regardless of what race they are. I remember seeing Schaffrillas’ review of the first half of Season Two, and he definitely didn’t shed a tear to there being not much Willow content because he found Willow so boring. However, just because it’s not YOUR favorite character, that doesn’t mean it’s NO ONE’S favorite. And after just going over how important it was that this series makes kids of any race feel seen in this dumpster fire we call a planet, it still feels unfair that those same characters are often pushed to the side so that the whiter ones can take more attention. The cast, crew, and FANS pride themselves on how good the representation is, but as good as things are, the imbalance is what makes it imperfect.

WOOF…That was heavy. Maybe we should move onto a lighter topic?

Praise: Its drama is SUPER compelling.

I said LIGHT–Aw, screw it, this is good to talk about.

As I mentioned earlier, I am a grown-ass adult man. So the fact that this show made for literal children managed to get me so invested in its drama is a TESTAMENT to how good it is. When a character cries, I’M almost moved to tears. When someone’s in danger, I feel nervous for them. When the main character is dying before my eyes, I’m screaming like The Punisher as he’s strapped to the chair while begging for these masked men to not kill his family! That is NOT an exaggeration, I still remember the trauma and it’s the main reason I don’t willingly rewatch “Watching and Dreaming” most of the time. And no, that’s not a joke either, it’s…it’s a heavy scene from a heavy episode…

But that’s my point. This show often leaves me an emotional wreck in a way that’s on the level with a few shows that are meant for adults. Again, THE SHOW FOR CHILDREN is making me feel the strong emotions that I would for any adult series. Not all of them, mind you, and it’s entirely possible that not everyone would feel this way…But you want to know WHY it works so well for ME? The same reason why everything else works in The Owl House: The characters.

That’s more than just a fourteen year old biting the dust, that’s my FAVORITE CHARACTER. Hell, she’s probably one of my favorite characters in all of fiction, one I was endeared with through forty plus episodes of her wacky hijinks and lovable antics. So when she goes through something heavy like the cold embrace of DEATH, I’m naturally going to feel worried and sad over her going through it. And that’s just the SERIES FINALE! All the way back in Season One, my heart cracked in half at the end of “Agony of a Witch” when Luz collapsed and started crying her eyes out over Eda being gone. I love this character, I love the relationships she has, and I love the characters IN those relationships. And it’s a good thing I do, because otherwise the drama would not have hit as well if these characters weren’t likable.

Even the personalities of the cast often helps aid the drama. If a happy and optimistic character like Luz is starting to feel doom and gloom, you KNOW things are starting to get dark. And if the usually confident Eda is bursting into tears because she’s feeling the pressure of being unable to protect her kids, then that just proves how bad things really got. It’s not only proof of how good the characters are, but how genuinely good the writing is. These writers aren’t messing around, making something adults can appreciate but never really going TOO intense for kids…most of the time. “Hollow Mind” is STILL very messed up.

And it’s good that the drama is so well-done because the comedy…sure isn’t.

Problem: Its comedy is often hit or miss

I’ve said it once, I’ve said it again, and I might say it once more in the future. But The Owl House…just isn’t that funny to me. Not always.

When the jokes hit, they’re hilarious. My mind always goes to “The choosey hat” bit or Hooty’s…general Hootyness when I think of what makes me crack up with this series. When it’s good, it’s great. When it’s not…it’s like a C-Grade MCU movie.

*Dodges gunshot*

More specifically, it’s sometimes what the internet THINKS a C-Grade MCU movie is like.

*Dodges several gunshots*

Yeah, hate me all you want, it really does feel like that at times. Not ALWAYS, but often. There’s just a lot of moments that a joke feels forced in because we gotta make the kiddos laugh between all this magic and adventure, and it’s awkward every time. Gus noting how Luz must run fast because humans have dorsal fins is on level with that glob thing in Ant-Man and the Wasp: Quantummania wishing he had holes. Or how Luz, after making this big hero speech being met with nothing, says, “Not the response I was expecting…” That’s on the same level of someone going, “Well, that just happened.” It’s pretty much the show’s humor at its worst, and it often makes me roll my eyes instead of smile.

“Well, maybe your first mistake was expecting a kids show to make you laugh.”

Okay, fair point. I DID just say that these are basically jokes to make kids in the audience laugh, so maybe it’s just a thing where I’m too mature for these jokes…Counterpoint: Hilarity knows no age. Because Gravity Falls, a show meant for the same age range as The Owl House, still makes me laugh as an adult, just as much as it would when I was a kid. And if you wanna go further than that, an episode of Bluey, a show for MUCH younger audiences, manages to crack me up far more easily than The Owl House ever has. Being a kids show isn’t what holds back The Owl House’s humor. It’s just…not that funny. Not to me. If it is for you, more power to ya. But for me, I feel like the reason why it didn’t work so well is because Dana Terrace didn’t put too much of a priority on humor. There was more attention put on the characters, themes, and eventually telling darker narratives that the show being FUNNY became something they didn’t worry too much about. Everything else seemed to have come first, with jokes being on the bottom of the list. There were some great laughs to have, and a few cute chuckles sprinkled in, but most of the time, it’s just not that uproarious.

And that’s it…That’s the last thing I have to say about The Owl House…And it’s a nitpick that’s more subjective, if anything else…That’s not fair. After spending six parts and about three years talking about why I love this series, it’s unfair to end it with “The show’s not funny.”

So, instead, let’s end it by finally answering this big ol’ question that’s at the beginning of every post: Why do I love The Owl House? Really, why is it THIS SHOW that’s stuck with me for so long and one that I’ve obsessed over for about five years now? It’s not really the best animated series ever made. It’s not even the best made within the last five years (Have you SEEN Arcane?!). So why is it that it’s The Owl House the show I obsess over? The show that I’ve written fan-fics, analysis posts, and entire reviews to show my appreciation for it? The show that I’ve dedicated FIVE YEARS of my life hyping up as one of the biggest things of the decade? Well, to put it bluntly…It just is.

That’s not a BIG answer, I know, but it’s the truth. The Owl House is something that I love because it did all the right things in all the right ways at the exact right time. And it did it for me and MANY other fans who came together and voiced their LOVE for this wacky series produced by the company everyone hates. It’s not perfect, NO show is, but the imperfections never really mattered. They exist and I can’t blame people for feeling the need to point them out, but that doesn’t stop me from enjoying the series. NOTHING can stop me from enjoying the series. Dana Terrace would have to come out as a transmisogynistic Nazi who loves the tears of puppies for me to turn away from this series, and even then…it won’t be an easy thing to do.

The Owl House is exactly why I’m here right now. I’ve gained friendships, followers, and had expressed my creativity because of this show. A show I NEVER expected to like and who KNOWS what would have happened if I decided to NOT watch that first episode late one night during college. For all I’m concerned, I might have become the…Lily Orchard to the Amphibia fandom or something…*Shudders*

Will The Owl House stand the test of time and be fondly remembered in the animation hall of fame? To be honest…not sure. Not a future seer. But will it stand the test of time in my heart? Most definitely. Because I may forget some shows and I might forget some aspects of this series like who was the voice of Luz or certain fan-made projects that got drowned out over the years (Remember the “Little Miss Perfect” Animatic?). However, I sincerely doubt, in the deepest part of my soul, that I’ll forget moments like THESE:

The Owl House is FAR from a perfect show. I know that’s true. But to me, no matter what people say, no matter how much better shows will come out…it’ll always FEEL perfect to me.

Thanks again to Dana Terrace and her crew for doing more than changing my life. You changed it for the better, and I’ll always be grateful for that…

[itwasntimethatdidit40]

Get to know your moots.

Thanks for the tag @almostempty and @probablyreadinsmut 💗

what's the origin of your blog title?: “When it comes to love I don’t choose sides” y'all know where it comes from, right? Oberyn 💗 it represents me well heheh

favorite fandoms: PPCU and I used to be a huge GOT fan.

OTP(s) + shipname: Braime, Jaime Lannister + Brienne of Tarth (don't talk to me about that shitty ending, it still haunts me in my sleep)

favorite color: black. But also red, white and pink.

favorite game: I don't play videogames since I was a child but I used to love Tetris and Pac-Man lol

song stuck in your head: currently Messy - Lola Young and another couple of songs I'm using for a ff I'm writing so no spoilers heheheh

weirdest habit/trait?: I have a closet full of clothes but I often tend to wear the same ones in rotation (I obviously wash them regularly 😂) out of convenience and habit, especially if I have to go to work. I only make an effort if I have dinners/birthdays/special occasions and things like that lol

And I regularly think that people hate me, so if I don't write to you often it's because I'm afraid of bothering you, not because I don't want to know you 🥲

hobbies: writing, reading, watching show/movies, I used to have a bullet journal and I used to practice hand lettering (can't keep up with it anymore but I still love it)

if you work, what's your profession?: I am the secretary in a medical office. I also have another job related to customer satisfaction.

if you could have any job you wish what would it be?: I'd love to be a writer (lol not skilled or even talented enough but hey, what do you expect from someone who shares her birthday with Emily Brontë?)

something you're good at: I’m quite good at cooking. I’m Italian, baby, it’s in my genes.

something you're bad at: I’m messy. I can draw like a 5 years old kid lol

something you love: concerts. I’ve been to 100+ concerts in my life and some of my favorite memories and trips are related to concerts I've been to.

something you could talk about for hours off the cuff: I could still rant about Braime and GoT ending for hours. lol Also, concerts memories, I have some good stories 😂

something you hate: Lies. God, just tell me the truth ffs. And the majority of cis men. They just suck, you know.

something you collect: nothing. But I love stationary stuff. I could buy everything, I don't do it because I would waste my savings LMAO

something you forget: If I don't write things down on my phone it's very easy for me to forget them because my memory sucks.

what's your love language?: Cooking for someone, calling people a variety of pet names and/or finding a special one for them, being a great cheerleader, shower them with compliments and love. Just being there when they need help, I am a reliable person.

favorite movie/show: too many, jeeez. How am i supposed to choose? Some movies: When Harry met Sally, Parasite, Almost Famous, Fried Green Tomatoes, Brokeback Mountains, Stand by me, Aftersun, Past Lives, Promising young woman, 10 things I hate about you, Love me if you dare, Rear window, Le conseguenze dell’amore (The consequences of love, it’s an Italian movie by Paolo Sorrentino).

Some shows: Breaking Bad, Better Call Saul, Friends, Fleabag, Jane the Virgin, My Brilliant Friend, When they see us, Sense8, Peaky Blinders, Mad Men, The Handmaid’s Tale, Grace and Frankie, Bojack Horseman, Normal People.

favorite food: sorry to be such an Italian clichè but pasta and pizza. I could eat them all day everyday lol I also love a good risotto, sushi and Pad Thai.

favorite animal: dogs. I love all of them but especially mine (obviously lol).

are you musical?: I can sing quite decently (I sing in in my car all the time hahahah) but I never studied music and I can’t play any instruments.

what were you like as a child?: I used to be bold and chatty, I always loved reading and writing.

favorite subject at school?: Literature and Art.

least favorite subject?: Math. I’m the worst at it.

what's your best character trait?: loyalty and respect. I never make unsolicited judgments about anyone's body or comment on it, I never ask those shitty questions like "when are you graduating, when are you getting married, why are you still single, when are you having a baby" you know, right? I hate them, I hate them deeply and I think people should mind their own fucking business.

what's your worst character trait?: Lack of self-esteem, laziness, my poor memory. And I don’t give second chances, once you hurt me you’re out of my life permanently and I totally forget about you like you meant nothing for me (I kinda love that about me but I know it can be brutal lol)

if you could change any detail of your day right now what would it be?: I wish I was damn rich and not have to work hahah I would like to be more sporty but I hate doing sports lol I promise I’m going to try to force myself to do something for my well being.

if you could travel in time who would you like to meet?: The first person that comes to my mind is Artemisia Gentileschi, (b: 1593 d: 1656) she was an Italian painter. Read something about her, she’s fucking great ♥️ Also, my grandpa, I loved him so much and he passed away when I was 15. I would love to meet him again.

recommend one of your favorite fanfics (spread the love!):

I love so many so I’m going with last ones that I read and I thought WOW, this is amazing and deserves so much more attention:

Yes ma’am - @sizzlingcloudmentality

Law of attraction series - @baronessvonglitter

Pretty boy - @joelmillerisapunk

Npt: @joelmillerisapunk @milla-frenchy @baronessvonglitter @aurorawritestoescape @thundermartini @schnarfer @sizzlingcloudmentality @cvntclip @evolnoomym @msjarvis @arcanefox207 @gothcsz 💗

[cynnoct]

wish things could stay like this forever

[badlydrawnronpa]

i love how this blog called "badly drawn" while like some of these doodles are better than my finished sketches lol

HEY

NO SELF DEPRECATION ABOUT YOUR ART SKILLS IN THIS HOUSE

ANGIE ATTACK

[tackykachowch]

How it feels to not like timebomb after s2

[doctorwhommm]

I hsve an idea. Could u draw rose and ianto as besties

absOLUTELY I CAN

they’re chatting shit (lovingly) about their tall, long-coat-wearing, time-travelling, death-cheating, alien boyfriends who have spikey hair

[ratwithhands]

Read Right to Left (Manga Format)

I have returned to watching demon slayer after a year and it came up while I was having a serious late night talk with my big sister. I was talking about the relationship between Michikatsu/Kokushibo and Yoriichi and it turns out we both see each other in Yoriichi's shoes and ourselves in Michikatsu's place. Definitely surprising, but really relieving to know that we both worry too much and we are not so far apart in skill as we believe.

This is technically the first piece of fanart I've ever made for the characters in Demon Slayer, I have made OCs before but I never drew an actual character from the story. For context this is mostly just a fun "what if" scenario with them meeting in the afterlife. I like to think Yoriichi's love would reawaken Michikatsu's humanity.

[ra-vio]

this blog is 11 years old now 🎉

I drew the siblings ever to celebrate as usual

[galactaknightyaoi]

It's my OCs' first birthday today, yippie!! They're enjoying their birthday with some tiny company and a horribly baked cake. But it's the thought that counts!

These are Pai, Aurelio, and Lizzie. They are a couple and run a diner together in the low suburbs of Halcandra. Their shop also serves as a safe space and shelter for other Star Borns just like them.

They also tend to take in the more little ones of their kind, soon after they've first formed. They look after them and teach them stuff, before letting them go to live independently. But they're always welcome back in their house! Be it for shelter, or a nice cup of coffee.

More about them under the cut. Be warned it gets kinda long.

Pai's ability is Cook. When he was little, he used to use his ability to make food to share with his whole neighborhood as a way of uniting everyone.

Since then he's been steadily building towards a goal, to open his very own Diner. He wanted to create a space for his community to thrive in, though he was severely disadvantaged in such a large city.

He's not one to give up and he always looks on the positive side of things. He tends to spoil the kids they look after with treats, and has a hard time saying no, so he often takes on more than he can handle.

He is the one that looks after the well-being of the kids, and generally, things that require a bit more... Tact. He looks after them when they're sick or injured, which is how he ends up meeting future GSA founders Arthur, Erebus, and Anansi.

Aurelio grew up in a scrapyard with 6 others of their kind, being kept there as guard dogs for the paranoid old man who owned the place. They were encouraged to fight each other for fun, which is how they got the scar across their face.

When they got too big and troublesome, most of them were kicked out of their home and left to fend for themselves.

Aurelio's Spear ability eventually landed them a job as a Knight for Halcandra's elites, where they worked alongside a few of their friends. Their job was to guard the meeting room and defend their assignment from threats.

A few years into this job, they and other soldiers were given a mission. A pair of dragons were nesting at the bottom of the Haldera Volcano, they had to get them out. Dragons are calm if not provoked, so relocation shouldn't be difficult...

As it turns out, the dragons were a mated pair. A male and a female, and they were viciously protecting their egg clutch.

In the battle against the dragons, Aurelio was injured and burned by fire, but their natural fire immunity allowed them to be one of the few survivors. Nevertheless, the Knights were successful in their mission and managed to drive the dragons out.

The 4 eggs that weren't crushed during the battle were passed off to the Ancients for research. They became the Guardian Angel Landia later on.

She was forced to retire from Knighthood at age 31. Due to the lasting effects of their injuries, Aurelio is the one who spends most of the time with the children. For better and for worse.

Because of their childhood, they have very skewed ideas of how to treat children. She'll often put them in dangerous situations unintentionally since she has no frame of reference to tell her that taking kids out to the Gator Pond isn't a very good idea.

Aurelio teaches the rougher life lessons. They've been through quite a bit, so they want the kids to learn how to defend themselves, and to be careful and not have others take advantage of them.

She does most of the disciplining and the one that gives timeouts and other such punishments. She is of the opinion that sometimes rough love is necessary to set someone straight. She's calm and loving, but a bit stuck in the old way of doing things.

Lizzie, real name Angeliz, is a 2-time college dropout who grew up upper class despite her species' disadvantage. She never had many friends growing up, since other kids didn't really like her, and resigned herself to being what her parents wanted her to be.

She tried to study medicine but quit after 2 years. Not wanting to further disappoint her parents, she went into law. Which she also hated but tried to commit to finishing despite how miserable it made her.

Meeting Pai and Aurelio helped her get through the year, but after Aurelio was injured, she quit law and started living with them. She helped Pai balance his business with taking care of Aurelio and eventually used some of the money she still had left to give Pai's Diner the little push forward it needed.

Despite the many etiquette classes she took as a child, Lizzie completely lacks social skills. She's a total disaster, especially when talking to someone she likes. Once she gets comfortable, her true personality starts to shine through.

She's a huge slob and kind of vulgar despite her cute appearance. She's easily angered and does not like to be teased, which makes putting up with bratty kids more difficult for her.

She tends to treat kids as little adults instead, which causes her to not be very mindful of their sensitivities. Even when in a good mood, trying to do her best, she always ends up saying the wrong thing and makes everything worse.

She handles the business aspect of their Diner, crunching numbers and reading over legal documents. She's really smart and knowledgeable, so she's the one who tends to teach kids reading, writing, and math.

Her ability is Bubble. She never used to like it, it was silly and useless to her, so she kept it hidden for years. After meeting her partners and becoming happy, she's started blowing bubbles more frequently. The kids love them.

[funkbun]

i remember i made these designs for snorpy n floofty's parents like 2 years ago, the og post is somewhere on my main blog i dont fuckin know lol, but i felt like redesigning them slightly