#vera ramblings !!

[lesbokyoko]

i think about her often. ohg the nose, her little bloody knees. fucking borzoi looking ass

[cha1cedony]

Being both aroace and a huge nerd, it irks me a little that 99% of the asexual and/or aroace headcanons I see (and not aroallo headcanons interestingly, which could be its own post but I digress) are about characters who spend all their time working/studying/etc…. scientists, academics, introverts, shut-ins, even. I assume the common reasoning is that these characters only care about their work and don’t have time for things like relationships and sex. But like. You know that’s not what asexuality is… right 😀

Obviously it’s fine to headcanon these types of characters as ace, but I just always wonder about allo fans’ reasoning for it and what it implies about their opinions of asexual people. When the ONLY characters you can think of as ace are just nerdy, quiet/socially awkward characters with no other canon implications that they’d be ace, to me it just sounds like you think people are asexual because they can’t attract sexual partners? Or because they don’t have time for relationships??

Anyway it just annoys me a little that this is the VAST majority of the ace representation I see, both in canon and fandom. I’m an aroace academic, but I’m not aroace because I don’t have time for people or because I’m shy or awkward or lonely or whatever. I’m aroace because I’m aroace lol

Tl;dr, asexual/aroace people aren’t all innocent nerdy introverts (and aroallos aren’t all extroverts with a long history of one night stands, btw). Let ace characters be loud and stupid. Or try headcanoning a loud and stupid character as ace (you can do it, I promise)

[aceattorneyrambles]

One of my favorite character moments (and the thing that immediately made me love him) for Apollo that I think is so intensely important to understanding him goes way back to Case 2 of Ace Attorney: Apollo Justice.

In that case, Trucy stages a “kidnapping” by using Mr. Hat to distract the court, and when Apollo rushes out into the lobby and sees her safe and sound…

He cries.

He’s so overcome with worry and relief that he cries for a girl he barely knows. A girl who, for all intents and purposes, almost cost him the badge he worked so hard to gain. A girl who focused most of the time they did know each other teasing him and not taking him seriously.

And yet, he cries for her anyway. He sobs, even.

It’s a throwaway moment, likely done for comedic effect, but it really hit me, and Trucy’s immediate earnest response telling Apollo not to cry and then him doubling down with protective rage on her behalf hit it home harder, y’know?

Apollo Justice, at his core, cares. Despite his surly attitude a lot of the time, this is nonetheless a defining trait of his. He cares, so much, and so easily, and we see it firsthand right there as he cries for a near stranger.

(And I also think it’s worth noting that the first time we really, truly see Trucy lower her performance mask and cry herself…it’s to Apollo.)

[da-shrimping-station]

loving the "A rank support frame turned S rank tank" pipeline we got in PGR with Wanshi's new frame

y'all how bad is the situation for 2 of your best medics to swap frames and be at the frontline

Checklist:

✅ hot af

✅ beauty marks

✅ actual certified medics

✅ long hair

✅ can and will fuck shit up when serious

✅ tragic backstory (i mean, who in PGR doesn't)

✅ black + white + accent color

✅ maximum rizz and is pretty straightforward with their intentions towards Shikikan

[turtlelioni]

Krisnix has the potential to be so deliciously fucked up hear me out

We always talk about Kristoph's influence on Phoenix, how it drove him to be this secretive, conniving sleazebag that we see in AA4, how Phoenix had to bear this man watching his every move for seven years and put up the friendship front at least every day every week. Can we talk about how resilient that is of him I couldn't stand to suffer that in silence with all my loved ones away from me. And to pretend you're that bitch's friend without bitching about it to anyone later? self inflicted torture.

but also

Phoenix, for however long he suspected Kristoph of ruining his career, never suspected him as capable of murder. And I don't believe that he was capable, not of the hands-on kind that he commited with Zak, but Kristoph was driven to the edges of his sanity with Phoenix as well. We know that he attempted to poison Drew and Vera Misham almost at the same time he got Phoenix disbarred, and while it was vile, it was all calculated. Flawless. Clean.

Which is why the way he murdered Zak is so fascinating. Kristoph Gavin, the coolest defense in the west, the gentleman attorney, hit this man with a bottle over the head. It's messy. It's desperate. It's his last shred of composure being obliterated, because during the seven years that he stalked and manipulated Phoenix, he was under his scrutiny as well.

He knew that Phoenix suspected him to some extent. Aside from the loose ends that he hoped would be resolved in time, he knew that this man had friends with inexplicable "bring back the dead" powers and that his best friend was Miles Edgeworth, whom he most likely has gone up against. He knew that Phoenix was only playing dumb with him, because whoever could best him at poker every single time could not be a complete fool.

Phoenix drove this cold, calculated killer into a barfight murderer. He brought him to the brink of desperation in trying to cover his mess and they only knew half of the shit each other were doing during those seven years.

Just the poison as symbolism for their whole relationship, man. Phoenix trusting Kristoph at first, slowly realizing what he's really done to him, him poisoning himself in return by being around him- the drinking, the dishevelled appearance, the backroom poker playing, Kristoph becoming more paranoid, more desperate, more risky.

Phoenix was aware of the fact that the man he was hanging out with had the potential to turn him and his loved ones out on the streets, but to find out that he was also a murderer? Capable of both the insidious kind and the hands-on kind? the betrayal. the anguish. just when you build a tolerance to him, he attacks you again.

I could easily see Phoenix develop an even deeper paranoia, having all of his house and belongings tested for poison after AA4.

I could see it actually being there.

[loxyli]

I've been rewatching YHS and remembered how crazy some of the earlier episodes are 😭 how are Funneh and Gold not in jail yet????

[veradragonjedi]

NEW NAME ALERT!!!!!!

Vahrona/Vahron.

[fox-guardian]

tis the season for my hands to get soso dry and ouchies

[bucked-it-up]

What if buck and Tommy have little routines they do like they watch/catch up on certain channels on set days and rarely deviate from it. They have a set day to go to the park, once a month they take their cars to be cleaned. They always eat breakfast together when they can. Without fail, they will always call each other once a shift. They fall into a cleaning routine easily, Tommy does the laundry on set days and Buck hoovers. They alternate taking the bins out. They just fall into little routines and tasks fitting together like a jigsaw.

[januaryembrs]

uk pookies please tell me why I’ve burnt my whole back and arms and face after 5 hours in the sun, reapplying cream twice and yet only burnt my forearm when I went abroad and never once had to put on extra. what the hell I am CRISPY 😭

[coconox]

UGH I'M IN LOVE...... i can't wait for all the collab cerby outfits to be out

my wallet is gonna be so broke getting vera and 21's coatings but at least nocti's is free 🥹🥹

[lesbokyoko]

eules are the type of mfs to go “yessir!! 🫡” to any order in unison and then scramble off in 30 directions

[gingermintpepper]

SO BASICALLY,

The general concept is that Hyacinthus, the (secret) sixth prince of Laconia is sent to Olympia to help out after the catastrophic earthquake that's completely paralysed the town. He gets there, he's given his land and he finds this cool statue of his Very Handsome Man on his land and would you look at that, the Very Handsome Statue is talking to him and introduced himself as Apollo, how nice-!

In short, it's something of a domestic mystery - much like in Fields of Mistria itself, the earthquake has awakened old magic in Olympia once more due to interfering with the seals far below the earth. Hyacinthus, motivated to help Apollo get his lost memories back and for the good of the town, traverses down the mines so he can break the seals and, in the process, maybe un-statue the really hot guy that's sharing this farmland with him.

Below the cut I'll put the list of the characters I assigned to the townspeople if you're interested <33

Farmer → Hyacinthus

Sent by the Adventurer’s Guild to help repair Olympia. Is the only one that can hear the voice of the Radiant from the statue on his farm. Sixth prince of Laconia, still in contact with his family, wanted to help his people after the disaster. 

Caldarus → Apollo

A God of old Olympia, used to be widely worshipped but is now sealed away deep under the earth. Has lost most of his memories along with much of his power but has recently reawakened due to a disaster which disrupted his seals. Can only communicate to Hyacinthus through the statue on his farm.  

Balor → Hermes

A prolific merchant who excels at delivering quality goods in unorthodox places. Took a special interest in Olympia after the disaster and remained the town’s sole contact to the outside world in the wake of their bridge collapsing. Always smiling and extremely mysterious - he has suspiciously low prices despite the danger of his work. 

Nora → Demeter

Head of Olympia’s Chamber of Commerce and co-owner of the General Store in town. Works closely with both Hermes and Hektor to keep the town running smoothly as well as coordinate the restoration of Olympia after the disaster. 

Holt → Triptolemus 

Co-owner of the General Store and Demeter’s life partner. Extremely reliable but a bit lost without Demeter’s instructions, he’s extremely skilled at cultivating crops and is responsible for stocking the general store with seasonal seeds and saplings. Strictly vegetarian.

Celine → Persephone

Demeter’s daughter and an avid lover of flowers. Constantly busy with the beautification of Olympia when she’s not researching the rare and mythical flora of Olympia’s past. She handles stocking the general store with seasonal flower seeds and furniture. Is in a secret relationship with Hades, one of the merchants from out of town.

Dell → Pelops

Demeter’s ward and a greatly troubled child. Rambunctious with a very vivid imagination, he has big dreams of returning to the capital and taking his rightful place as a Duke. Due to the remote nature of Olympia, it is the perfect place for him to be hidden away from his father’s madness and, luckily, no one in Olympia takes his tales seriously. Demeter worries about him endlessly.

Eiland → Cassandra

The younger child of the Baron and Baroness of Olympia, she is greatly concerned with the history and architecture of Olympia. Extremely perceptive and always on the lookout for more hints about Olympia’s buried past. Founded the History Society so she could more effectively research her current obsession, the scattered steles of a long dead god.

Adeline → Hektor

The elder child of the Baron and Baroness of Olympia, after the disaster struck he dedicated himself to restoring Olympia at all costs. He truly believes in the people and potential of this town and though he has never been particularly superstitious, he has found himself more inclined to pray and pay attention to natural omens since starting this project. He personally dedicates himself to working alongside Hyacinthus for the sake of restoring Olympia to its former glory. 

Elsie → Paris

Older relative of the Baron and a Count, he agreed to look after Hektor and Cassandra in Olympia while their parents were away. Seems to prefer Olympia’s quieter countryside but always has a story or two to tell about his exploits in the Capital. Seems especially fond of a particular man and woman he left behind in favour of coming to live with the Baron and his family.

Juniper → Penthesilea

A foreign woman who has not entirely settled into Olympia. Runs the bathhouse and gym and spends a lot of time on the Eastern Road. Is especially interested in the seals and inscriptions scattered around Olympia but staunchly refuses to join the History Society. Apparently, she is not very fond of Orpheus. 

Valen → Orpheus

The extremely skilled but extremely reserved town doctor. He has a clinic in the town centre and mostly keeps to himself, though he is especially fond of flowers and trees. Doesn’t speak much and instead prefers to write his thoughts down or communicate with sign language. Wears a wedding ring but notably, lives alone.  

Olric → Zephyrus

The older of the blacksmithing duo, a gentle man with a big heart. Part of the History Society and very enthusiastic about life, he was part of a skilled band of adventurers called the ‘Anemoi’ before eventually retiring and moving to Olympia. Spends a lot of his time on high hills and summits and can speak the language of flowers. Is good friends with Persephone.

March → Dionysus

The younger of the blacksmithing duo and undoubtedly the more skilled craftsman of the two, has been working extremely hard to help put the town to rights after the disaster and is a bit on edge because of it. Super welcoming and friendly but also somewhat unsettling due to his intensity, doesn’t actually care much about smithing and would much rather spend his days making wine casks and custom drinking cups.

Hemlock → Asclepius

Co-owner of the Sleeping Eclipse Inn and the town doctor before Orpheus moved in. He’s an anchor of the town and the inn is Olympia’s beating heart. Extremely well-read and a skilled luthier he helps wherever he can. Due to some difficulties with his health after the disaster, his family has been forcing him to take it easy. Cries every time he hears Orpheus sing.

Josephine → Epione

Co-owner of the Sleeping Eclipse Inn and the town veterinarian. She’s a powerful woman, the second tallest person in Olympia and very intimidating on first glance because of it. Despite this, she is extremely gentle-natured and always has a smile for those who enter her doors, works closely with Aristaeus to ensure the town’s internal supply of animal produce isn’t threatened, especially after the massive losses taken after the disaster. Was a ranger before she met Asclepius and still has her horse, Miel.

Reina → Iaso

Eldest child of Asclepius and Epione, was educated in the Capital but came home in a huff due to a major blowout with her boss at the hospital she worked at. Currently studying the healing power of food and cooking and works as the Sleeping Eclipse’s chef while she does her research. Is extremely concerned about her father’s health but refuses to let it show.  

Luc → Machaon

Middle child of Asclepius and Epione, he is determined to become a surgeon and surpass his father’s legend. Very smart young lad and one of the few people in town who completely believes Pelops’ stories, he loves small animals like insects and birds and often tries to nurse any small injured creature he can find back to health. Is fascinated by Pelops’ shoulder prosthetic and hopes to one day be able to make such a difference for someone else.

Maple → Hygeia

Youngest child of Asclepius and Epione, is a  twin but her sister died shortly after being born. Despite never knowing her sister, Hygeia struggles with a deep sense of loneliness and grief that has only recently started to ease with the help of the townspeople. Adores Orpheus and often spends the day shadowing him in the hopes of hearing him sing or play his lute. She is the only one Orpheus talks to about his dead wife.

Ryis → Thamyris

A carpenter who studied music in the Capital, came to Olympia shortly before the disaster at his friend’s request and was trapped after the bridge collapsed. Has a bit of a poor attitude due to once having big dreams of becoming a famous bard but is now too attached to Olympia to leave, no matter how much he grumbles about its backwater nature. Is convinced there’s something singing in the mines but is completely useless with a sword. 

Landen → Hippolytus

Owner of the Red-tailed Stag House of Carpentry (or the Stag House for short) and a very good friend of Thamyris. He gave up on urban life a long time ago and is dedicated to living in oneness and harmony with nature. Strictly vegetarian and kind of a stickler for his views being respected, he’s been on edge since the disaster since there’s been a massive change in the lands of Olympia. Most of the townspeople don’t take him seriously, but Penthesilea seems to think of him as a kindred spirit. He doesn’t work on the 6th or 16th of every month.  

Errol → Eros

Museum Curator, ex-adventurer and all around incredibly offputting guy, despite his open nature and pretty face, Eros seems to know everything about everything yet is unwilling to share that information with the rest of the town. His only delight seems to be the History Society and he is extremely pleased that Hyacinthus has decided to collect old artefacts and explore the mines. Apart from Cassandra, Eros is the only one that acknowledges the statue on Hyacinthus’ farm and occasionally passes by just to stare at it.  

Hayden → Aristaeus

Owner of Sweetwind Farm and the only other farmer in Olympia, Aristaeus has deep roots in this town and his family has lived and farmed here for generations. Skilled with animals and is extremely handy with preserving food, pressing olives into oil and keeping bees, he has almost single-handedly kept the town fed during the worst of the shortages brought on by the disaster despite the losses to his animals. Has a deep aversion to dogs and wishing stars. Seems to know a few things about Olympia’s history that no one else does but isn’t exactly eager to talk about it.

Terithia → Medea

A beautiful woman who lives alone on the beach. Has lived a long and eventful life and refers to Olympia as her ‘jail-cell’, her ‘gilded cage’ and her ‘death-house’ based on her mood. Much like Eros, she seems to know many things but is not inclined to let anyone else know, but unlike Eros, she very openly spins exciting tales of her youth when she was a court sorceress and princess. Though she doesn’t do much magic these days, she still has the knowledge and is always willing to decode some arcane knowledge for a price. 

Obviously there are a lot of liberties taken for the sake of the AU but that's the broad strokes of it. Thanks for asking about it @gotstabbedbyapen !!

[mimiso-soup]

wait, so game 5 is basically just

[onbearfeet]

Queerwolf By Night: Queercoding, Media Literacy, and Werewolf By Night (part 3)

Lovely to have you back for this, the final part of our examination of WBN being queer as fuck. If you missed the earlier presentations in Media Studies and Writing Hacks With Kat, Part 1 is here and Part 2 is here.

We've gone through the Hays Code AND the AIDS crisis so far, and that's a lot, so could I interest you in a cup of coffee brewed over a campfire?

Thanks, Ted. You're a peach.

So let's look at the final scene of WBN through a queer lens. There's a needle drop, color is restored to the world, and we see Jack waking up in the woods to drink coffee, grunt at Ted, and eventually decide that sushi should happen.

(Side note: I have a whole rant about queercoding and sushi, but I cut it, so here's a gif of Aziraphale gayly eating sushi in Good Omens, which you should watch.)

Okay, enough queer angels. Time for more queer monsters.

First things first: this scene is SO DOMESTIC, y'all. They're literally playing house in the woods, in that Ted has built Jack an adorable little house and brewed his morning coffee. The camp is littered with little domestic touches like the French press and the guitar. It's a homey, if slightly eclectic, vibe. (Where did Ted find a payphone?)

There is no explanation for these objects being there, afaik; Ted and Jack both have presumably come from some distance away, involuntarily in Ted's case, so there's no reason Ted would know the location of a well-stocked camp to put an unconscious Jack down in if Jack even set one up. Presumably the camp is Ted's work, but there's never an explanation for where he got any items other than the robe and the phonograph. (I'm particularly curious about the flower mug, personally.) Yet the objects are not remarked upon, and the entire scene is played as if this is a relatively normal morning for the two of them.

In fact, most of the mechanics of the scene are effectively those of a morning-after scene, perhaps a morning after characters fall into bed for the first time. Jack wakes up groaning, crawls out of bed to see where he is, and finds his partner has laid out something like breakfast for him and is prepared to discuss the events of the night before whenever Jack is ready.

And speaking of that discussion, we once again have displays of queercoded masculinity: Jack and Ted being physically affectionate, playful banter, and emotional vulnerability when Jack asks about Elsa. You know the drill by now. The camera pans up as "Somewhere Over The Rainbow" swells and fades out.

Wait.

Rainbow?

Let's talk about music in this film.

Michael Giacchino is primarily known as a composer of film music. WBN is his directorial debut. I guarantee you've heard his music before, because it's basically in every summer blockbuster franchise. If you can't get John Williams, Danny Elfman, or Hans Zimmer (all of whom are getting long in the tooth), you get Giacchino and he turns in a fucking SCORE.

Now, I am not a music person. Not at all. But even my musically illiterate ass knows that traditional film scoring derives a lot from classical music, especially Romantic composers like Beethoven. And that means LEITMOTIFS, baby!

(I learned about leitmotifs from Bugs Bunny and Star Wars. Do not be impressed.)

A leitmotif is a short musical phrase that can be used to signify a character, object, or theme in a larger work of music. For a very basic example of this, look up the Force theme from Star Wars and watch a supercut of all the times it was used to indicate that someone was using the Force. Or just watch this Sideways video about why the music in Rise of Skywalker was ass:

Anyhoo. The point of leitmotifs is to give an audience a feeling without necessarily tipping them off to exactly WHY they're having that feeling. And Giacchino LOVES his leitmotifs.

So when he uses someone else's music, he's extremely aware of the emotions that can come attached to that music. It's literally what he does.

There are two pieces of music used in WBN that Giacchino didn't write: a late 1930s recording of Vera Lynn singing "Wishing Will Make It So" and Judy Garland singing "Over The Rainbow" from The Wizard of Oz. Let's start with Vera Lynn.

Vera Lynn was an English singer most associated with big band music before and during WWII. During the war, she was known as "the Forces' sweetheart", both for her efforts to entertain the troops and for the fact that she was kind of every British fighting man's waifu. What Betty Grable's legs were to American GIs, Vera Lynn's voice was to British servicemen. She's best known for the song "We'll Meet Again", which is about exactly what it sounds like. She was a nice lady, by all accounts, and there is a ferry boat named after her now.

A Vera Lynn song about childhood and wishing is what Verussa plays in the labyrinth, apparently to annoy Elsa, who switches it off (even though that's going to inform everyone of where she is). For the purposes of queercoding, Vera Lynn is mom and apple pie, or possibly mum and fish and chips, and above all she is safe, compulsory heterosexuality. The Forces' sweetheart.

Judy Garland, on the other hand, is a queer icon.

I can't overstate what a Big Deal Judy Garland and Dorothy Gale from The Wizard of Oz are in queer culture. The themes of the story, including acceptance of the unusual and embrace of a found family (along with the sapphic elements of some of the books), resonated so deeply with queer people that for several decades, "are you a friend of Dorothy?" was code for "are you gay?" The US Navy actually launched an investigation to find the mysterious "Dorothy" who was supposedly the ringleader of all the gay sailors.

And then there's the song itself, with its theme of longing for a faraway, more colorful place where those who don't fit in at home are loved for who they are. It's, uh, pretty resonant with the queer experience.

So I now draw your attention to the phonograph. Gramophone. Record player. Whatever it's called.

In WBN, we first see the player set up in the labyrinth, presumably by Verussa or at her orders. It's playing a Vera Lynn song about childhood and wishing, which apparently annoys Elsa so much that she switches it off, thus alerting Jack to her location.

The next appearance of the player is in the camp, where it's now playing "Over the Rainbow" beside Jack as he wakes up. Ted has presumably stolen it; there's no other candidate for that, and we already saw him swipe a murder robe for Jack, so why not a record player too?

In other words, Verussa Enthusiastic Heterosexuality Bloodstone sets up the Compulsory Heterosexuality Machine, after which Elsa Ally-Coded Bloodstone turns it off in disgust, and Ted swipes it and turns it gay for Jack's benefit.

That's the coding. That's BARELY subtext. I really don't know what else to tell you. This essay started with my making an offhand joke to bluemoonperegrine about Ted and Jack being "literally friends of Dorothy" and then realizing nobody else in the conversation had noticed this stuff.

So what do we do about all this? Is WBN queer? Does all the Wolfstone stuff pale in comparison to the glory of Russallis? Am I trying to start a ship war in a fandom so small it probably wouldn't fill up Vera Lynn's namesake ferry boat?

Jack, you can answer this for me.

Nope. Not trying to start anything. I happily read Wolfstone, and technically have written some. I love all three WBN leads and am happy to enjoy them in any configuration (although my personal preference is group napping in a puppy pile, because these characters deserve naps).

I just figured it was worth documenting all this so people who haven't had the benefit of my very strange education would be better equipped to recognize (and ideally enjoy) old-style queercoding when they see it.

Wait a minute. You promised writing hacks. It's in the series title and everything.

Shit, you caught me.

Obviously, queercoding isn't a universal tool. There are plenty of storytelling contexts in which it's much better to make characters explicitly queer. Representation matters, and all that.

But sometimes you won't have time for explicit confirmation (like when your story takes place overnight and nobody really has time to play tonsil hockey). Sometimes you won't be able to include it due to outside constraints (like Disney being Disney).

And sometimes, you'll remember that there are plenty of people who can't or won't pick up explicitly queer media. Homophobic parents who won't let their kids watch Love, Simon ... but who WILL let them read your YA novel about unicorns or whatever where there are two female unicorns who are, uh, life partners. Grumpy uncles who refuse to acknowledge their nephew's boyfriend until they notice that, hey, they kinda act like Finn and Poe from that Star War. And so on. Sometimes, coded rep is the best rep you can get ... and so it's useful to have. A good toolbox has ALL the tools.

So if you're building characters for your story and don't or can't have specific queer goals, throw in a little coding. Put a rainbow T-shirt on a kid. Let two boys hold hands or have literally any feelings. Let a girl say a girl is pretty. Look up some of the older symbols for queer love and have someone growing lavender in their garden, or use newer queer symbols and have a character crack an egg in a key scene. Have a character who's content without a romantic or sexual relationship, and has an arc about something else, because aces and aros exist too.

There's a whole universe of coding out there. Go add some layers to your work.

Or better yet--see if they're there already. You might surprise yourself.

Sometimes the monster has a familiar face.

[hearts401]

SOME WORLDBUILDING!!! FOR MY STEAMPUNK/SCI-FI/SPACE STORY!!!

ive hit a wall with the outfits for my steampunk sci-fi space story BUT the inside of the ship is similar to, say, the fortress of meropide in genshin. without all the oceanlike references. the ship itself is massive and its sectioned into floors (i'll sketch this out later </3)

these floors are made to resemble human civilization as closely as possible. they are wide and oval, and in the middle is the giant elevator that takes you floor to floor. on each floor theres a clock hand on the ceiling that tells you which area will be in sleep mode (better name pending. maybe.) in which the area is dark for about five or so hours.

they dont actually record time. you have a curfew bell and you're not required by LAW to go but its reccomended because there is literally 0 light. like walls come up (you can go thru a door to the other areas still) but. theres a wall. theres no light. u need a flashlight. womp womp

phones are where the scifi bit comes in. theyre holographic. bc its cool. usually through a watch.

bug lights are popular. a little bug that flies ahead and has a small but effective little light. theyre prone to exploding though. hm.

factories are on the lower floors, housing is from the middle to the top. higher up means higher status usually. housing floors usually also include stores and things, because ppl buy buildings and sell their own stuff. but theres a mall floor owned by the company.

most money earned is company money. you work to keep your house, and you can use company money in the company mall. real money is something you had to have brought along with you. and you only keep it if you're actively making it. that said, most stores will take company money. you just cant buy a building without real money. keeps buildings open for businesses.

cops are called guards instead because it sounds less threatening to criminals that live there. more "theyre keeping us safe" vibes. they look out for smugglers and stowaways mostly.

people who came were mostly applicants. a lot of ppl were afraid to go at all because. wooo scary space. and because of a certain incident OOPS!!!

they bring in new people and add to the place all the time, so the common living area is pretty cramped.

prisons suck. like really suck. it'll be hard to get hired again after you're out too. which means yeah hurray bias and prejudice (because remember this is based on before companies had regulations. capitalism at its worst.)

the food can be really bad or really good. depends on how much you're paying. living closer to the factories usually means you work longer shifts. or you're a criminal trying to stay away from the (literal) higher-ups.

working on the ship itself pays better than factory work. like waaayy better. as well as guard work and school jobs. (yeah we have schools. theres three in each living area.

company CEO is very rarely seen. its moreso his bitter wife and his daughter who i love sososososo much

main characters are Alice Riis, William Spargo, and Eva Tarbell. Alice is a journalist, Will is a factory worker, and Eva is a an upstanding citizen whos definitely not a smuggler. But there are others, like the CEO's daughter, Laika, and a salon worker, Vera. there's also Will's mom, his dad, and his cat. We love his cat.

Will came on the ship because his father worked for the company. the whole family went.

Eva was intended to be a guard, but she snuck off. she avoids detection by staying in the lower levels and couch-surfing basically.

Alice practically begged to be let on and write stories for them. they only let her go because someone else cancelled last minute.

thats all i have i think hurray!