#this isn't it but i was violently hit in the face by the visual

[originalartblog]

Because of Flawless, Oda had to live through Dazai breaking his window twice. (ref)

[weebsinstash]

As much as I strongly dislike when a series kind of "cages" the self insert/OC potential of its audience, it's becoming pretty clear that there's a certain level of pre-determined-ness to Sinners and their appearances, almost to the point it's vaguely implied entire sections of Pentagram City are like, ethnically/visually distinct and that every character we see fits into some sort of category and resembles other people. There's an Overlord who's a giant raptor dinosaur and there are other dinosaur Sinners (and also she's like the club/rave based overlord and even has a business, Klub Kaiju, interesting). Valentino is a moth and there are other moths and different bugs like spiders. In the most recent episode showing flashbacks of Hell in Alastor's past, there was a past female Overlord who had the same multi-toned angular swirling hair as Velvette does. In Vox's studio in episode two, he has members of staff that are visually similar to his own aesthetic. Even up in Heaven, Angel's sister Molly still has her spider aesthetic with a halo and cherub wings

so, i guess, to go where I'm ACTUALLY going with this post.... Moth Reader who winds up catching Valentino's eyes because "oh wow we're both moths, isn't that cute" and it escalates into him seeing you as his property, ESPECIALLY if you also have weird drugging/pheromone powers like him

Like can you imagine it? You smack down into the city while he's like having lunch at a cafe or his limo is parked at a light and you're standing up all confused and helpless and cute, hugging yourself as you look around this loud violent scary new place, and you two wind up making exact eye contact and he can tell you're crying and scared, easy prey. Could you picture Reader's equivalent of his coat being that you're in a little hoodie or jacket or shawl and it just unwraps while you're sitting with him. Idk. You accidentally inhale some of his smoke and just give a cute little sneeze and your antenna and your wings are all just poofing out, you basically just equipped that shit from your inventory. On the fence if Reader would have chest fur but maybe your hair hair is really big and long and silky

Moth Reader having eye spots on their wings that can lull someone into hypnosis, or you have some sort of pheromone that makes people weak to your demands, maybe even horny for you, like some mind controlling queen bee ordering her drones. Val's in the bathroom and some creep grabs you and all of a sudden your antenna twitch and his face gets hit with a little puff of 'dust' and suddenly he's letting go of you, "oh my gosh sweetie I am so sorry, here, take all the money in my wallet, you deserve it, I'm so sorry queen, I'm gonna go jump into traffic, sorry queen, sorry, sorry, im a worm, sorry, sorry"

Valentino having unique reactions to your "pollen" as another moth or at least an addict with a tolerance. He buries his face in your neck so you "poof" him on purpose and he's just hotboxing your scent and getting high and horny while you're struggling and squealing. He forces you to use your powers on him and others so they can feel happy and high. At some point he may even force you to keep producing the powder so he can sell it as a drug or a product and at that point you're BIG INCOME for him, he might as well carry you around like his personal vape pen

Like. Can you even imagine "oh yeah Im super lucky enough that i have these powers to protect myself and potentially manipulate others" and you think you're safe and untouchable and this man is like using his fucking credit card to shift your powder into lines to snort it like a rail of cocaine. You can turn "normal" Sinners into your helpless pawns but it loses effectiveness the stronger the person is and this man is like HOTBOXING your shit, all but passing out on the couch with you in his arms in pure drug seeking unrestrained bliss. And then he fucks ya cause I mean, it's YOUR fault he's all hot and bothered now isn't it?

Just Reader not even knowing how much danger they're in because you just got here and have no idea who this guy is and you're just spinning around looking at your new appearance and flapping your little wings and maybe you can even float or fly a little bit, all happy, big big smiles, being all "oh my gosh this is so cool, I feel so cute ^^" and you don't even realize you're practically modeling yourself on a runway to one very, VERY interested customer...

[yourlocaltreesimp]

AHHHH THANK YOUUU I can't tell you how much joy it brings me that you enjoyed my writing! Well, since it's like 11 at night and I can already tell I won't be able to sleep much again, might as well give more headcanons and oneshots ¯\_(ツ)_/¯

.•♫•♬• 𝒀𝒂𝒏!𝑪𝒉𝒂𝒊𝒏 𝒘𝒊𝒕𝒉 𝑴𝒂𝒔𝒌𝒆𝒅!𝑹𝒆𝒂𝒅𝒆𝒓 𝑷𝑻. 𝟐 •♬•♫•.

Masked!Reader who can't stand when ANYTHING harms the people that they care about and isn't afraid to show their true rage and aggression that they keep in check most of the time. They may be sweet and kind to everyone, but the second they see something as a threat to their loved ones they will instantly let out their true colors and these colors are quite enticing to say the least...

Masked!Reader who can secretly be a violent, sadistic, and aggressive person despite all of their sugar coated words and caring personality. They lived a tough life in their world, practically fighting to survive and thrive in their dangerous and harsh world. They truly aren't a force to be reckoned with once aggravated, yet it's so hot to see them so violent and let themselves go...

.•♫•♬• 𝑶𝒏𝒆𝒔𝒉𝒐𝒕 •♬•♫•.

You subconsciously dropped your weapon and charged at the monster as it looked up at you...

Once you were within range of the disgusting beast that dared to harm one of the people you cared dearly about, you threw a punch that sent the thing flying back at least 6 feet with little to no sweat. The others watched in amazement and slightly fear as well as arousal at your display of strength and aggression, not ever expecting their lovely darling to have this sort of side to them.

You watched with a snarl as the damned monster got back up and picked up its weapon before hissing at you, which you returned with more hatred for it. You carefully circled it as it did the same, your predatory look able to send chills down the Chain's spine if you so much as glanced at them please look at me like that again please. Another surge of rage and adrenaline struck you as you charged at it once an opening was visible which just happened to be when it swung it's arm above its head.

You managed to somehow tackle the thing, to the surprise of the Chain, as you swung yourself to latch onto its back. The Chain's surprise only skyrocketed when you suddenly slid your mask down past your chin, exposing the lower half of your face before opening your mouth and biting into the monster's neck with your sharp teeth oh to have you bite them and claim them as yours would be a dream come true...

You kept biting and tearing at the neck of the monster until it finally stilled, it's lifeless body at last hitting the ground. You slowly stood back up and wiped your mouth, panting as you carefully observed the beast you had just defeated and letting your remaining rage die down. Once you caught your breath, you let out an exhausted sigh and slid your mask back on as if nothing had happened.

However, the Chain couldn't shake all of the mixed feelings they were having right at that moment, their eyes peering at you with several mixed looks. Let's just say that after that, they were much more obsessed with you than before...

------------

I honestly really enjoyed writing this cuz I typically have my OC in mind when writing these and I can always visualize that these are definitely the types of things she would do. Gotta love when a character mauls an enemy to death and acts so casual about it afterwards 😀👍

- 𐂂 anon

Masked! Reader who can be just as protective as her followers…

Ahhh! I love your writing style, you have me hooked! I hope you get more sleep tomorrow night and you also drink enough water.

<3

[kevinsreviewcatalogue]

Review: The Substance (2024)

The Substance (2024)

Rated R for strong bloody violent content, gore, graphic nudity and language

<Originally posted at https://kevinsreviewcatalogue.blogspot.com/2024/09/review-substance-2024.html>

Score: 5 out of 5

Between this and her prior film Revenge, I'm convinced of two things about writer/director Coralie Fargeat. First, she is a mad genius and one of the most underrated horror filmmakers working today, somebody who isn't on more horror fans' radars only because it took her seven years to make her next feature film. Second, she really, really likes taking beauty standards, especially but not exclusively female ones, and subverting and deconstructing them into oblivion. Her 2014 short film Reality+ was a sci-fi Cinderella parable set in a world where, for twelve hours a day, people can use an AR chip to look like their idealized selves. In Revenge, she took a woman who she spent the first act framing as a bimbo and a sex object and transformed her into an action hero, in the process stripping her of most of her obvious sexuality even as she literally stripped her of most of her clothes.

With The Substance, meanwhile, her camera spends a long time lingering on idealized female forms that are either nude or clad in very slinky and revealing outfits, only to then subject those beautiful women to body horror straight out of a David Cronenberg film, the result of its heroine's pursuit of the impossible beauty standards that Hollywood sets for women blowing up in her face in dramatic fashion. It's a story that treads the line between horror and farce, but one whose unreality ultimately hits home at the end even as someone who can't say he's been confronted with anything close to what this film's protagonist was going through. What's more, Fargeat is a hell of a stylist, as befitting a filmmaker whose writing so often contain the themes that it does. This movie is filled with rich visual flair of a sort that Hollywood seems to have largely forgotten how to pull off in the last ten years (leave it to a French woman to bring it back), anchored by two great performances from Demi Moore and Margaret Qualley, a killer electronic score by Raffertie, and special effects that turn more and more grisly and grotesque as the film goes on. As both a satire of the beauty industry (especially in the age of weight loss drugs like Ozempic) and a mean-spirited, pull-no-punches horror film, this movie kicked my ass, its 141-minute runtime rushing right by as I hung on for the ride.

Our protagonist Elisabeth Sparkle is a former Oscar-winning actress turned celebrity aerobics instructor who's just turned 50 and received one hell of a birthday gift: finding out that she's gonna be fired from her show in favor of a younger, prettier model. Fortunately, a chance encounter at the hospital after a car accident leads her to discover a revolutionary, black-market beauty program called the Substance. For a week at a time, she can jump into the body of an idealized version of herself, under the condition that she then spends a week in her old body in order to recharge. Elisabeth embraces the opportunity and, under the identity of "Sue", her younger and sexier alter ego, promptly reclaims the stardom she used to have, including her old show. Being Sue, however, proves so enticing to Elisabeth that she starts to fudge the rules in order to extend her time in Sue's body past what is allowed, which starts to have negative effects on not just her body but also her psyche.

The first thing that came to mind as I left the theater was The Picture of Dorian Gray, the classic 1890 gothic horror novel by Oscar Wilde about an immortal man who has a portrait of himself locked away in his closet that slowly ages in his place. While the comparison isn't one-to-one, the allusions are obvious, not just in how Sue's malignant influence on Elisabeth manifests in the form of Elisabeth's body starting to visibly age and decay (first her fingers, then her leg, and on from there) but also in how one of the main themes running through the story is satire of the idea that beauty is the measure of one's goodness. If this film had a single defining line of dialogue, it would be "you are one," the message/warning that the mysterious figure who sells Elisabeth the Substance tells her repeatedly in their phone conversations and in the instructions she receives with it. Elisabeth ignores this and comes to imagine herself and Sue as two separate people, but these words haunt both her and the viewer throughout the film. Elisabeth and Sue being one and the same makes the contrast between Elisabeth's late-period career struggles and Sue's rocketship to stardom that much more stark. The only difference between them is that Sue looks to be half Elisabeth's age, and yet here she is proving that she still has what it takes to be a star. Elisabeth may still be a very beautiful woman, but according to Hollywood, being 50 years old makes her pretty much geriatric to the point that she may as well be a completely different person from who she used to be. No wonder, then, that Elisabeth wants to make the most of her time as Sue, to the point that she's willing to spend longer than her allotted week at a time in Sue's body because she no longer values her "inferior" old self, which turns into a self-fulfilling prophecy as doing so causes that old body to undergo rapid aging.

And Demi Moore and Margaret Qualley, in turn, make the most of the dual role they share as the two faces of Elisabeth/Sue. Fargeat's camera loves Qualley, taking every opportunity to showcase her curves in almost fetishistic detail, while she also holds her own as the more free-spirited version of Elisabeth who lacks the inhibitions and insecurities brought about by the ageism she's experienced. Most of the movie, however, is Moore's show. She gets the big, flashy downward spiral over the course of the film, the same fetishistic camera turned on her naked body to show the viewer how she sees all her cellulite, wrinkles, and other imperfections that make an otherwise attractive woman feel that she's lost her youthful beauty, even before the actual body horror starts to kick in. Her interactions with her boss at the studio, played by Dennis Quaid in a small but highly memorable role as a sexist slob who's literally named Harvey just in case you didn't know who he was supposed to be based on, demonstrate how, even if she did find a way to feel good about herself and age gracefully, the shallow, image-obsessed business she's working in won't let her. Make no mistake, every awful thing that happens to Elisabeth over the course of the film is her fault, but she is no villain. She's an emotionally crippled mess plagued by self-doubt, her trajectory a decidedly tragic one as all of her mistakes slowly, then all at once, catch up to her.

Behind the camera, too, Fargeat turns in a larger-than-life experience where all the little breaks from reality wind up giving the film a hyper-real feeling. I had questions about how somebody with no medical training was able to figure out how to administer the Substance on her own with only minimalistic flash cards serving as instructions (something that, as a medical worker who had to go through training for that, I picked up on quickly), how hosting an aerobics program on television is presented as a pathway to stardom in 2024, or how the network's New Year's Eve special got away with showing a bevy of topless showgirls (though that could just be Fargeat being French). But even beyond the story, I was too wrapped up in this movie's visuals to care. This is a damn fine looking movie, Fargeat's style feeling heavily influenced by the likes of Tony Scott and Michael Bay but turning a lot of their fixations around into subversions of their aesthetic. The film's parade of hypersexualized female flesh is taken to the point where it starts to feel grotesque, the quick cutting and the pounding electronic score are used to create unease as we realize that something is deeply wrong under the surface, the entire film is embedded with a deep streak of black comedy, and by the time the grisly special effects kick in, I was primed for some fucked-up shit -- and ultimately was not disappointed. The last thirty minutes or so of this movie were a sick, wild blast of energy as Fargeat goes full Cronenberg, her vision of Hollywood that's rooted less in reality and more in its worst stereotypes (especially those of people who work in the industry) exploding into a vicious, no-holds-barred mess that was honestly the only way it could've ended.

The Bottom Line

The Substance sent me for a loop and did not pull its punches. I recommend it for anybody with a strong stomach interested in either a scathing satire of the beauty industry or just a good old-fashioned body horror flick. It's one of my favorite films of 2024, and I'm excited to see what Fargeat does next.

[obleke-yoonique-otherkin]

I once had the thought while watching anthropomorphic media . . .

You simply can't make a human face evoke the same level of emotion as baring teeth or ears moving.

Now, that's not to say that live action and animated human faces can't be very expressive, and exaggeratedly so depending on style.

That's also not to say that real human faces have a subtlety to them that we've evolved to notice, that can be very arresting in that it holds our whole, undivided attention and can be of paramount importance. Nonverbal cues make up more communication than verbal, some researchers say.

(autism cry in the corner)

But. you can't get the same basal ganglion reaction as a wolf snarling, or intense curiosity of a cat swiveling its ears forward to focus, nor can you create the contrast of previous placidity, the same degree of whoa freaky as a real horse rolling its eyes back so your can suddenly see the whites.

In the cartoon realm, if a chameleon, after its eyes have been wandering the entire conversation, then converge them both on you, that signifies far more this is important, hey emphasis than a human exchange where everyone's used to keeping eye contact the whole time.

The animal kingdom simply has more hit you in the head potential for emotions than a typical human quirk of an eyebrow, or tightened grimace.

And that's ironic, given that humans are (supposedly, who knows about elephants) the most emotionally aware animals. Visually, compared to animals, we are almost detached from strong, turbulent displays. We can't puff out a tail, or raise or lower one, we can't even raise or lower our own body hair in a visually noticeable way (unless an eagle was watching you from at least 18 feet away maybe, and had the sapience to note the significance of it)

Perhaps, at some level, this actually allows us to gain distance from emotions. Perhaps, as we vaguely take note of whether someone is acting defensive or anticipatory, we are able to focus more on language, as new as it is, this abstract form of communication, on the evolutionary front. Of course this distancing ourselves, even though it may keep us from acting on every impulse that occurs to us, isn't always a good thing- repression is the pits, and not being in tune with emotions can, in other patterns, also wreak havoc with being able to have self-control of our words or behavior. I think most everyone envisions a future where we are more and more logical- but I think not only do most humans not act logically 51%+ of the time (despite assuring yourself you do) I think losing a bit of this ability to both express and read body language on each other and other species is either a culturally developed trait we should look at ameliorating, or an evolved trait we should look at ameliorating the same way we moderate our violent tendencies. (as an extreme example- probably shoulda picked something different there)

I don't know if media can help us recapture this exactly- but as media does not contain the same social pressure of reading cues correctly and consequences of failure, it may be a good testing ground, especially for ND folks. May already be that. Serving that purpose.

Maybe that's why hyperfixation happens, to parse small meanings with no stakes.

We've had entirely silent series and silent movies (and I'm talking about recently, not 'silent movies' or 'move-ies' as the derivation goes). So what happens when we fill half of a scene with silence, as someone or an anthro someone tries to read the other. What happens when anthros and humans interact, and humans comment on the difficulty of reading cats, while solitude-oriented cats think other species entirely annoying at the level of emoting they do on a regular basis. A cat character raised by a human family tries to detangle how much they simply can't read due to missing the development window and how much is instinctual. A human character raised by dogs is astounded by how much other humans miss. A human character who goes to converse and study mice and learn their language has to be incredibly mindful of any even vaguely threatening tone or behavior on their part. And meanwhile, the audience has discourse among itself . . . did that mysterious character we don't know much about mean this or that by all those different head tilts? Because none of the main cast can figure it out and it's never resolved.

Then you go back to your IRL existence and find yourself starting to pay more attention to the subtleties of your own friends and enemies.

[paraphernaliawagon]

Do you ever browse your local library, not looking for anything in particular (well, beyond checking to see if they have any new comics), and stumble across something incredible that you just needed to see at that particular moment? That's how I found Where Black Stars Rise by Nadia Shammas (writer) and Marie Enger (artist). It's a short but powerful graphic novel about two young women: Yasmin Mofid, a schizophrenic theatre student who becomes involved with a group performing The King in Yellow, and Amal Robardin, her new therapist who's struggling to do right by her (and by her mother back home in Lebanon). The title, of course, is from "Cassilda's Song. The deceptively simple, ultra-stylized look of the book is not to my personal taste, but the faces are astoundingly expressive and the visual storytelling is masterful. Legit one of the best recent Mythos-related works I've come across in a while. It plays with the idea of The King in Yellow as a play that "drives people insane" by having a protagonist who is already mentally ill in a grounded and realistic way, for whom that's just part of ordinary life.

At one point in the story we see a blog post by Yasmin that seems to be a sort of thesis statement direct from the author. (Very fourth-wall-breaking, because she's talking about the short story collection The King in Yellow, not the play.) So I will end this by quoting it:

"I've always loved horror, particularly eldritch horror. Despite the deeply racist and misogynistic roots of these works, primarily the violent xenophobia of its creators, there's an existential understanding as to what it feels like to be powerless. While these men grappled with the horror of an uncaring universe, marginalized individuals grapple with the horror of a system specifically designed not to care about us. We are born into something larger, something malevolent, something we have no power to stop. Similarly, in The King in Yellow itself, there is no reason why are unfortunate narrators are chosen. Yes, some of them seek power, and some of them wander into the wrong place at the wrong time, but both tend to meet the same ends. You walk into a situation, your bad luck and your life is changed forever. Isn't that how it is in the real world? There's no reason or logic. Often, the evil was inside of you before you even knew it. There's no fighting it. You can't fight forces bigger than yourself. Most of all? I love that in horror, our storytellers are always right. They're never believed. They're cast aside and undermined and left to face the cosmic cruelty alone. But they weren't wrong. And the readers, the audience? We bear witness to them. We listen, and by merit of their narrative or performance, we believe them in that short burst of time. I want to write that feeling into being. I want to be believed."

(a lot of different people have set "Cassilda's Song" to music, and this one's the best version, trust me)

[star-paths]

Dirty A-Z Headcanon Meme | status: open

@rainyearning asked: "N - I - R - A - N (for Sujin)"

N - Not yet (orgasm delay? orgasm denial? do they tell their partner not to touch themselves for a certain amount of time or under certain circumstances? do they delay or deny other things like bathroom usage or food? do they need to beg first? do they like being denied / delayed?) 

I - Impact play (here’s where talking about things like spanking, paddles, canes, floggers and the like.) 

R - Routine (do they have a routine when it comes to picking up one night stands? do they have scheduled sex with their partner? are things spontaneous or planned ahead of time?) 

A - Alone time (how do they get off when they’re all by themselves? do they watch porn, is it all in their imagination, do they jerk off, do they use toys?)

Headcanon - Orgasm Control

Yes. Lots of yes. Anticipation is such a turn-on for Sujin, and having the ultimate pleasure drawn out until he aches can be a heavenly sort of torture. He will beg, plead, squirm and moan until his partner obliges him, but he will rarely be unhappy with a little denial — let him want it.

That being said, two can play at this game. He will get his revenge, and is a master at edging his partners until they go crazy with desire for him; he enjoys the sexual power it gives him, so proceed with caution.

He is not, however, a fan of ruined/spoiled orgasms as a result of this sort of control play. If it's going to be done it should be a lead up to something mind-blowing, not disappointing, otherwise his partner will get an earful from him for it.

Headcanon - Impact Play

Spanking is welcome and encouraged, but he's not the biggest fan of being hit with anything other than a bare palm; striking him in the face, even during sex, is more likely to trigger his fighting reflexes than to turn him on, so it's best avoided except lightly and playfully.

This also goes for him being the one issuing the impact — if his partner really desires it he might comply, but he's less enthusiastic the more centric it becomes to sex-play; he has a difficult time separating the act from a more violent context, and he's mindful that as an idol this could be a slippery slope.

Headcanon - Sex Routine

Being an idol, spontaneity is simultaneously both easier and more difficult to come by sexually. On one hand there is no shortage of people who would sell their souls for a chance to have a tumble with Sujin in the sack, but on the other hand finding alone-time away from staff and media can be a hassle that is sometimes not worth dealing with.

With the exception of periodic one-night-stands following parties, award shows, or less frequently concerts, Sujin prefers to spend his intimate evenings with people he knows will give him a good time — beneficial friends and lovers around the globe that he contacts when he's in town to drum up a little excitement with.

The meetings are rarely spontaneous, but all the other details certainly can be.

Heacanon - Intimate Alone Time

Alone time is inevitable with a busy schedule — sometimes there just isn't time to call up a buddy, or schedules don't line up, and he's left at home or in a hotel with an urge and a box of tissues.

Sujin is very pro self-love, so to speak, and often jokes that he is his own best lover. How he takes care of himself varies by situation, but porn is often involved as he's a very visual man. His most viewed porn categories are as follows:

Homosexual Porn: Mating press, deep throat, sensory play, jerking off/handjobs Heterosexual Porn: Oral sex (woman receiving), lingerie/stockings, cream pies/finishing inside, sensory play, handjobs Bisexual Porn: Basically anything that involves all parties being genuinely intimate with one another — not just two men using a woman for their pleasure/play thing.

Sujin has a few toys in his repertoire (fleshlight, vibrating cock ring, plugs and prostate stimulation toys) but for the most part he does not bother with them.

Bonus Headcanon - Control (with Niran)

Sujin will occasionally call or text Niran while he's on tour and planning a return home to Seoul. He'll rile the other up with pictures and choice words as the time draws nearer for them to be able to see one another, but strictly forbid him to touch or pleasure himself until they meet again. He loves it when the other is feral for him.

[team-frightfur]

First off,

Second off, hoooooollleeeeeeeeeyyyyyy shit. oh my god. oh my god. Oh my god. Oh my god. The amount of jow and love and gratitude and adoration flowing through me right now is completely unmatched. I am in Awe. I am shaking. The fact that someone not only liked DMTG enough to draw art, but to spend over a month on it seems completely unbelievable to me. I wanna give you my firstborn but I don't have one. The bunny? Do I give you the bunny? Will that be enough????

Anyway I love the comp of this, Yoot (I assume the blackened body is Yoot) starts out pretty defined but due to the flame effects the way he kinda tapers off and fades out, which rly communicates how hes crumbling up. The pose seems imposing at first glance but the expression isn't 'in control'. So even tho they're hangin over like a ghost, you don't get the sense of power,, control, or efficacy. They're not running the show in here. They're just a helpless lil ghosty passenger.

The expression is nice and mad. Love his angry lil dragon teeth. I'm also touched to see his lil pointy-shine eyes. I did those in crimes because I couldn't think of another way to make Yuto's eyes glow in monochrome, but the fact that you used it here means it hit you! Happy accident, no regrets!

Adore that hes doing the much vaunted Yugioh flipping the bird pose. Perfect. Just like Yoog. Also happy to see the Academia duel disk front and center. I feel like the Academia duel disk is one of the more striking visual pieces of info that says "Yes, I know everything is mirroring canon and so far this fic is basically just a retell but I PROMISE there are differences! I PROMISE!"

(Whether that promise is false or not...only time will tell...)

Also appreciating how smol Dark Reb's card is, makes it seem to fit and blend in. It doesn't stick out.

Lastly the backlighting is pretty good! The fire sets it off rly well, esp against Yoots dark colours. The reason Yuto hears screams and feels himself burning so violently when awakening is because he associates it with the invasion, meaning its a huge angst and trauma trigger. Yuya gets the same burny feeling, but it's not necessarily as blunt and brutal as "I'm a little piece of blackened charcoal corpse and when I roll down the hill I leave a trail of blood and ash behind." This makes Yuto working well with the orange lighting just another happy accident and great use of colour on your part.

I'm just so......hnnnnnnnnnnghghgjngbjngbjrnhfbrjnbejrb. Gonna explode. I hope to keep entertaining you. Hope 'The Many Faces of Yugo Shirogane' (Aka: Synchro) is good so far.

Squeeeeeeeee.

Everything was gone. There was no wall, no sky, no floor. He couldn’t see, smell or feel anything. The only things left were the screaming and the burning pain. He’d rather have nothing.

hi this is a fanart for @team-frightfur's fanfic series Dramaturgy which i've been obsessed with for a couple of months now whoops. this isn't technically based on any one moment but a couple of different ones that are [REDACTED] Anyways, timelapse under the cut bye

[thekingofwinterblog]

One often understated thing i absolutely love about Amphibia, is the way it handles body language.

Due to it's very barebones and simplistic artstyle, Amphibia usually can't get away with more subtle and gorgously flowing animation with a a dozen smaller details the way Avatar, or an anime could. But where it absolutely shines, is the way it nails body language.

Especially with the Calamity Trio.

The three girls are all very touchy feely with each other, and it's not just due to them just being so familiar with each other that they're comfortable/okay with the others touching them.

They enjoy the way the others physically interplay with them, and uses it as a source of strenght.

Just looking at Anne as Sasha puts her arm around her, you can tell that she likes being so physically close with Sasha, and that doesn't just go one way either, with Sasha being just as happy and comfortable being very touchy feely with Anne, all throughout Reuinion.

And the same goes for all the trio.

All three of the girls first reunion moments began with a loving, open, and passionate embrace.

Just looking at the way each of them not only are completely comfortable with the others touching them, but actively leans into it, speaks volumes of just how close each of the girls actually are to each other.

And this aspect of their very close and intimate relationship is also used to great effect in "True Colors" where every one of the girls suddenly stops feeling comfortable being this physically close to the others.

Leading up the the moment where Anne breaks off their friendship, and tells Sasha to her face what a worthless person she is, Sasha tries to get Anne and Marcy on board with the recent development, and essentially tries to sweep her personal betrayal of both of them under the table, you immediately see just how things have changed without anyone having to say a word.

Marcy isn't comfortable anymore, instead looking scared, and holding her arms up in a defensive manner, like she's afraid Sasha is going to hit her and she's bracing for that.

Whereas Anne just isn't having it at all, and instead slaps Sasha's hand away violently.

She is is DONE putting up with Sasha's shit.

It's absolutely great as a contrast to how the girls usually interact with each other, and it really hammers in that things have changed.

And then of course there is the equivalent moment for Marcy's betrayal being exposed.

As she desperately tries to justify herself, Marcy steps up to both Anne and Sasha and grabs their hand, instinctually seeking comfort through physical contact, just like Sasha tried to.

Because that is how their relationships work. It is a source of strength for all three of them.

And it works no better for Marcy than it did for Sasha.

Both of the other girls reject her, neither of them even wants to touch her anymore, because they're either horrified(Anne), angry(Sasha) or disguisted(both) by her.

It's such a good visual moment/contrast that hammers in just how broken these girls friendships have become.

The girls who once jumped together and squeed just at the prospect of hanging out, now reject the touch from the other two. And that frankly, hits just as hard as the visually gorgeous fight between Anne and Andrias.

[itmighthavebeenintentional]

We've Got Tonight - Ch 4

Summary: “It’s not your job to do this, Andy. You make people happy. I was in the diner all of ten minutes, and you knew exactly how to get me to smile. You do normal, real things like garden and sing karaoke. Saving the world is my job, Sam’s job. Sometimes it’s even Cas’s job, but it’s not yours.”

Inspired by Bob Seger’s “We’ve Got Tonight”

Warnings: Major Character Death, More Major Character Deaths (sort of?), higher than show level violence, blood, light smutting, language, demons, apocalypse, inferred suicide, cult activity.

18+ ONLY, MINORS DO NOT PROCEED

Author’s Note: This story is set hazily around season 8. Just squint a little, and it’ll settle in somewhere. I wrote this story after certain big revelations in the show, but before other big ones; you’ll most likely be able to tell which. I play with time a bit in the story itself, so if things seem out of order, they are. Hopefully, by the end, all the pieces will fit together.

What the hell, let’s give it a shot.

EXTRA WARNING: THIS CHAPTER IS THE SOURCE OF MOST OF THE WARNINGS FOR THE STORY. Please don't kill me. THIS IS NOT THE LAST CHAPTER, I PROMISE. It's not over yet. I can't promise you won't hate me when it's over, but I will not leave you here. There's more.

Image and major edits by the incomparable @there-must-be-a-lock . Heavy editing and cheering by @thoughtslikeaminefield . Thank you both so much.

In case you missed it: Chapter 3 ItMightHaveBeenintentional’s Masterlist

...

We’ve Got Tonight

Ch 4

Pre-dawn is too damn cold, she decides. She has to visually check that her fingers are actually doing up the buttons to her ragged denim jacket. She lost sensation in her hands a while back, and it’s the only way to make sure they’re actually doing their job. Her jacket is utterly unsuitable for the current temperature, but she doesn’t expect to need it for much longer.

Just before sunrise, Crowley told her.

The sky is already lightening on the horizon, the medium gray more obvious than she would have thought against the stark black, but, then, she’s never had much occasion to be out quite this late before. She’s usually done at the diner by six, singing at the club by ten, and in bed by two at the latest. She hopes Crowley is punctual. She can’t decide if the waiting or the cold is worse.

Except that, yes, she really can. The waiting is definitely worse.

The sound of shifting gravel pulls her out of her thoughts, and she turns to find the King of Hell himself smiling beatifically at her. She shivers, not bothering to search out the source of her discomfort, as she is rather spoiled for choice at the moment. She’s out in the freezing dark, about to hand over her life and soul to a demon because deranged cultists got it into their heads that they should use her blood to start an apocalypse (and who knew there was more than one of those outside of Sunnydale, seriously).

Shivering is probably the most rational reaction she’s had in a while.

“Hello, darling. Pleasant evening with the boys?”

He’s got more sass in one off-the cuff remark than she has in her entire history, and for a moment she can only marvel at the affected innocence in his expression. It's almost convincing. She opts to remain silent rather than take his bait. He smirks, the expression natural and only a touch derisive.

“No surprises, then? No sidekicks to save you at the last minute from the bad, bad demon?”

“I thought the torture didn’t start until after you kill me,” she sighs, hugging her arms tighter around herself, a futile attempt to ward off the chill. Maybe she’s got a little spark in her, after all. He laughs, a friendly, personable chuckle that would set anyone else at ease, reassure them of his honorable, benign intentions.

“Come on, Crowley, what's the hold up? I was here on time. Can we just get this over with already? I could have gotten one more round in with Dean if we were just going to stand around, shootin’ the breeze.”

Even watching for it, she can only just see the tick in Crowley's jaw, the slightest tension that betrays...something. She doesn't know what or why, but Crowley has more than a little unhealthy obsession with the elder Winchester brother, and she is pleased she managed to crack his veneer even for the briefest moment.

At least I don't have to worry about Dean, Andy thinks, relief creeping into the sea of dread that is her stomach. Her deal with Crowley was not only about stopping the apocalypse but also keeping Sam and Dean and even Castiel safe.

“Once you're gone, I won’t harm a hair on their precious heads, nor any other part of them,” he swore to her a mere eighteen hours earlier.

“I’m hurt you don't find my company more pleasant, love,” he murmurs, taking a couple of steps closer. He slides his hands in his coat pockets, the very picture of nonchalance. “I do try my best to be cordial, even congenial, after all. But since you’re so very uncomfortable, I suppose you won't object, then, that I took the liberty of inviting a few friends whose company you seem to prefer. What a lovely party we’ll have when they get here.”

As if he’s summoned them, a pair of lights appear in the distance, growing larger with every passing moment. Headlights, she realizes; a second later, she hears the distinctive roaring of a very particular car engine, and before she can turn back to Crowley, the Impala leaps out of the darkness, skidding across the hard-packed dirt road, coming to a halt bare inches from the demon’s impeccably shined shoes.

Andy stumbles back, choking in the cloud of dust the car kicks up, only to hit something solid. Impossibly strong fingers dig into her chin, lifting her face out and away as cold, thin metal is pressed to the side of her neck, and only now does she freeze.

“Let her go, Crowley,” Dean growls, his gun drawn and aimed even before he exits the car. “This isn't her fight, and you know it!” On the other side, Sam and Castiel climb out, Sam drawing his gun and moving to flank the demon.

“I do heartily protest, sir,” Crowley says, his tone mild and conversational. The blade digs in ever so slightly under her ear, and a thin trickle of warmth slides down her skin to soak into her collar. Dean doesn't flinch, but his eyes narrow, and he readjusts his aim.

“Not only is the lady at the epicenter of this fight, she's gone and made herself the brightest star in the show. Ask her yourself, if you don’t believe me.”

“How-” she manages through fear-numbed vocal cords. Dean should be unconscious, snoring blissfully away in his bed where she left him. She made sure to leave no sort of trail they could follow, and she checked that they were all asleep or otherwise occupied before she took off.

“I wasn’t asleep, Andy,” Dean replies, leveling his gun at Crowley. “And I’ve been tracking since I was seven. Gimme some credit.”

“I wouldn't do that, if I were you, Moose.” Crowley’s words freeze Sam in his tracks, and the blade on Andy’s neck digs in a little deeper. The flow of warmth down her neck widens just a touch. The sheer smugness in Crowley’s tone sets her teeth on edge, breaking through her stupor, and she grabs the hand with the knife, pulling at it with all her might. She, of course, doesn’t make a dent in the demonic strength, but she’s got to try something.

If you asked her later, Andy would swear to you that the searing pain that drags along her neck parallel to her jaw line right then is pure Hellfire. Deep down in the darkest recesses of her mind where all the worst truths lurk, she knows she’s feeling the bite from Crowley’s knife, but in that instant all she is aware of is the agony of the wound, of Dean’s enraged roar, and the juxtaposition of Crowley’s gentle touch pressing her own fingers to something hot and slippery under her jaw.

“Hold pressure there, sweetheart, or you’ll bleed out too soon. Wouldn’t want you to miss the finale.”

Her knees buckle, and she drops, but somehow she stays upright long enough to see Crowley’s demons approach out of the darkness. She tries to warn the boys, but time moves with a dreamlike lethargy that betrays every one of her good intentions, and, anyway, her voice doesn’t seem to be working at the moment. The roar of gunfire all around her sounds faint in comparison to the rushing in her ears, and she is powerless to stop Crowley’s plans from reaching fruition.

“You...said...you wouldn’t...”

“Well, pet, you aren’t dead yet, are you? I’ve got, what, at least another three minutes before you snuff it, by my count. Plenty of time to conclude my business with the Winchesters and their featherbrained friend before you expire.”

Though he was right behind her only a moment ago, Crowley appears abruptly next to Castiel, who at the moment is distracted by two lesser demons both wielding machetes. She realizes as she watches Cas easily fend them off that they, just like Andy, are only a distraction, only bait to tempt the bigger players to overextend themselves.

Too late, she sees the perfection of Crowley’s plan. In all the confusion, she loses track of Sam, and she wrenches her eyes away from Dean’s staggering form only to watch as the angel blade in Crowley’s hand bursts through Castiel’s chest. Then her gentle, confused friend is gone in a flash. The demons vanish, and she can’t find Sam or Dean, can’t reach them, can’t make her voice work to call out.

The quiet is wrong, so out of place after the violent cacophony. The roaring is gone, the gunfire silenced, and all that’s left is a terrible wheezing, gurgling sound that takes her too long to recognize as her own labored breathing.

“Crow...ley…”

“I’m here, darling. What do you need?”

“Lying...bastard…”

“Now, now, sweetheart, are those really what you want your last words to be?” He lifts her easily from the ground, carrying her the few yards to where Dean lies sprawled in the dusty gravel. His shirt is stained black in the retreating darkness, and Andy can only be thankful that she won’t make it to sunrise to see what exact shade of red is spreading over him. Dean’s far hand scrabbles on the ground, stopping its frantic search only when it finds his brother’s.

Sam’s still form doesn’t return his brother’s grip.

“After all, I’ve done you a favor; I didn’t have to give you the opportunity to say good-bye. I can’t promise you adjoining cells, but I’m sure your torture will coincide with his occasionally,” Crowley continues conversationally, “so, really, the two of you should be thanking me that you’ll at least get occasional visiting privileges. It pays to be on good terms with the king, after all. And, who knows? After a couple hundred years of good behavior, I might even be persuaded to-”

“Why?” It’s all she can manage as he lays her on the ground. Dean reaches for her with his free hand, and she is just able to find his fingers. Their eyes meet, but her vision is blurring as breathing gets tougher, and she can’t see what he’s mouthing to her. Even his eyes, such a luminescent green only hours ago, are fading into the remaining dark of the night.

“The Winchesters, dear, it’s always been about the Winchesters. Oh, the fanatics and their doomsday ritual were real enough, as was your blood. I just simply took advantage of the situation, as any intelligent monarch would do. Settled things with the apocalypse groupies, rid myself of some major pains in my rear, and now I get you, to boot! I do love when a plan comes together.”

Dean’s fingers tighten in hers, and she tries to grip his back, but the harder she holds on, the less she can feel him.

She’s not really feeling much of anything but cold now.

“Shut...up...already.”

“Always ungrateful in the end, even after everything I do for them,” Crowley grumbles from above her. But then he does shut up, and she finally feels something besides the cold.

Relief. ...

Chapter 5

[bots-basket]

Snapshot: make a little doodle or drabble one of your favorite scenes!

{ Yeah So My Brain Miraculously Decided To have motivation and Did a Full blown Story with Pictures So Here Ya Go!

*Note: Some of the pics used are screenshot redraws. }

🌀Vortex 🌀

Terrible. Absolutely Terrible. How could things Go So Bad?

The Tobot Crew had Awoken To a start. The Princess had Gone Missing! Onyx was the first to realize she was Missing when she didn't come out for breakfast that Morning. At First The Eldest Kept it to himself as he searched around the Junkyard, Hoping he'd Just find her Hiding or sleeping in a Random Place again. Whenever he didn't have to Worry his little Brothers the better. But After a while of Searching he Began to get concerned.. and So Did His siblings.

It was obvious that this was going to be an unavoidable Conversation, So He told Rox and Zephyr the News. Zephyr was the first to Panic.

" WHAT HAPPENED TO THE PRINCESS D: "

Zephyr Exclaimed as he Flared his Arms around in worry. How Could she be Missing?! She was Just here Last Night.. Why would she Leave? Now she's Lost in the city with who knows what lurking around the next Bend.

Rox was also Wildly Concerned for the Princess, But Handled it a bit better for Zephyr's Sake. Though he Put on a Brave Face he couldn't Hide the worry in His Tone as he Looked to Onyx.

" If we Hurry, we Might be able to find her- Right? I'll Do a Sweep of the entire City If I Have too.. W.. We'll definitely Find her.. No Matter what.. Right..?"

Onyx Looked to Rox and Zephyr and saw the complete Desperation in their Optics.. Glinting threw their Masks and Visors. He didn't Know where The princess could be or What has become of her.. But he Isn't going to Let Those negative Thoughts get to him. He has to be Strong.. for the Princess- And For his Brothers. He Gave a Swift Nod to Rox and Zephyr before responding and taking Charge of the Matter.~

" We Are going to find her, But we'll Need to broaden our Search by splitting up. Rox, You Go North towards the City Shops And Keep an eye in the sky. Remember, She likes to Avoid Contact with others so keep close attention on the Side-streets. Zephyr, You Head South towards The Villages and see if she's at any of her usual Alone-time Spots. I'll Head towards the Woodland Area where she Goes to find lost things. And keep Your Comm units up."

The Two Smaller Bots Nodded before Transforming into their Alts and Zooming off to Go Look for the Princess. Before he Left he Glanced Around the Junkyard.. Something Was giving him a Bad Vibe that something was going to happen As soon as he Left this place.. He wasn't sure about why he was feeling this way, But He wasn't going to take it lightly.

/// *I'll Just Have to Keep my Guard Up..*\\\

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

It Had Been Over 2 Hours since the Squad had been Searching For Their Little Lost Princess.. And there was No Luck Or Clue to her whereabouts At All. Rox had Circled the City Twice Now .. He Hated to Admit it, But He was starting to Get as Worried as Zephyr was about Their Pilot. What Kind of Hero Could he be if he can't even protect the ones he Loves?

He was about to Double-back Once More when Something Caught the Edge Of His Optic. He Transformed Midair and Zoomed down to A Nearby Rooftop to get a Better Look at What he Saw. As he Peaked over the edge of The building, The Thing he saw was unmistakable.. He was going to need Backup. He Shakily Reached for His Comm Unit before speaking In A broken Tone.

[* I.. Found Her.. *]

[* What? Where!?* ]

[* Roxas Where's the Princess?*]

[*- Is Struggling to Answer-*]

[* ROXAS!*]

[* It's Tobais.. He's.. He's Got Her..*]

Onyx Felt as If an Arrow Pierced threw His Armor and into his Core as He Heard the Name That They All Dreaded come out of Rox's trembling Voice. No.. NO- Not Him.. Anyone But Him-! This has turned into the absolute Worse case Scenario. Whatever that Bad Man is planning he Must Be Stopped at Once! Their Princesses Life may depend on them-!

Zephyr Was Shaking too as he heard Tobais Ring out throughout his Mindcore. The Last encounter with Him Lead to The Poisoning Of the Princess.. they were forced to Do Terrible things just to get the Antidote. That man Was a Psychopath- who Knows What He'll Do To Their Princess now that she's in his Clutches. Even though he was scared of Tobais.. He Has To Be Brave! They Have to Save Her!

[* Rox, Where Are You Now? *]

[* I'm Down Norsh Street, Near the New Coin Factory. I Can see Some Of Tobais Badnicks Guarding the Place.. What Do I Do? *]

[* Staying Hidden will be the best move for Now Roxie, We'll come to you. We are Stronger together plus Have each other's backs Incase Tobais Might try to Capture you too. *]

[* Understood, I'll Keep You Posted if anything Happens.*]

Rox Hated All Of this. Tobais Never Fails to Get Under his Metal Plating. Why Must He Have his Wicked Heart Set On Torturing his Family! He's Crushed Rox's Dreams Of Being a Heroes To this City.. He Made them Become Criminals... all At The Princesses Expense. But This is it. He's going to Make Tobais Pay for everything He's Put him and his Family through.. There is No Redemption for this Villan.. He Must Be Vanquished.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

It didn't Take Long For the Other two the Show Up and meet Rox on the rooftops. Having Scoping out the Area and Situation, The small Squad of Robots Came Up with a Plan. Now all they had to Do was Take Action. Onyx Glanced to his siblings before Whispering

" You ready to Storm the Villan's Castle?"

" Absolutely."

Zephyr Nodded as he made his Servos into a Fist. There's no way he's getting away with this.

" Then Let's Do This!"

Rox Shouted before Flipping off the Roof. The Mecha Guards Looked Up in surprise as The Orange Mech Came from outta Nowhere and Falcon Punched one of them Into The Factories Walls.

The Other Guards Quickly Armmed themselves with their Pistols and began Firing Blasts at Rox. In an Instance a Blue Energy Shield protected him from Taking any Damage. Behind the Shield stood Little Zephyr in a Protective Manner, Making Sure Rox Was Safe.

" I Am a Knight of Valor and Won't Let you do as you Please!"

Rox Smiled To Zephyr Before reaching for his second set of Wings And Unhitching them from his Back, Revealing that they were actually Duel Blades. He Gave a Swift Leap into the Air and Hovered above The Guard Robots. Placing his Blades together he dragged them against each other as an Electrical Pulse Began to Surge from his Body and into the Blades. With a Glint in his Optics Shinung through his Visor he Let Out his Catchphrase.

" To Save the Innocent From This Evildoer's Clutches, I Am a Hero! "

He Sent A Slash Of electricity Down Upon Most of the Guards, Leaving only a Few left Standing. The Last Of them Who Managed to Miss the Charge Of Rox's Ability Sent Guided Missiles at the Flying Mech, Attempting to Put him Out of they sky For Good.

The Eldest Sibling However wasn't going to let him be taken Down So Easily. With the whirl of his Cape He Skillfully Cloud stepped and Got infront of Rox within a Few movements. Raising his servo he managed to create a Magnetic Field to Divert the Course Of the Missiles and sent them Spiraling Down on his Opponents.

" Your End Is Near- For I Am Their Guardian, So Accept Your Fate."

Zephyr Stood his Ground as the Blasts from the Missiles Blowing Up the Remains of the Guards nearly sent him perpeling backwards. Before the Dust could even Settle The Three Hurried Inside The Factory Opening, Hoping that They could see some sort of Clue to where Tobais was keeping their Princess.

Bad Move.

As Soon as they Entered The Factory Bright Spotlights Blazed in their Optics Causing A Temporary Blindness in their visual Sensors. In an Instance Rox Felt Something Grab Onto his Wrist and Twist it Violently Behind his Back, Causing him To drop his Swords and let Out a Screech in Pain by the sudden forced Movement.

" AAAARRRGGHH!!"

Onyx's Sensors Flicked Slightly as he whipped around Towards the direction of Rox's Screams. He Darted Towards the source while Unsheathing His Arm Blades. He Slashed In the direction Of the last known Sound, Hitting something.. Metallic. He Heard Rox give a Subtle Gasp as he felt the grip of his Attacker leave his Wrists for a Moment. The Purple Mechs Sensors Flicked Once more as he Glanced around Blindly. Suddenly he Felt something Grab his Leg- Slamming him into the ground and then Into Rox in a Brutal Manner.

" ACK- *SLAM* UGH-!"

" UCK-"

" ROXIE! ONYX- WHERE ARE YOU?!"

Zephyr's Headfins Flapped Wildly as Anxiety began to Creep into his Mindcore as he Frantically Tried to Figure out what was happening. And Fact that he couldn't see anything didn't Really help his Demeanor either. All He could Do was the cries of Pain Of his Big Brothers as something was Attacking them.

Then The Sound of Metal crashing to the ground stopped abruptly- Causing him to Literally freeze in Panic. He Felt a cold Shivver Creep up his Spine as Something loomed Over him. At that very Moment His Optical Functioning restarted... But it was too Late. A Metal Hand Slammed It's fist ontop the Little Bot, Knocking him Out Cold.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

In a Few Moments The Squad Came too, And Found themselves in a Very dreadful Situation. They were Hanging from The Ceiling in a Steel-Inforced Net, All Of their Weapons and Gear was confiscated, And Worst of All- There Stood Ontop a Mighty Mech was Tobais, Wearing a Wicked Smirk as he Held Held up Their Beloved Princess.. With a Look of True Terror in Her Tear filled Eyes.

" YOU COWARD! USING YOUR UNDERHANDED TRICKS TO CAPTURE US! IF YOU DON'T LET GO OF THE PRINCESS RIGHT NOW SO HELP ME-"

Rox Snarled as he Grabbed onto the Metal Netting, Attempting to Break Threw It. HOW DARE HE TREAT THE PRINCESS THAT WAY!! Showing her off Like Some Trophy he'd won. If he has hurt her in anyway he was going to Cause some Serious Damage to this Dude.

" wHy Are You Doing this To Us-! Release the Princess!.. Please..She's Done Nothing To You- "

Zephyr Was Trembling as he Spoke. The Sight Of His Princess So Afraid Made him Scared aswell.. He knows What this Man was capable Of.. And the Fact that He Not Only has Her.. But he Single Handedly managed to Capture All three of them aswell Made him Even More Afraid. The edges of His Optics Began to Spike to mimic that Of Crying.. He wished he could Just wake up from this Nightmare.

" What Do You Want Tobais! We'll Do whatever You Say, You have Us! Just Don't Hurt Her! She's Just a Child! She doesn't have a use for Your Plans!"

Onyx Called Out in hopes Of Negotiating with Him. He would give himself Up If it meant protecting Her.. They Owe her their Lives, He can't just let her Loose hers.

But Tobais, on the other hand, Could Honestly Care Less. He Only Laughed at their pleas Before Throwing their Princess Off the Mech and watched as she crashed to the ground. She groaned in pain As she weakly looked up to her Protectors Dangling helplessly in the air calling out to her.

" PRINCESS!!"

The Prof. gave a Small Humm as he Turned his Attention to the Trio Aggressively trying to Get To their Pilot, Only to Continuously Fail. It was Quite Amusing To say the least.

" Your Right You Know.. I Don't need Her.. But I Don't need You anymore either. I have Proven that A Human Mind and Intellect Is Stronger than your Dumb Little Mindcores with this Mech."

~ He Smiled as He Slid into the Cockpit of the Mecha And Stood Proudly Behind their Fallen Pilot. ~

" Now I'll Be Able to Achieve my Greatest Ambitions with This Mech suit. Best Of all I won't have to Worry about you Ruining my Schemes. I'm Sure You're gonna make Great Spare Parts once I Dismantle you. I'm sorry To Say but.. You've Outlived Your Usefulness.. Just Like this Child."

~ He Moved The Large Mech Towards the Girl, It's Large Metal Feet shaking the factory with each Step.. She Couldn't get away.. she couldn't even see it coming.. Her Fate was set as the Giant Mech Lifted it's Pede Above their Pilot.~

" So Long little Princess."

"No..-"

" NO..-!"

" NOOO!"

She Saw the Metal Foot Coming Down Upon Her.. She Heard the Horror striken Cries of her Tobots.. she couldn't see a way Out.. She Closed her eyes and Let out One Last Shriek as the tears began to Flow down her Face..

" AAAAAAAAA-"

...

...

...

...

*Woosh!*

In that Instance, A Few Moments before disaster Something happened. Tobais Felt The Mech be sent Backwards as Something with Great force Rammed into it. When he went to See what the heck Just Hit him, He Couldn't believe his eyes. There, Towering Over the Small Child he was Going to crush... Was a Panther Of some sort.. No.. It wasn't a Panther.. It was a Tobot! But that can't be possible.. He'd never seen any Tobot that looked like him before- Where'd she get ANOTHER ONE-!?

" WHO ARE YOU!?"

" I Am Bass, Her Solider Of Destruction. All who Dare Hurt her Shall Succumb To My Claws..

So. Stay. away. From. My. MASTER."

Bass Snarled As the edges Of His Servos Dug into the Ground. He Didn't know who this was, Or How he even Managed to Capture her Guards and get his Grubby Little Hands on his Master.. But he's Going to make him Regret the day he even Laid eyes on Her. Bass hated to Admit it, But He's Grown rather Found Of his Master.

Ever Since she Helped Him Escape From his Creators.. From his predetermined Fate.. He Decided that Rosie and Rosie Alone Shall be His Master. But the time has come for Him To Step Up and Make it Known That She is His.

Tobias Was Appalled to be threatened by a Raggedy Looking Robot! Doesn't he Know who he Is! He'll teach this Dumb Cat Some Manners!

The Mech Regained itself before Sending a servo Towards the two, Aggressively Grabbing at them. In an Instant Bass Grabbed onto The scruff Of Rosie's Hoodie and Leapt Backwards, Avoiding being Caught By Tobais's Grasp. As The Mecha Grabbed and Swung at Them, The Feline-Estique Tobot Manged to Dodge every Swing Skillfully- Jumping into the Air with each Swing. As He was In Midair The Mech's Other Servo Grabbed his Leg and threw him into the ground with a Forceful *CRASH!*

Bass uses his Body to Sheild Rosie From Receiving any Damage from the Collision with the Floor. He Let Out a Hiss Of Pain as he Landed infront the Trapped Trio Struggling to get free. He Glanced at Them and then to Tobias Closing in on them. He Got to his Pedes and Set The Child Down Before Stepping ahead of her to Face the Man in the Mech.

"This Ends Now. "

He Let out a Thunderous Roar Before Slamming his Servos onto the Floor- Letting his Claws Dig deep to give himself Stability for The Stunt he was About to Pull. His Back Arched and Snarled. His Tail Began To Sperate into Sections as a Dark Purple Substance Swirled Out of It..

Tobais Couldn't believe what he saw! This Tobot.. Had Created A VORTEX!? How Could Something Like this even be possible!? He didn't Have time To Process what Was Happening as a Bright Purple Glow Engulfed the Room..

"ARRRGGGGGHH!!!!"

.....

.....

....

~Elsewhere~

....

...

...

A Large Purple Vortex Opened In the middle Of a Clearing beside a Lake- Throwing Bass, The Trio, And The Princess Safely- But roughly- Onto the Grass. The group Gave a Slight Groan as they Slowly Regained themselves. Bass Looked Over Rosie to Make sure she didn't hurt herself from the fall. Rox was the first Person to break The Silence

" I'm Sorry But What The Heck Just Happened-?!"

"..I.. I'm Unsure.."

Onyx Rubbed the Side Of his helm as he Glanced around the Area.. He didn't recognize this place at all.. Were they even still in the city? His attention shifted to the Mech Checking over their Princess.. He remember he had Appeared Suddenly and Saved her.. But just Who was he exactly..? He Flinched Slightly as the other looked back to him.

" I Created a Vortex To send us somewhere Safe."

Bass Spoke Up as he Finished Looking over His Master. She Only seemed to Have Sprained her wrist, Other than that She was just a little shaken up. That was a Relief. He Gave the Girl Her Glasses and Stood Upwards while Brushing himself off.

" Ah, Yes..Who the Heck are You! "

Rox Pointed his Digit At Bass As The Mech Stood Up. It's not that he isn't grateful or anything on how he kept the Princess Safe.. But How does a Random Guy Come outta Nowhere, Just Totally CLAIM the Princess, Face-off with Tobias, and Then Just Poof! Sent them to who knows where just like that!?

" I literally Just Declared my Name Five minutes Ago. But I suppose you couldn't hear me over your Failure to Protect The Kid."

Bass responded Coldly as his Tail Lashed From side to Side. He definitely wasn't impressed with His masters So Called 'Guardians.'

" WHAT!!"

Rox's Wings Flapped as He let out a Low Churr in irritation. Just Who does this Guy Think He Is!

" You Heard me. I'm surprised she's managed to survive this long Under Your Care."

The Mech Scoffed.

" Why You-"

He Growled as He Went to Punch The Smug Cat

" Roxie.."

Zephyr Placed his Servo on Rox's Shoulder and Looked at him with One of those Looks. Just Let it Go.. He Helped the Princess and That's all that matters.

" HMMPH!"

The Orange Mech looked to Zephyr and then to Bass and Huffed. Fine! Whatever! Let the jerk be a Jerk. At least he seems like the Loner type to Ridicule You Before Leaving in a Pretty Stupidly awesome Manner.

" Thank You For Your Assistance.. We Owe You Our Lives. "

Onyx Smiled Warmly to the other and offered his Servo to him. But that Motion didn't seem to fair well with the feline as he Avoided it like the plague. Onyx Lowered His Servo and Frowned Slightly.. Did he just Offend Him..? He Glanced to Zephyr and Just Shrugged.

" Let's Start Over.. I'm Zephyr! And these are My Older Brothers Rox and Onyx.. And You Are..?"

Zephyr Caught Onto Onyx's Motion and Quickly tried to Apologise while Also get on his good Side. He must Obviously be a Good Person To Come and Help them in A Time of Need, Right?

" *Tch* My Name is Bass, And from Now On I shall be the True Protector of Your 'Princess'. "

He Stated as he wrapped his Long Tail Around Rosie in an Defensive Manner while Glaring at the Trio. There was No Way he was Just going to let them Be her Caretakers. From Now On He's Going to Be Her Protector.. and there's Nothing they can Do About it.

" W H A T - "

All three Siblings Gasped in Unison-

Well that Was Unexpected. Looks like their Lives are About to get A Bit More Interesting~

~ End..? ~

[nikkifilm]

Batch '81 (1982) & Kakabakaba Ka Ba? (1980), dir. Mike de Leon

In just the first part of the film of Batch '81, it's no doubt that it is best categorized under the cheated expectation, but certainly not in a bad way. From the title itself, the scoring, down to its first sequence, it suggests to be more light and a bit dramatic, probably revolving around a story of a student who flunks in his class, thus being the black sheep, yet somehow makes a stand that school isn't about getting high grades in every class but learning outside the campus — that's how I thought it would go. Apparently, it turned out to be about joining a fraternity. Little did anyone, or at least I, know that the alternative title “AKO” didn't mean oneself, but rather an acronym for a fraternity called Alpha Kappa Omega. That's how all my expectations for this film drastically changed. Although the main character, Sid Lucero, had a very masculine build and a “bad boy” impression, it never occurred to me that he was going to join a fraternity. At first, I denied that it was going to be the main plot of the movie. I couldn't accept the fact that my expectations weren't met and that it was all heading towards a different direction, but as I kept watching, I forgot about everything I was trying to expect out of the plot and just continued watching. I happen to grow more genuinely hooked and intrigued of the movie by the conventions showed in it.

In Kakabakaba Ka Ba, it tackles more on the dark side of Japan (and China), how they use the Philippines to import and sell off drugs. It's something that is sensitive nowadays, but it discusses more of that in this film. The characters are normal people in the Philippines, typical of those group of friends that hang out and have fun in life, but little did they know, they got themselves involved into something big, which is about the cassette tape containing drugs. It's where the story pretty much start and begin to gradually unfold as they move.

In terms of technicality or the stylistic form of Batch '81, there's honestly not much to commend since cinema have improved and expanded now compared to the generation it's from, but objectively speaking, the way the entire film was shot and edited gives you that dark and hopeless feeling about it, especially since for the most part, especially during the initiation scenes, it really comes off as terrifying and at the same time, realistic. You'd feel as if you're part of the film, that you feel every situation the characters are in, and how the scenes that show violence really do seem realistic and somehow, you feel that too. Whenever a scene is painful, you have tendencies to flinch as well. That's how realistic it is. Narrative wise, Batch '81 definitely excels as the message behind the film really speaks to the people, and it sparks discussions about how other people interpret what the film wants to address. These small qualities and impact from the film says a lot about how it was narratively commendable.

As for Kakabakaba Ka Ba, it's more of a stylistic than narrative film as it had more effects and different color grading. Of all the classical films I have watched, this one is by far the most visually appealing film that is not only limited to editing, but also with their settings and props. It was such a creative and genuinely beautiful masterpiece and you've got to love the film for it. I really love the editing as well, especially on the part where they portrayed them being high on drugs. It was really surreal and dream-like, and I was pretty impressed by that and actually got me wondering how they were able to achieve that. The musical scenes are what gets me, it's my first time to be able to watch a musical-comedy, not to mention a local one, and I've got to admit that I had low expectations from it but this one really exceeded that much more. I was shocked but at the same time impressed and fascinated that they were able to achieve such a great performance. It was full-on, from the scoring, props, performance, and transitions. Everything was great and all so entertaining to watch. I genuinely liked it and would really watch it again. Narratively, it's great but more on cliche as it revolved around a chase type of story and it all clashes down in the end. It's quite common, which is why I find it a bit dull, but the thrill is still there and makes you root for what will happen next.

Considering the conventions showed in Batch '81, it really does make you feel something. There's that roller coaster ride of emotions that fluctuates throughout the entirety of the film which what at least I commend as yet another great film. It's hard to make people laugh when you're doing a comedy film, like how hard it is making people cry when doing a drama. But this film doesn't merely sticks to its genre or lets it determine how it should make you feel. It does not only achieve its goal by trying to evoke the wanted emotion from its audience but also exceeds it by making you feel all sorts of emotions — from horrified, disgusted, and angry, it just hits you a wave of sadness, despair, and even playful to some extent. Although these aren't as drastically changing emotions as they are mostly similar, they are different from each other that it varies from scene to scene. Usually, films that have students as main characters would focus more on the traditional way of showing a typical college student's life and all that. However, this film took a different turn by focusing on fraternities within universities. Although it does also tell that fraternities may have been popular during the 80's, it's still non-conventional in a way that they showed the reality behind the initiations held between fraternities. This came off as a message to the viewers, than just portraying what the general audience think of when we talk about fraternities. It makes you really feel for the characters in the film regardless if the viewer had actually experienced being initiated or part of a fraternity or if they just had a similar experience with abuse and humiliation. It gives the viewers a fresher perspective than what is always conceived traditionally. Typically, anyone who weren't able to relate to the characters or the film in general wouldn't spend time or even bother watching the whole film, but this was an exception to that barrier. It speaks to the audience, as humans, that it does affect us emotionally and mentally in a way that makes you think: it's possible that this might have or will have happened in real life. Which what always triggers that fear, intrigue, and contemplating among viewers.

For Kakabakaba Ka Ba, I didn't know what to expect as it seemed odd to me. How it's a comedy-musical film that has that title but having drugs as the main context of the film. It all doesn't add up to me at first that's why I didn't know what to expect. I was weirded out at first, but as I kept watching, it gradually faded away and became more hooked and pretty much had a good laugh and enjoyed the entire movie.

In the Auteur theory context, we see how both films had a certain impact to the viewers that would make us both feel for it in its respective genres. Like with Batch '81, you know how it's a violent and drama film, and yes it did feel that way. The violence seemed real and is affecting the viewers, same goes with the drama. When you see a person being hurt or tortured, you somewhat sympathize for that person and also feel for them. Same could be said of the other Mike de Leon film, Kakabakaba Ka Ba. You can see how it applies the same thing, how you are able to empathize with the characters and how it's as if you are part of the movie too. When the part where they're trying to hide from the Japanese and Chinese dealers makes you all thrilled and it's as if you're in it too. That's one common ground that both films have, and it goes to show how Mike de Leon wants to make his audience feel when they watch his films. It evokes the emotional aspect within people through his films to be able to spark that connection. I'd say it's pretty efficient as it does make you hooked and want to keep watching because you kind of root what happens next to the characters. For Batch '81, you root for their progress in the initiation like what will they do next, who gets eliminated, and what turn of events will happen in the end — if the main character get what he wants or if he had a change of heart. For Kakabakaba Ka Ba however, it makes you root for what mystery lies beneath this certain Japanese group of drug dealers and what's inside the cassette tape that they put in Johnny's coat that caused all that chaos. It's actually pretty comical if you come to think of it. It's something that you'd see in most animations too. It's a good way to have a story run along, it's pretty fun to watch, especially if you like watching for the purpose of having fun or just a good time. Perhaps that's what makes it a Mike de Leon film. It makes you think that maybe that is his goal, to make the audience not only watch a film, but also to be able to feel which is good. Because a good film not only relies on its technical or narrative surface, but also how emotionally attaching it is to the people and how it is relatable and understands. Some would probably say that it's shallow and doesn't really have a deeper meaning to it, but that's another thing that makes it a Mike de Leon film. You'd think that it has nothing to do with reality or anything that is happening in real life, but it does. It's not directly put, but it's there. It speaks about the recent social issues the country is facing that time, and what has been prominent back then in the early 80's was the Martial Law and Marcos. There are a few scenes that had portrayed it, how people were killed when they try to speak about Martial Law, and how people are put to jail without even further reasoning or explanation. It's all but subtle, but when you know it, it really makes you think and then it dwells on you. It's there until you finish the film. That's what makes yet another reason as to why it's a Mike de Leon film. It makes you feel and at the same time, think.

Two particular and prominent social issues that can be seen in Batch '81 is the violence and abuse surrounding fraternities and the concept of toxic masculinity. It's a norm within universities in this certain period of time to have fraternities. What made it become a social issue is the violence that's supposed to make you disciplined that turn into abuse and questioning of morality. Another is that the concept of joining one means to get social gain and "protection" yet didn't turn out to be exactly like it. To me, it seemed obscure and pretty much shallow, but I suppose it does speak about how it used to be back then. Today, fraternities have become something that is not morally accepted and the society have prioritized the well-being and rights of a human being which contradicts what is being shown on the film. Although despite the differences in morals from said generations, the portrayal of this social issue is relevant, especially on the part where one of the members die during a conflict within the different fraternity. It's something that speaks even to up to this current generation. With regards to the concept of toxic masculinity, it is seen through the character of Sid Lucero, who wants to be tough and all to join a fraternity. He wants this social gain, because it's how men are supposed to be. The way they also have to endure everything they go through during the initiation rights is also what builds that toxicity, because it's implied that when you can't take it, you're not brave enough to be part of the fraternity. The concept of this brotherhood is what in general makes it toxic. For Kakabakaba Ka Ba, it's more of the drugs and how our country had become the market of drugs especially from other countries like Japan and China. There's nothing much deeper to tell about this than that. It all pretty much revolved on that which alone is alarming.

What I like about Batch '81 is how the characters care for each other genuinely, but except for Sid. How they step forward whenever someone is getting hurt overboard or when they are being too abused. They still have that sense of humanity and genuine care for the fellow members. For some reason it just speaks to me personally, maybe because it's something that I was rooting for with all the violence and verbal abuse that have been happening within the film. It gives off that sense of comfort that makes you think that human nature is still seen in that context. It gave a different perspective of how the fraternity works, and you'd see here how even though it is merely an initiation and you'd expect them to be selfish or mind their own goals so long as they get through what is required, you still see that side of them, that they still care for each other even if it means being against their masters. What I didn't like is how the main character didn't have a character development. What he is in the beginning is just the same him in the end. The only difference is that yes, he got what he wanted and he eventually became a master. Which is fulfilling because that is what he wanted after all, but I didn't see any changes within his character as compared to the supporting characters in the film. If I'm being honest, I liked the other characters more than the main because they had much more development in them than the main character did. All in all, there's really not much to point out anymore, but that's only a few of what I have noticed or spoke to me in this film.

On the other hand, Kakabakaba Ka Ba was a great film, considering it being a comedy-musical that tackles about a serious issue. I loved the film in general, and there wasn't much as to what I disliked about it. Besides the comedy factor in this film which I also genuinely love, II especially liked the musical part of the film. It was nothing but an excellent performance and a masterpiece if I may say. I never thought I'd like it based on my initial expectations before, but it all jot down to me liking it and there's certainly no regret on that. I wish to be able to have more productions like this in the Philippine cinema.

There aren't much to me that I wished the director did, I understand how the films are dated around years ago and there have been changes that happened in the society since then. Especially since these films are a product of the repression back then, particularly about martial law. I just wished, however, that they had given a more solid or deeper plot for both films. For Batch '81, although it is more serious and sensitive as compared to Kakabakaba Ka Ba, it lacked the bigger picture. Comedies and musicals like Kakabakaba Ka Ba however, obviously have little to none storyline but I do see how it had a progress in contrast with Batch '81. Besides the plots, I wished the characters, particular the main characters have more development within them or actually have a significance throughout the film. Nothing really against the director, but most of the time, the only memorable characters in the films are mostly the ones who aren't the main character. You'd only recognize them from their faces or physical attributes, but nothing much about their character or personality. I hope that it would've had more of that, because it kind of puts the film off.

For Batch '81, I'd have to say that I was satisfied with the ending, although I wasn't really surprised. I hoped there have been more to it, because I knew there's really something more that can be put. It did have a great closure, yes. But it really felt lacking. Maybe because it was way too direct and way much more of a gratified ending, since Sid was able to be finally a member and eventually a master. Like I said, it didn't really have much of a solid plot to it. Despite the parts where it had made me feel terrified and disturbed, it subsided with the fulfilling ending which balances it and what makes me find it somewhat enjoyable to some extent. As for Kakabakaba Ka Ba, the ending was just as enjoyable as the first few scenes, and it's also quite fascinating how they broke the fourth wall. It's as if they really just want to have fun and it's effective. You wouldn't even feel like you're watching because you're just having fun. It's more on you're there with them than just watching them.

Overall, I'd say both Mike de Leon films have won the hearts of the viewers, particularly the Filipino. It's really commendable in a way that not only will you find yourself empathizing with the characters and be able to feel as if you're part of the film, you really genuinely enjoy it because you relate to it and understand it no matter what. You don't just relate to them literally, but more of you are able to see yourself or at least one particular moment of your life that had a similarity to what is shown in the film. You both get to enjoy and feel for it, and most importantly, it leaves you a food for thought that would make you realize things too.

[winterywitch]

I just want to say that I really admire the depth you put into your OC's and your confidence in talking about them! I'd like to learn more about them, but I'm on mobile and it isn't letting me search the tags, so... are there any W@tchtower Grotto characters you haven't talked much about that you'd want to talk about?

oh!! ;-; gee thank you.......................

uhhhhhhh gee idk why but it feels like i dont have an actual comprehensive post on who/what nana actually is bc most of my friends know him very well already? so here’s that

hes like... early 30s?? in terms of appearance/maturity, hes the godking of the country in midnight

nana is uh... certainly a rebel at his core thats one way to put it, a lot of core things about him for better or for worse challenge the status quo. he thinks this is a good thing 100% of the time, like he’s some kind of radical rebelling against an oppressive norm on every single norm he challenges. (its not)

he is RIDICULOUSLY people-smart, hes likely an empath and could easily be called a genius when it comes to reading people and understanding how people tend to work.

if he were a dnd character he’d be a sorceror, he casts from charisma not intelligence [though he is certainly NOT lacking in that department]

hes definitely considered the leader of his little commune of kings [involving desiderius, hachi and kyuun], those three tend to defer to him and seek him out for advice [well. they mostly Used to now its just hachi that does that last part]

he sees himself as a teacher and guide to people, which isnt inaccurate necessarily!

hes very good to his people, his country as a whole is doing pretty well financially, there’s a vibe there of everyone taking care of one another! not to mention the fact that its lovely visually

he’s right about most things and he’s comfortably aware of the fact that he’s right about most things. but hes open to being corrected! he cant possibly be right about everything ALL the time!! he just has to consider you an authority on what youre talking about, which is something he very rarely considers other people to be, or he might just ignore your correction. but sometimes he wont, which makes you feel kinda silly for pointing out his tendency for hypocrisy! how confusing. it’s hard to keep up with this one.

he, like all of his colleagues minus desiderius, thinks he is the only Good King while all the others are complete messes who dont know what theyre doing or are just flat out bad people. but like, yknow, its a fucked up dysfunctional family! that’s totally normal, right??1/11

something about him just makes you think “theres a guy who knows his shit,” its probably his sturdy [outward] confidence, his [appearance of] wisdom, his [very real] intelligence and his long list of supporters that make you think that about him

his hair is weird as shit! there are ‘stars’ in it that glow, not BLINDINGLY bright but i mean yknow, they do glow, and where theyre embedded in his hair theres increased physical sensitivity. pulling on this guy’s hair fucking HURTS, even petting it can be uncomfortable if youre not really really careful. not to mention a fucking haircut, good lord (haha)

his parents were kind of like... very emotionally shallow, they were the sorts of people to be like Oh I’m Fine ^_^ at everything, and in subtle and hard-to-detect ways, they would punish nana for showing emotion of any kind (for example, laughing at him when he would cry at sad things as a child). because of this, he is now very open about his emotions and embraces them as something he should listen to and follow rather than only relying on cold logic as his parents tried to have him do. (its a lot more sinister in practice than it sounds, because yeah most of the time it is innocent like this but at the same time, he takes his own feelings VERY seriously and if you hurt them, even if it’s just by having boundaries, he will identify you as someone mistreating him or even abusing him depending on how close you are]

[heres where we get into The Shit, big tw for abuse, csa/pedophilia and “marital” sexual abuse/assault]

his closest friend and advisor arya kurosawa has been his best friend since they were both teenagers. they met when arya was 14 and nana was 17 [in terms of appearance/maturity are what those ages refer to, they were both immortal] and they got along very well.

of course by very well i mean on top of getting along very well, nana has ALWAYS had an inherent, base-level disrespect for arya’s boundaries. it’s been there since they were teens, and it mostly manifested in nana pressuring arya to do [mostly innocent - but the pressure and coercion made them not so innocent] things he was scared to do.

they were inseparable pretty much ever since they met and VERY, very in love with each other

they definitely were a romantic item by the time nana inherited the throne from his mother, and the age gap was definitely concerning but it only grew more concerning as nana’s mental/appearance age rose because he was growing up emotionally and psychologically and arya’s... stagnated.

when nana was in his early 30s so to speak, arya was stuck at 14-15 or so. and like... they didnt really see anything weird about that, they figured “well we both met when we were kids so its not like nana is a pedophile or anything, why question something so good?”

to someone who didnt know better wrt age gaps in romantic relationships and pedophilia, the relationship between those two would have looked completely normal and healthy. there was certainly an appearance of mutual respect, support, love and commitment

nana could only treat a 14-15 year old so much like his equal. to be totally honest, even since they were teenagers, nana treated arya like his inferior, like a student that needed to be taught, and that dynamic only grew/got worse as nana aged mentally.

but at the same time arya also taught nana so many things! see? nana wasn’t some condescending prick! obviously everything is fine. there were a lot of ways sometimes in which ARYA was the adult and nana was the child ^_^ so it’s equal, right?

arya certainly didnt know any better, nana was the love of his life and that was all there was to it. he knew [because of nana] that any discrimination they might face due to their ages in this relationship was simply unfounded, cruel bigotry from a species of essentially cavemen who were afraid of fire. he knew he was progressive for his time, in a couple decades probably everyone else would come to their senses too!

long story short, one day arya very quickly, almost violently realized EXACTLY everything that was wrong. nana’s condescending behavior had come to a head and someone arya considered a playful rival had forced him, very painfully, to face the truth of what this relationship was: abuse from a man who should know better, taking advantage of a boy who didnt.

arya couldnt exactly love nana after realizing this. and it really fucking sucked. he really wanted to go back to the way things used to be, he wanted to “undiscover” what he’d discovered, but there was no way back and he felt so broken and dirty and ungrateful and bratty and selfish for suddenly feeling this way.

nana on the other hand noticed arya very suddenly averse to being touched or held or even looked at. for a while, he was very understanding about this - what that playful rival did was essentially cast a spell and at first he thought arya was just sick or physically not well or something, and that he’d get better soon.

he didn’t.

nana didn’t know what to do. suddenly arya was neglecting him, acting like he was terrified of nana. he’d never been like this before, what happened? it’s incredibly painful and confusing, losing the love of your life like that; one day you’re everything to them, and the next they’re flinching every time you raise your hand around them. nana had never hit him or abused him verbally... in fact, it was nana who HELPED ARYA gain the strength and courage he needed to become independent from his emotionally abusive parents. so why was nana suddenly the bad guy? he had no idea what happened, why, how to fix it, or anything like that.

eventually he snapped, unable to take being deprived of love and attention like this, so he just took whatever he wanted, physically, not caring what arya thought of it.

he knew it was wrong. he knew he’d definitely crossed the line into objectively unforgivable actions. but he was almost too afraid to stop and relinquish this power over arya, because then he had to A.) lose arya, and B.) be held accountable for his actions. both two very terrifying things he saw no personal gain in.

that went on for a long time, until nana sort of... slowly realized he was feeling weaker and weaker, more prone to physical weariness dizziness, severe headaches and nausea, and he didn’t put 2 and 2 together until it was too late.

arya had figured out how to start poisoning him and getting away with it.

by that point, nana realized not just what was happening and why, but also that he unquestionably, factually deserved this pain and much, much more. that realization was too much for him, it sort of broke him psychologically for a very long time, leaving him completely helpless to whatever revenge arya decided to take on him

[it was all physical and psychological torture, but arya was certain NEVER to stoop to his level and sexually abuse nana. he couldnt even think of sleeping with nana “consensually” anyway, it made him horribly sick to even consider]

eventually after a long-ass time of this, arya just got sick of looking at nana and couldn’t even be around him anymore without feeling absolutely god-awful, so he just abandoned nana, leaving him to fester in his broken body and mind

and y’know, stuff happens after that, but thats all there really is to the most prominent phase of nana’s development in THIS story. i also play him in his phase of development after that last bullet point [roughly 200 years later], where he’s fucked up in all kinds of ways and totally deserving it, but also trying to... not really redeem himself or anything like that, he knows that’s not really a thing, but rather to make himself useful to good people who want to do the right thing, in a dnd campaign

nana goes through a SHIT TON of changes, to the point that each phase of his development has his own individual profile on toyhou.se, he’s become a Big Trauma Coping Character for me and somewhat an experiment in redemption arcs, seeing what exactly should happen and how to make “redemption” arcs seem not cheap or forced

here’s the one i talked about in this post though

http://toyhou.se/335049.nana-of-the-stars