#ultimately these are just made-up characters

[maxdibert]

One thing is to interpret certain behaviors of the characters, and another is to invent their personalities. If the James you like is a completely different person from the canon, then you don't like James Potter. You like a character you've invented and named James, period. Because that is not James Potter. The James Potter in the books has a series of characteristics that are clear and well-marked. Even Rowling herself said he was a bully, and Harry himself is aware that he was a bully, which is why he feels deeply disappointed in his father. It doesn't matter if you want to interpret him differently, reality is reality. I’m totally in favor of creating OCs within different fictional universes and building new lore within those same worlds. It’s something many of you could do if you clearly don’t like or feel uncomfortable with the personalities of the canon characters, instead of completely inventing new ones that fit your moral value scale and at the same time allow you to project yourselves as the main characters, which is ultimately what you like about them, nothing more.

On the other hand, I’m really sorry, but you’re the one who made a post making humor about violence and abuse. I don’t care if it's a joke; it’s the same as joking about racism or rape—it's equally problematic and condemnable. Just because you think that humor is justified because it’s aimed at an image of something you utterly dislike and dehumanize it completely, it doesn’t make it any less terrible. As I told you, any random sexist could have made the same post making a joke about rape and then say, 'It’s just humor,' and then claim, 'Well, it’s my fanon interpretation of things,' and I don’t think anyone would find that ethical. Sometimes, in order to understand the seriousness or problematic nature of something, it’s necessary to swap a couple of concepts. Because yes, your post sounds like that, it reads like that, and that kind of humor is just as stale as that of a hentai-obsessed guy making 'irreverent humor.' There are comments saying 'bullying is bad, but there are exceptions,' and you laugh at them. Substitute bullying for racism, homophobia, or abuse against women, and you’ll see how messed up it sounds. Some of you have the level of double standards off the charts

snape stans will be like “but james bullied snape!”

like… yeah someone had to

[sadesluvr]

TEETH.

Sergei Kravinoff might be a villian, and you a hero; but at the end of the day you're both animals.

A/N: First fic in a while so my bad if it sucks. You already know this movie was basically ass but we only watched it for ATJ anyway - I'm changing some of Kraven's character so he's similar to the comics/Spider-Man 2 game, so be sure to read the tags bc he’s a lil dark…

Word count: 2.3K

Tags: SMUT / DUB-CON / Spiderwoman! Reader / Breeding / Unprotected + rough sex

Kraven feared nothing. 

It simply wasn’t in his blood; not his staunchly machismo upbringing, nor in his DNA, quite literally having that of a lion. Fear made one weak. Fear made you less of a man. Fear was what killed his mother. 

If anything, fear was just another animal; ready to be captured, killed and conquered, ultimately destined to be draped across his chiselled body or mounted on a wall.  

You were simply no different. 

He never really understood why people were afraid of spiders, but he knew that they were a nuisance, having haunted him since he was a boy. Spiders weren’t savages like lions or bears, but they were sneaky; crawling around in the dark and waiting to strike, with a face so obscured that you’d never really know what you were looking at...what they were thinking.  

But now, with your mask off, he could see you clearly. Fear; clouding your eyes and consuming your lungs as you heaved, choking on the intensity of the emotion itself as your pupils darted between the beige, bloodied teeth on his necklace and a crossbow pointed right at your heart. 

“So, you’re the insect causing me all this trouble?” the man mused; legs crossed upon a desk as he eyed you. “I should’ve known.” 

“Should’ve known what? You know nothing about me.”  

“You’re a girl.” 

“Sexist, much.” 

He chuckled. 

“Far from it. My father, however, was quite the traditionalist. He would’ve done much worse by now.” 

There was a heavy silence as you swiped at your bottom lip. Much to your dismay, blood had begun to dry, and you were left with a salty, scratchy throat. Liquid, some of any kind, would’ve been appreciated, but you knew all too well that Kraven wasn’t one for showing mercy. Like all the villains you’d encountered, you’d had a push-pull relationship with the Hunter since the very beginning. He created a plan; you foiled it, sometimes you’d get your ass beat but the ending was almost always the same – with you safe from harm's way, and a bloodthirsty ego chipped away, but momentarily put to rest. 

On this occasion you’d slipped up, your Spidey-senses failing you and placing you right into harm's way, shipped into the back of a van and somehow escorted to a somewhat uncharacteristically lavish mansion.  

You'd always found Kraven to be a man of contradictions; whether he realised it or not. He was the best and worst of both worlds, a hunter with all the grit of someone who’d been fighting their entire life as a poverty-stricken rogue, and yet you’d come to learn that he was a Russian aristocrat, hence his rather extensive knowledge and unrelenting desire for control. Still, nothing took away from the fact that he was a brute, not even his strikingly good looks. 

“Just shoot me and be over it,” You continued, watching as he lowered his feet from atop the desk and strolled over to you.  “You didn’t need to drag me all the way here.” 

He looked even bigger than usual, but perhaps it was because you were perched uncomfortably on a chair, arms bound behind you as you craned your neck to look up at him. Your mind couldn’t - no, didn’t - want to fathom what he was thinking of you from this angle. 

“Don’t get me wrong, I care nothing about your secret. I just wanted to look you in the eye.” He mused, rummaging through his back pockets. Your breath hitched in your throat as he slid a knife from its sheath, finely carved and sharpened and lowered it to his side before pacing around you, stopping as his firm torso pressed up against the tip of your neck. Squeezing your eyes shut, you braced for your neck to be split open, only to be released from your bounds.  

Instinctively, you went to shoot some webs, hoping you could at least catapult yourself across the room, but he tightly grasped your wrists, steadying your arms in place.  

“I wouldn’t try anything if I were you,” he sneered. “These are antiques.” 

You rolled your eyes. 

“Fuck you.” 

“Get up,” he announced suddenly, almost dragging you to your feet. Hesitantly, you began to shuffle out of the room, overwhelmed by the seemingly endless walls and corridors, all framed in ivory and the finest mahogany. “Keep walking until I tell you to stop.” 

You continued down the hall, opting for a straight line. It seemed to be the correct way as once you passed into the threshold of a room that had a velvet chaise lounges and a dresser, he dropped his hands from their grip on your own, closing the door behind you. Oddly enough, you never heard the click of a latch. 

Without a word, he walked past you to open the drawer, rummaging through the contents. It utterly baffled you why you didn’t feel the urge to protest, or even fight. The entire ordeal was feeling more like a glorified house tour with a side of intimidation rather than a future crime scene. 

Was it because he was handsome? Wild? Filthy rich? Whatever happened to your values? Perhaps Jameson was right.  

Your thoughts were interrupted by the man placing something in the desk, curling his finger to beckon you towards him.  

“See this? This is what keeps me going,”he said, rolling a vial of florescent liquid in his fingertips.  “You and I are more alike than you think.” 

You scoffed, trying to ignore how close he was to you. He had an earthly musk that invaded your senses, sending tingles down your spine… and to your core. 

“I don’t need a drug to do what I do.” 

“Never mind the drug. It’s our blood that makes us strong.” 

You cocked a brow and he ignored your confused look. 

“You know, I’ve always hated spiders…” he began, rubbing his beard in contemplation.  “Too itchy; unpredictable. You never really know where they’re going to show up. If I ever saw one, I used to pop them like a zit.” 

There was a clear disgust in his words and vacant look in his eye that sunk you into a pit of fear for perhaps the first time since regaining your consciousness. You knew that it was just about you (surely), but perhaps a weird extension of your being; something bigger, far more innate than a girl in a spandex spider suit. 

“But then I realised that for their size, they’re deadly. Powerful, even. Recently I’ve wondered what it would look like if I harnessed it myself.” 

You swallowed, suddenly conscious of your dry throat once more. 

“A drop of blood usually does the trick.” 

He tutted. Perhaps you were being too fickle. 

“No, любимец [darling], not that way. I crave something more.” 

Your eyes darted to the lounge. Since when did Spider-Woman lack composure? Kraven’s impenetrable gaze followed your own, and he chuckled knowingly. 

“With your arachnid abilities and my strength, we could create something truly unique. Nature has its ways, you know.” 

“You’re sick,” you replied, your chin held high but your bottom lip wobbled. “I’ll never join you. What you do is immoral.” 

Kraven furrowed his brows. 

“You killed a man, and you talk about morality?” 

“He was a bad man.” 

“He was my brother.” 

The word humanised him a bit. The Chameleon wasn’t your most imposing foe, but he was still a challenge you’d been rather glad to conquer. It was all too often that you’d fallen into the trap of thinking that the world was black and white; good and bad, when occasionally it was grey. Kraven was allowed to grieve his brother, but at the end of the day they were both bad guys. 

Then why did he turn you on so much? 

“You don’t have to resist,” the man grinned, strolling towards you. He stopped, glancing down and reaching a hand up to cup the sides of your face, caressing your cheekbones and sides of your lip with his thumb, threatening to penetrate your mouth. “I’ve never been this close to you before…I can smell you.” 

You were both superhuman, but he had the thirst of a predator. Quite literally. Breath hitched in your throat as he angled his lips to your ear, whispering a few fatal words. 

“Give in, маленький паучок [little spider]. Your body yearns for me.” 

One large hand was wrapped around your neck as he kissed you, his wild beard scratching against your face as his other hand snaked down your suit, down to between your thighs. The latex did nothing to offer you safety, his callouses prodding at your wet slit and beginning to rub in small circles, oh-so internationally slow, making sure he pressed against the hood of your clit. 

He had you as soon as a small moan escaped your lips. It’d been a while since you’d been touched, let a alone by someone who was as well-travelled as The Hunter himself, and every kiss, nibble and squeeze was sending you into a deeper spiral of lust and guilt that you could barely fathom that you’d already made your way to the lounge. 

You pulled away as your calves collided with the frame, lips wet and parted as you glanced up at him – wholly helplessly. His hand remained firm on your face, angling his head as he smirked at your shielded demeanour, a far cry from the flashy superhero you’d been but an hour ago.  

“Kra—“ 

“Don’t call me that,” he said through gritted teeth. “Call me Sergei. I need to hear you say it.” 

The name rolled from your lips as a cry as he bunched the sides of your suit in his hands and tearing it apart, exposing your bare pussy and ass, with strands of fabric shaping your legs like a makeshift garter. He grinned, large hands frantically groping at your thighs and ass, spreading your cheeks apart and exposing your hot core to the cool air. 

“прекрасный.” [Gorgeous] he moaned, swatting at your ass before dipping his fingers inside you, rubbing your folds between his fingers as you coated him in your juices. Grasping your hands around his thick neck, you clung onto what you could as he explored your body, lowering you down onto the smooth velvet. 

It wasn’t long before he straddled you, holding your body down with his pelvis as he removed his jacket, giving you an eyeful of his crafted torso. Unsurprisingly, he had the body of a God, with a prominent v-line and happy trail pointing down to between his legs. Even through his heavy trousers you could make out his bulge, mounded and ready for you. 

You gasped in anticipation, watching as the man withdrew his cock from his briefs; red and girthy, with precum spilling from his tip. Skilfully, he spread your thighs, making sure they were safely by your sides (he’d seen how flexible you were, your ankles touching your ears was nothing) and lifting your lower back slightly off the cushions, pushing into you with a deep sigh. 

At first, his intrusion was a dull ache, but as he began to move his hips against your own you felt utterly fulfilled, moaning and writhing as he wasted no time in daggering your wanting pussy, making sure you felt every inch.  

“Sergei...” you cried, eyes fluttering shut as you flung your head back in pleasure. “Please...” 

“Say it again.” 

Words evaded you. 

The man grinned, flashing his canines as he tightened his grip, compelling him to fuck you harder. The whole ordeal was obscene; New York’s most treasured hero being bent into submission by the villain of the week, a scene so heinous that it was all the more endearing, and with every thrust you knew you wanted him more. Sergei didn’t care whether his combat boots scuffed the fine upholstery, or if his grip on your waist would leave a few bruises – he just wanted to own you. 

He huffed as his heavy balls slammed repeatedly against your crack, beginning to bottom out in you with every hit, so much so that it looked like you were conjoined.

Even through the strain in your legs you could tell you were close, knots in your stomach slowly beginning to unravel as your walls clenched around him, earning a delighted rumble from deep within his chest. 

You knew that he wasn’t one for talk, but you would’ve appreciated the warning that he was about to come. Every guy you’d been with tended to get sloppier, but he grew stronger, the literal animal in him taking over as he began to ramble and curse through gritted teeth in Russian.  

Sergei threw his head back as he held you down, hands pawing your breasts and strands of hair sprawled in a beautiful mess across his face as he came, ropes of hot white cum spilling into your pussy just as you dressed his cock in a silky sheen. Your chests heaved as you desperately tried to come down from your high, glancing down at your messy nether regions as his seed began to seep out of you.  

There was no going back. Nine months began now. 

Would it really be all that bad? 

It all went back to fear, really. In the back of his mind the thought of a spider still troubled Sergei, but at least he’d conquered it. Even if it was temporary. 

FIN. 

[ririabeam]

𝗕𝗶𝗿𝘁𝗵𝗱𝗮𝘆 𝗗𝗲𝗽𝗿𝗲𝘀𝘀𝗶𝗼𝗻

⫘⫘⫘⫘⫘⫘⫘⫘⫘⫘⫘⫘

—

I drew this to cope with my birthday depression.

Took 5 months. I also wanted to beat my old manhwa from 5 years ago.

-- Long post ahead! It's my WIPS and thought process. --

Junko is my comfort character as she's the only character I know who hates her birthday.

(Screenshot from Ultimate Talent Development Plan)

I know she’s a villain who has done a lot of bad things, but finding comfort and liking her doesn’t mean I excuse her actions.

A lot of painful feelings went into this, even in Mukuro's perspective so please respect it 🙏🏻

—

- WIPS & Thought Process -

—

Story Script Writing:

A lot of thoughts and feelings went into my script.

-I removed sentences like “For giving me cake!” as I wanted to do more showing than telling.

-“Why do you seem so happy Mukuro?” is changed to “Why are you smiling like that, Mukuro?” as I wanted the sentence to focus more on the thing Ryoko noticed. Mukuro would definitely be happy celebrating Ryoko’s birthday, and the new sentence would help to understand how Ryoko interpreted that Mukuro was more happy than usual.

-“good day” is changed to “great day” for greater emphasis of Ryoko’s happiness.

-A pun is done on “live”, I wanted this sentence to convey the complicated feelings of Junko. She doesn’t want to “live” a “fabricated happy lie” as it goes against her honesty moral. But there’s also a part of her that doesn’t want to kill Ryoko, as she doesn’t want to “leave” this “fabricated happy lie”. She wants to be happy as Ryoko, even if it’s a lie.

This part is a big reference and a reply to Danganronpa Zero.

The background texts are quotes from Danganronpa Zero.

Junko saying “What the hell? Hope?” is a reference to Danganronpa Zero’s ending:

Reading Danganronpa Zero feels like it’s saying something to me: “We are trapped in a loop of despair and hope.” and I’m replying with this part as a “Yes, I agree.”

Junko being confined in her mind is another thing I like about her too. 

I feel the moment we are born, we are trapped, that’s why I ended this comic with “I wish I wasn’t born.”

The moment I’m born, I’m unwanted and worthless, a monster.

I’m trapped in my mind, in other people’s judgements and expectations, and there’s no way out.

I can’t just turn invisible and there’s always something for people to judge and hate. And that hurts when it’s something important to you or you can’t change about yourself.

But even with all the pain, I think of hope to carry on and it’s a loop to fight to live.

I think I make progress with healing but then I’d think wth I’m made to work on this. Cause my life is already scripted from the moment I was born— I’m scripted to have this trauma, this story made my personality and character so in the end I’m still trapped.

So that’s another reason why I find Junko a comforting character and why I feel birthday depression.

I thought of the story first before I thought of the characters who would play it, so I had to make sure it’s in character. 

Things like if Mukuro would say “AU” or “Alternate Universe”. I felt since she spent a lot of time with Junko who knows a lot about these things, she would have heard of this and know the short form term for it. Especially since she had to be Junko at some point.

Since it’s a story about Birthday Depression, my thoughts instantly went to Junko then to Mukuro. It was the perfect story theme to write for them especially cause they are the despair sisters. 

Plus, they are two characters I can feel their struggles and feelings deeply for, so I can write and draw deeply for this story.

Birthdays tend to be happy, and I felt the only kinda right time I can talk about my birthday depression would be on their day.

I felt suffocated and lost myself over the past few years, as I felt I needed to be happy no matter what. When I opened up about sadness and my struggles, people would hate and invalidate me for it. I feel my art reflects that, I don’t like looking back at my old art. It lacked my true feelings, but I feel I’m finding myself again in my Mirai Nikki and Danganronpa art.

For the past few years I tried to celebrate my birthday to try to make myself happy about it but in the long run it didn’t work. I appreciate everyone who celebrated with me all these years still, but now I’m trying to overcome it in another way— facing despair instead of trying to cover it with hope.

I think I’ve learnt a lot about myself and understood myself better through this comic’s process.

Layout Plan:

You can see that things were changed in the final from my layout plan X’D haha

In page 2, Mukuro’s 1st panel is changed so composition is better.

In page 3, after seeing Ryoko as Junko, Mukuro is reaching out her hand instead of placing it on her chest. I wanted it to feel like Mukuro wants to reach out to Ryoko at that moment, like trying to get a wish she knows isn’t real.

In page 5, binary code is replaced with texts from Danganronpa Zero’s story so it reinforces the idea of “a life already fully planned out”.

Lining Process:

I struggled with this part the most as anatomy and poses is not my strong point.

I asked my friend, Setsuya, for help with my poses and redrew the same pose many times for this comic. I really wanted to convey the feelings for this comic right especially since it’s very personal to me. Big thanks to her for helping me so much, I feel I improved a lot from this! 🥺 <3

1st panel of 1st page is the hardest to draw, I’m laughing at my first try of Mukuro who looks like she’s forced to be there 😂:

With suggestions from my friend of how to improve, I tried to improve everyone’s poses:

^ 

Mukuro’s pose was changed to look more fondly at Ryoko, happy to be there and relaxed haha.

Ryoko’s pose was changed to look more delighted and happy about the cake (Which helps to convey the line I removed from my script, “For giving me cake!”)

Matsuda’s pose was changed to look a bit more annoyed about still cares for Ryoko (shown by him still looking at her from the corner of his eyes even though his head is turned away)

And haha I forgot Ryoko’s legs can be seen due to the table frills being transparent, so I had to go back and draw her legs X’D

For this panel, a lot of thoughts went into what things I should place, how they are placed, and what kind of items it should be e.g.

I wanted it to tell the story of what happened before all the characters gathered here, what their feelings are towards each other, and how they are like as individual characters :3

I was thinking Mukuro and Matsuda love Ryoko so much they spoil her by buying a giant cake haha X’D So that’s why there’s a plastic knife instead of a real knife— to show that the cake was bought.

I think they decided not to cook as they would fight about it… (idk if they know how to cook tbh)

I chose strawberry shortcake cause white = purity and red strawberries = blood X’D Kinda like Ryoko-

I was about to draw neatly cut and placed cakes but I think... Ryoko is bad at cutting… X’D so the cakes are lying flat with the cream a bit splattered on their plates.

The table cloth, spoons and plates are all elegant and neat cause Mukuro prepared it for Ryoko :3 I don’t think Matsuda would be able to do that since he seems to not be a tidy person X’D but I do think he probably decided these items and arrangement with Mukuro :3

Here’s a random joke Matsuda + My roughly drawn Promised Neverland manga cover before I squeezed it on to his book haha:

I was going to make Matsuda read Megaman at first like in canon, but I felt making him read “Promised Neverland” was fitting as it helped me bring some foreboding to my happy setting. Like the promise never landed cause I’m going to break my happy promise/premise X’D 

I felt it was fitting too as Matsuda wasn’t met with a good fate like the Promised Neverland children.

Plus I feel Matsuda would like a genre like that, or perhaps he wouldn’t mind anything as he is a laid back character.

This pose was changed so Ryoko would look more reserved and have less of a romantic vibe? Cause the intertwined fingers felt a bit more romantic and off to me, as it wasn’t the vibe I was going for.

Feat. The paper sketch is my friend helping me with anatomy X’)

While writing sentences and drawing for Mukuro’s scenes, I was thinking of experiences I’ve gone through before and the feelings I felt then. 

The way I wished things could be different. I kept having dreams of happy endings I wanted to happen but then I would wake up to the tragic reality and cry.

The way I was suffering on the inside but still held on to this thing I perceived as “Hope” even though it was killing me and could be seen as “Despair” in another POV/or I already knew it was bad for me but it was also my only hope.

Symbolisms for this panel:

Carrying a candle-> holding on to hope/a wish.

Candle not blown out -> Mukuro's wish didn't come true (blowing out a candle means bringing your wish on smoke to the good spirits above to grant your wish) , her hoping leading to despair.

My pose was changed here as it is more natural for the hands to be like that, plus the other hand holding on to the arm greater empathise how Mukuro is holding on strongly to this candle.

The candle is melting and the wax is getting on her hand, burning her. Still, she refuses to let go which empathises how much she needs to hold on to this. Even as she grabs her own hand causing more pain from bleeding, she still needs this “hope.” 

Some colour tests for this panel:

I was considering blue fire because blue fire is stronger than red.... but then if it is a wish of hope, I was considering yellow too... but maybe it would be too happy? 

Mukuro is feeling sad and wishful in this panel. 

I ended up going for blue fire which gives off yellow light for a purposeful contradictory colouring— to show that what is perceived as despair can also be perceived as hope.

^ Some exploration for the poses here so I can figure out which conveys what I wanted to convey the best. I like the poses where Mukuro is reserved happy, Ryoko is more playful(?), Matsuda is more relaxed.

^ Exploration for the Junko slash pose. Ended up just going back to the original pose I had planned for the layout.

I found this super hard to draw as I’m not good at anatomy, drew it quite a few times and deleted as I couldn’t draw it right. In the end, my friend drew that pose reference which helped me get it right in final!

Reasons why I chose the original layout pose in the end:

Strangle pose-> I don't want to strangle Ryoko, not because it’s too violent or graphic or that she's 🥺uwu and I can’t kill her-

I just feel Junko doesn’t completely hate Ryoko... a part of her wants to live a happy life after all

But she can’t, that's why the words "A fabricated happy lie, I don’t want to live this!"

It's a lie and it's against her value (honesty).

Sword slashing pose-> Junko is directly jumping towards and has no hesitation slashing Ryoko. This feels off cause it’s too violent which doesn’t convey the message I want.

Sword is also stronger than knife, which would hurt more.

When I see the knife and how the body is twisted a bit away in the original layout pose, it works better as I can see some control to the slash so it's not full on hatred and anger towards Ryoko.

Random full drawing of this Junko before I cut it off for composition.

I find it easier to get the anatomy right if I draw the full thing and draw through everything.

^ I’m super sad at my failure for this :,) I didn’t intend it to be like that 😭 

It’s too hard for me to draw, so my friend helped me again and I chose a pose and studied her pose and drew the whole pose again:

I chose the 1st pose because the angle of the faces there best shows both character’s facial expressions and the emotions are the most important for this scene.

Plus 3/4 angle is better than the flat side view one as it helps make this scene more dramatic!

My friend helped me with the position of Junko’s tie:

reached max images for this post so,

WIPS continued in another post

[pharawee]

I usually don't do yearly recaps because my memory sucks December is one of the busiest months for me and I'm lucky if I get to gif at all but this year I thought I'd take a look at all of the gifsets I did in 2024 and see which shows, pairings and moments I liked the most.

✨FAV BLS OF 2024

1000 Years Old: 2024 was supposed to be the year of vampire BL (going by all the announcements and pilot trailers) but in the end only this one aired (edit: wait, I forgot about OMG! Vampire to protect myself 🥴) - and it was neither spicy nor particularly spooky. Instead, it was all heart and quirkiness and when it was over I cried for a week because of the bittersweet ending.

Playboyy: This show is truly a masterpiece, with layers of subtext and social commentary. Also, it's fun and camp and sexy and ridiculous. I'm so glad it's going to get a second season.

Caged Again: How come that a little show about a penguin and a panther is legit one of the best - if not THE BEST - Thai BL of the year?

Knock Knock, Boys: I came for Best and Seng and Pak but then Almond and Latte bewitched me body and soul. Kongthup now owns me.

Every You, Every Me: I don't know what I was expecting (well, okay, a whole lot of Mick & Top - which is exactly what I got) but it surely wasn't crying my eyes out for two episodes right in the middle of the show.

Spare Me Your Mercy: Long awaited and currently still airing - I actually love this show a lot because it reminds me of all the detective dramas (esp Endeavour and Grantchester) I used to binge. Morse but make it queer is actually all I ever wanted.

7 Days Before Valentine: This show's depth and artistry and stageplay-like character absolutely blew me away.

I Saw You in My Dream: WeTV absolutely blew it out of the water this year with their many diverse productions, and this unassuming and charming little show with a supernatural twist (love me one of those!) was no exception.

Monster Next Door: Big Thanakorn in his first main role with his first acting partner in an extremely fun and all around lovely Kongthup/WeTV production. And I just love how nuanced it was when they could have just stuck with the whole introvert/extrovert cliché.

✨FAV PAIRINGS OF 2024

Hope x Save (Jack & Joker): These two completely took me by surprise, especially because I had such an intense reaction to Pee Phiravich's character in La Pluie. I had originally set my eyes on PromMark and while I definitely ate up their crumbs, HopeSave just checked all of my boxes: morally grey antagonists (at least for a while there), doomed by the narrative (until they actually got their happy ending, yay!) and ride and die for each other.

Pete x Kenta (Pit Babe): I'll be a PeteKenta truther until the day I die (see all of the checkboxes above), and if Change2561 didn't subscribe to the branded pair model, they'd agree with me. As things are I'm actually kind of meh about Pit Babe 2. I bet KentaKim won't have knives at each other's throats!! (PeteWay is delicious though.)

Prom x Nont (Playboyy): Uhhh, that's a lot of the same checked boxes. So maybe I have a type. Thanks 2024 for making me realise. Also, I hope these two make each other worse in season 2 (before they get their HEA because ultimately I'm vanilla like that).

Latte x Almond (Knock Knock, Boys!): Oh God, these two. I was prepared to be ride or die for Thanwa and Peak but then LatteAlmond barged in with a pink sex toy and it was over for me. They just have so much heart and so much sincerity between them (and while their dynamics are different in Caged Again I'm really enjoying Nokia and Jaonine there too for pretty much the same reason + their incredible comedic timing).

X x Namping (Every Me, Every You): It's probably a good thing we got these two for two episodes only because we might not have survived a whole 8 or 10 or even 12 episodes of them. Plus, the anthology-like character of the series made a sad ending possible in the first place, and I really appreciate it - even if it almost destroyed me.

✨FAV MOMENTS OF 2024

Twins: For a moment there we had FrameRyan and it was beautiful.

The Sign: Chalothorn stole the whole show for me and then when he inexplicably vanished I kind of stopped watching. Whoops.

Deep Night: I have seen the throuple light thanks to SeijiPanKen.

The Rebound: Frank Thanatsaran's acting (but also that scene...) overshadowing pretty much everything else (and now he's with Star Hunter which... you know... ehnnnn 🥲)

To Be Continued: Fluke Pongsapat and Junior Khajbhunditt starring in a way underrated 8-episode netflix show with one of the most beautiful love scenes ever, and I've been wanting more of them ever since.

Two Worlds: Kongthup giveth and Kongthup taketh away (aka for one and a half episodes I had Phupha and Khram and now I will never know peace).

Century of Love: Offroad Kantapon as a sultry fox spirit.

Sunset x Vibes: When Star Hunter remembered Fong and JJ exist and then they stole the whole entire show (there really wasn't much to steal though...).

The Sign: Whatever was going on between Heng Asavarid and Nat Sakdatorn in this scene BUT I NEED MORE (pls Idolfactory I'm begging you release Heng from his solo actor prison).

Two Worlds: Kongthup choosing violence by giving Pak and Mon one of the spiciest love scenes of the year.

The Rebound: THESE TWO (boxes checked!! But also I need more Nammon in my life).

Kidnap: GMMTV's strategic placement of Papang in a suit.

The Hidden Moon: Whenever that tiny low-budget show got surprisingly deep and artsy (and also spicy).

My Stand-In: When I watched a whole show for one (1) character that wasn't really a character at all. Oh, the tragedy of it all (and yes, I'm still scared of Ming).

Pit Babe: When I made several posts about the Pit Babe novel but then I actually ended up loving the villains more than the main characters. I'm watching Pit Babe 2 for them and them only. Winner of my heart here I come!

Aaand that's it, my first ever yearly (Thai) BL recap - which actually ended up way longer than planned (guess my memory isn't as bad as I thought. Then again, I had my gifs to fall back on).

2024 was an amazingly diverse year for Thai QL (along with the wonderful news of marriage equality in Thailand finally becoming a reality) and looking back I now realise (not that I was ever seriously worried) that gmmtv's monopoly is actually way more of a blessing than a curse because not only did it cause WeTV to heavily invest in their own productions, it also leaves more than enough room for innovation and creativity via smaller and indie companies (along with the truly big players finally paying more attention - see: Spare Me Your Mercy). Innovation which in turn enriches gmmtv's portfolio as well (judging by their line-up for 2025 the years to come). In short: the Thai BL ecosystem is truly thriving.

And with that, may 2025 be even queerer than 2024 with tons of marriage proposals and actual marriages (PorschArm here we go!), and a favourite little (or in gmmtv's case not so little lmao) BL niche for everyone.

I hope you had as much fun with BL in 2024 as I had. I really appreciate everyone's commentary posts and meta and fanart and gifsets and tag games and reaction posts, even if I didn't spend as much time on my dashboard this year as I wanted to. I'm so glad tumblr BL fandom exists. ILU guys. Only the bestest and kindest things for you in 2025!🌈✨

[godzillabreath]

unfortunately I do have more to say about wwdits.

I think one of the most egregious things about the development of the show over the seasons is the tonal shift. I was watching it from the beginning to convince myself I wasn’t crazy for feeling the first three seasons were better, and I felt vindicated.

It was always a dark comedy, but it wasn’t always a zany dark comedy. It had been grounded in real, everyday life. The vampires prey on a LARP group, the vampires ride a late night bus to go to a city council meeting, Nandor tries for citizenship, etc. I think once they started introducing a slew of supernatural creatures like a monster-of-the-week a la carte, the show became increasingly less focused and outlandish. There are episode I don’t like even in seasons 2 and 3 that are emblematic of this shift. The siren, the gargoyles, the troll—they just feel out of place in a story that is supposed to focus on out-of-time vampires and how they engage with the modern world. They aren’t really adding anything to the characters or the plot when they appear either. They just make a flashy CGI appearance and give some quippy line, which ultimately eats up time where our main cast that we actually care about could otherwise be on screen, doing things. And then there was a point in time where this show just did not allow itself any more sentimental moments between characters. These moments, for me, made for refreshing moments between comedic situations. It balanced the humanity in all of the main cast. But the show opted out of those moments, and it just became a back-to-back comedic situation with less and less interesting character moments to look forward to. Anyway, I just find it kind of sad that the writers completely detonated all of the characters’ inner emotional lives by the series finale. I liked to see Nadja bored in her marriage and pursuing this lustful encounter with Gregor through reincarnated generations. I liked to see Colin challenged by another energy vampire undermining his territory. I liked to see Guillermo struggling with his fractured relationship with his family, his discomfort in his own sexual identity, and his need to cling on to this group of vampires that disrespect him if only to find family and personal liberation in their company. I liked Nandor being so disconnected from modernity that he became listless and depressed and lonely and clung on to the idea that he might make himself human again. I liked the romance that the writers were building literally textually and in all of their marketing material from season 3: that Guillermo (at least) had these unrequited and very frustrating feelings for Nandor and how that affected their relationship with each other. I liked the idea of Laszlo forming these personal connections with both Sean and Colin, even if I found their conclusive arcs to be lackluster, strange, or unpalatable (baby Colin to weird co-parent Colin was a bizarre arc.) I liked the idea of Nadja wanting power and community because of the impoverished, desolate conditions she grew up under (especially the class dynamic of marrying Laszlo and how that could be at times a schism in their relationship), even if the writers did not care to expand upon this. The potential just drives me crazy. I can’t believe they opted out of tying up any of these emotional hooks. I think it might drive me crazy forever.

[vynxwave]

EarthSpark Frenzy's line in S1E08 Decoy "We're free now. You don't have to follow him anymore." has no implications about how Soundwave treats the cassette-bots.

I've seen this misconception a lot and I'd like to clear it up.

So, let's delve into the context surrounding the line, starting with the scene that precedes it:

After the cassette-bots get caught by the Autobots, Optimus allows Megatron to let them go. The cassette-bots beg Megatron to let them go free, and he does so but with a warning: "You will only get one second chance. Do not throw it away."

Megatron is saying that if they are caught again, then they will be imprisoned by GHOST (the organization that has forced all the Decepticons marooned on Earth to stay on the run or hide lest they be caught and imprisoned).

Now, onto Frenzy's line and the scene it occurs in:

Frenzy & Laserbeak are standing together, notably apart from and behind Ravage which represents their division and their background/foreground positioning representing Ravage leaving them behind when she does so.

Frenzy is trying to convince Ravage to literally not follow Soundwave into GHOST, because doing so risks her imprisonment, and she knows how loyal Ravage is to Soundwave. Frenzy & Laserbeak want to abandon the operation in favor of maintaining their freedom, which this is them heeding Megatron's words of not throwing away their freedom (their second chance), hence Frenzy trying to convince Ravage to do the same.

Frenzy's line does not imply anything about how Soundwave treats them because that's not the point of why she’s trying to dissuade Ravage — it's about wanting Ravage to use this second chance they've been given to maintain her freedom and be safe from GHOST.

Ravage, however, isn't dissuaded and leaves to follow Soundwave and the mission, and sneaks into Soundwave's chest cavity.

This scene ties back into one of EarthSpark's themes that run throughout the entirety of the show about making your own choices, whether good or bad ones (this theme also manifests in second chances — choosing to do better, or not), and these choices are what shapes your character (and this ties into EarthSpark's exploration of self-discovery and growth).

Circling back to the cassette-bots: Frenzy & Laserbeaking choosing to heed Megatron's words and abandon the mission and Soundwave doesn't imply anything negative about their relationship with him, only that they value the chance they've been given and perhaps ultimately that they're afraid of GHOST. Ravage not heeding Megatron's words and not being dissuaded by Frenzy shows just how important Soundwave is to her, regardless of the risk following him into GHOST poses.

Inferring that Ravage sneaks into Soundwave's chest cavity would've been easier had that one subplot cut for time with S1E08 Decoy's payoff showing her literally sneaking around GHOST (and Starscream's dialogue implying its habitualness) not been cut... but I digress. (She'd later get to showcase her sneakiness in S2E03 Control Alt Delete.)

Of course with these scenes/this subplot not making the cut it ultimately isn't canon, but I mention it due to it being the planned follow-up to S1E08 Decoy as it clearly shows a positive relationship between Ravage and Soundwave.

In S1E17 Home it's shown that Frenzy & Laserbeak decided to go underground — a choice that was made actively heeding Megatron's words and staying clear of GHOST.

In S2E07 The Imposters Soundwave is seen feeding Ravage and standing by her, and this shows that he cares about her.

In S2E09 Witwicky Laserbeak flies above all the gathered Decepticons and out of all of them chooses to perch on Soundwave's arm.

In S3E05 Fire and Ice Frenzy & Laserbeak take silly selfies aboard the commandeered starship. Evidently, they're messing around with a camera/technology they're not supposed to — and they're capable of sending its photos to Earth! — and Soundwave is quick to confiscate it. I'd presume he does this for purposes of safety/security — sure, they encrypted what they sent out, but now that they're in space who knows what could intercept their transmissions.

The tone of this scene is evident in Optimus's good-natured laugh and comment ("looks like they're having fun on your ship"), and Breakdown's grinning when Soundwave makes for the camera/technology. Ultimately, this scene doesn't convey much of anything about Soundwave's relationship with the cassette-bots, just that the cassette-bots are silly; Breakdown's wide grin likely doesn't suggest anything negative will happen to the cassette-bots.

[phoenixkaptain]

Really all three of the Sonic movies are a masterclass in making films geared towards fans while still creating new stories, but Sonic 3 especially because like. They listened! The fans said “we don’t like all these human parts” and the movie went “alright” and there are almost no scenes starring solely the human characters. Even in scenes prominently featuring them, Sonic and friends either show up (making the scene no longer solely focused on humans) or they’re focused in some way on what Sonic’s doing. Like damn man, they really… Listened? And accepted the criticism they received?? And improved??? And they even technically made the wedding subplot in 2 relevent to the plot????

I really liked the movie! Part of that is my fondness for Shadow, who I will never ever get over being the saddest little ultimate lifeform in the whole world. And movie Shadow really ticks all the boxes, I mean- the way he talks so stiltedly? The way he skates? The way he teleports? The fact that he doesn’t even initiate the majority of fights? The fluffiest little ultimate lifeform in ever, truly, 2024/10 for the year of Shadow-

I like this Shadow. The opening scene of him escaping is just beautiful. Him being all drenched filled me with an urge to blowdry him so he could puff up like a lil angry cat. He’s so legitimately awkward and confused watching the Eggmans that I watched his expression more than what either Robotnik was doing. He looks so confused! He’s over there like “somehow, the human has grown weirder with age… and here I thought humans were supposed to grow wiser…”

Also Maria’s face when Shadow gets sad because the movie they’re watching is called “Alien Freak” or whatever??? Beautiful, amazing, outstanding, give this lady an Oscar.

Sonic’s relationship with Shadow throughout the movie is so fun to watch progress. He just canNOT stand this guy!!! This new hedgehog who has definitely been around longer than him!!! Let Sonic be angy, it is so cute.

Tails and Knuckles are also very cute, though they feel a lot more sidelined. Which, I mean, literally every single character aside from Sonic, Shadow, and Robotnik have no character arc. And that’s fine! That’s good, even! Side characters don’t need to be focused on so intently! It only feels strange because Sonic 2 was so different in where it focused, but it isn’t a bad thing! Do I wish there was more Tails? Always. Do I think Knuckles was great just because he could have punched through the barrier really at any moment? Absolutely. I think the characters fit their roles in the movie very well.

All in all, I like Shadow. He is the saddest little ultimate hedgehog lifeform in the history of ever. He isn’t even all that angry for most of the movie. He’s just sad and lost and hopeless and it’s very depressing! Guy really tried to taunt his way into being killed, and I just think him trying to irritate Sonic into committing murder is funny, especially since it very nearly worked. Also, the scenes of Shadow jumpscaring everyone makes me assume that he has been jumpscaring people for years, which causes me to imagine that there were many occasions of GUN agents finding a Shadow where there was not a Shadow five seconds before. When did he get into the cupboard? How long has he been standing behind that door? Can we put a bell on the hedgehog, please, this is getting out of hand!

In my imagined future Shadow series where Shadow becomes friends with Sonic and pals, Maddie makes him wear a little bell so he stops giving everyone heart attacks. He still manages to give everyone heart attacks. I like to think they will occasionally wake up to find him standing at the foot of the bed ominously. Shadow is a eldritch cat monster, I’m pretty sure that was made canon-

Anyway. TLDR: 10/10 movie. The creators listened to the criticism they received on the second movie and made changes. Shadow was perfect. Sonic being taken off guard by Shadow will never not be funny, nor will their banter grow old. The dog has subtitles and I can only assume it’s because Knuckles and only Knuckles can understand him. Stone’s love was reciprocated in the very end. And yeah, I’m with the menacing hedgehog, Gabriella should have just killed Juan and Pablo both and been done with it.

[angelinthefire]

Whenever I read or see someone talking about something they think is missing from Arcane plot- or character development-wise, my reaction is always, why? Does it make the story better or does it just make it fit a template better? Does it enhance what's being done with the characters or does it change what's being done with them? Is it relevant to the main arcs and themes?

Like with Sevika, understandably people wanted to see more of her in the latter half of the show. But her presence in the story has always been limited by the extent that it's relevant to Vi or Jinx. The real opportunity to have her have a significant scene again would have been in planning to join the battle with Jinx. And we know that Jinx and Ekko's preparations were cut. Having a little bit that shows Jinx and Ekko how Sevika and Scar have taken charge of things in their absence would have been nice (which is ultimately communicated by the fact that Sevika functions as leader with Scar at Jayce's meeting). But I have the sense that one more scene isn't what most people mean when they say they wanted more for Sevika, they want an on-screen arc. But again, we just don't see what Sevika is up to when it's not relevant to the sisters anyways, so I don't think that was ever in the cards. And imo, the fact that action continues off-screen when it's not part of the main story is actually one of the things that makes Arcane feel like full, rich world.

Or the fact that Vi and Cait made up so quickly. I think changing the way that went down would have significantly altered how the relationship functions as part of their respective character developments.

In act 1, Caitlyn has a very clear moral compass, which she loses after her mother is killed and Piltover is attacked and Ambessa encourages her to focus on revenge. Even though Cait expresses doubts, she keeps going along with Ambessa anyways. It's Vi's return that brings that clarity back to her.

The whole of act 2 Cait has been conceptualizing people from the undercity as monsters, etc. Warwick is the ultimate embodiment of that. And then Vi says, that’s my father and he's worth saving. It's about Cait choosing empathy, but she needed Vi to appear to present that choice to her.

And for Vi to be able to do that, she had to go off on her own and learn that people *can* change, that healing *is* possible, something that she had entirely given up on. She’s in an entirely different place emotionally and mentally than where she was when Cait left her, it doesn't make sense for them to pick up where they left off.

And then Caitlyn lets Jinx go free, basically for Vi.

Their relationship is a catalyst for their individual character development, rather than a story on its own. It's for showing what they want out of life, and who they want to be. And it functions very well for that purpose.

Anyways, every time I see someone say such-and-such was cut and it was bad, I always want to go off about it, and now I have a little bit.

[owldalek]

Creature Commandos Ep. 3 SPOILERS

A lot of the discourse I’ve seen about Cheers For the Tin Man has been akin to “he really couldn’t move on from the war,” “the world moved on but he didn’t” and I think that kind of misses the point of the episode. James Gunn, from the very first episode, has been critiquing American politics, morality, and military. I mean he laid out explicitly that America does not care about Pokolestan they just want the oil the country hasn’t used. So I think it’s wrong to say that GI Robot is a sad character because he couldn’t move on. I think this exists to show how bizarre and hypocritical it is that we’ve normalized Nazis and Nazi ideology in America.

Throughout the series GI Robot says explicitly that he is programmed to kill Nazis and their allies. However, we rarely see others refer to it that way. In the 60’s it’s said GI killed over 1,000 “enemies.” In his trial it says he willfully killed a group of “human beings.” It de-contextualizes the people he has killed because ultimately it never mattered to the United States Government that the people he was killing were Nazis.

GI Robot was programmed to kill an ideology regardless of who participates in it. This episode is meant to show that America is okay with Nazis when we are the Nazis. But, it also shows how easily it slips past the average person. GI Robot is programmed to kill Nazis and he does this by recognizing the swastika because ultimately he can’t understand Nazi ideology outside of that symbol. This is why many of us first assumed Sam would have Nazi memorabilia in his collection and get killed by mistake before we assumed he’d be a Neo-Nazi. This reflects the modern American public. We don’t recognize Nazis outside of the swastika. That’s why James Gunn made the decision to show the Neo-Nazis with modern symbols or no symbols at all. Because Nazis aren’t just going to advertise themselves to us. We have to know the clues. GI Robot doesn’t pick up on the 88/SS symbol on the guys neck. He doesn’t notice the White Power tattoo. Heck, Sam probably was talking about Nazi ideology with him, but he never would have guessed. It’s a warning that we’ve mythologized the Nazis to the point where we can’t or won’t comprehend that that kind of thinking still exists now and more so that our government would defend it.

It’s not that GI Robot couldn’t move on from the war it’s that Nazism is something the US protects until it’s inconvenient to us.

[monkey-overalls]

Project: Eden’s Garden Daily Life Thoughts

Okay, I just finished the Daily Life walkthrough—here are my thoughts so far:

Eva. Eva Freaking Tsunaka. I did not expect her to go from a character I’d basically forgotten about since the prologue to my current favorite. She’s literally everything—it’s hard to put into words how much I love her in all her geeky glory. The fact that her “Ultimate Liar” talent was, in itself, a lie was something I somehow didn’t see coming, but her real talent is definitely more intriguing. Thanks to the let’s-player only choosing her FTEs, we get to know so much about her backstory and how unfairly she was treated by her school, teammates, and the UTP. Of course, some—or even all—of that could also be a lie, but for now I choose to believe she only lied initially to protect herself. Besides, she really doesn’t have much to gain from continuously venting about her past to Damon. I’m pulling a Kaito and believing in her simply because I can!!!

Kai. You bet I’m already attaching myself to the pink-haired, crybaby sidekick. I have a type, and my type is incredibly obvious to literally anyone who’s spent at least five minutes on my blog. He’s obnoxious, whiny, and I can’t help but want to give him a fidget cube and cradle him in a weighted blanket. He’s sopping wet and perfect. I also already shipped him and Damon from the start and boy do I feel vindicated!

Wolfgang. I know he’s the fan-favorite, and it’s easy to see why, but I can’t bring myself to like him all that much because the dude is just so unbelievably shady. Before chapter one, I thought there was a good chance he could be the first victim, especially when he’s so clearly set up as Damon’s narrative foil, but after a while my suspicions turned to Eva (no matter how sick that made me feel). Sorry Wolfgang fans, I actually breathed a sigh of relief when he was revealed to be dead because I was so certain it would be Eva. Hopefully this isn’t me seriously jinxing myself and she turns out to be the killer or something. Also damn his death artwork is brutal.

Uhhh lightning round… Ingrid is so sweet; Applejack is one of my highest kins so you know I’m keeping my eye on this hard-working Southern belle. Toshiko is adorable and her secret made me laugh out loud, though I immediately felt guilty about it. Grace continues to be loud and antagonistic, you go queen. Jett has done nothing of note so far but he’s still at the top of my list for his unmatched Scooby Doo goofiness alone. Diana inviting Eva to be her roommate makes her an automatic winner in my book (and I lowkey ship them) but her questioning of Damon makes me a tad suspicious. My thoughts about Jean can basically be summed up in that one meme that goes something like “I’m gonna be honest, I’m only focusing on your titties right now.” Cassidy’s cool, and I’m almost certain her blackmail picture was a reference to the Jerma onion ring clip. Eloise, Mark, Desmond, Wenona, and Ulysses… exist. Sorry, I don’t have much to say about any of them.

TDLR; Eva Tsunaka lovers unite, Kai sucks but in a lovable way, and RIP Wolfgang I guess lmao

[thesugarchanotaku]

Let's talk about Octavia

With the newest helluvaboss episode out and season two cming to an end there was a lot of discussion about Octavio even before the epsiode dropped. That's why i decided to look at her a little more in depth. Spoiler ahead (duh)

My realtionship with Octavia is kinda rookie. I love this asexual queen as much as her dad but find myself a little annoyed at her behaviour sometimes. Let's recap what we know about her.

Octavia is a royal teen, deeply loved by her father, troubled by the divorce of her parents and 17 years old. But if we look past the more obvious characteristics there is a lot going on in subtext.

Octavia is oblivious: Octavia grew up quite sheltered and as much as it is understanable (since they tried to assissinate stolas at loo loo land) that she is well protected the problem is that she has little to no clue about the outside world. Much like her father in the recent episode she is seen being scared of the world in seeing stars. She is THAT unaware that she was walking around without a disguise in broad daylight.

Octavia loves her father: So you might ask where the problem is for that point. She sees Stolas as JUST her father. She fails to see Stolas as a person with needs, wants, dreams and wishes. We have to point out that Octavia is never seen with any other people despite her parents (not counting loona in seeing stars). So it's save To assume that she is quite isolated and ultimately fixated to on her parents.

Octavia lacks comparission: As we grow up we compare. We always do. It helps us to decern right from wrong. The outside world helps us contextualize. Octavia probably never had that. Growing up with mostly her parents she has no other love relationships to look at and compare. Therefore she might not see Stella as an evil person like we do. For us the audiance it is hard to understand why she always puts her mother next to her while talking to Stolas and about the broken "family". But forOctavia Stella is an integral part of her life. (As a mother should be) She has no chance to see the behaviour of her mother as toxic and harmful, because that is how her mother ALWAYS was. Its the only thing Via knows. She cant understand why her father was "fine" with the antics of her mother until a certain point and "suddenly" isnt anymore.

Octavia is a child: That point kinda put me at odds a long time. My parents divorced when i was 12 and I could understand the situation better than her. Octavia is nearly an adult. Most children her age don't want to be that close to their parents, they want to be free, start their own live. Octavia doesn't. She clings to memories, to promises her father made to her and she just feel so so SO young. She tries to be that edgy teen but she feels way more like a child. Which isnt exactly bad but plays a huge part in her character.

Octavia and Stolas

The relationship of father and daugther hit a fallout and it was important that it happened because both characters need to GROW up.

While Stolas never had the chance to grow into his very own charcater due to the fact that his life was planned out for him, he tried to shelter Via from the same fate by protecting her and sacrificing for her. He did basically the other extreme of what he experienced.

Stolas slowly grows into himself, making decisions for himself and realizes that while having the freedom to make decisions for yourself is great, the consequences are yours to bear too. And he just realized how overwhelming these consequences can be in the recent epsiode.

Via on the other hand still needs to grow up. The fallout with her father is over due because stolas isnt JUST her father. She tries to remind him of his role on every step he takes further to himself - his true self.

Octavia needs to finally learn about the world, how healthy relationships look like, and what her father truly did for her. Right now she is angry and dissapointed and from her perspective she has every right to be but she lacks the understanding for her own father. It shows how little she truly knows about the relationship of her parents. She need to question why her father took pills rather than judging him for it. She needs to ask why her mother is so degrading towards him rather than accepting it as a given. She needs to see the true intentions of her uncle and mother rather than overlooking it.

and there clearly is hope. She protected her dad, still called him dad and i belive that if both of them grow and want to mame an effort it can work out. If Via learns more about her parents and the world - if she manages to grow up both father and daughter can grow into a healthy relationship. And if it takes a bruning bridge for now, than so be it but I'm certain that they will find each other again sooner or later.

[devilith]

crazy how this unhinged rant manages to not only be objectively wrong, but also somehow queerphobic and misogynistic all at the same time. wild

mc is NOT a "total pushover" there are many many cases where you get to directly call out the brothers bullshit to their faces. the characters DO apologize for shit, just not at every single opportunity for every single slight up to your personal expectations. its almost like they are flawed characters. its almost like theyre DEMONS. its almost like them not being wholesome, pure, untrained, and virtuous is literally the entire fucking point

obey me has never been "aimed at women" and the players pronouns have ALWAYS been they/them in the game from day fucking one. no idea why youre lying about "getting to change mcs pronouns later on" because that has literally never been a thing, not ever. the people who made the game have explicitly said that they made the decision to have a genderless protagonist early on in development and that inclusivity was their main goal. the only reason obey me gets classified as an otome game is because the love interests are all men. the player is not not supposed to be a woman and the game has been intentionally, deliberately aimed at men, enbies, and queer people in general since before it even came out. shut the fuck up about this "ultimate female fantasy" about men groveling because youre talking out of your ass. thats some radfem terf shit and you have no fucking idea what youre talking about

"ooohhhh the world is full of nasty evil male cruelty, and the pure angelic afab girls are desperate to have their suffering eased by anime characters prostrating themselves" this is actually so hilariously bad i dont even know where to start. shut the entire fuck up forever

women are not pure, wholesome, simpering angels and men are not ontologically evil monsters. shove your disgusting bioessentialist and genderessentialist radfem terf shit up your ass. afab ≠ women, and dont fucking erase and speak over obey mes VAST audience of men, trans folk, enbies, queers, etc

the obey me characters HAVE growth and development, youre just too fucking stupid to read the words that the game puts in front of your face

the reason why "theyre demons" is an irrefutable argument that you cant counter is because THEY ARE LITERALLY FUCKING DEMONS and their flawed negative character aspects ARE THE ENTIRE FUCKING POINT. you cant just disregard the fact that theyre demons as if thats just a piece of bad writing, ITS LITERALLY THE ENTIRE POINT OF THE FUCKING GAME. theyre SUPPOSED to shitty, bad people. if that doesnt please your delicate sensibilities then play a different game

"oh, those poor stupid afab women are too corrupted by the fictional anime demons. obviously theyre just coping because they dont know whats good for them and theyre too dumb to understand the themes of an anime mobile game. those helpless, incapable girls need me to be their divine savior and tell them whats actually good for them, otherwise theyd never even know what they REALLY want. they need me, a misogynistic radfem, to utterly police their every thought for their own good"

you should be fucking ashamed and embarrassed

stop writing fucking call out posts for fictional anime characters as if theyre real fucking people causing harm in the real world. this is the most egotistical, performative bullshit just for you to play moral police over how random strangers play a god damn mobile game. you are a fucking joke

I think why we all feel unsatisfied with Obey Me is honestly just the lack of accountability or closure on ANY conflict. The characters are never really held responsible for any of the shit they do to MC, MC is a total pushover who endlessly forgives them, and we never, NEVER get a single apology.

It doesn't matter how suave or romantic they make any of the boys: the most vital requirement of any romance aimed at women (because OM was originally written for a female protag even if they let you change pronouns later) is The Grovel. The ultimate female fantasy is accountability.

In a world awash with male cruelty in our daily lives, what so many AFAB players ache for in romance media is just an apology, an honest to god admittance of "I hurt you. I'm sorry."

The most beautiful phrasing of the Grovel Trope I've ever seen is this post:

--and it's the mark that Obey Me just fails to hit over and over. Real growth means accountability and there is none.

What I see behind every "well thEy're dEmoNs" and "if they were NiCE wouldn't it be boRiNG?!?" is a lot of AFAB people learning to cope with never getting the real satisfaction they crave.

[gachagon]

Who had Eva's Blackmail?

Spoilers for Project: Eden's Garden chapter 1

During the first chapter, we're introduced to the Motive for the characters to begin the killing game, which are these envelopes that contain a photo and a message on the back that reveals their "worst" secret. Damon had Wolfgang's, Wolfgang had Jeans, Kai had Cassidy's, Eloise had Grace's, and Eva had Desmond's.

During the class trial, they tried repeatedly to bring up the motives but nobody ever revealed who had who's motive, or what that motive was aside from Wolfgang's. So that begs the question, who had Eva's blackmail? The person she ended up killing didn't have her blackmail, and as far as Damon is aware she was never actually approached by anyone who handed her an envelope. Meaning someone had Eva's blackmail, but then didn't give it to her.

The reason I think it's important to wonder who had Eva's blackmail is because I believe that her "secret" was something that we haven't heard before. Tozu said that all of the secrets were things that everyone had already unknowingly admitted to, and Eva's "biggest" secret (That being that she's not the Ultimate Liar, but really the Ultimate Mathlete) had been revealed to everyone all at once. This would make her envelope being the same information that everyone already knows kind of useless. (That, and Tozu wouldn't put her secret on the school tablet where everyone could just access the information, because it's supposed to be personal blackmail, if everyone can just know in an instant, it's worthless as a motive)

So Eva's secret has to be something that we don't know right now. I don't believe that Eva's secret was that she "Used to eat in the bathroom stalls" either, like some people have proposed. Because Eva told Damon that after the Motives were introduced, not before. Meaning, her secret could only be something from before the motives were introduced, which means it's something we don't know about yet.

If Eva's secret was something that was really just "lame" or embarrassing, I feel like the person who had her envelope would've followed what Wolfgang asked of everyone, which was to just give her her Blackmail. Unless, her secret was something that was really, REALLY bad. In which case, they either held onto it or showed it to Wolfgang.

The reason I think whoever had Eva's blackmail probably showed it to Wolfgang is because Wolfgang made a declaration to Desmond when they discovered that nobody's doors had locks on them. He said to Desmond to just bring any clues or suspicious things to him first next time instead of bothering everyone, and so if the person who received Eva's blackmail was really worried about it and didn't want to confront her about it, I could see them either holding onto it and keeping it a secret, or just showing Wolfgang for peace of mind.

I guess the only reason I'm so fixated on what Eva's secret was is because it could reveal more about her potential motivations. I always thought, much like Wenona pointed out, that her killing Wolfgang and framing Diana over something so frivolous as her own insecurity about her talent is a little stupid. So i just feel there has to be more to it than just that, you know? I also still think Wolfgang's actions during the whole note exchange thing are a bit suspicious in and of itself.

[elainsgirl]

I knew I wanted elain and azriel the moment he gave her truthteller. so despite all the theories and stuff, im sticking with this ship until the next book. people can call me delusional but im just going off on what I read and feel.

Hey anon 🫶

That scene was quite monumental, wasn’t it?

Azriel giving Elain his TT, a dagger he has lent to no one else. Elain choosing to accept it and its with this dagger that always strikes true, Elain stepped out of the shadows and stabbed the king ultimately saving her sister, her sisters mate and turning the tide of the war in their favour. Sweet little Elain, who would have thought?

It was one of the scenes where everything stops and you’re just focused on whats happening, really locked in. This scene made me see where Elriel was going and exactly what Mass was imagining. Especially when you now think about Hofas and the prison plot -> the TT scene is symbolic of the future Elain and Azriel will accomplish together. And I’m not even sorry to break it to the antis but no author would ever put in such a huge significant, may I add Romantically inclined scene, between two characters who aren’t endgame. By this point - she had an idea for the spin-offs AND the fact Az giving TT to Elain specifically was brought up in acofas - the bridge between the og series and new books as well as THE book that sets up the main foreshadowing for the future novelS, says a lot.

That scene should’ve been written for Az and his final Li to make it so impactful, if his Li was Gwyn - Mass would have written the scene between them. But she didn’t. Why?

🗣️ ELRIEL IS ENDGAME 🗣️

I cannot believe this fandom has gotten so misguided that people call others delusional for literally reading the books instead of jumping onto whatever is the most popular ship. You are no where near delusional for picking up the clues the author intentionally wrote. Its there for a reason and its not to fill up a word count.

[artist-issues]

I'm tired of being disappointed. By far the best part of the movie was the what-could-have-been in the soundtrack. Mufasa had seeds of being good but it suffered from a lack of focus and terrible visual language, so it was ultimately unsatisfying. 

I think it's actually worse when you can see the threads and interesting seeds of a good story just wasted and abandoned under a pile of Bad Storytelling. 

Lack of Focus:

The movie was trying to say something about Bravery, and Bloodlines, and Vengeance, and Going Against the Status Quo, and Self-Reflection, and Loyalty, and Family, and Relying on One Another Instead of Just Yourself, and Belief in Yourself, and even Vague Spirituality, all at once. So it wound up giving the movie-equivalent of two or three disjointed sentences about each topic, and never actually made a clear point about any of them. 

For example, Mufasa is afraid of water. Rafiki says that this is because Mufasa is afraid of his own reflection, even though the audience would have been assuming that it was because Mufasa almost drowned as a cub. Then in the climax, Mufasa and Kiros are battling underwater and Mufasa remembers his foster-mother telling him to close his eyes and use his other senses to hunt. So he does, and he realizes I guess through the currents, that a big rock is falling toward them, and pushes Kiros into it.

What does that tell us? That Mufasa was taught to hunt like a lioness, so he can use those skills when he needs to. Which he's already been doing with no hesitation for the whole movie. Just because he's in water during the final battle, doesn't mean that's a satisfying conclusion to what they were doing with water, as a symbol for his character.

IF Mufasa had been embarrassed about his lioness-observational-skills, thinking it made him less of a lion, or weird, and therefore rarely used those skills because he was always trying to be more like Taka or the other males—conserving energy, not being mindful of what's around him—THEN finally embraced his weird skills at the end, while in water fighting—that would be something thematic. 

You would be able to say, "he's learned not to be afraid of where his skill-set is, as a leader, ergo: he's learned 'not to be afraid of his reflection/the water.'"

But that's not what happened. Because they didn't devote time to developing what, exactly, Mufasa is afraid of seeing in himself, or WHY he's afraid. Because everything he does succeeds. He wins his first race, wins his first fight, wins the favor of his adoptive father, survives diving into water even though he's afraid of it, wins at saving sarabi and then wins her affections even when he's actively trying not to—there's no reason for him to be trying not to. Not any that tie back into "Mufasa is afraid of himself." There's no reason ever shown for this weird halfhearted insecurity he sometimes has, and has to overcome.

So then it's not compelling. And that sort of thing is sprinkled all over the movie.

They keep mentioning "Milele," which means "forever" in Swahili, but that whole concept is alternately described as a "dream," or "a place you feel inside of you," but basically it's also a physical location that becomes the Pridelands. And nobody ever clarifies what exactly Milele is. It's treated like a fantasy concept or a spiritual vision or a physical utopia whenever the film needs it to be those things. But if it's never clearly defined, it's not compelling, which sucks when Milele is what the characters are "searching for." Another example of starting a concept and then never following it through to a satisfying conclusion.

They have seeds of Mufasa being the only lion to ask for help and be willing to cooperate with other animals besides lions—but they are few and far-between. He doesn't ask Rafiki for help; Rafiki sort of convinces him not to eat him. And asking animals for help like he does with the elephants or the Pridelands animals isn't unique to him; the first to do it is Sarabi, who willingly accepts and relies on Zazu despite others' scorn—and MUFASA is one of the ones who is scornful, initially! So they plant seeds for the big climax where he's the only voice that can unite animals across species by the climax, but they're don't water or tend to or help those seeds to grow. So the climax feels a little out of nowhere and less compelling.

If they had just focused on one of these things, it would've been tighter and more emotionally impactful.

Except NO, it wouldn't have been. Because you will have a hard time connecting, emotionally, to photorealistic-CGI lions even if the story's focus was tight.

Bad Animation and Filming

Lions in real life move with too much weightiness and heavy-animal-breathing for you to commit to that weight 100% of the time AND have good character acting. You can only really commit wholeheartedly to one or the other.

So you can tell in this movie the eyes are bigger and more expressive than in the first CGI Lion King. But that doesn't save it. It doesn't cut it. 

When Taka is giving Sarabi his last longing look, he just looks like a vaguely displeased large animal. There's no human heartbreak in his expression. 

When Mufasa is singing a fast line about not knowing how to respond to Sarabi, he should be swinging his head back and forth, like he's looking around for something in desperation—because that's what the song sounds like—and his walking, if he's walking, should be fast. A cross between running from something and searching for something. Because that's what's happening in the emotion of the song.

But lions don't move that fast, because they're heavy. And when they're looking around for something, they do it with their noses and long head-turns in sweeping motions. No fast eyes-darting-around. Certainly no human conflict of desire in their faces. So photorealistic Mufasa can't do any of those things. Which sucks, because the actions of the characters and the action in the scene should match the emotions they're feeling, and the emotion the audience is supposed to be feeling. But it can't, so everything is flat and boring. 

And even if you could connect to photorealistically emotional lions—you might, we connect with our pets emotionally all the time—you wouldn't get the chance because the film avoids their faces every time something emotionally interesting is happening. 

For example: my favorite part of the song "I Always Wanted a Brother" is when the beat appears to hard-drive, and it feels like a "stop everything" moment, to match Taka's outrage that someone is dissing his brother. And he goes, "what did you say 'bout my brother? That's not a stray, that's my brother! You stay away from my brother 'cuz I say so."

That whole moment, I'm envisioning Taka getting all up in another animal's face, maybe taking a swipe at it, throwing his little weight around and puffing his chest, fearsome-face. The song FEELS like that's what's happening; like he's going on and on,  exploding with insistence and protectiveness.

Something similar to the "stop everything-angry" vibe of this:

But in the movie, is it a close-up shot of Taka invading another animal's space? Does the camera follow him from behind in a slow zoom, and then when he says, "what did you say bout my brother?" He spins and looks directly into the camera (in the direction of the animal he's talking to) and the camera stops while Taka charges closer? Do we get to see his angry face at all?

No.

The camera does this stupid boring thing where we, the audience, are in the branches of a tree (where the animal Taka is addressing is safely out of reach) and it pans slowly along, unfocused, like we're casually passing this interaction by. Taka's face is far away on the distant ground and you can't really see it's expression, his body language isn't doing anything interesting (he's just standing there for the whole part of the song) and at one point because of the panning, the tree the camera is in has a branch that actually hides Taka completely from view during the song.

We don't even get to see the animal he's talking to react. All we see is the back of its head.

They do this over and over in the movie. When Rafiki is finally running to meet his long lost brother, we get the back of his body, one quick snapshot of the underside of his face, and then it's flyover drone-style shots. When Sarabi and Mufasa decide to love each other, it's a close-up on the backs of their chins; no eyes, no mouths, no head-body-language. When Sarabi and Mufasa are singing a very back-and-forth interactive duet to one another, the camera is, again, far-off and distant for most of the song, rotating slowly around a landscape that they're lion-lumbering through. Boring. Distant. Wasteful.

Sometimes the movie tries to match the emotional pace in the way it's shot. When Kiros is readying a killing blow and Taka has moments to decide if he's going to save his brother, that scene cuts well between the raised paw and Taka and Mufasa's faces—for example. But those are the most basic ways to shoot those scenes, and scenes like them are few and far-between.

What it needed was one overarching idea to connect the character threads, and give them time to unspool. And then it really, desperately needed to be animated traditionally so that the lions could emote like humans.

So! I'll probably be writing a series of posts exploring what could've been to correct the fumble. Because I did enjoy the concepts in Mufasa.

[seysei]

Thoughts on the ending of Servamp (Containing Spoilers)

Okay. So.

I had decided to wait until the final chapter of Servamp was released before forming a final opinion on the ending. Now that it’s finally been released, I’ve taken some time to process it on my own, without knowing how others feel about it, so I could give my genuine and honest take on it.

I... unfortunately found the ending to be somewhat disappointing.

The main issue lies in the final two chapters, which felt so rushed that they failed to leave much of an impact on me– I didn’t really feel the shock, excitement, or joy that the events should (and could) have delivered.

And i don’t mean this in any condescending way– I genuinely loved Servamp, which is why the ending feels so... upsetting. It had so much potential– if only the events had been stretched out over a few more chapters.

With that being said, there were some decisions I personally wasn’t a fan of. They felt a bit forced, a little cliché, maybe? you name it.

Tsurugi’s sudden return and immediate confrontation with Mikuni felt rushed and, honestly, a bit awkward. Like. Tsurugi’s return makes sense within the context of the story, especially with the recurring theme of “calling out someone’s name” as a way to reach them. However, the way it was executed felt far too easy, almost undermining the emotional weight of it.

And while his return aligns well with the story’s themes, his confrontation with Mikuni feels misplaced. I personally believe that it would’ve made more sense for him to confront Mahiru instead, serving as a narrative challenge for Mahiru to come to terms with his death (which I’ll get into later).

This is not to say that tsurugi has no relevance in the themes surrounding Mikuni's arc– if you can even call it that. The theme of blood versus chosen family could have been explored just as effectively through someone else’s confrontation with Mikuni, someone Mikuni isn't just pissed off with, allowing for a more personal moment where Mikuni could genuinely listen and come to terms with the issue, rather than being forced to accept it, which ultimately leaves him without true resolution or peace.

And like, hasn’t this been the go-to for confrontations in Servamp? Pride, gluttony, greed, wrath. Each one leading to emotional growth, where the characters develop through understanding and acceptance. It feels unfair that the envy pair’s confrontation was cut short and kind of sidelined when they’ve played such a key role in the development of the story.

And by now, you’ve probably already guessed who I would’ve preferred to confront Mikuni.

Though honestly, this isn’t just about personal preference– it’s about what felt natural for the narrative. Jeje just seemed like the more fitting choice to confront Mikuni, considering how their relationship had been built up throughout the story, and moments scattered throughout Gluttony’s arc, as well as Chapter 125, seemed to build toward a much needed confrontation between the two.

A moment between them could have given Mikuni the chance to face his pain and begin finding peace– not by pushing him toward a resolution, but by allowing him to feel properly understood. Seen, rather than judged.

Jeje has been shown, more than anyone, to genuinely understand Mikuni, at least in the ways Mikuni can be understood, and does so without judgment. What I mean is that Jeje’s approach has always been one of quiet understanding and restraint, never forcing Mikuni into a box or an easy solution, unlike others. It’s not about fixing him or forcing him to change, but about giving him the space to confront his struggles and, hopefully, begin to heal.

Like, come on, wouldn't it have been perfect for the man with god complex to be confronted by the ex-priest? (T▽T)

With the way Chapter 148 went, though, it feels like all the buildup was brushed aside to quickly wrap everything up.

There’s this moment between them in the final chapter…

And it’s kind of like... aftercare, without the sex. lol. like. huh? okay? Jeje was so sidelined through the whole confrontation that this feels... almost empty, really.

I can’t help but feel like it would have meant so much more if Jeje had been the one to confront Mikuni. Not to change him or force some convenient, happy ending for himself, but to offer him the comfort he so clearly needs.

In the end, this moment could have led to Mikuni realizing that he’s better off without his family– a realization that makes so much sense given everything he’s been through. For countless reasons, Mikuni’s connection to his blood family has been toxic, and that’s why I was genuinely shocked when the decision was made for him to return. It felt forced and, frankly, out of place. There had just been a whole discussion about how blood family isn’t everything. Sure, it doesn’t mean everyone has to cut ties, but in Mikuni’s case? Shouldn’t that have been the turning point?

I wasn’t expecting Tanaka to have him go back to that house after what felt like a half-hearted acceptance, if you can even call it that, of everything Mikuni endured with them. It didn’t feel like true growth for Mikuni. It felt like a step back.

No matter how I look at it, in the final chapter, Mikuni doesn’t seem genuinely happy– certainly not in the same way Misono does, who essentially got the fairytale ending he always dreamed of.

Sure, forgiveness and second chances are important themes, but wouldn’t it have been a powerful and unique choice to have Mikuni walk away instead? Not everyone has to forgive, and not everyone has to be forgiven. I get that it's a tough choice to make, especially with the limited time they had, and that ending in particular being (as far as im aware) unpopular amongst the fans. That’s why I think Servamp could have used a few more chapters.

Honestly, the simplest way to put it is that the last two chapters felt a little inconsistent– not just with each other, but also with the chapters that came before them.

Mahiru’s role in these final chapters is another example of those inconsistencies. I hate to say it, but my guy didn’t really do anything– other than preach something he went on to contradict. I understand that Servamp isn’t a story where progress only happens when the main character is involved, and honestly, I love that about it. But this was the final battle. Giving all the spotlight to Tsurugi, especially when he already had so much focus during C3’s arc, felt like such a missed opportunity.

Oh god, everytime I mention tsurugi it sounds like i hate him i feel so bad XD seriously though, I love him– but come on!

Sure, Mahiru wasn’t the right person to deal with Mikuni, but that’s exactly why I think it would’ve been more fitting for him to get his moment through a confrontation with Tsurugi instead. This could have been a chance for the narrative to challenge Mahiru to accept Tsurugi’s death– just like he once challenged Mikuni to accept his family’s fate.

And that brings me to something that’s felt off for a while now, even before the ending. There’s a contradiction in the narrative being pushed throughout these chapters. It had been pushing this theme of accepting people’s choices and mistakes, no matter how flawed or tragic they might be.

Yet, it contradicts this message by changing Mikuni’s decisions and actions, no? While extreme, his choices were his own, and the story had emphasized that even bad decisions deserved understanding. So why was Mikuni’s attempt to rewrite his past– however messy and full of loss– condemned, while rewriting the past to undo the mess and losses during August was apparently acceptable? It felt like the narrative was suddenly rejecting the very ideas it had been building up to, leaving the ending feeling inconsistent and unsatisfying to me.

And sure, Mahiru wasn’t the one to directly make it happen, but his willingness to do so and his suggestion alone should still count.

If the hypocrisy here had been acknowledged, it could have added depth– I’m all for flawed protagonists, after all. But instead, it feels like it's been treated as more "reasonable" or "fair" compared to Mikuni’s re-writing of the past.

And that has me like...? I'm failing to see how it's any different?

Now, take this with a pinch of salt since the official translation isn’t out yet, and I’m not entirely sure if Touma’s conversation with Mahiru addressed this contradiction. If it did, then hooray.

Because what seemed like the best way to handle it would have been either to address it and, as I've mentioned, use it to add depth, or to have Mikuni reconsider and change his own decision. Otherwise, it feels odd that the person who (genuinely) preached against changing others' choices ends up doing it himself for his own convenience, and it's completely accepted, although the antagonist had just been condemned for it.

wwwww... am I being too harsh about it? XD

While this is a critique of the ending, I want to make it clear again that it’s not meant to be disrespectful towards Tanaka-sensei. It comes from a place of appreciation and investment in the story. It’s because I care so much about these characters and themes that I feel compelled to share my thoughts on how the conclusion played out honestly. It’s easy to just call it a good ending simply because everyone is alive and seemingly happy. However, I wanted to take the time to offer a genuine, albeit somewhat critical, evaluation of the final events, because a story as great as Servamp deserves it.

To sum it up, I feel the ending was a bit rushed and didn’t quite match the usual pacing and flow of Servamp. Personally, I’m not sure this was the direction Tanaka had in mind from the start, based on certain elements in the story. But if it was, I respect their choices, even if I don't necessarily agree with all of them.

On the bright side, most of the questions about the Count were answered, and the whole idea of him being an 'entity born from people's emotions' really suits his character.

There are other things worth mentioning, such as the truth about Mikuni's " My fair lady" ability.

In the final chapter, it is revealed that Mikuni's ability isn’t just about the act of murder itself– it’s also about the guilt that comes with it. It’s about the weight on your heart, whether you actually committed the crime or not yourself.

The guilt you feel for it, the emotional burden, replaces the weight of the act itself, and becomes what kills you.

This matches the method of hanging used in the ability, which often symbolizes suicide– because it’s like you’re killing yourself, consumed by the weight of your own guilt.

And this... ties back to a central figure in Mikuni’s life, his mother, Kiriko, whose guilt consumed her and drove her to commit suicide.

So yeah.

The writing there is fire.

I'll have to see if I change my mind regarding certain things when the translation comes out.