#trying to think of other characters that get to do this - moreso in a show that can get tonally really silly to serious..

[paunchsalazar]

separating myself from my bias… Jensen Ackles as Dean Winchester is up there for some of the best physical comedy in golden age American television

[crispywaffles2]

Hi I have a request! How about macaque and wukong (separate) acting over protective after if finding out their (female) s/o is pregnant? And how would they act throughout the whole pregnancy?

Please and thank you!

Hi! Of course I can, thank you so much for requesting! I'm not really versed in this particular field of romance or the struggles that it comes with, so I apologize if a lot of these seem out of character or unbearably tropey!

Overprotective Macaque & Wukong with a Pregnant!S/O

Macaque:

The moment it's revealed that you're pregnant he's tweaking out

He doesn't know how to be a dad what the heck

But he also can't deny that he is kind of excited at the prospect of being able to take care of your child!

Or children?

Oh my gosh what if it's twins-

He's seen mortal babies and toddlers walking about in the streets with their parents, and he's well aware of how.. tiny... and stupid... and vulnerable they are

He never much cared for it, thinking that mortal children were weak for not immediately coming into the world with powers or some sense of right and wrong

But it's different with his child! He can't let the tiny, stupid, vulnerable kid in your stomach get hurt!

Rest assured that he's rearranging furniture to make it easier for you to maneuver around

He insists on going out with you everywhere, and if you were to ever voice that you were getting tired of it, then he'd eventually relent...

Maybe send a clone or two to watch you in the shadows without your knowledge, but other than that he'll leave you alone!

He will glare at anyone who's eyes linger on your growing belly bump for too long, giving them a silent warning not to come to close

He'll throw down his cape over a small puddle, gesturing for you to safely cross. He says it's a joke, but really he wants to look like a gentleman in front of you

Despite his overprotective nature, he will not fulfill your cravings without question

"A what?? Why on Earth would our baby need to eat that?? They probably don't even like it!"

Other than your strange food requests, he's happy, eager even to help fulfill anything else

Worried about the stretch marks forming in your stomach? He'll tell you about how they remind him of battle scars and shows off his scars to you to make you feel better

"See? We're both warriors."

In pain from bad cramps? He's secretly panicking and making bad jokes while tending to you because he's nervous.

Stays by your side all the time just in case you start feeling pain. He wants to be there for you

Secretly reads books and looks up videos for first time dads when he thinks no one is looking

He's a warrior! A master of the shadows!

Sly, cunning, teasing, playful, sure!

But a father?

He couldn't even picture himself holding a baby

When the delivery finally happens he is such a Karen

Might as well hire him as a doctor, considering how he practically tried to deliver the baby himself

Eventually though he composes himself and stands in the corner fidgeting nervously

He's never been one to cry, not even in his brotherhood days, but the tears that welled up in his eyes when he held your child couldn't be helped

Instinctively starts trying to groom the baby

It's all over now. You're not pregnant, and the baby is finally here

He's still pretty protective of you, and his child even moreso

All that he could think as he looked into the eyes of your writhing, still slightly damp, baby was those nine months of making frankly disgusting foods were worth it

Wukong:

Absolutely flips when the bomb is dropped that you're pregnant

He genuinely doesn't know what to do

He's not sure if he should be excited that he's going to be a dad or worried that he's going to be a dad

We all know Wukong is protective of those he loves and carries a guilty conscience about including them in his messes

He knows that pretending he knows what he's doing won't get him out of every situation. He knows how many messes he pulls people into. He knows that his lingering 'do now ask questions later' mentality can put those he loves in danger

And now he has a baby too??

It takes a bit, but he eventually starts to warm up to the idea

He's the monkey king! And he'll teach his child to be better than him. Stronger, smarter! Well, not that much stronger because then he wouldn't really hold the crown the one of the strongest beings and he would not be able to handle that

Still though, he'll raise this baby and change his ways doing so

He's cartwheeling all over the place after a while just from pure excitement

Trust and believe this man is NOT reading any baby books or watching any videos. He doesn't need some mortal telling him how to raise his kid. He's the Great Sage

Whether that's a good or bad thing is up to interpretation

He'll rant to his monkeys about all of the things he'll teach the child, and he does it with so much excitement that even they get pumped up

Will try to speculate it's gender and appearance with you

"Maybe it'll have your pretty eyes and my handsome jawline! Or maybe it'll have your hair and a little tail like it's dad!"

Makes little baby toys out of sticks and leafs

He is actually super overprotective of you, but tries to pretend he's just being casual

"Where are you going? Not that I care or anything... You're trying to go to the store?? Babe, you should totally just.. stay here with me. I can make one of my clones do the shopping."

Will furiously stammer and insist that he's not worried about you if you ask

He knows you can handle yourself! It's just... You're all pregnant and vulnerable and round and he's such a worrywart about you!

He thinks that if anything even gently bumps your tummy the baby won't grow or something, so he's constantly paranoid

Rearranges furniture so it's easier for you to get around

He even cleans up just to lighten your load a bit! He must really love you!

He's actually super eager about people looking at your belly bump in public and will absolutely go off on a tangent about how his beautiful partner is about to have a beautiful baby and it's going to be beautiful

But if someone gets a little too close to you he will not hesitate to push them down or maybe accidentally give them a broken wrist if they reach out to touch your stomach

Is confused about why everyone isn't literally bowing to you while you're walking the streets

Genuinely got upset when you two were walking through a crowd and he had to hold you because people wouldn't just part for the pregnant woman walking through

"What?? Ten dollars for this? You do know my partner is pregnant right? This should be free for her! Everyday is a struggle for her! You'd have no idea what she's been through and you're charging her ten dollars-"

He's an absolute Karen

Suggests putting a pillow over your stomach

"That way you won't bump into anything and our child can be cozy!"

Because Wukong is an absolute hazard in the kitchen, he's concocted a crazy amount of different foods

He has no problem fulfilling your strange food requests and even eats them with you

"Oh my goodness! I love crab cakes with syrup!! I'll make some for both of us bud."

Has like three different emergency plans for when you're in pain

The moment you lurch forward or let out a groan he's on it

With a snap of his fingers his monkeys are all marching over to help you sit down in a single file line

He sits there and soothes you as best as he can while his monkeys scamper around trying to get anything you request

When it's finally time Wukong is genuinely confused, thinking that it's just contractions or something, but you keep yelling at him and saying "IT'S TIME!!"

Time for what?? Lunch or...?

Thinking the baby is talking to him through you, he hoists you up on his somersault cloud and zips off

When the doctor gives him a strange look and tells him you're just about to have your baby he freaks out

He tries to help in any way he can, holding your hand, breathing with you

Offers to help with the delivery of the baby

"Oh, looks like it's a bit stuck. Need a little help there bud?"

Losing his mind in the corner of the room but trying to play it cool for you and the doctors.

"Why is it slimy?" Are quite literally the first words that come out of his mouth when the baby is delivered

When he finally has his child in his arms he's all over it

Kisses, cooing, holding, hugging or even just staring at it

He may not know much about being a father, but he will try his best to teach his child not to go down the path he did because he already loves it to the moon and back

[anxious-witch]

Okay, so this is likely be long so buckle up. Let's talk about how the height and position of characters affects the story and shows us where they are emotionally or in regards to characters they interact with.

This is the most prominent with three characters, which are Edwin, Charles and the Cat King. But! I will do my best to touch upon the rest as well if anyone finds this interesting.

Considering I briefly touched upon how Charles and his dad have a similar hunched stance, let's start with Charles.

Also TW for talk of abuse and violence, since I do touch upon his relationship with his dad and abuse in general.

Charles is fascinating because he is one character that seems to constantly make himself smaller, either on the same level as the other character he is next to, or sometimes even make himself smaller than them.

This is especially visible next to Edwin, who always holds himself perfect straight and poised. Even in the above picture, where he is slightly leaning back for the dramatic effect, Charles is still hunched down more. With Crystal, yes, he is generally taller, but anytime he can, he does his best to lean down so they are on the eye-level.

This has dual purpose-both because Charles wants to be as non threatning as possible and because he often tries to sympathize with people, to quite literally understand their point of view.

Charles is the tallest character in the series, which I think has a weight on it's own. At first, I was under the impression Edwin was taller, bc of Charles' hunching, but Charled is just slightly taller. He is a protector, he is a brawn, and he tries his best to make himself as small as possible.

We also see that in scenes where he is "beanth" the person he is interacting with, usually happens when is emotionally distressed and/or feels powerless in a situation

The first time it happens in Devlin's house, when he is sitting on the stairs while Edwin and Crystal are standing. This is also right before he snaps and tries to hit the murderous father of the family, actively showing the turmoil he has been going through. Because that's what Charles does. He can't stand being helpless. His feeling below the problems he is facing is symbolized through him sitting on the stairs and he can't stand it any longer so he acts, quite rashly, just to disperse that feeling.

But then, what happens? He gets knocked to the floor, even lower than he was before. And he remains there, frozen.

Stuck in a loop of feeling helpless while being on the stairs, trying to take action and being knocked down even lower. What a metaphor for being stuck in an abusive loophole! Feeling like any time you try to stand up for yourself, any time you try to take action to not feel so helpless, you get into an even worse position. And then, in the end, it's Edwin and Crystal who have to help him out of the loop and who help him back on his feet.

We see him again in a position where amother character is not only above him, but actively lookming over him in a scene with his dad. Moreso, this is one instance where Charles doesn't take this position willingly, but rather, his dad literally knocks him down to the floor and starts beating him.

I think it's also sooo interesting how Charles' mom and the Night Nurse are positioned here. The Night Nurse stands above both Charles and his dad, all prim and proper. Completely unfeeling and separate from the whole picture.

Meanwhile, Charles' mom is above all of them, barely seen in the doorway, but still watching and she is crying. And while I know Charles loves his mom and understands she was likely also abused, I do wonder if this represents his view on both his parents. His dad, who is close but hurts him, who Charles would be on the same level with, if he wasn't constabtly knocked down. And his mom, who is above all that, almost like some sort of holy figure, but still suffering on Charles behaf.

Third time I noticed Charles being in a position where someone is above him was in a scene where Crystal is packing to go back to London, after getting her memories back.

Charles feels both emotionally vulnerable and helpless to stop her. Because he wants her to do what's best for her, but he also clearly doesn't want her to leave. The important part is that here, despite his clear emotional turmoil, Charles doesn't react directly. I believe he offers her his help, to come with her, but he doesn't insist. Which is a big change to the previous instance where we seem him in such position.

I am sure there are more scenes like these, these are just the ones I noticed. But! Shall we look at when does Charles stand full upright and shows how tall he really is?

Spoiler-When he is feelings brave

Framing is also very important and very deliberate. I'll touch more on this in Edwin's analysis, but you'll notice how most of the time, Edwin is always framed as the taller and biggest, either by height or because he is the closest to the camera. But no in the scene where he and Charles talk about Edwin's supposed feelings about Monty. No-it's Charles who is closer to the camera, because Edwin is the one being emotionally vulnerable. Charles holds the power to either lift up or crush Edwin here. And he is very aware of it.

And fulled by that power, by the fact Edwin opened up to him, Charles stands up tall. And when he reaches Edwin, they are practically the same height. Perfectly balanced, in the wake of Charles' acceptance.

In the scene with the Night Nurse, we see Charles practically flaunting his height. Which is in line with him essentially telling her to take him, but to leave Edwin alone. The point is, not only is he fully showing off his power and consciously or not, trying to intimidate the Night Nurse, but he is also shielding Edwin that way. Look at me, not him. I am the one you should feel threatened by, not him.

And of course. Of course. One scene, where Charles is actively above someone else, where he is higher, both in height and positioning?

In hell, during, Edwin's confession.

In an interview from the actors in this post, they actually touched upon this scene and how Charles being above Edwin on the starway was intentional, because Edwin is feeling very emotionally vulnerable.

He is in an submissive position(do not make the sex joke) to Charles here. He is opening himself up for a rejection and Charles is the one with all the power here. Which in and off itself is powerful, but for Charles? The character who constantly shrinks himself down as not to make anyone uncomfortable and threatened, who constantly gets knocked down in a fight by others?

Charles is terrified of being in a more powerful position due to his dad, because what if he turns out to be the same when he is in such a position?

But instead, he uses that power to be kind. He can't return Edwin's feelings, but he can reassure him he cares for him and that they have time to figure this out. And that is what turns Charles' shirt red again. Not only the fact that he is loved, despite all his flaws, but also the fact that proved to himself that he would never knock down the person being vulnerable, even when he hold all the power.

I exceeded picture limit on mobile, but in a scene on the rooftop wjere Edwin tries to apologize if him confessing created any tension between them and Charles reassure him that it did not, they are on the same height again.

Charles is sitting on an wall, so he is elevated, but he all curled up, so he comes on around the same hight as Edwin who is standing. Equals, once again, despite completely different stances.

I believe that's all I have to say on the topic of Charles in this context, lmk if I forgot smth or if anyone has anything to add, I love hearing other ppl's takes too!

[androdetective]

As a poc, I have a complicated relationship to vbros. On one hand, the world is really immersive and the characters can be really great, on the other hand it is a very white show and has a racism problem. Many of the white characters have done racist things when characters have gotten punished or killed for less. There's also barely any side characters of color. And even then, many jokes get made at them regarding their races, because they're not seen as the norm. Also because it's an adult swim show made by white guys.

Off the top of my head, there are 4 side characters of color (Orpheus, Jefferson, Kano, and Dr Z). If we want to be generous, we could include Al. Maybe even Triana with her being biracial, albeit entirely passing as white. Even with those characters, Orpheus became whitewashed over the years.

However, ironically enough, he's the best written character of color. He's a very nice, multifaceted character. He's even become a fan favorite. He's also had no racist comments made towards him in the show. Which was a pleasant surprise. Especially since he lived on the compound with Rusty of all people. As happy as I am with that, it feels off because why did they spare only him but not others? I'm not sure if his race was ever figured out as the writers. It never got brought up, unlike other characters. I won't lie, that gives me a feeling they didn't write him as a brown man in mind. If they did write him with that in mind, he probably would've been written worse. It feels like they could only relate to him and made his character good by thinking he's white like them. Hell, they even projected their weird breakup feelings onto him.

With Jefferson, his character is a mixed bag. He's a cool character and very capable. He's a solid character, all things considered. It's just that he gets racist jokes thrown his way. And just, the show has one black side character, and they can't even act right. Why is racism, the hatred and otherness of one's entire existence, so funny. I noticed that each episode except one that he was in had at least one antiblack joke. That's an insane ratio. The worst joke was in the Halloween episode, where he was at the party. They specifically made his character open the door to a side character, red mantle, doing blackface. It was to make a shitty reference to some niche movie and just oh my god, can you stop being shitty white nerds for a second? People who think shit like this is funny makes me want to project years of racial trauma into their brains so that they could finally Get It. Again, this is the best black character they have, but they to make him go through cheap antiblack jokes.

At least with Kano and Dr Z their skin tones stopped being yellow. The other times we see characters of color are when they're background characters. They're either there to make a scene feel full or they're labor workers. The worst is when they were what I'd describe as background antagonists. One-off antagonists that aren't really villain villains. Moreso regular criminals. These tend to be depicted as black and latino. This was more common in early seasons and stopped happening over time. Which obviously great albeit bare fucking minimum, still doesn't change that it happened.

For a world that critiques the old mentalities from previous generations and even specifically denounces generational toxic masculinity. They don't say shit about the blatant racism of the Johnny Quest times they parody. And the times they try to, it's just showing racism and doing nothing about it. Princess Tinyfeet is the worst example of this. She's a blatant racial stereotype. Who for whatever reason, used to be married to Sgt Hatred, an American soldier. And Sgt Hatred is a whole can of worms.

With Dr Z who was apart of the Quest era, at least they tried to give him a character. The thing I will say is that he's voiced by a white guy (Publick) doing a stereotypical vaguely Eastern Asian accent. Something I wished when watching the show was for Dr Z to mention the old racist era he lived through, and maybe even how the present is still rough. The toxic masculinity of the era got mentioned, so why not that too. It would've been so obvious too.

I won't lie, a part of me is glad they didn't try to handle the racism because it would've been a horrible train wreck. I can get why they didn't delve too into it, they're white after all. I just wish there were more poc in the team and sensitivity writers because they were desperately needed. But for a show that can't even handle white women, I'm not surprised they can't handle people of color. For a show whose best thing they were able to tackle was toxic masculinity, I find it ironic how misogynistic they still were. Like quick, why were the side effects of misogyny that affect you 🫵 handled the best.

The thing is, if they did try to critique the racism, they'd alienate the audience, and it'd also be strangely hypocritical of them. Venture Bros'/Adult Swim's main audience is white cishet men. The ones least affected by bigotry. They're able to laugh at bigoted jokes, and they're the most marketable people. White guys will appeal to other white guys. In the early 2000s, white creators were able to get away with much more. Not because it was alright but because it was easier for them to shut down minorities calling them out. Despite how "normal" it was, that doesn't change how that fed into a very toxic, bigoted culture. Despite today still being hellish for minorities, it was even worse just a couple of years ago.

Venture Bros obviously did not invent racism/bigotry. The show is very much a product of their time and environment. And whenever I think about that, it feels draining. Especially having had to live through the 2000s. The show can be amazing when it wants to be. There's so much potential and a lot of charm and character. I really enjoy it, and that's why I'm so critical of it. Not only because I want it to be better but because I want something better for fans of color. We barely get anything, and the least we should get are characters that look like us and are respected. Just like their white counterparts. It's like, how am I supposed to feel when Sgt Hatred gets redeemed and made a main character before we got a character of color that didn't face racist jokes/got whitewashed. Or even before we got a female character whose existence didn't hinge on their relationship to a man. Obviously, the show doesn't hate people of color. They've tried to better over time, which again great. But it barely felt like they respected poc enough.

With the movie, despite its own problems (not helped by Adult Swim screwing them over), you could tell they were trying. And it was really appreciated. Jefferson had a big spotlight, and there weren't jokes against him. We even got to know a bit more about him. It was genuinely his best. Ignoring Orpheus still looking like he's in a perpetual state of winter, that aspect of the movie was alright.

I'm very glad to see fans who are critical of these aspects. It makes me more happy seeing them vouch for poc. However, there's still a large majority that ignores or even excuses the racism. Unsurprisingly, these tend to be the white dude bro fans. But I've seen even the more liberal fans excuse/ignore stuff. The fanbase is very white, just like a lot of other fanbases. I can get why a supportive white person feels they wouldn't be best to call out the show's shit. I just wish they'd mention it more with a simple "oh there's xyz in this episode and it wasn't alright." Something as simple as that carries a lot of power in very white environments. Also, of course, uplift other fans of color, especially when they talk about or face racism. Things as simple as that make me breathe sighs of relief. It personally encourages me to interact with communities more.

I'm unsure of how to close this off. This feels like a topic you could talk about all day. All I wish is for things to be better, you know? Hopefully this all makes sense. I just wrote shit off the top of my head. I'd love to hear thoughts expanding or adding on to stuff. Really hope this reaches the right people

[alpaca-clouds]

Let's Talk About "Marvelfication"

Okay, let me try to get this out of my system, because I do have some thoughts on this one.

See, as you know, I finished Dragon Age: Veilguard last week. And I did enjoy the game. I never was that attached to the franchise. I really enjoyed Inquisition back in the day when it came out, but after doing two runs with it never have really returned to it. I also did play one of the older games, though I am not fully sure which one, because it was a long while ago. But I just never got that attached to the franchise. (Which mostly has to do with my own personal issues with High Fantasy.)

But that is not what I wanted to talk about. What I wanted to talk about is more the thing I have seen now multiple people call out: "The Marvelfication" as some have called it. And mind you, I absolutely do agree with this: There were several scenes in this game where I thought to myself: "This feels kinda MCU."

However, what I kinda want to talk about is the specific wording here: "Marvelfication." Because it is super understandable that the first thing that comes to mind (for me as well) is the MCU. But I think the issue is way deeper than "MCU is popular, so let's do something like the MCU".

A lot of folks on Youtube and other platforms have talked about how a lot of "tropes" that people blame on the MCU are actually older than the MCU. The reason people associate it with the MCU is moreso that the MCU is just fucking everywhere since it became this big thing. It is what defines the media landscape.

The big issue actually is another one, though: Those tropes are everywhere because in a more and more conservative media landscape they are considered safe. These types of jokes are not risky in any way. These types of characters are not risky. These types of stories are not risky.

It is stories that are set in societies that are messed up, and then there is a big conflict that only tangentally relates to the ways the societies are messed up in, and then that conflict is resolved but the status quo does not change.

And that more than anything is what I would criticize about the game. Outside of very prominently centering some trans issues, the game has taken very little risks.

I wrote about that a bit last week in comparison to BG3, how safe the companions in Veilguard feel. This shows so harshly in direct comparison to BG3, because really, Larian sat down with player and told you: "Those assholes are your companions. Take it or leave it." Those people I know who never finished BG3 mostly never did because they could not stand the companions. Meanwhile those who, like me, got obsessed with the game, mostly did it because it feels so fucking satisfying when you start to get through to the companions after they started out as those assholes. This satisfaction is something Veilguard never really offers you - because... Well, I can assume that some of these characters had some edges at some point. But whatever edges there had been, those have gotten smoothed down, so now everyone is perfectly sweet. Sure, they might argue a bit here or there, and if you make decisions they do not agree with, they are gonna be pissy with Rook for a bit, but that's the most of it.

Same with a lot of other stuff. There is basically no sexual content in this game. You get one sex scene that is super tame and you see nothing - and one to two kisses per romance. No risk.

Any no matter what kinda choice the characters make, they are all gonna be nice, you know?

There is one thing in the finale of the game that is kinda risky, I will admit. But I will not talk about that yet, because I knwo a lot of people have not finished the game.

But for the most part the game does not risk anything.

And really, that is the core of what folks call "Marvelfication". Because pretty much this is also the issue with Marvel and Star Wars and pretty much all American made media: Outside of some smaller productions, some of which do well with the tumblr crowd but barely get any attention from mainstream audience (*coughs* Interview with the Vampire *coughs*) there is little risk taken. The humor is the same everywhere because this humor is considered safe. The characters feel kinda samey everywhere, because those characters are safe.

It is why I have stopped going to the cinema, because these days there are barely any movies I consider worth watching. It is ironically also why I have recently watched a whole lot more Japanese stuff, because it is easier to find stuff there that does not play it that safe.

It is also why I do these days mostly consume western stuff that has a 18+ rating on it - because at least with that stuff I know that it probably is not gonna play it "safe".

I just wish some media took more risks. I want those medium budget projects back, that cost like 30-50 million, so can make a profit with 100 million at the box office, without doing billions. I want some stuff in there that is not a big IP. I just want... stuff.

Right now I am looking at the soon end of What We Do In The Shadows, mostly because it is one of the few things on right now that does some risky stuff. And I miss those SyFy low budget originals, because some of it was kinda risky. Ugh.

The issue is not Marvel. It is not even Disney. It is that the creative industries in the US right now mainly put out big budget stuff that because of that big budget needs to be loved by everyone.

And look, I am trans. Hence I absolutely do see some value in the fact that Bioware clearly took position and said: "Okay, we get to do one risky thing, so that thing is gonna be to incluse a variety of trans characters." Which I love and respect. But I kinda wish the game had not been quite that pretty and instead also included a bit more edges on the characters.

... But I guess in the end there is still fanfiction, where I can still make the characters messy. lol

[moviemandyy]

source: dailywencIair on twt

I think about this a lot.

How Enid puts SO MUCH effort into trying to befriend Wednesday (this scene, the snoods, attempting to shop with Wednesday for a dress) that's why their "breakup" scene hits so hard. Cause Enid HAS been trying and constantly gets shut down by Wednesday.

Enid always respects this decision of course but that doesn't mean it's not still tedious to have your (self-proclaimed) "best friend" not really make an attempt to hang out or get to know you.

That's why she's so happy when Wednesday invites her for a girls night out 🥲

So when Enid has had enough, she leaves. And Wednesday wasn't expecting this AT ALL. She just thought she'd always be there but Enid as a person is not a pushover. She knows her worth (she struggles with it but she knows at the end of the day she is worthy of good). So when she's disrespected and hurt by Wednesday's actions she'd rather get away from it than continue to let herself be hurt by her. (good on Enid for that btw 💪 know your self-worth)

Wednesday then has to sit with that realization and it genuinely hurts her. She has to deal with this loss and the consequences of her actions, and for once, "it doesn't feel good." (ep6) Which is why it's an amazing showcase that is detrimental to her character development.

To Enid's as well but moreso Wednesday for the fact, the show is about her 💀 but we do still get a really interesting moment of Enid's character development.

Enid did feel bad for what happened as she comes to understand their friendship isn't worth losing over this quarrel. Plus, she's tired of letting others defining her worth (again Enid knows she deserves better but she does struggle with it because of her mom)

So that moment where she confronts Wednesday to tell her she's no longer going to apologize for being herself is really great for her own growth :)

The "breakup" & reconciliation moment is just really pivotal in steering both girls in the right direction for their respective arcs and in intertwining the two together to really build on the foundation of their friendship…into a romance >:)) that's why we have the great makings of a slow burn hehe (and don't get me started on the hug scene 🤭)

hi, I went on a long tangent but can you tell i like wenclair and think about them a normal amount 🫶

[franki-lew-yo]

Mouthwashing and fandom discourse as a whole.

So I recently explored the tag for Mouthwashing after watching two no-commentary lets plays of the entire game. I'm seeing a lot of posts pointing out how annoying it is that this game has a fandom and that this fandom is doing fandom things and stanning/"uwu-ing" characters from this incredibly nuanced, raw and not-fandom friendly piece of art. To paraphrase someone I just saw "you don't want mouthwashing; you want Among Us ocs but darker". And

for a moment I wanna talk a bit about how I absolutely agree with this statement while also talk for a moment about how and why fandom and catharsis fan fics exist and shouldn't be shamed inherently. Or, I guess, not in theory.

The "come on! Stop trying to make everything shippable/cutsey/memey/have a happy AU and face unpleasant emotions someone's trying to tell you about!" is SUCH a vibe with me. I felt this way in the 9 fandom a lot as a kid and that was just 9. Mouthwashing is like 9 on bathsalts emotions and theme-wise. It's a game where you play as both the flawed but caring captain of a doomed ship who's life becomes a Johnny Got His Gun-nightmare, and also a deplorable, hateful piece of garbage who got himself and his friend in that nightmare situation to begin with. Both characters, moreso Jimmy but Curly too, are the causes of their own misery. They're complex dealing with one of the two committing SA and doing nothing really about it/dodging the responsibility and humanity needed to support the victim whom they've wronged.

I fully admit it's groan-inducing seeing people be shipped up Anya with anyone on the ship considering what happens to her. On a pure pr level I think it would be illegal even since romance between coworkers in a workplace is considered conflict of interest/harassment as it so often is. (NOT that what Jimmy did to Anya is 'romance'. I'm talking about the shipping of Anya with the other three guys. I know there's people out there who do ship Jimmy/Anya; you don't have to tell or show me I believe you and also I already hate it.) It's ALSO groan inducing to see people ship Curly and Jimmy considering all Jimmy does to him- and just the fact that this incredibly tragic, toxic one-way-gone array friendship is reduced to "toxic yaoi teehee". It's annoying AT BEST.

I get the hostility towards fandom-tastic stanning and fandom behavior in general...the issue is it's still hostility and I wish some of you guys got that.

Like it or not (you don't have to like it) fandom culture is inevitable to some degree. You can and should complain about your hangups but that's all you can do besides avoiding tags and just not engaging with that side of the fandom at some point. Save your call-outs and rage for when you see active deplorable bs being committed that people are excusing for dumb fandom reasons, like lolicon, hatespeech or harassment. I'm sorry but you can not actively go after and try and take down the innocent people involved in your trigger that aren't directly hurting you by liking the thing that triggers you; ie. people who get all shipping and fandom-brained about Mouthwashing's characters which you find offensive to do at all.

This type of convo is the crux of most 'antifandom' v profandom discourse in general; for Antis I think there ought to be a difference between the people that set you off bcuz of fandom nonsense vs sociopathic 'got mine'-creepiness. There's a difference between someone who draws r34 v Shadbase. For profandom types you out to face the fact that yes- maybe NOT EVERYTHING is meant to be shippable/memed. Maybe try practicing that a bit. Yeah it's mostly harmless and makes you feel happy, but considering how people outside of your hyperfixation-of-a-hyperfixation is a thing. Asking to care or think about others once in awhile is not an attack on you as a person, believe it or not. The thing about the "don't like, don't read" argument is it goes both ways. If you're truly a "good fan" like you say you are than you have to realize that people will not like your problematicisms. Learn to interact with characters and stories without the possibility of shipping sometimes- or at least understand that that's the crux of what makes a story like Mouthwashing engaging, even if you also partake in the fandumb and AUs on the side. You can call Curly your babygirl and ship him or make him happy all you want but PLEASE acoknowledge that the game doesn't woobify him or excuse what he did to Anya as well. You can make some kind of AU scenario where Jimmy gets out somehow and becomes/is a slightly better person for all I care...so long as you PLEASE remember that he is canonically a r@pist and awful. Also, even if I'm okay with your fan decisions, note that myself and others are still going to be critical and be upset that you wrote it at all because of what kind of character Jimmy is. 'Critical' =/= declaring something evil.

Fandom behaviors are not souly a destructive parasocial outcome of brainrot; they're also a natural reaction to what happens canonically and the emotions you have to experiencing a story. It's normal and rational to sympathize and love Curly and despise and hate Jimmy. You can love/like/enjoy a problematic-to-DEEPLY DISTURBED-character based on their complexity in canon. They are fiction. They are not real. The reason you are so invested with them is because of that complexity and yes because they are fiction they are your 'toy' and you can doll them up in any kind of speculative AU crap you make. That's fanfiction, baby. Make yourself a fixit fic if you really want

BUT-

remember: it stays as a fixit fic. DO NOT cross the streams, or insist that your active misreading of the text is the same as the text itself. EVER. You should care about your special interest's escapism as a means of self-care. What you shouldn't do is demand that EVERYONE ELSE LOVE your coping mechanism and that any complaints by people on their own terms on their own blogs is #badfaith or an inherent attack against you. It isn't. You'll know when it is an attack against you and that's when you, the profandom-type, need to be prepared and save your call-out posts and blocklist for.

To me that's the fragility to fandom debates and fandom as a whole. You can not/should not police or control an entire group of people and how they perceive or interact with media. That's not fair and it's definitely not sporting or decent of you in a community. You have to share your community -your fandom- with people who hate ur fav and people who love your least fav. Agreeing to disagree means not tagging your nOTP as their shipname or by tagging your shipname loud and clear. It means filtering out posts with those topics but enjoying and/or reblogging the fandom takes you do share with your fellow fandom-mite that obviously posts abt those topics.

When schmit REALLY goes down and some assface reviewer/fan/SOMETHING is being an assface or doing something amoral under the guise of fandom-ing, that's where you out to put your foot down. Callouts and complaints are for people who did an egregious thing and refuse to take responsibility(lol) for it. They're not for "soandso likes the thing that triggers me, kill them"/"so and so is hating on the thing I'm kinning because it triggers them, kill them". Be an adult.

Your DNI lists should consist of "lolicon defenders" not "proshippers", as those ARE NOT one in the same. Same goes the other way around. List off "bigots, purity culture bs", not "antis and critics". These positions ARE NOT interchangeable. If you make them interchangeable than you're making things a lot harder for yourself.

-sincerely, a message from autistic ADHD/OCD woman who likes horror and media analysis as much as she loves popcorn fanfic schlock.

We don't all have to be friends and buddybuds. I just hate us hurting each other over being different kind of fandom-folk rather than for when someone sincerely mucks up and does something bad. Can't we all stick to our guns and just boycott Harry Potter like god intended?

[ask-whitepearl-and-steven]

Would you mind sharing your planning process of the comic? I'm starting to brainstorm a fiction idea and right now the ideas are very messy and I wanted to know if you could show how you plan what happens on a season and on an episode, maybe with an example of a season episode you already published, so I can learn how to organize myself?

I really, REALLY appreciate you coming to ask me for help with this. It's awesome to hear that you respect my writing enough to seek me out as an authority on such things, or at least enough to ask for advice.

But I'm gonna be real with you - what you're asking for is not a quick slapdash reply that I can whip up in my free time. What you're asking for is an hour long video essay (with examples) on the level of an educational creative writing online course.

And I--I don't know if I have it in me to do that right now. Not with everything else I'm trying to do. (Sorry.)

BUT.

What I can give you instead is a basic rundown, and maybe some recommendations for where to this stuff.

To be absolutely brief: For me, the best way to visualize how I plan would be to make a flowchart.

Keep in mind that....... I don't ever actually.......MAKE. A flowchart.

Mostly, I am just using this as a visual representation of how my ideas flow from and to each other in a coherent way. The reality is that this skill is something you have to develop until it becomes second nature.

As an example, let's take the episode(s) where I introduced Seaglass.

This little arc was planned in season 3, but really started to come into play in Season 4.

To make it happen, I started with the obvious main idea: SEAGLASS.

I then broke it down into multiple smaller ideas:

If you notice, the main plot of this doesn't even start when the Seaglass exposition does. Steven makes Seaglass back in season 3, but doesn't know about it. But these ideas are still important to acknowledge as being a part of the main plot.

I then fill in MORE space between these larger ideas.

This whole set of steps is just a logical progression of me playing 'how do we get there'. I make up plot points and say 'what happens to get from A to B?'

And keep in mind - this may seem kinda obvious. That's because... it should be! But that's how the planning happens.

Realistically, it's just a bunch of asking myself questions. The same exact questions I refuse to answer in asks.

"What happens next? What would happen if....?" "Why doesn't Steven know about ....?"

"How would Steven find Seaglass if he doesn't know she exists?"

Well she's small and green, kinda like Peridot. So he goes looking for Peridot and mistakes Seaglass for her.

BAM! You've got yourself a plot point. That's a plan, baybee!

And then just kinda rinse and repeat.

And eventually, you want to make sure that you have some sort of connection back to the main plot point. In this case, it's the realization that Steven CREATED LIFE.

Again, I want to stress - I don't actually........plan.... by writing this down.

I do this process in my head. Often, multiple times per chapter, writing and editing to make it make more and more sense. The important part is about asking yourself questions. The same questions your readers should be asking.

"Why is this character doing this?" "Why is this event happening NOW?" "How will A find out when they realize what B has done?" "What is the BEST time for B to find out...? What is the WORST time?"

All of this takes imagination. It isn't about organization. It's moreso about learning to tetris plot events into their most snug spaces. It's about thinking of events as a staircase, which eventually leads to a larger staircase of plot arcs.

And as a final note, I will say that someday, when I'm less busy, I may make a video about plot. But it will take more time and effort, and for now, please just watch videos by other creators! I'm sure they're just as good at it as I am.

[qui-gg]

that one post you made about lightbulb and how she made up her entire relationship with paintbrush until ep12 made me like her character a lot more soo has ur thoughts and opinions on lightbulb and maybe paintbrush changed since episode 15??

Thank you for this question and it definitely has, it’s just been taking me a bit to think and format into words exactly how to say this! But with ii16 releasing soon i should go through this now, so be prepared for a ramble.

Since i’ve made that post, I’ve gone through a few more realizations about the preexisting material itself. I should say it’s a bit dramatized when I said she made up the ENTIRE relationship- there was obviously something there since they’d known each other for a very long time, after all Paintbrush does say “we’re STILL friends”, but she moreso took it and ran with it to a level it was never at. I’ve never properly talked about my feelings on Alternate Reality Show here? But it’s my favorite episode and I have TOO MUCH to say. I’ll be bringing up key parts of my analysis though since this is about 15.

This episode features Lightbulb’s elimination, and so evidently that means it should be seeking a way to properly wrap up her story. It’s not the total focus of the episode, and neither is she the main character (she already had that in 12), but I think it was handled the best way it could have been. Initially when I watched the elimination in the Chicago theater (slack jawed and having my heart broken I was cosplaying Lightbulb😢) there was a lot running in my mind but the fact Lightbulb’s expectations had been subverted in the very best way was on the forefront. Leading up to 15, there was a lot of extra material released that pointed towards hyping up Lightbulb. She’s a very popular character so the average fan’s expectation is exactly what she mentioned in the episode, that she’d win for her team. The exit interviews of the flying buddies ALL point towards their expectations of Lightbulb to win- which I think was SO clever and must’ve been intentional. Lightbulb likely hasn’t seen these interviews, but I think on a meta level it’s for us to see and then Judge Lightbulb’s reaction to those expectations. Because as she does, she takes something as friendly and simple as what Test Tube said to her at the end of 14 and blew it out of proportion. Her friends are giving her encouragement to win of course, because that’s the nice thing to say and do when your friend is in a competition! But as we learn from 12, Lightbulb is seeking more from the game than just the game. She’s here for relationships first and foremost. And, we see that she has so much more of a thought process beneath the surface than we initially expect, that she is very observant and aware of her own feelings and others and takes that into account which presents as her backwards intentions in her quirky behavior, the stuff she does that doesn’t seem to make sense all has meaning. (We also see this exerted in one of my favorite Lightbulb appearances, the Jacknjellify upload of the 2022 meetup short, where there’s a scene of her in her own head through the situation. She recognizes she’s failing an interaction, gets insecure about it, and we see her make up a quirky lie in real time! It’s incredibly important LB material) She just prefers to distract herself from them the more intense they get because when things get more serious it is hard for her to be taken seriously or believe that she could be. And Test Tube is very important to all of this despite not speaking in 15 because Lightbulb’s relationship with her was one of the first that became Real. Test Tube recognized that Lightbulb was struggling most prominently as she alone had been on that journey with her and had that talk, she knew her heart wasn’t in the game for a long time. Which affects her actions towards her in 15! But I’ll get to that in a bit. The point i’m trying to make here is that it is the PERFECT SUBVERSION of audience expectations, that Lightbulb would be willing to win for her team, to reveal that instead she just wanted to go home and be with her friends. She had built up those expectations for herself too and thought EVERYONE (both her friends and on a metatextual level, the real fans) would be disappointed in her for feeling that way but it’s something you can see if you’re looking! Her reactions to all the flying buddies’ eliminations, in the 14 stream there’s a discussion about how she’s not doing well at all being all alone, She just disguised it! As usual! And punished herself for feeling different. And I need to emphasize IT IS THE PERFECT WAY TO GO TO ELIMINATE HER VIA LIE DETECTOR. That was one of the coolest things to me. LIGHTBULB, WHOSE FATAL FLAW IS THAT SHE CANNOT SAY WHAT SHE’S FEELING COMPLETELY STRAIGHT OR HONESTLY, WHO NEVER MAKES SENSE, is forced to fight for a position she doesn’t believe she deserves on a lie detector. My little analytical heart knew as soon as the challenge was revealed she was out. But again, the way it all played out was subversive in just the right way and accurate to her character and I couldn’t be more thankful.

Now it’s time for me to address the Lightbrush elephant in the room. I think Brian said it best on the Jazzy ii15 stream- why does a relationship need to be romantic in order for it to be special? There’s a lot there that is written into the show as is that doesn’t need a kiss scene to suddenly make it pay off or matter. So in this analysis i’m not here for Lightbrush at all. It’s best appropriate to look at it from the lens of a platonic friendship as it was intentionally written and portrayed in the show itself, not to speculate on things that aren’t there.

(Plus, i’m less of a fan of the ship these days. My relationship with it is complicated. I just adore Lightbulb and Paintbrush as characters too much)

Obviously it had to be Paintbrush who responded to the emergency signal. It wouldn’t make sense thematically for it to be anyone else. It was revealed by Brian on a few streams that Test Tube chose to tell Paintbrush to go answer the signal intentionally to help Lightbulb out, knowing that she was missing them and her heart was not in the game. I think it speaks to the strength of the flying buddies that they’re able to read each other like this! In III, we come to understand this is how Paintbrush was feeling after their elimination in 12 and solidified in their season 3 elimination, Their heart wasn’t in the game without meaningful relationships. Both of them were just seeking connection the entire time they were apart, and I think this has to go back to what I said in the post you mentioned that she made up their entire relationship with them. They both had a lot of regrets about the way their friendship worked before their first real connection in 12 before being separated, and spent so much time dwelling on how they could repair that but weren’t able to yet. So now that they have to chance to build that up again together they’re going to take it. I think the talk with her between Baseball Knife and Suitcase at the start of 15 is indicative of this as well, she questions Baseball about voting out Paintbrush, something she never previously expressed any anger about. But she’s not angry, she just has been thinking about it more. And also, that scene is incredible because I fully expected Lightbulb to be alone and misunderstood by the Grand Slams because they saw none of her development and hardly understood her but they approached her to see if she was doing okay and I was surprised! Very much a necessary step towards her decision in the end.

It is INCREDIBLY difficult for Lightbulb to be straightforward. When she’s clicking the pen that’s a coping mechanismmm and when she’s FORCED to say outright “I’m scared, and I need help.” That’s painful for her. Unnatural. Her behavior and method of presenting herself through quirks can’t just be turned off, it’s baked into who she is. And she doesn’t need to change that, she just needs to be seen and recognized and taken seriously anyway. Which makes it perfect when she chooses to eliminate herself with what else but a lie. It’s too hard for her to say “I don’t want to be here. I want to go back and stay with you all”, so she tests her resolve once and for all despite knowing in her heart she just wants to leave with them. She’s not giving up a million dollars just to go be with Paintbrush and I think that take is a bit degrading towards her character- This decision holds a lot of weight to her and the audience who expected a lot from her over the four years of buildup to her appearance here. But everything I mentioned previously built up to this choice, plus the point Taco had been making about leaving the game spoke to her but she chose to leave in her own way, not for the reasons Taco thought she should. And we see also at the end of the episode “today I think an old friend tried to show us she’s drowning” despite being scared of her earlier in the episode SHE STILL SEES TACO AS AN OLD FRIEND FROM SEASON 1! It’s so good that Lightbulb says that line so juicy. But that goes to show again Lightbulb is extremely observant of others. Also i love all of the ocean lingo and theming with her. I should post the Baxter essay sometime. ANYWAY! The point is Lightbulb didn’t make this choice lightly, she’s been toiling with it for three episodes now. She missed “her crew”. And she was always here for relationships and fun, not for the money or the game. She finally built something, and now she just wants to lay with it. She’s earned her rest.

I also need to mention the Dunce hat. Oh my god. Her exiting the show with a Label announcing her as an idiot, a perception so so many have of her and within the show, her friends previously had of her, but she doesn’t care because there are people who see through that, who see her! Sure she might not be understood by everyone for the way she is, but there are special people in her life who do. Lightbulb is such an incredible character.

I tried to keep this brief but of course it isn’t!! And this still feels like I haven’t said enough. But yes 15 was very good for Lightbulb and a great way to wrap up her story- even if it’s not technically over yet! We’ll see what happens in the movie. Thank you for reading this far!

[straycalamities]

Hello, how are you

Why do you Like Entre and Swag?

i’ve been sick almost the entire past week but i think im getting better

do you mean as a relationship? ho boy. well, first of all, seeing as a lot of ships ive gotten into after it end up sharing a lot of similarities, i think its safe to say it became one of my favorite ship dynamics period

this got long fast

enemies/rivals-to-lovers isn’t anything new for me seeing as i dedicated, on-and-off, 8+ years to naruto and sasuke as one of my first hardcore ships that i still enjoy

and in general i just really like ships between characters who bicker and banter a lot (vash and wolfwood from trigun being a perfect example of this) but still being something more significant to each other than either of them truly realize until it sinks in either slowly or forcefully

and especially as i’ve grown older, i’ve gotten more and more and more interested in the intricacies and complications of having two very…hmmm damaged? i guess? personalities trying to find something that works because they need it to

which the other two ships have as well, but in a more “toxic yaoi” way, ya feel? LMAO like! hannibal and will graham from the hit show :) which that came after swagtre but it still stands as it got me to appreciate that aspect of their relationship even more than i did

swagtre is in no way synonymous to hannigram. hannigram is on a different level of delicious toxic yaoi, BUT it goes to show what ive opened up my ship palate to voraciously

even so, that’s moreso the early stage of their relationship, which is fun! but also not the whole story

i guess the main thing that initially drew me in was that i’ve always had a weakness for characters like swag. he’s so full of bravado, performative self-interest, defusing every little thing with a joke, and all the while coming off as a destructive idiotic selfish little brat. meanwhile the truth that resides is much deeper than that. that he does care, he just doesn’t know how, so he does his best which…is easily overlooked because he’s uncomfortable with being seen for being genuine in any way because it makes him feel vulnerable and blah blah this ain’t a swag study

but anyways truffula flu made me like him a normal amount! :)

then there’s entre who wears his heart on his sleeve moreso. he’s always been more honestly reactive, that’s why his mainverse it’s so fun to pick on him, and it didn’t get numbed by the apocalypse all that much. entres also a guy who takes things for face value at first. then there’s also the fact he used to have such a hero/senpai-crush on swag before the whole thing even happened and they’d even became pretty friendly acquaintances

and now he’s having to wrestle with the fact everyone who used to like him, hates him, except dave and bitter. and anyone else that might? probably dead. and of course! why wouldn’t they? his big mistake that cost the world

and swag is the loudest reminder of them all. forcibly inching and digging and clawing his way into entres psyche and mind until he finds himself using all of swags same words at himself during moments of self-hatred. self-hatred that’s been there all his life but now it has a burning world to reference. and swags voice mingling with his mother’s.

and entre may get defensive and bite back and try to turn things around on swag, but he can never truly say swags wrong. because he’s not! entre fucked up everyone else’s lives over a deeply selfish and shallowly thought-through decision. and even if swag is also a capitalist self-serving asshole, well he only destroyed his own environment, he didn’t end civilization as they know it

and that just makes it worse than the preachy “hippie” types that used to nag at him before. someone who’s in his same ilk is now berating him

and while entres never Not risen to rage-bait. he absolutely never took the phrase “don’t feed the trolls” to heart, he also has deeper reasons why with swag he always throws himself at the opportunity to try and defend or twist things, because it’s hitting him so much harder than everyone else (besides 72)

so yes, when swag keeps saying entres obsessed with him, he’s actually right! entre IS and has been since swag forced the jester hat on him and paraded him around camp as a spectacle. one that he can never truly deny that he deserves

i also think we should go back to entres pre-apocalypse feelings about swag because it’s important to note that entre wanted to Be swag. he looked at swag and saw the man he wanted to grow into. maybe less childish and gross, but the charisma behind it all, the way that even despite that, he had so many wrapped around his finger and every word

and the thing with early entre, is he always directly compared himself with other oncelers. sizing himself up against them and like…really it just makes sense right? to him, they were all iterations of himself, achieving and accomplishing or even failing different things. and even if at first the multiverse unnerved him, he started to use it to his advantage. i mean he got 72 to mentor him, he was lifting tips n tricks off others like swag, and he was directly taking notes on how Not to be off others (One, Bitter, Strangecase, Stone (sorry man ilu) and more bc this list is longer than the idol list LMAO)

so thats just more to really hammer in how intrinsic to entres identity swag became and it became more palpable in the worst way in truffula flu

this is all as an aside to the crushing guilt of his giant mistake itself but we all know how he feels abt that

and for swag, i mean don’t take my word here as word of god because i don’t THINK my theory here is confirmed to be canon, but im pretty sure he saw himself in entre as well. like it went both ways. and swag felt fear AND i guess relief? if that makes sense that it was entre instead of him. like this guy is very much Like him and any of them coulda done this, but it was entre, not swag. and that’s why swag is very insistent on not letting entre forget it, because deep down he’s terrified that it could’ve been him if entre hadn’t done it first

and so he looks down on him and beats him even further down as a way to kinda uhhh make himself feel better? except it doesnt. it never makes him feel better but it DOES make him feel not as worse as he could, or thinks he could if he just let the guy go after daring to make such a fool of himself in front of everyone

i think, as much as entre sees himself and how he wants himself to be in swag, swag sees himself in entre and what he doesn't want to be. and entre changes it to him seeing all the stuff he doesn't like about swag, the pieces of him he doesn't want to mimic because he refuses to continue to admit to himself that he still envies and looks up to the man swag is, because even at the end of the world, he's one of the few who seems to have something figured out that works for him. he actually seems to enjoy himself in this hell. he seems to feel free to find happiness and entre couldnt be more envious of that

but then as more and more people crowd into their camp, and they get to a baseline and learn the uhhh capabilities of their survival companions, they also learn to realize that they operate on the same wavelength the most even if neither of them admit it. obviously everyone wants out of this hell, but i dont think any of them tenaciously chase after that ambition as much as swag and entre do, for their own reasons

most of the rest of the camp has taken a sort of acceptance to the situation either in a pragmatic or pessimistic way. and of course nobody wants this to stay the way it is, but they don't have that sort of...all-encompassing fire to find a way to reverse their situations as much as swag and entre. i mean we did have bitter's optimism for a bit there, but he was doomed so like...what other option did he have other than believing in entre, but it was absolutely rooted in nothing. even entre knew that.entre especially knew that. bitter was deteriorating the fastest he'd ever seen it and if he hadn't been able to find a way to slow it down in the other ppl who took weeks to turn, then what was he going to do for the guy taking days?

so all bitter's optimism did was make entre feel sicker with guilt for everything and completely drove the little grip he had on hope into the ground. especially by making him take his first un-turned life. especially because, i think we have to address this here to fully understand why entre goes the way he does afterwards: bitter was never truly bitter to entre. bitter was himself. bitter was the likely future entre saw himself walking towards. out of every other onceler further ahead along from him, successful or aftermath or otherwise, bitter felt the most real for him

bitter was always his own failure even before it happened literally and live right before his eyes. that's always what he meant to entre even in mainverse/pre-truffula flu. that's why he made such a dedication to trying to butt his way into bitter's life. that's why he spoiled him and wormed his way into his heart, because he was trying to put that energy out there that one day, if this were to become literally his fate, someone would do this for him as well. or maybe he'd put enough good karma out there with doing this for bitter, that this wouldn't even become him at all!

that is exactly why entre was so stricken after his death. that's why it hurt and broke him so hard. he didn't know bitter long enough for his cries of "he's my best friend!" to fully be true. if anyone was entre's best friend at the time, it was 72, or dave, or his own mother. it was not bitter, bitter was his pet project. bitter was the poisoned dart that seared in striking him, and slowly ate at him after he was gone. bitter was him fully being unable to run from the consequences and culpability of his own actions. because now this was something that was clearly, unignorably, happening right in front of his eyes and now the blood was directly on his hands

bitter was his future self and his sealed demise that came with it. bitter was his destroyed future. bitter was his own mortality.

entre does come to realize something akin to this later on, but i guess i didn't make it understandable enough because i think a lot of people missed that this was the true narrative going on underneath the surface. which is my bad and on me, i could've done a better job, but ya. this was always my intention and it's a very key part in understanding why entre is the way he becomes and does what he does afterwards

which, back to swag, is his doing to entre. because swag does strong-arm him into and making him believe there was no alternative to entre killing bitter who swag DID, as anyone else did at the time, believe entre's statement that entre saw him as his best friend, but that also meant that was even more entre's problem to solve to him. and it's something entre finds hard to forgive swag for for a while after, even as his own guilt berates him for his own involvement in creating this fate for bitter, there's always that part of him that blames swag for forcing him to actually face the consequences of his actions. because, as most oncelers, entre doesnt like that very much LMAO

and yet despite it all, it still, in its own twisted way, makes him feel the most seen by swag. if that makes sense?? especially as 72 made it abundantly clear he was disappointed in him and didn't even seem to know who entre really was anymore. the survival needs and guilt had warped entre towards a vitriolic survivalist away from that bright eyed young man that he had taken in.

and then of course, nobody else really seemed to want to push a deeper connection with him at the time for this or that reason. so he had dave, who he personally saw as still just an employee so of course dave was with him and on his side, he had that employee loyalty. dave became his right hand, but that also meant that entre felt that he couldnt confide as much in dave because it's hard to explain but it's like...since dave was working FOR him, he didn't want to muddle it up with personal feelings to keep dave sharp. that's what entre thought at the time anyways

and so, for better or worse (mainly worse) who stuck around and kept nosing endlessly into entre's business and his life and burying himself in his side like a thorn he couldnt remove and absolutely couldnt forget. well that was swag.

in this sort of fucked up whirlwind...swag became the most emotionally significant person in entre's life. especially as swag started to show that he DID gave at least half a shit. and after their shouting matches that got swag to admit this little tip of the iceberg or that. entre did get to wondering what else there was going on underneath that. it became something he wanted to dig at to find out.

despite how they bickered and butted heads, entre always felt more comfy telling swag things he wouldnt or would no longer tell anyone else. swag's little bits of sympathy or lightheartedness became little crumbs of something that entre subsisted off of to keep going, because, despite everything, he still looked up to him. he still admired him and what he was capable of and what he could do. and how he didnt seem to let anything that was going on bring him down. he kept his shine.

and for swag (again not word of god here) i think he liked that entre DID butt against him. obviously he had fun with rocky and one. but (and this IS word of god/confirmed canon) they weren't as much his friends as he touted they were. swag struggles creating (and especially maintaining) close relationships. they make him vulnerable and they come with stakes and things to lose. so swag always kept his relationships fair-weathered and shallow. (aside from just not knowing how to be genuinely real and vulnerable with people in a way that COULD cultivate a close relationship) he sure did say and shallowly BELIEVED they were deeper than what they were, but deep down...he had an idea that were push come to shove...he wouldnt mourn anyone as much as your normal guy would mourn his true friends and he felt that it was mutual.

so as much as he ran away from it, swag felt very alone. swag always has issues with loneliness and that's why he throws himself from person to person and has to be the loudest and brightest and funniest in the room. and hey even if you hate what youre hearing and seeing, he's still got your attention. and that can be good enough when it comes down to it. (end of word of god/confirmed canon swag stuff)

but yeah i think that...not that rocky or one were yes-men or anything, but i mean they kinda just worked with his antics and like okay yeah here we go, swag stuff again yay(or nay) but entre always was fighting it. he didnt just accept swag entirely for this way or that, he was always critiquing, always challenging, always prodding back as strongly as swag prodded him. and i think that change of pace is what kept swag coming back over and over beyond the other stuff i said earlier

and like...as the guy at the center of it all, i think even swag said it himself at some point, if anyone knew how to get them back out of this mess it was him. and as swag said: he saw entre as a way better leader than him. even if it personally irked and annoyed him, himself when it happened to him. entre clearly had figured out his stuff and what he'd say had merit (just not with swag who always knew better for himself)

so if entre saw swag as the better leader for his charisma and weird optimism, then swag saw entre as the better one for his pragmatism and his knack for staying rational most of the time. i think that's also why entre's slip in lucidity bothered swag a whole lot because...if entre couldn't be the rational one, they were screwed. he'd gotten used to entre being a kinda...logical pillar to bounce off of, so if he was losing his touch with reality, that was going to doom the lot of them (even him). it's also with (word of god) swag's deep deep fear of abandonment so...if entre abandons his own senses, he's abandoning Swag and that Cannot Happen

this is a whole lot but its really hard for me to explain the why FULLY without dragging out all the nuances and complexities to their relationship because THAT'S WHY!!! it's SOOO complex and there's so many layers and nuances to everything that had to keep working in a certain way to go in a positive direction or else it all fell apart, as we saw, over and over

they both have so many issues that hold them back in ways and then theyre both so damn stubborn that it ended up making them even getting along as FRIENDS a damn slow-burn (and i am, always, a sucker for a slow-burn. one of my main weaknesses in a ship)

you can see they both end up wanting that, even if neither of them would admit it. but they both, as businessmen, saw their cooperation as fruitful for the success of themselves and the camp. it was just all this other baggage going on making it hard

so then we get the hospital. where rocky gets his harsh taste of the reality of their situation and he gets HIS humble pie of his own mortality, pushing him away from swag who remains reckless. and then entre, feeling ostracized from literally everyone and even having a hard conversation with 72 in the elevator, when it all comes down to it, and they seem doomed. he lets himself be weak and falls a bit into swag. and this is where it changes a lot of things for entre. this moment of weakness he was pushed into by fearing it was this or never.

because obviously they get saved and then it's swag losing his foot or getting left behind for zombie-chow and OBVIOUSLY the latter isnt an option so...entre makes that call and then cant go through with it because swag's fear is shaking him to his core in a way he never thought would happen. like he let himself get weak and it's immediately striking him in a soft spot that changes him for the rest of the story

i think it's here where he gets that kinda "oh..." deep deep down. that wow. yeah. swag is much more significant to him than previously believed. that leads into the hardware store where slowly and surely, swag becomes his precious possession. swag's the only one that believes in him. swag's the only one that understands him. swag's the only one he wants to be around. nobody can touch or harm swag but him. swag is his responsibility. swag is his, his, his.

and this is very very poisoned by entre's deteriorating state of mind and emotional health. the man is a long-coming disaster finally starting to collapse on himself. and the centerpin of it all is keeping swag safe and to himself because swag's the only good he sees right now in this hell of a world. swag's words become law in his mind. if swag says he has to be more of a leader, more assertive, he'll take that and run marathons with it. anything to make swag proud of him

because that's another thing is entre has just...always chased someone being proud of him or happy with him. or that he was doing good or whatever. a common onceler problem with the way that Once-ler Mama just Is but yes...it's always been a big deal for entre. he's terrified of failure. and he's terrified of disappointing people who mean something to him. so he'll do whatever it takes to make swag proud and it's not like the rest of thee camp know better than Him what's the Greater Good for them, of course. he's the leader. he's the one who created all this. this is his world and he knows everything about it better than anyone.

meanwhile swag's too fucked up on having his wings finally clipped after leaving off the high of true and total freedom for so long. that he has to stew with no escapism and let the reality of his life as it is now sink in. old ghosts start to catch up to him and new horrors start to sink in. that and the pain meds of course, but through it all, he's still operating on that trust he's placed in entre. entre's a weirdo, but he always takes care of him and spoils him as much as he can. and it makes swag not wanna question, not that he has a leg to stand on (ha) currently anyways when it comes to that. he doesnt know anything going on outside his door. and to be honest, i think that's the part of this shitty situation that he likes. he's clearly tired and been tired of feeling responsible for other people, but he also cant help himself because of his deep need to try and keep as many people in his life as possible because that means the ones that leave have a lot more replacements

but yeah obviously when he gets out and suddenly everyone is his responsibility again and it's up to him to be the hero (in his perspective) he puts entre in his place in the only way he knows how, but at this point...he's reached an understanding of entre and entre HAS become more significant to him than just a business partner. and he's starting to act on the parts of entre he can see in himself and so despite entre fucking up (yet again) he sees it as entre just trying to do what he was guided to in the best way he could manage and swag has little issue just being like ok you fucked up but who cares about that anymore

he has a better understanding on how entre thinks and what he wants (not a great one but a better one) and i think he knows that to endlessly punish entre and leave him alone would just make him way worse and so he decides to stick with him himself (i also think this is also swag's abandonment issues)

i don't think has very recognizable romantic feelings for entre at this point, but entre very much does for swag. so this keeps entre on his feet as much as it can despite the whole spectacle of it being something that'd drive him, any other time, to a long walk off a short pier. but it had to be a spectacle for swag because he had to show to everyone that hey hes here and hes the one fixing things! youre welcome!

but it's still a harrowing experience that strip entre down to the bone and he might be at his lowest he's been since bitter. maybe even lower, but then the prisma event happens and, if entre's event stripped entre to the bone, swag's stripped swag to the marrow

and if there's one thing about entre, it's fixing problems that aren't his own is one of the best ways to keep him moving. even if to anyone else, what swag's been doing this entire time for entre is the Absolute Bare Minimum, in entre's persective, with what he knows and observes from swag, it's worlds and worlds. so when the tables turn, entre feels like it's his turn to give back. and maybe the tables didnt entirely turn on their own, but entre pushed them to. he spun it.

swag was already knocked down a peg by losing his foot, but losing his emotional stability, his comfort, his optimism in this hopeless world. being abandoned by someone that was more dear to him than the others. that slammed him rockbottom. he stopped caring about if people liked him or not because why bother? they're all going to die or leave anyways. i think he knew sooner than we think that rocky was infected, and one was always him being purposefully obtuse. he knew what his fate was. everyone was going to leave him now. and he refused to care about it anymore

shoving everyone away and hermitting in himself. the same careful practices he berated and mocked entre for are things he'd come up with on his own. he was there to be useful now in a direct way. with practical ideas, survivalism, and physical labor. if there was no more joy or optimism, whatever. they were alive. and his joy didn't get to smile anymore so no one deserved to

i think it was the one-two combo of prisma and rocky that really did swag in because, even if i said he doesnt get Actually close to people, he still considered them his. like those are his people and he's going to lose them all. they're all going to leave him behind on this earth that he's been knew for a while fucking sucked shit, but as long as he got to have fun it hadn't mattered, but now he can't

and entre kinda...accidentally did the best thing he could've for swag at this time. he also felt alone, discarded, from the queen piece on the board to a pawn. and so he clung to the only thing he'd found reliability in over and over for better or worse: swag

in general, in this arc, i was working on him taking this giant blow to his ego as a humbling moment to have him kinda try to make amends and create meaningful relationships (or repair the existing ones) with the others in the camp, but being that he thought none of them wanted anything to do with him, his main focus was always swag. swag was the only one besides dave that he thought without a doubt, wanted him around in some capacity beyond being useful

and it's not that entre is a stranger to only being seen for his usefulness, so he bared down into that otherwise, but having tasted the high life...that's why he stuck to swag. he was back to eating those crumbs like addictive delicacies and they tasted even sweeter this time. they end up becoming very, very codependent on each other. they were before a bit too but here, especially so,

but with entre's tanked self-esteem (and it was already pretty bad before) and his sense of duty and taking responsibility, he takes to his role like a duck to water. but it's kinda...funny bc they both become both roles in a codependent relationship??? so it's like...codependency in its most truest realized form lmao

it's starts especially one way but then entre gets sick and it flips the other way, but entre's still trying to maintain the original set-up. this is also where their relationship becomes physical. from affections kept away from others' eyes, to deeper kinds of intimacy. i think with all that they've lost and are doomed to lose, they find their old coping mechanisms (which were never healthy or actually worked either tbqh lmao) just weren't cutting it anymore so then they turned to other things

with like...needing a more direct and physical and raw way to show each other they're still alive, still here, still significant to each other. swag initiates it more, i think, because while they're both on the asexual spectrum. swag's is demi. so this goes to show just how emotionally important entre's become to him, but also i think it's because of yknow...how he was raised. and for him it's more comfortable to do bedroom stuff with entre than kiss him or rub his shoulders. that stuff's "for girls" (too emotionally vulnerable)

and swag starts to show his care as more of...like a direct invasive thing. where he's not going to let entre abandon him too. he's going to somehow make him better and keep him here as long as he can. and entre's taken to rolling over for nearly everyone because he doesnt feel like he's allowed to stand up for himself and this includes swag because it's clear he's doing it because he cares so it's fine right?

and that's kinda where everyone's idea of them leaves off because we never got to go past that. so i get where people, especially those who aren't a fan of toxicity in their ships, would be confused why people like swagtre so much and even for me, as much as i love a good conflict in my ships, i think if this is all it was, i wouldn't be quite as obsessed as i am. because i'll be honest!! it made me sad quite a lot LMAO but i always did it for the bit (story) above all else. because while i wanted entre to say the magic words or do the magic thing or have the magic realization that would fix it all, that's not a good story

but it really is for the later story that i've gotten so caught up. even before we confirmed the Continued story i was always caught up and daydreaming of where this could go

and i just really really love the growth they've had with each other and how many like...jumps in their characters and stuff they've made with and because of each other. entre would not be who he is today in any iteration without some of the realizations i've made through swagtre and same with swag i know with good authority

and it's just like...it takes so long to get even where we ended it. and they have all these weird labyrinthine bullshit things to work through and against and with to get anywhere. and it goes back and forth. forward and two steps backwards so much. but it's just very interesting to study and even reread or reminisce on. and even think about ways it coulda gone differently idk...i just like ships that give me multiple multiple things to chew on and think about. i like to have a full course meal. no shade to people who like other stuff but yea..that's what i personally enjoy. the more complicated, the more difficulty and personal baggage and issues they have to work through to make it work, the better

and i can't say too much on where it's confirmed to go, because that's yet to be seen (smile emoji) but yes...it gets better and idfk i just eat up to people becoming super significant to each other in an apocalypse especially if they started off hating each other?? damn

and it's addictive seeing swag start to come more and more out of his shell. i say his moments of being genuine, vulnerable, real, and raw and caring were addictive crumbs for entre BUT BITCH ME TOO TF!!!

it drives me NUTS (SLASH HUGE POSITIVE!!!!) i love being a driving force to get to see aspects of a character we wouldnt see otherwise. knowing i had a hand in swag learning things about himself and revealing things about himself he would never in other situations...yum...that's the good shit

but yes so concludes my novel on why i like swagtre including i guess an impromptu summary of their relationship

if you made it all the way to the end god damn man...love ya

[synergysilhouette]

Not trying to start anything, but I did wanna get this off my chest about Disney's biggest sequels

It's worth noting that in my opinion (and in the opinion of many others), both "Frozen 2" and "Moana 2" were extremely flawed films, for reasons most people know about. That said, there were bright points with the films, where one was perhaps stronger than the other. I'd like to discuss how both of them stacked up.

The music--This is a low blow, but regardless, "Frozen 2" wins this, easily. This isn't to say the music for "Moana 2" is bad (nowhere near as bad as "Wish"), but it doesn't have the same spark. "Frozen 2" had the benefit of having the same team of directors, writers, and songwriters as the first film, while "Moana 2" didn't (well, the screenwriter returned, but he became co-screenwriter) due to the fact that it was originally planned to be a show before Bob Iger made the decision to upgrade it to a full-length feature film. While not a bad idea, this was done at the last minute, and while "Frozen 2" had their own production issues, it was of a different kind, and the team was better-equiped. The team for "Moana 2"--including the songwriters--didn't have the time necessary to restructure the film to better fit an epic sequel, which led to (among other things) average music.

The Animation--This may be an unpopular opinion, but I find the animation for "Frozen 2" to be superior. Between the originals, "Moana" wins thanks to the colorful aesthetic. Both sequels lean towards a darker or paler color scheme, though for "Frozen 2" it's perhaps as a reference to fall, while "Moana 2" was moreso situational. That said, I felt like there were moments in "Moana 2" that felt a bit overrun with purples and greens (though the green is mainly when Moana and co. are trapped), and to my SHOCK, I actually thought the color use would've been better suited for a 2D film, in contrast to the first film, which I felt like was a love letter to 3D. (No shade to either animation style; I love both equally). The darkness in both films seems to befit the darker tones both are going for, but I think it works in favor of "Frozen 2" more than "Moana 2."

The new characters--This is where they're equal: they're all plot devices. In "Frozen 2," the Northuldra Tribe's plight serve as the backbone for the conflict of the story, and their knowledge of the spirits of the land serve as motivation for the potential solution. However, they aren't really characters unto themselves. Despite Yelena being the leader, Honeymaron being the one to talk to Elsa, and Ryder bonding with Kristoff over reindeers (it's sad to me that they had more chemistry than Kristoff and Anna this movie), none of the characters are involved as...well, characters. Their sole existance is to point the cast--mainly Elsa--in the direction of their quest, rather than joining them on their quest. And Arendelle's Royal Guard adds nothing, literally nothing, to the story, so their inclusion isn't really necessary.

With "Moana 2," it's more or less the same. Moana provides logical reasons for her crew: Kele is a farmer and can provide the team with food while on their venture, Loto is a craftsman and can help keep the ship in shape, and Moni is big and strong. However, none of them are particularly characterized beyond their one trope of being grumpy, smart, or excited, so it's kind of a waste of good ideas. None of them have their own motivations or fleshed-out perspectives despite joining Moana on her quest, and it still feels like a Moana and Maui adventure. Giving Moana a sister felt like a waste since they don't bond, and Moana's risks and motivations would've been the same if she was an only child, since she'd still worry about her parents and village. Matangi is set up to appear as a villain, but turns out to be a prisoner who helps Moana, albeit not in a way that was as deep as it could've been with her whole "there's always another way to do things" perspective. And Nalo lacks Te Fiti's purpose, instead just being a random angry storm god who lacks any particular personality, metaphor, or interesting characteristics besides being a storm for most of the film.

The Story--Weirdly enough, "Moana 2" wins this. While "Frozen 2" has a better journey, "Moana 2" has a more clear end goal; there's no confusing mystery or plot expansion we have to work on. Moana has to unite the islands, and Elsa has to find out the identity of the voice who's calling her. The "who" and "what" is a lot clearer than "Moana 2," especially since it ties into the first film.

The Darkness and communicating the messages--Definitely "Frozen 2." While Elsa's self-discovery may have been a bit familiar, Anna's was new territory, exploring what life means for her when she's become codependent on the only family member she has left, and they die. She manages to overcome it in a beautiful song, though she isn't uplifted, just determined. "Moana 2" fails to do this. The message is pretty similar to the cultural identity motif of the first film, though nothing in the film really capitalizes on the idea of losing your identity or turning your back on your culture. As for the darkness, Moni almost dies, and it's a pretty depressing moment, but Maui sings a pep talk song, and suddenly everyone's ready to roll. There isn't really a processing of stress or failure in this moment, and the song isn't even a growing song like "I am Moana" where it starts off sad but grows to be empowering.

Overall, I think both films needed more work (though Disney's whims have played a part in that), but "Frozen 2" had a better foundation and execution, in contrast to "Moana 2, which just felt simple and average.

[melfinawins]

A little tidbit on Nat. (It turned into other things.) Spoilers for the whole season of The Bear as I'm just a stream of thoughts at this point!

No, helping with childbirth does not heal or bond you to a narc long term. It's a TV show that prides itself on realism but still has a narrative to follow.

I was not moved by Donna that episode. Because in the real world, if Nat's baby has an allergy or some shit, Donna is the type to say that's dumb and kill her own grandchild because she can't be wrong.

Nat has always been empathetic. How did she ignore all the shit she did? I get that she's pregnant, but like... she's not the first person ever to be that way. She never came across as self absorbed to me? She kept on asking Cicero what she could do to stop the hemorrhaging. I don't know, Nat, TELL CARMY NO? If there's no money, there's no money. If he doesn't like that answer tell him to get outside investors who aren't his fucking uncle. Carmy is not an unruly baby, he's a 30 year old man.

Anyone else think these were different characters this season? Beyond just Carmy's regression.

I got the impression that Tiff and Frank had been dating for more than a year or so. In what world would Richie think he should butt out of Evie's life and become a DEAD BEAT DAD just because Josh Hartnett's fine ass got in his face?

Affording a home without the help of parents and being called lonely by your 6 year old means you want to shirk your responsibilities? I know that Richie was concerned about being left behind, but I didn't get the impression that he would abandon his kid. The Richie I grew to know and love would fight heaven and earth for that little girl.

Claire, bitch, I hope you're thriving. Being with Carmy seems like a fate worse than death!

There was such a malaise this season, damn. Moreso from the production side of things--they seemed lost and confused about what they were trying to do. Maybe they should have a sit down in the writer's room, think about why they thought giving 99 percent of the comedy to the Faks and why they DIDN'T HAVE CARMY TRY TO EXPLAIN HIMSELF ONCE OR SEND A SORRY TEXT TO CLAIRE GODDAMN. His inability to face up to his mistakes was tolerable for the first few episodes, but it quickly turned unsympathetic after fucking EVERYONE SAID CARMY LOVED HER and Claire had me siding with her because Carmy didn't tell her shit! He's a big boy and not a baby. Also: HOW LONG IS STORER AND CO GONNA DRAG OUT THE INFANTILIZATION OF THIS GROWN ASS WHITE MAN?

ALSO, WHY COULDN'T WE AT LEAST GET RICHIE AND CARMY MAKING UP?? LITERALLY NOTHING WAS RESOLVED. I feel like if they didn't have season 4 in the bag, this wouldn't be the case.

[oktopiasscarletqueen]

Neurotic Erotic (Bloodweave Fic) playlist

Alright, so, heres the playlist I made for the fic and unreasonable analysis I made relating the songs to Gale and Astarion.

I know writing all this is a touch cringe, but I’m at peace with that; BG3 is a special interest of mine, and so is musical/literary analysis. That being said, I’m not trying to write any kind of groundbreaking, profound interpretations here. Moreso, I’m yelling my funny words at you because I like to yap. And, sometimes this is what me and my little sister do for fun; J and I put on music and go, “ [insert character would like this sound in a Modern AU” or, “this song is incredibly [insert character]-core because…”

Before you jump in, I’m gonna warn you, the transition between ‘Francis Forever’ and ‘Cancer’ (track 6 & 7 respectively) is a touch jarring, as is the inclusion of ‘Cancer’ in the middle of the playlist  in general, lol. Second, I’ll warn you this list is bound to get updated here and there eventually. Also, I may update/add to these in future.

I have put the songs “in order”, or as best “order” as my brain can think of right now.

Oh, and of course, spoilers ahead for essentially the whole game.

Fic Link: https://archiveofourown.org/works/56262295/chapters/142934368

Youtube Link: https://www.youtube.com/@Oktopiasscarletqueen/playlists

Spotify Link: https://open.spotify.com/playlist/3BIufG9W5783HUh3OvDboD?si=675313ddfbbe4664

Song list, and correlation (with my interpretation and justification, if that interest you at all, lol):

INTRODUCTION:

¡Aikido! (Neurotic/Erotic) – Everything is a Lot by Will Wood & The Tapeworms

This song is about being obsessed with death, or the idea of dying; Theres something very Gale & Astarion about it (one being asked to die and the other literally being dead). Astarion being dead is a sort of representation (within this fic) of Gale’s later focus and near idolisation of dying, which really reminds me of the song. It’s title and the general idea behind it inspired me to write this fic. Mostly the title, its catchy and interpretive whether you know the song or not.

2. Maya the Psychic – Hesitant Alien by Gerard Way

So, y’know the tadpoles, right?

3. Starman – The Rise & Fall of Ziggy Stardust & the Spiders from Mars (2012 Remaster) by David Bowie

So, y’know the “Dream Guardian”, right?

GALE:

4. Cover This Song (A Little Bit Mine) – Everything is a Lot by Will Wood & The Tapeworms

Early game, Gale’s caught up on Mystra, and that’s an objective fact.  That’s what this song is in relation to him. Wishing to have her back, or at least her grace and favour. Like, imagine being cast aside by a god. A god who was your previous lover and kinda decides your fate.

5. First Love/Late Spring – Bury Me at Makeout Creek by Mitski

More Gale “pining” songs (you’re gonna see a lot of this). In the case of this one, the song is a sort of ‘love, life and duty is painful’. After the Mystra heartbreak, I can imagine Gale’s not exactly keen on letting anyone in else they abandon him again (Gale has a big ego, but he feels he’s not enough—he’s scared he’s not enough). Also, a few lines stick out for interpretation in regards to Gale. ‘One word from you and I would jump of this cliff I’m on, baby’ is very fitting for Mystra being like “lmao, kys” and how Gale is fully ready to do that as a show of faith. Another line that I wanna note, ‘And I was so young when I behaved 25…’ reminds me of not only Gale’s early magical prowess, but the fact  Gale being only 8 when he met Mystra for the first time; Gale had big shoes to fill, extremely high expectations to live up to and also an omnipotent, ever-present god leaning over his shoulder. This is where I’m gonna put a link to this Tumblr post because the OP does a fantastic job at dissecting all that (TW: mentions of grooming): https://www.tumblr.com/kirain/739521230081851392/i-want-to-take-a-moment-to-talk-about-gales

6. Francis Forever - Bury Me at Makeout Creek by Mitski

Kinda similar to above, but more “romantic” in a really twisted way. Gale really did love Mystra, I think; In the case of this song, it’s less about him as a character but more his past feelings and the grief there (obviously this isn’t what the songs exactly about, but we’re running on interpreting them into fictional characters, so… lol.

7. Cancer – The Black Parade by My Chemical Romance

So, y’know the Nether Brain fight and Gale’s Orb, right?

8. Goodbye Yellow Brick Road – Goodbye Yellow Brick Road (Remastered) by Elton John

Acceptance and a return to the “average”. If you don’t let him ascend, Gale has the option to just live life at his own pace, and for me that’s his canon ending. My boy deserves a rest, and this song just remind me of that.

BLOODWEAVE (songs that just scream them)

9. Cannibal Queen – Tell It to the Volcano by Miniature Tigers

I just feel like the lyrics suit Gale’s feeling for Astarion in a really  fun way, idk man. It’s just weirdly them-core.

10. Baby You’re a Haunted House – Single (no album) by Gerard Way

Another ‘Gale to Astarion’ song. ‘…you’re a haunted house’ as a lyric reads as someone who has a lot of metaphorical ghosts in them (closet full of skeletons). Shout-out to the versus: ‘In the dark, we dance together…’  ‘In the dark we laugh together, because the misery’s funny to you’ ‘Sometimes you scare me, but I’ll come around to you… And I’ll find a way to scare you too’.

That’s just them (you’ll hear this from this section a lot).

11.  Red Moon – Everything is a Lot by Will Wood & The Tapeworms

First and foremost, this song is SO underappreciated (as is the album). It’s one of my favourites. This so in particular just sounds like the embodiment of Bloodweave. I take a lot of inspiration from this song when it comes to Neurotic Erotic (the fic). This song analysis would be paragraphs upon paragraphs long, so I’ll sum this up as simply as I can:

- Astarion is kinda ethereal looking (moon-elf-core) - Gales heart go doki-doki later in fic (referring to the 5th verse: 'Waxing to the rhythm writhing my chest’) - Gale and Astarion are drawn together by circumstance - They remain in each others orbit regardless of circumstance - Night is their time

Theres so much more, but I’ll leave some of the linking to you, lol

12. The Rhumba of Death – Camp Here & There: Campfire Songs Edition by Will Wood

*see to every other comment in this section*

13. We’ll Never have Sex - Single (no album) by Leith Ross

I think it’s not necessarily an argument that Astarion has issues around intimacy, particularly sexual intimacy. That’s what this is; this is why the song is here.

TRANSITION (A heads up to Astarion Territory, lol. Plus, I just like the song :P)

14. Interlude – Three Cheers for Sweet Revenge by My Chemical Romance

Every playlist needs a good intermission, and this one has an Astarion-vibe to it. Serves as a good heads-up for whats to come and as a cool down from the previous song instead of just jumping right into a different tone. Plus, I’ve not gotten over my emo days, so…

ASTARION

15. The End – The Black Parade by My Chemical Romance

The end. The end of Astarions mortal life, the end of being under Cazador’s thumb while tadpoled.

16. Dead! – The Black Parade by My Chemical Romance

You can’t put ‘The End.’ without ‘Dead!’ and vice-versa. But, the lyrics do speak to me in encapsulating some surface-level Astarion plot, especially when it comes to his mortal, Magistrate days. Did Astarion get what he deserved? (referring to the versus: ‘I’ll be here waiting, babe; Did you get what you deserve?’). The BG3 artbook tells us Astarion was a corrupt magistrate, so this feel fitting. It’s speculative, but I think Astarion wasn’t too popular when he was alive, lol.

17. The Sharpest Lives – The Black Parade by My Chemical Romance

‘I’ve really been on a bender and it shows’Astarion doesn’t have the best coping mechanisms and skills, and this song is that. Plus, it’s another vampire-related song so it fits in well. And the lines below feel like they were written for him (y’know what I mean?): ‘You can take off your skin in the cannibal glow, Juilet loves the beat, and the lust it commands, Drop the dagger and lather the blood on your hands, Romeo’

18. Brand New City - Lush by Mitski

I feel like Astarion has a lot of issues around control, like specifically in regard to needing to be in control in some small way. He’s emotionally withering away with his destructive ways, but it’s the only way he knows how to grasp onto some semblance of control over his life. ‘I think my ways are wearing me down, But if I gave up on being pretty, I wouldn’t know how to be alive,’

19.  The Jetset Life is Gonna Kill You – Three Cheers for Sweet Revenge by My Chemical Romance

This song is about Gerard Ways substance abuse and struggles with it, his addiction personified as a woman. In a similar vein, I’m using this song as a representation of Astarion’s own addiction (or obsession) to power and revenge. Its fuelling him, but its also slowly him a dark, toxic (and even dangerous) path.

20. Hand Me My Shovel, I’m Going In! – SELF-iSH by Will Wood & The Tapeworms

Another case of a song about self-destructive behaviours that just really fits Astarions own trauma and his response to it. Will Wood is a genius lyricist, don’t @ me, and this is a prime example of his work capturing addiction and other self-destructive behaviours, feeling powerless in stopping/not being able to stop, even though you could (with a lot of effort of therapy, mind you).

21. Kill All Your Friends – Famous Last Words by My Chemical Romance

The opening lines capture more Astarion plot:  ‘Well, you can hide a lot about yourself, But honey, what’re you gonna do?’ Mainly, this song just feels like it fits him, especially with ‘I was killing before killing was cool,’.

22. Laplace’s Angel (Hurt People? Hurt People!) – The Normal Album by Will Wood

Another vampire song, so naturally its here. A number of the lines in this song feel like inner turmoil within Astarion, but I can’t just copy paste the whole thing here, lol. Side note, this song has been in my private Astarion playlist for the past 2-ish years and I’ve always been like, ‘man, I wish I had the time to make an animatic to this (or Hand Me My Shovel) for Astarion’, and recently I stumbled upon an Astarion animatic someone made to this song and was SO SHOOK. So, I’m going to link it, because its fantastic: https://www.youtube.com/watch?v=zWKObQgHaGg

23. Your Body, My Temple - Camp Here & There: Campfire Songs Edition by Will Wood

POV: Astarion’s manipulating you.

24. Vampire Reference in a Minor Key – “In case I make it,” by Will Wood

Very Astarion-core song, but specifically in regards to his softer side (in the case of this fic, his feelings down the line for Gale). Obviously the vampire song is gonna remind me of the twink vampire.

25. The Chain (2004 Remaster) – Rumours by Fleetwood Mac

So, y’know Cazador and Astarions “siblings”, right?

26. Against the Kitchen Floor – “In case I make it,” by Will Wood

So, yknow the confession Astarion has in act 2, right? My canon ending for Astarion is him healing, finally. He’s a spawn, yes, but he’s making the most of that his immortal life as he can. I’ll say it again, Will Wood is a GENUIS and (most definitely because it comes from his own experiences) he captures the process of healing but not being fully there in this song. In relation to Astarion, this is him trying—genuinely trying to be better and work out what he’s going through. He’s not there, he won’t be for a long time, but he’s willing to try. Trying is the first step.

[kudoichiz]

about the one yoichi post lmao

first off I want to say that I believe yoichi should have been more developed and should have gotten more screentime, but at the end of the day we can't decide how much screentime/development he gets. So I'm basing this entire rant on what we do see from him. So here's my take on yoichi's heroism.

Yoichi was born with a strong sense of justice, though I don't think that the narrative insists that he's a brave hero - I moreso agree with the point that it was pushing that he had the right heroic philosophy. And I agree that intentions aren't everything. Yoichi's sense of justice is an innate trait of this quirk (quirks are linked with personality - something mha has shown countless of times). But yes just because it's a trait he was born with doesn't mean he is heroic - actions have to be taken, or at least raising awareness.

Yoichi doesn't address all of these things and yeah it would be better if he did more to prove that he had a strong sense of justice. But he also doesn't really have to talk about these things. There are many characters who bring those issues up - though it may be rushed (that will be for a different rant).

Personally I believe that talking about systematic injustice, racism, discrimination, the problems with hero society shouldn't be things yoichi comments about. Why? Because even if he said anything - he's a vestige now. What will he be able to do about any of these things? What will izuku do about these things? Surely if vestige yoichi talks to izuku about this it would be with the goal of getting him to do something about it? Right?

But even if he talked about all of this and brought it up - I don't think story wise that it would be a good idea for the main character who only faced discrimination for being quirkless to talk about and fix all of the other issues in the show.

Also, yoichi could have very well brought those things up while he was alive - if. He had a different life. I don't think that yoichi would have made a difference yapping about all of this in the vault he was locked in.

And tbf - some of the things you pointed out yoichi never experienced or saw because they weren't a part of society at that time. Does this mean they aren't issues and shouldn't be talked about? No. But someone who doesn't have this experience can not talk ot commentate about it. Just like how it is in real life.

Your second point is a little weird. Idk if you just got the quirks mixed up but yoichi was born with the transferance quirk. And this is significant. Yoichi and all for one have similar quirks. If yoichi didn't have transferance all for one wouldn't have had his quirk, why? Because quirks are genetic. Yoichi's quirk was underdeveloped but it most likely would have been the same as all for one's since they are twins. So no transference isn't just some random quirk horikoshi picked out. .

The quirk he got from all for one also isn't by chance or something random. All for one specifically picked stockpile because it was a quirk that wouldn't harm yoichi. I'm pretty sure all for one himself said that he picked it on purpose.

OFA getting passed down is also more significant than it just being passed down by luck. Yes it was a slim chance that yoichi would be found by kudo and bruce but dumbing down the transfer as happening by "dumb luck" is just wild to me.

OFA can NOT get transferred unless it's by consuming DNA, (and) the user wanting to give OFA, it can also be passed on by force, but mainly those two reasons.

Also yoichi doesn't have to mention that his brother was a killer cause it's fucking obvious???? Also did you forget that yoichi was abused by his brother - but he was still his only family. The person with a strong sense of justice wouldn't idk kill his only family member or something? Idk what you wanted him to do exactly. He was also a child, a frail and weak one so even if he did try to do something physical it would fail. This entire point seems very victim blaming ngl.

The scene of the other users without yoichi going to kill AFO is significant. Yoichi isn't there again not because they could have been better off without him but because again. Even after everything yoichi wouldn't kill his only family. He had many regrets about his brother but it just seems contradictory If he was there to also kill him.

I'm not even gonna comment on your last point.

Uhh idk just wanted to share my opinions (also english isn't my first language so I kinda don't know if this even makes sense. Kay erm yep)

[tired-hellowl]

here' a comprehensive list as to every problem I have with the current *unecessary characters known as 'Glitz and Glam'

Do they expand the story/worldbuilding in any meaningful way? Do they explore a new hidden dynamic/past conjunction with a differing character and is that explored meaningfully? What was the point of having them animated when Mammon can portray the same level of humiliation/degrading/on stage lack of positive reinforcements. 😐

I'm so sorry but I view these characters as necessary garbage that caused some animators arthritis via too many patterns, not enough screen time to have meat and potatoes worth of dialogue, or really any pretense within the story whatsoever and yes this extends towards every female character on screen but let's not worry about that !!! Even if they are IMPLIED to be from the ring of envy-a color or ring we haven't seen nor meaningfully conveyed to the audience that it even is possible to go in/exists- it isn't conveyed to the audience well enough besides the visual implication of colors???? Instead of having shitty b-plots that go nowhere via Stolas and Blitz goofing off in seeing stars, Moxxie and Millie getting C-plots for no reason, or loona getting a rabies shot- all of that time could have been exploring hell, going to different rings, focusing on other characters besides the main 5, literally I would prefer a quiet episode like BoJack Horsemans 'Fish out of Water'where we can actually see the personalities of the main characters be appreciated and shown to us but that's never gonna happen :/

What I've been worried about is not even the on screen racism/out of touch 'rap/hip-hop parody' leaves a terrible taste in my mouth, if that isn't enough then the sexualization/implication of an incest type dynamic and nothing else besides fetish bait with these characters constantly grabbing one another and not really acting like siblings moreso someone who has never had siblings attempting to write sibling banter and failing terribly :/

Why do you have a problem with 'Klown Bitch' it's so catchy! Uhm, no??? I feel bad for anyone who attempts to defend helluva/hazbin as good modern musicals let me grit my teeth in silence as to the glorification over white people dominating black culture

HERES A HISTORY OF FEMALE HIPHOP ARTISTS: X

Pictured above is very old concept art about twin characters and its the same hairshape viv kept to transfer over to glitz/glam- despite clearly being over designed and way too much going on Alá vivzie style. It just goes to show she recycles even from herself and not every design is always new hot and fresh :/ AND SPEAKING OF CONCEPT ART-

Also also don't forget salems' concept designs thst got passed even though they loon toony, loony, clown enough, and definitely majorly way easier to have animated besides the mess that is the current design meta ???

Love how you can clearly see the silhouettes being so easily identifiable comparably towards the actual amalgamated mess that is their current limbs attempting to hold onto their toothpick body for their head.

All this screams to me is viv using the artists thst try to come onto helluva and they try their best with what their given, viv only picks the best bits SHE thinks is worth her time rather then thinking about the audience or animating anything else besides overglorified white people rap 🤔

Also the episode literally presents its full internalized misogyny/racism within this episode because vivzie herself literally admitted to typing into script with a full chest that

'Women just ain't funny'

. . .

why present misogyny within the series if you as a creator aren't willing to tackle the subject matter? Why write about it or present it as if you're smart over including the joke in your script when it isn't even funny because it just further pushes women out of the entertainment/comedy business which mind you IS ALREADY VERY WELL MALE DOMINATED SO PUTTING OTHER WOMEN DOWN TO PUT YOURSELF UP ISNT HELPING YOUR CASE VIV???

So then what was the point of adding female clowns if all you were going to do with them was make fun of them out of their expense and then profit off of the fact that they are incest coded????????????

?????????Are we watching the same fucking series????????

[send-me-a-puffalope]

genuinely curious, but for the second fnaf movie, what would be like. your ideal movie. like beginning middle end kinda deal. what would be the main conflict. that kinda thing :D

God, what a loaded question. I genuinely don't know. I know the FNAF 2 movie would probably have to hit the main 3 points: Mike, Abby, and Vanessa going to another Freddy's location with haunted murderous animatronics, flashbacks to the MCI/general Afton backstory, setup for Springtrap to come back for the FNAF 3 movie. And I'm like confounded how that would work in a way that is satisfying character arc-wise, since I already went on a ramble a few asks back about how conclusive Mike and Abby's story arcs have felt to me, and how there's no more interesting internal conflict for them to be addressing in the second movie and they have no connection to Afton other than Garrett's death.

I'm sure Mike's story in the FNAF 2 movie will still be following him coming to terms with Garrett's death and perhaps getting closure by meeting Garrett's ghost in the puppet, but man, they already addressed the fact that he can't change the past in the first movie. I want Vanessa to be the main character so bad but I feel like the movie wouldn't be complete without Mike and Abby being there in some way. Okay I'm about to go on an incoherent ramble that has very little structure and I'm just gonna need you to bear with me alright.

I'm thinking a new Freddy's location opens---a shock to everyone, especially Mike and Abby, considering the fate of the previous Freddy's---and new "Toy" animatronics are taken out of inventory to perform there. There's rumors that the animatronics from the collapsed Freddy's location were dug up and were now being repurposed from parts. Mike is perfectly happy having nothing to do with Freddy's again but Abby is talking with her "imaginary" friends again, unbekownst to him because she's scared of ruining the smooth sailing they've been in. They're asking her to come help them, that they're hurting them by taking parts from the suits (don't ask me how none of the technicians found the dead bodies, idk man its fnaf) and Abby sneaks out to get to the pizzeria.

Mike discovers that Abby is missing but sees her latest drawings, which feature the ghosts again and goes to find Vanessa, who he hopes has more experience with. uh. dead ghost children. I'm just really obsessed with this screenshot from Unintended alright, I just really want a shot of Mike knocking on Vanessa's apartment door and for the audience's first look at FNAF 2 movie Vanessa to be her at basically rock bottom, her hair greasy with heavy eyebags.

I think act 2 starts here. Where we then cut back to what Vanessa's days have consisted of in the past few weeks. Essentially, she quit her job and has lowk been rotting in her threadbare apartment fighting with the guilt of betraying her father. Doing anything would bring about memories. washing her clothes would remind her of how her dad had taught her how to remove bloodstains, cooking was too overwhelming because she hated the feeling of the kitchen knife in her hand, and I want to kinda use how Scott intended Burntrap to be in SB -> Vanessa's paranoia and terror manifesting as her father/Springtrap/maybe even Shadow Bonnie in the corners of scenes, always watching her. When Mike shows up to her apartment saying that Abby was missing, she takes the chance to get out of those four white undecorated walls and try to "redeem" herself by finding Abby. Prove to Mike (and moreso herself) that she was a good person.

I want Mike and Vanessa to show up the location, it's late but it's still open. There wasn't many people left. Mike's hesitant to get too close to the animatronics but Vanessa is oddly facinated by them. They looked like her father's designs but there were design details that felt foreign to her. Toy Chica is the first one who begins to act oddly. She mentions Mike having a sister despite Mike not ever mentioning having a sister. She's the one who brings them to the back to find Abby. When they eventually do, Abby is chatting happily with the toys. Mike ends up taking her home but Abby bargains to let him bring her after school. He hesitantly agrees, mostly because he's disconcerted about these animatronics also being possessed.

Lowk don't have too much more fleshed out rn but I'm thinking maybe on the fourth day/night, that it's revealed that the toy animatronics were not actually programmed by William but rather Henry Emily, who shows up for the first time right as one of the Gang is about to be murdered by one of the animatronics. I'm thinking Henry is Mike's dad, who "ran off" according to the movie novel.

He'd set up this pizzeria as a way of always being close to his dead son (Garrett) while also luring William back and but it didn't go to plan because he doesn't know William is dead. Even after finding out William is dead, he wants to keep the business going to give the dead children a "happiest day every day." Mike's childhood memory is unreliable. A big reveal is that while Mike has been guilting himself for so long over not being able to remember Garrett's kidnappers face, Henry has known all along. He knew who killed his son and he never told Mike because he never had enough evidence to get Afton convicted.

But he's not a fully good person either, he treats the children haunting the animatronics like they're dogs to help him reach his goal. He controls them similarly to how William did, which rubs Vanessa the wrong way. We get flashbacks here about William and Henry's relationship, we witness the kidnapping of Garrett from William's POV, we witness Vanessa seeing a glimpse of Garrett when she was younger before his death. Abby get close to Henry, though Mike is still weary because this is no longer the same man he remembered and feels betrayed. Vanessa slowly withdraws from the group, only slightly motivated by the fact that she resented that Mike and Abby had a second chance to reconnect with their father, and she gets closer to the ghost children (lowk feel like theres too many ghost children in the FNAF 2 location to make this impactful but whatever). We get a flashback to Vanessa witnessing the MCI here and a heart to heart with the MCI victims about how she'd always stuck by them even as she grew up and they stayed forever young. She apologizes but they don't blame her for surviving and what she did under the thumb of William. After all, they were controlled by William to do awful things too. Also there's a Garrett and Mike + Abby scene in here somehwere. Vanessa begins tampering with the animatronics, severing Henry's control from their wiring.

Vanessa and the children plan to set the place ablaze. Henry is furious when he finds out that his own son was working with Vanessa to burn down the Freddy's -> allow all the spirits to move on in the fire by burning all the suits. He grabs Vanessa by the collar and yells at her, revealing that he worked more closely with William than any of them knew and that he had even helped William with his haunted animatronic experiments before his son had become a casualty to William's obsession. The reason he never reported his son's murder was not because of a lack of evidence, but rather fear that his accompliceship would be discovered. The children respond that this isn't freedom to them. This isn't happiness. They were tired and they wanted to move on. I'm thinking none of them die in this fire but none of them trust each other any more because they were all chronically bad at communication and keeping important information from each other.

Henry, Vanessa, Mike + Abby all go their separate ways and the children get to move on. Freddy's 2 burns down. Post credits scene is Vanessa back in her apartment. She opens her closet door and stares at the dead body of her father in his Springbonnie suit, immobile and staring at her with glowing white pupils. Not really sure where this would go in setting up a FNAF 3 movie but I was kinda just thinking morally gray Vanessa who no longer has a support system -> a chance to build up to a Vanny arc or smth. I haven't read through any of what I just wrote so this could make 0 sense whatsoever. Would it be a good FNAF 2 movie? Maybe not. Would I enjoy it? Maybe yes. Some things sound cool on paper but would be ridiculous/too crowded for a movie.