#this post is so long but hey whatever

[theramblingvoid]

Low level/continuous pain tips for writing

Want to avoid the action movie effect and make your character's injuries have realistic lasting impacts? Have a sick character you're using as hurt/comfort fodder? Everyone has tips for how to write Dramatic Intense Agony, but the smaller human details of lasting or low-level discomfort are rarely written in. Here are a few pain mannerisms I like to use as reference:

General

Continuously gritted teeth (may cause headaches or additional jaw pain over time)

Irritability, increased sensitivity to lights, sounds, etc

Repetitive movements (fidgeting, unable to sit still, slight rocking or other habitual movement to self-soothe)

Soft groaning or whimpering, when pain increases or when others aren't around

Heavier breathing, panting, may be deeper or shallower than normal

Moving less quickly, resistant to unnecessary movement

Itching in the case of healing wounds

Subconsciously hunching around the pain (eg. slumped shoulders or bad posture for gut pain)

Using a hand to steady themself when walking past walls, counters, etc (also applies to illness)

Narration-wise: may not notice the pain was there until it's gone because they got so used to it, or may not realize how bad it was until it gets better

May stop mentioning it outright to other people unless they specifically ask or the pain increases

Limb pain

Subtly leaning on surfaces whenever possible to take weight off foot/leg pain

Rubbing sore spots while thinking or resting

Wincing and switching to using other limb frequently (new/forgettable pain) or developed habit of using non dominant limb for tasks (constant/long term pain)

Propping leg up when sitting to reduce inflammation

Holding arm closer to body/moving it less

Moving differently to avoid bending joints (eg. bending at the waist instead of the knees to pick something up)

Nausea/fever/non-pain discomfort

Many of the same things as above (groaning, leaning, differences in movement)

May avoid sudden movements or turning head for nausea

Urge to press up against cold surfaces for fever

Glazed eyes, fixed stare, may take longer to process words or get their attention

Shivering, shaking, loss of fine motor control

If you have any more details that you personally use to bring characters to life in these situations, I'd love to hear them! I'm always looking for ways to make my guys suffer more write people with more realism :)

[moeblob]

Happy Birthday to Ferdinand von Aegir!

I actually made 33 emotes, affectionately known as Aegirglyphics to some, for my own personal use on discord. However, I figure why not share some of them! They're free to use for discord servers/icons/pfps or whatever. However, my only request is Do NOT use them as subscriber emotes on Twitch. You can make them free follower emotes but you are not to make them locked behind a paywall.

[aibouart]

admittedly, i am afraid to talk about this, but have wanted to for a long while. i don't see a lot of people discuss this kind of thing, but i decided to do so for the me who was struggling and didn't know. also i have no idea where i am going with this and it's very late for me rn so here's a whole ass ramble on vent art. and also a bit more on how it's impacting how i view my art, now. i am terribly sorry if it's not very cohesive, my thoughts on it aren't yet cohesive either WOOPS

i wanted to talk a bit about how vent art really impacted my mental health, and how the idea that art needs some kind of meaning to have meaning really has been weighing on me lately (i know this is a concept i am assigning to my work and is not actually the norm/standard expectation of others consuming art. but it IS a sentiment i have seen enough that does impact me).

i want to specify, obviously i am not saying vent art is bad.

nor that doing vent pieces, or vent blogs, will ultimately result in what i went through for a number of years. rather, that this did happen to me, and there is a near impossible chance i am a unique case in any experience i will ever have. if you do vent art and it helps you, that's good! im not judging anyone for anything here. if your experience does not match my own, that's what it's like to be human~. i am not invalidating anyone on purpose by sharing my own experience. sorry for the insane disclaimer but it will eat me alive if i go to sleep thinking "what if they think x cuz i didn't say y and think im a terrible person"

---

i used to do vent art frequently (you won't find much on here as it was uploaded to a personal at the time). anytime i felt down or had a line of dialogue in my head making me feel bad in a way, i would draw for it. but the way i had interacted with it was really unhealthy. it became a terrible feedback loop where i'd feel bad, draw how i felt bad, look at the art, and ruminate even more on how i felt bad, until it spiralled so out of control i would lose touch with reality and get lost entirely in feeling like garbage.

i would just get so lost in the cycle with vent art that it would make my mental space worse and worse, and i would use the vent art as a negative confirmation bias. the words that hurt me i wrote down and anytime i looked again, they would hurt me again. but i would keep looking, and i would keep drawing.

i have always used art as an outlet, but for some reason the way vent art impacted me was unhealthy. it wasn't a good outlet. and it took me years to cut ties with it. i relied on vent art for a long time, but it took a lot of introspection and thinking to realise it wasn't the release i thought it was. and it was hard to let go, too.

i haven't touched the blog in a few months, now. i haven't done much vent art at all since then and genuinely, i've been doing SOOO much better. i no longer ruminate nearly as much as i had done so, i no longer get caught in a feedback loop that lasts for days to weeks. i still feel like garbage like people tend to do, but i don't put myself in a cycle over it anymore. i have gone back to it a few times in moments of desperation, but what used to be every week/every few weeks is now once a month maybe. and not to the extent at all (i would oftentimes post ~20 images in one night, before).

but i keep thinking about how, while the way i had done vent art was bad for my mental health, i keep feeling that just because i do sparkly cute and happy drawings, now, or drawings with no real meaning, that my art has nothing beyond face value... i do like a lot of my vent art. i think their compositions, or hidden messages and meanings, or colour use, was interesting.

but it wasn't worth the price for me.

so i am a bit caught in an in-between, here. my favourite form of art is the expression of love-you liked something so much, you dedicated time to draw it. and yet i cannot ascribe that to my own work very often. i think that man i wish i could make art with some kind of deeper meaning, that speaks to people, that's more than just pretty colours or shiny shading or a character everyone likes, or a character i like. but i just... don't know if it's for me.

ultimately, i could develop a healthy relationship with expressing and exploring negative emotions or experiences through art, but... do i want to? do i have to? do i need to? is it not enough to just draw something because... i like it..?

of course, the answer is yes, draw what you want, draw how you want, it's your art. but i am still trying to come to terms with that idea. i dont want to be seen as some shallow artist who just draws what's cute and pretty because they can and it's all they can think of, but like what if that's just what i like to draw??

in the end, that alone is good enough, drawing because you like to, because it's fun, because you like the thing you're dedicating time to creating for. it's just hard to grapple with after discarding a type of art that i felt was the only way i drew "for real".

anyways i am sorry this is soooo fucking long, and for all the clarifications (IM STILL NOT SAYING VENT ART BAD AND EVERYONE WILL DO WHAT I DID!! Dx) and the fact i had no real point here (probably)

anyways i will continue to draw what i want because i like to, as i have always been.

[icewindandboringhorror]

recent lounging babey images

[battle-subway-ghost]

Unraveling.

// Please read the tags beforehand, <3

Paris leaned against the tree trunk, making a desperate attempt at catching his breath. He had been running for- He didn't know, probably hours? He checked the time with his phone, but it still read 3:27 A.M. Same as it had been for probably hours- He didn't know. he couldn't tell… He checked the battery icon at the top- it was nearly dead. The signal may have read "SOS," but he had already tried multiple times to call for help. Nothing.

He wasn't about to try again- Something about the definition of insanity… and instead he put his phone back into his pocket, properly shutting it off to try to conserve what little battery was left. Paris had the urge to sit down for a little while; the muscles on his legs burned, and he was completely exhausted from running for so long. Stupid choice- he knew it wasn't a good idea to run around in the fog like a headless Torchic while he was already lost, but every time he considered standing still and waiting for this stupid, stupid fog to fade, he thought back to…

That. He shuddered, trying to focus on anything else besides that voice- his own voice, feeling a familiar chill crawl up his spine as he started to grow tense again. He could just imagine approaching footsteps- those hollow eyes, the-

He felt something seeping onto his hand, and cried out in surprise as he immediately moved away from the tree, trying to shake off the…

Black ink. Leaking out from the tree like sap. Paris stared at his hand, feeling his head pound at the sight of the stuff… He did his best to wipe it off of his hand, though he didn't have much besides his own clothes to do so. Still- it was better than nothing, at this point.

…He wasted no time getting on the move again, wandering further into the fog, trying to listen closely for any odd noises or disturbances. He couldn't trust his eyes anymore, as the fog had grown so thick that he could barely see past the length of his arm. Paris tread carefully, avoiding tripping on any loose roots or branches on the forest floor. How big was this forest, anyways? Surely he would've found his way out by now.

Then again, this wasn't the same place he had entered however long ago now. He wasn't sure how, but he just knew. He just had to keep walking now, he wasn't even sure if this would get him out, but he couldn't stay still. Not right now.

Paris stopped in his tracks as he heard a twig snap to his left. He turned immediately, nearly giving himself whiplash with how quickly he moved. He instinctively backed away, already tensing up to run-

And there it was.

A Thievul. the Thievul. That damned thing, staring back at him with those hollow, white eyes.

At last.

Paris charged at him, pursuing him as he turned tail and fled. The Thievul was swift, but he was determined to catch him, maybe if he did, it'd put an end to this torment. He wove through the trees with a precision Paris couldn't quite match, as he seemed to blend in with the fog at times- like he was about to fade into it. Paris pressed on, despite the burning in his lungs and the stiffness in his legs.

He finally got close enough to where he could tackle that thing, grabbing him with his hands-

Only to grasp at nothing but air.

Paris hit the ground, falling face first into the dew-covered grass. It took him a moment to recoup and process what happened, as he scrambled to get up, looking around for the Thievul. He was nowhere to be found, as if he vanished into thin air. The fog was starting to clear up a bit, and from what Paris could tell, he had been lead to a clearing in the woods.

He was fuming. He had gone here for nothing! Nothing at all! Revenge- Or even just closure, simply gone! Like that! No fanfare- no anything.

He yanked at his hair, yelling out of pure rage. Rage at the thievul, at himself for allowing it to escape, frustration over this entire stupid situation and this stupid fog and this stupid forest and EVERYTHING-

He stopped after a few moments passed, and finally opening his eyes, watery from the threat of crying. He looked up, seeing- black… patches? He blinked a few times, trying to clear up the blurriness in his eyes. Surely-

No. His eyes weren't playing tricks on him. The fog had receeded at an unnaturally fast rate, but… There was darkness. the inky-black dark of the ink, starting to spread through tears in the scenery, almost. He could feel the panic building in his chest, attempting to run the other way, only to find that the ground underneath him was starting to fade into the same black ink that was beginning to surround him. Paris screamed, trying to pull himself out, only to find that every time he put his foot down he simply got dragged deeper into the inky abyss. He could feel the substance clinging to his skin, unnaturally warm, almost pulsating… like breathing-

Something painful tugged against him, finally prompting him to glance down. his arms- the muscles were starting to twitch and twist unnaturally, his skin shifting around to compensate for the changes underneath. It was agonizing, muscles beginning to stretch and tear, before attempting to mend themselves again.

He howled in agony, nearly collapsing into the ink entirely, barely able to steady himself. it burned. His right arm in particular was getting the worst of it, the sensation similar to what he imagined it'd feel like having your arm ripped off.

…And much to his horror, it was actually hanging loose when he checked. the skin peeled away like wet cardstock paper, revealing red thread coiling around the remnants of the arm, as well torn ligaments and muscles trying to keep everything together- to no avail. It broke apart entirely, and fell into the ink below, slowly sinking down. There was no blood, instead, frayed and torn red thread hung down from what was left.

Paris collapsed- finally, into the ink. It was a miracle he had even been able to stay standing for so long, given that it seemed like he could fall apart like bad paper mache at any second now. He sputtered and coughed as he accidentally breathed in the ink, trying to pull his head back up. He couldn't breathe- it clung to him like tar, pulling him down further- further into the abyss.

Everything was falling apart. the trees falling apart like flayed seams- unraveling before his eyes, leaving nothing behind besides the pitch black abyss.

His head finally sank underneath. The last thing he saw was the bright red string- cutting through the dark abyss as it drifted upwards.

He shut his eyes, and the searing pain melted away.

Silence, at last.

[hrokkall]

This will hurt.

[thedrotter]

not-yet-dead-person

silly comic of a conversation in-game i thought was too funny not to make something proper for instead of a doodle ww

(timelapse + wip images (thus silly process commentary in read more if you like artist commentary :3)

i think the sketch looks silly and goofy and funny so i find it important to share with you the mere presence of the faces i drew on it. i drew it on top of the boxes without staying inside its borders because i find my proportions can get wonky if i draw them cropped in a restricted space. and I feel trapped otherwise and i will draw BAD!!! give me spaceeeee to go wild!!!!

the head circles are there for emotional support

very low res speedpaint because truth is the canvas was much bigger than the space where my comic was placed. i didnt account when exporting my timelapse in 720px that that tiny space would look so pixelated ... but it's able to be percieved, so its okay.

(i will now comment on my process and it is not brief sorry)

usually i would try to clean up my sketches and figure out what goes on top before jumping into linework, but since there are multiple panels and drawings i chose to jump into inking right away for the sake of brevity. i just went in with a brush that uses pen pressure and drew what was needed. i added extra line thickness and contrast in areas around the face because it helps direct your eyes there more easily that way.

according to her equipment rei has a chain belt but i only remembered it existed once I was going to color, and i did not like that discovery... I chose to ignore it to maintain my peace. i already have the color palettes for these characters figured out, and i didnt really want to think about a new element at the moment www I tend to overthink those things a lot so i skipped it

the rest is rather straightforward! not that anything else wasn't, but in here i could turn my brain off and sing. linework and sketching require mumbling so i cannot turn my brain off. just block in the characters with a solid color so i can have a mask (something along those lines,) where the color can stay inside. then just color in !!!

Base colors just had slight cell shading on the skin, and for the hair i airbrush a bit of the skincolor in low opacity near the forehead... I'm not sure what it means, but i can look at the faces easier with it somehow. i like the gentle subtlety it adds even if you cant really tell. it makes things look nice.

background was just me blocking in the color of the wall and floor, shade the wall a bit, then slap a noise and free use wood texture on top. work smarter not harder ! yet it took a bit to make it look stylistically fitting with the characters, and even now i think bottom middle panel looks odd. whatever!!!

for the middle panel i thought itd be funny if the background was a solid silly and colorful one to contrast the next panel's sketchy black one. a contrast to how the word widow is seen. on that note my handwritting is not pointy. i gaslighted my hand into thinking that it was indeed pointy in that moment so i could write "not-yet dead person" in letters that didn't seem cute. my hand did not fall for it but it complied anyway

that's basically it! I'm not sure what else i could say that doesn't feel barebones because it really is that straightforward. if you're curious I used clip studio paint for this. only special brush used was for linework (a brush named Lemon Brush), the rest used were just the default. my computer gets the least credit. it was trying to convince me a 20mb file was going to nuke it all the time and hardly let me save multiple times so i do not appreciate it

[carnivalcarriondiscarded]

damn... kinda mad i didn't die in my dream last night... could've added another method to the list

[beaulesbian]

the end of punk hazard arc was rlly so good and interesting,

beside the obvious- law being slowly included in the strawhat's shenanigans,

and zoro and the rest of the crew finally learning about their new alliance and future plans,

but

then the whole two last chapters- with doflamingo reaching the punk hazard island once the strawhats were gone and going after smoker and the navy guys,

and Aokiji (!!) suddenly showing up at last second to stop doffy from killing smoker, bc "he's an old friend"

which then they have a short fight about it, until doffy realizes it wasn't a fight they should be having at that moment

and then once again a conversation in one piece brings up the topic of people meeting at the right time because of fate or destiny! (insane about it)

(also smoker, minutes after his near-death: already smoking again. it's always so funny.)

"why are you here?" "to see you."

sure, a completely normal thing to say.

"how did you know i'd be here?"

"I'm just me... smoker."

okayy what's the history there? 👀

[kineticallyanywhere]

Monkey’s Paw pages 116-120 ( START HERE || ao3 || previous || next (ongoing CW: violence) )

AU after episode 62. The Omega Dads try a more desperate gambit, but   careful what you wish for. Our dads find alternate versions of themselves in a strange dreamscape.

If you die in the dream, do you die in real life?

I’m a middle school teacher now!

okay I’m not gonna roll dice for this on the regular but I DID just roll 8d8 for Blight out of curiosity and

RIP Darryl. his CON is pretty good though, maybe he made the save

[astridthevalkyrie]

everything you see ab being the oldest daughter is true btw why am i the family therapist AND punching bag smh

long ass depressing rant in the tags srry i got a wee bit emotional

[carolinanadeau]

In Praise of Sally Ann Howes

As I've made it one of the purposes of my blog to share photos and songs and general positivity about the wonderful English actress Sally Ann Howes, I thought I'd make a post to talk in much more detail about all the great things about her and why I adore her so much!

This classy English beauty possessed a highly expressive face and eyes, an astonishingly powerful soprano, a great sense of humor, and the world's most charming laugh. One thing I cannot stop saying about Sally Ann is that she did not and does not get nearly enough credit and recognition for her immense talent and prolific career, and it's precisely for that reason that I'm here to do my part in giving it to her!

This overlong rambling post is a combination of biographical information and my personal fawning over her performances... whatever I felt I most wanted to put out there in the world and what I'd like people less familiar with her to know.

Click on Keep Reading and I'll take you on a journey!

As she preferred to work on the stage and didn't really pursue a film career, the catalog of Sally Ann's work that can still be viewed today is unfortunately small - though you can find almost all of her early films on the internet if you look hard! In her early film days, mostly made before she was able to pursue her true passion of musical theatre, her extraordinary singing talents weren't utilized by the producers at all.

However, we were fortunately blessed with exactly one musical film role from her, and it's an iconic one: the aptly-named role of Truly Scrumptious in Chitty Chitty Bang Bang (1968), the golden-haired, golden-hearted candy heiress who falls in love with and eventually marries Dick van Dyke's character Caractacus Potts after joining him and his children on a madcap adventure. She's a sweet, intelligent ingenue with hidden depths and one of my favorite sorts of character arcs - the uptight, lonely woman who becomes more and more warm and open as she discovers newfound freedom and joy in life and falls in love.

There is something about Sally Ann that just glows in every scene of Chitty, and it's not only that bright blonde hair! The way she widens her eyes sometimes, the way she raises her eyebrows, her gentle and soft presence in the happiest scenes, and the particular airy lilt she has to her speaking voice are all so distinctive and appealing, and I can't take my eyes off her. And her smile! When I say she glows it's barely even a metaphor, the woman just emits light. 

(Funnily enough, I started to realize that many of the laudatory quotes I've found about her also refer to her in this way, like this quote from a 1965 TV Guide article, from playwright Sidney Kingsley: "She's luminous as an actress. I mean that literally. In Brigadoon she really lit up the stage.")

For me, I'm weak for any actress who can do the defrosted-ice-queen trope so incredibly well. Truly starts out as closed-off and prim, and nearly reverts to that state when she and Caractacus have a Big Misunderstanding near the end, but in the scenes where she's happy and carefree, the warmth just radiates off of her.

She also has the most adorable chemistry with Dick van Dyke in an annoyances-to-friends-to-lovers relationship that absolutely shaped my young brain. Whenever Sally Ann and Dick glance at each other, whether with irritation and frustration early in the film or with warmth and affection later on, their chemistry is obvious and natural, and there's so much expressed in each one of those glances. One has no difficulty believing that these characters are going to be very happily married.

(Here's a cute on-set interview where she talks about, among other things, how easily she and van Dyke clicked.)

While I acknowledge that the character of Caractacus Potts was absolutely originally planned to be an actual Englishman, Dick van Dyke played him with an American accent, and to me they will always be an adorable English-American couple. It's a whole part of the charm of this pairing to me!

Sally Ann also had a great relationship with child actors Adrian Hall and Heather Ripley who played Jeremy and Jemima Potts, and did her best to help make them more comfortable and happy during the many very long days on set. Having been a child film star herself, she knew a great deal about how difficult and alienating it could be. The genuine affection the three of them shared is obvious in their scenes together, especially in the extremely adorable "Truly Scrumptious" number, and it really makes the developing mother-child relationship between the characters so believable.

The beach scene, where so much of the relationship between Truly and Caractacus and the Potts children is developed, is incredibly cute and heartwarming, and a lot of that rides on Sally Ann's performance and how her previously prim-and-proper character shows herself to be warm and loving, once she (literally) lets her hair down. We've already seen how happy the Potts family is together; now we see how Truly fits in perfectly and makes them all even happier.

Look at her! Literally glowing!

(One thing I should mention: I think both the plot and the love story of CCBB are greatly improved if one just treats the "dream sequence" as real events, which was possibly the original intention anyway, so just note that is always the perspective I'm coming from here. It's the only way to make some things make sense and for the characters and their relationships to fully develop.)

"Lovely, Lonely Man" is Truly's big solo moment, and was probably the least comprehensible part of the movie to me as a kid (lol), but is now indisputably one of the very best parts to me as an adult. It's an exquisitely beautiful love song, especially the bridge, and I somehow love it more and more every time I rewatch it. Sally Ann's dreamy, graceful movements and the way the whole scene is shot make her look like a princess, and the slow build of the song is masterfully done. She has this distinctive crisp way of articulating her words while singing, especially the closing consonants like N and M, that I just love to listen to. The string section and the building countermelodies are so beautiful it makes me want to weep. Everyone involved in creating this scene and song deserved an award, I'm being so serious. While it's not the highest of soprano songs and doesn't fully show off Sally Ann's astonishing range, she shows an incredible amount of vocal control here through the many diminuendos and crescendos, and she's mesmerizing to watch and listen to. One of her "glowiest" scenes, for sure!

While I've seen people call this song irrelevant to the plot, I strongly disagree - the romance is part of the plot, of course, and while I didn't fully understand the meaning as a kid, this song establishes how much Truly's outlook on life and hopes for the future have already changed since meeting Caractacus, and how much happier she is with the poor Potts family than she's ever been in her life of luxury. Plus, now we know for certain that she's head over heels for Caractacus, but he doesn't know... increasing the dramatic irony of the pining and yearning to follow!

In the reprise of "Hushabye Mountain", which was sung in a much earlier scene by Dick van Dyke alone, Caractacus loses the will to continue the song because he's overwhelmed with emotion thinking of his children being held captive. Truly comes in to aid him with the final verse - another pivotal moment in the developing romance - and Sally Ann's singing here is nothing short of breathtaking.

And of course, I can't neglect to mention the "Doll on a Music Box" number, where Sally Ann, who was not a trained dancer and in fact considered herself to be "appalling" at it, performs an incredibly precise, incredibly impressive clockwork song-and-dance number while on a spinning turntable! She practiced it so well that she managed to successfully complete the shot in a single take, prompting the stage full of extras to burst into applause.

This is another important character moment for Truly, though it's disguised in a diegetic performance: though it's another thing that went over my head as a child who only got to see the movie once, the lyrics about being trapped up on a music box and longing to be freed by love pretty clearly symbolize how trapped the real Truly's high-society life makes her feel, and how she yearns to break free from class restrictions and live happily-ever-after with Caractacus, as it's only with him and his family that she really feels free.

Then there's that incredibly warm romantic look that Truly and Caractacus share at the end of the song when she silently acknowledges the love confession he's just made while singing in counterpoint with her, though they're still in a dangerous situation and can't give themselves away by appearing too human and breaking their disguises... sadly this vital moment is cut off on all the Youtube videos of the scene I can find, because none of the people who clipped it understand that that's the whole point of it all, apparently. But here's a gif!

The character of Truly doesn't exist at all in the original (quite different) book by James Bond author Ian Fleming - surprising, I know, given her name! - and, honestly, the fact that Truly and the romantic subplot of this movie exist are why it had such a strong impact on me as a child, and very much why I fell in love with it again as an adult. Even though the score is wonderful anyway and the story is charming and magical, I can confidently say that I would not have become as completely enchanted or had such a strong desire to revisit it again and again if there'd been no Truly and no love story. The fact that Sally Ann's performance makes Truly so loveable is, obviously, a pretty crucial factor there.

Sally Ann's delivery of "Well, Mr. Potts... now you'll have to marry me!" after Caractacus kisses Truly... that slide from prim mock-outrage to the playful, warm, you-can-hear-the-smile-in her-voice conclusion is flawless. Not even exaggerating when I say that this was the moment that made me into a hopeless romantic as a 9-year-old child. Sure, this wasn't the first movie I'd seen where two people fall in love and live happily ever after, but I distinctly remember that this was the first romance story that had me in a giggling, kicking-my-feet, "I ship it so hard" state of mind. And after revisiting it as an adult for the first time last year, I have confirmed that yes, child me already had great taste in fictional romances!

Oh, I could say so much about the difference in her body language between the two scenes where Caractacus carries Truly out of her car that's become stuck in a pond. The first time, Truly is affronted and extremely embarrassed by the situation, holding herself so stiffly and awkwardly to avoid an accidental embrace that she causes him to nearly lose his balance and drop her. The second time, when they're in love and they know it, she snuggles right up into his arms without hesitation and it's the cutest thing ever. Sally Ann was 5'6" but looks so tiny in that scene!

(And that kiss! Maybe I'm getting off-topic here in terms of strictly focusing on Sally Ann's contributions, because Dick van Dyke deserves tons of credit for making this kiss so good... but wow, the kiss. Several times I have called it "the Most Kiss they could have gotten away with in a children's movie." Again, giggling, kicking my feet etc.)

While Truly's costumes and hairstyling are rarely historically accurate (the film is set around 1910), the stylized nature of her fashion is iconic and memorable in itself. Sally Ann also completely pulls off playing a fresh-faced ingenue who is 12+ years younger than her actual age - and I do wonder if the aging-down of Sally Ann is at least part of the reason why Truly wears her hair loose throughout most of the movie! Either way, it works perfectly and I was shocked when I first learned how much older she was than her character. (If you watch her in The Admirable Crichton, where she is also in Edwardian costume and was closer to Truly's actual age, she really doesn't look all that much different. If anything, I think she looks even more glowingly beautiful in Chitty!)

Also, as for Truly wearing her hair down... it may just have been an intentionally anachronistic stylistic choice, but in-story, I think it actually contributes to her character by showing a willingness to flout convention and pursue whatever will make her happy instead of what's expected of her, which happens to be a key theme of her character arc.

Another thing that led me to adore Sally Ann as a person as I learned more about her over the last year: in the 1960s, she appeared as a panelist in quite a few episodes of the game show To Tell the Truth (as well as a few episodes of Password), and these can be found on Youtube. I really adore how her personality shines through - she's unfailingly bubbly, witty, self-deprecating, and a bit quirky. Just listening to her speak is a delight and she has one of the best laughs I've ever heard. Here is one of my favorite little moments that I clipped. 

By all accounts, she was a delightful person to know and work with, witty and clever, very professional, and very serious about her craft. She also always maintained a great affection for and pride in Chitty Chitty Bang Bang and her role as Truly, which is always a wonderful thing to know about an actor in a beloved role.

Another bonus: here is a super charming interview with her after a backstage disaster at What Makes Sammy Run? on Broadway.

She was also, along with Twiggy and Diahann Carroll (as Julia Baker), one of the first three celebrities to have her likeness made into a Barbie doll.

Two of her earlier films I recommend are the comedies Fools Rush In (1949) and The Admirable Crichton (1957), if you can find them (hint-hint, you can.) You may also be able to find the 1966 TV movie of her reprising her Tony-nominated role of Fiona in Brigadoon with Robert Goulet, and although I feel like the oddly close-up way the film was shot kinda does a disservice to the actors at times, it's still amazing to be able to see and hear her in a role she performed on Broadway.

Richard Rodgers once called Sally Ann "the greatest singer who ever sang on the American musical stage." Now, I don't quote this to claim this superlative as some kind of objective fact. If you know anything about me, I am very, very strongly opposed to pitting women against each other and all the Golden Age sopranos are absolute queens who deserve crowns, no matter how much mainstream success or present-day name-recognition they have/had. I just think it's phenomenal that she received such high praise from a man who worked with many of the best musical theatre singers who ever lived... and to think, many people today have never even heard her voice. Without her performance as Truly Scrumptious, it's possible almost nobody would in the future! I am so glad that Sally Ann's lasting legacy was ensured by such a beloved film role.

Sadly for us, many of the theatrical roles which she originated (and thus, for which cast albums featuring her exist) were in shows that either flopped quickly or at least did not enter the theatrical canon, so she never achieved the level of mainstream recognition she clearly deserves. But Sally Ann also played such legendary and challenging roles as Eliza Doolittle in My Fair Lady, Fiona MacLaren in Brigadoon (for which she received a Tony nomination), Maria Rainer von Trapp in The Sound of Music, Anna Leonowens in The King and I, and, much later, Desiree Armfeldt in A Little Night Music. She received great acclaim for all of these performances and, judging by what we know of her process on My Fair Lady, was excellent at making roles distinctly her own and never merely imitating another performer.

Even in her iconic original role of Truly Scrumptious, you don't get to hear the true full power of Sally Ann's extraordinary soprano. For that, I highly recommend listening to "Another Time, Another Place" from Kwamina (1961), and "Something to Live For" from What Makes Sammy Run? (1964). I'm always sad that we don't have any recordings of her in her "fiery" star turn as Eliza Doolittle in My Fair Lady, but you can at least hear her do a Cockney accent, be silly, and sing "With a Little Bit of Luck" with Bing Crosby here!

If it weren't for the enduring success of Chitty Chitty Bang Bang, few people might have even heard of Sally Ann Howes today, and that would be a terrible loss. I cannot overstate that I am so grateful that we all know who she is because she played this role and we get to see her give this radiant performance of a character that's all her own. Maybe this sounds strange, but I think the fact that this was Sally Ann's only musical film role (and the ONLY role most people will ever see her in) makes it even more precious, and makes everything she brings to the character that much more distinctive and unique and special.

Both for all of the talent and charm she brings to the role itself, and everything else that I and many other fans have been able to learn of so much of her otherwise-obscure work because of it, the world is incredibly lucky to have the lovely Sally Ann Howes immortalized as our Truly Scrumptious, and I wouldn't have it any other way 💖

[mcnuggyy]

truly sick of people being too scared to cut my hair the length I want it!!! But I am too anxious to learn how to cut my own hair, we need more transgender barbers and hairdressers or something I can’t deal w this anymore 😭😭😭

[transmasc-tabris]

Anyway I found this Rook template this morning (I do not remember who made this and couldn't find the post I saw it on, but it's not mine) and proceeded to make like six of my OCs into potential Rooks instead of being present at work today. Most of these aren't that fleshed out but they were fun to put a bit more thought into. something something its free to think about your characters all day your boss can't stop you

[sexynetra]

What if instead of finishing all my WIPS that I’m hoping to have out by the end of the year I started writing another Drabble about the fallout of a collapsing relationship and infidelity. Hm. What if 🤔 💭 ✍️

[tinypinkmouse]

I finished writing a tiny fill for the last Guardian bonus bingo prompt today. (I'll get around to editing it at some point too.) I've been trying to write something closer to canon with all the prompts, and it's really highlighted how few ideas I have for fic that are set at least close to canon (or post-canon everyone lives). I can manage something small to fill the prompts, but beyond that it just isn't happening.

This upsets me. I want to write things more close to canon. Something with substance. I've always wanted to wrote something plotty post-canon, but it just doesn't happen. Instead it's all just another AU repeating the exact same plot, and straying further and further from anything even remotely canon.