#was that a costume and design choice did they do that on purpose to give me something to think about and mull over

[balladofthe101st]

a moment of silence for this look on george luz. you are missed and loved

[physalian]

Humanizing Your Characters (And Why You Should)

To humanize a character is not to contort an irredeemable villain into the warped funhouse mirror reflection of a hero in the last 30 seconds to gain “narrative subversion” points. To humanize is not to give said villain a tragic backstory that validates every bad choice they make in attempt to provide nuance where it does not deserve to be.

To humanize a character, villain or otherwise, is to make them flawed. Scuff them up, give them narrative birthmarks and scars and imperfections. Whether it’s your hero, their love interest, the comic relief, the mentor, the villain, the rival, these little narrative details serve to make all your literary babies better.

Why should you humanize your characters?

To do this means to write in details beyond those that service the plot, or the themes, or the motifs, morals, foreshadowing, or story. These might be (and usually are) entirely unimportant in the grand scheme of things. So, if I wrote lengthy diatribes on pacing and why every detail must matter, and character descriptions and thematic importance, why am I now suggesting go free-for-all on the fluff?

Just like real people have quirks and tics and beliefs and pet peeves that serve our no greater purpose, so should fictional people. Your average reader doesn’t have the foggiest idea what literary devices are beyond metaphor, simile foreshadowing, and anecdote, but they can tell when the author is using motif and theme and all the syntactical marvels because it reads that much richer, even if they can’t pinpoint why.

And, for shipping fodder, these tiny little details are what help your audience fall in love with the character. It doesn’t even have to be in a book – Taylor Swift (whether you like her or not) never fills her music with sexual innuendo or going clubbing. She tells stories filled with human details like dancing in the refrigerator light. People can simultaneously relate to these very specific and vivid experiences, and say “not that exactly, but man this reminds me of…” and that’s (part of) the reason her music is so popular.

What kinds of narratives need these details?

All of them. Visual media, audio, written, stage play. Now, to what degree and excess you apply these details depends on your tone, intended audience, and writing style. If your style of writing is introspection heavy, noir character drama, you might go pretty heavy on the character design.

But even if you’re writing a kids book with a scant few paragraphs of setting descriptors and internal narration, or you’re drawing a comic book – if you have characters you want people to care about, do this.

Animators, particularly, are very adept at humanizing non-human characters, because, unlike live acting, every single stroke of the pen is there with intent. They use their own reflections for facial references, record their own movements to draw a dance, and insert little bits of themselves into signature character poses so you know that *that* animator did this one.

How to humanize your characters.

I’m going to break this down into a couple sections: Costume/wardrobe, personality, beliefs/behavior/superstitions, haptics/proxemics/kinesics, and voice. They will all overlap and the sheer variety and possibilities are way too broad for me to capture every facet.

Costumes and Wardrobe

In the film Fellowship of the Ring, there’s a blink-and-you’ll-miss-it moment where, after Boromir is slain by the Uruk-Hai, Aragorn takes Boromir’s Gondorian vambraces to wear in his honor, and in honor of their shared country. He wears them the rest of the trilogy. The editing pays no extra attention to them beyond a split second of Aragorn tightening the straps, it never lingers on them, never reminds you that they’re there, but they kept it in nonetheless. His actor also included a hunting bow that didn't exist in the book because he's a roamer, a ranger, and needs to be able to feed himself, along with a couple other survival tools.

Aragorn wears plenty of other symbolic bits of costume – the light of the Evenstar we see constantly from Arwen, the Lothlorien green cloaks shared by the entire Fellowship, his re-forged sword and eventual full Gondorian regalia, but all those are Epic Movie Moments that serve a thematic purpose.

Taking the vambraces is just a small, otherwise insignificant character moment, a choice made for no other reason than that’s what this character would do. That’s what makes him human, not an archetype.

When you’re writing these details and can’t rely on sneaking them into films, you have to work a little harder to remind your audience that they exist, but not too often. A detail shifts from “human” to “plot point” when it starts to serve a purpose to the themes and story.

Inconsequentiality might be how a character ties, or doesn’t tie their shoelaces, because they just can’t be bothered so they remain permanent knots and tripping hazards. It might be a throw-away line about how they refuse to wear shorts and strictly stick to long pants because they don’t like showing off their legs. It might be perpetually greasy hair from constantly running their fingers through it with stress, or self-soothing. A necklace they fidget with, or a ring, a belt they never bother to replace even though they should, a pair of lucky socks.

Resist the urge to make it more meaningful than “this is just how they are”. If I’m using the untied shoelaces example – in Spiderverse, this became a part of the story’s themes, motifs, and foreshadowing, and doesn’t count. Which isn’t bad! It’s just not what I’m talking about.

Personality

In How to Train Your Dragon, Toothless does not speak. All his personality comes from how he moves, the noises he makes, and the expressions on his face. There’s moments, like in the finale, when his prosthetic has burned off and Hiccup tells him to hold on for a little bit longer, and you can clearly see on his face that he’s deeply uncertain about his ability to do so. It’s almost off the screen, another blink-and-you’ll-miss-it moment. Or the beat of hesitation before he lets Hiccup touch him in the Forbidden Friendship scene. Or the irritated noise he makes when he’s impatiently waiting for Hiccup to stop chatting with his dad because they have a giant dragon to murder. Or when he slaps Hiccup with his ear fin for flying them into a rock spire.

None of those details *needed* to exist to endear you to his character or to serve the scenes they’re in. The scenes would carry on just fine without them. He’s a fictional dragon, yes, but these details make him real.

Other personality tics you could include might be a character who gets frustrated with tedious things very quickly and starts making little inteligible curses under their breath. Or how they giggle when they’re excited and start bouncing on their toes. Maybe they have a tic where they snap their fingers when they’re concentrating, trying to will an idea into existence. Or they stick their tongue out while they work and get embarrassed when another character calls them on it. They roll around in their sleep, steal blankets, drool, leave dishes in the sink or are neurotic with how things must be organized. They have one CD in their car, and actually use that CD player instead of the phone jack or Bluetooth. They sing in the shower, while they cook, or while they do homework, no matter how grating their voice.

They like the smell of new shoes or Sharpies. They hate the texture of suede or velvet or sticky residues. They never pick their socks up. They hate the overhead light in their room and use 50 lamps instead. They hate turning into oncoming traffic or don’t trust their backup camera. They collect Funko Pops and insist there’s always room for more.

And about a million others.

Beliefs, Behaviors, and Superstitions

*If you happen to be writing a story where superstitions have merit, maybe skip this one.* Usually, inevitably, these evolve into character centerpieces and I can’t actually think of one off the top of my head that doesn’t become this beyond the ones we all know. A few comedic examples do come to mind:

The Magic Conch in “Club Spongebob” and the sea-bear-proof dirt circle in “The Camping Episode”

Dean Winchester’s fear and panic-driven actions in “Yellow Fever” and “Sam, Interrupted”

The references to the trolls that steal left-foot socks in How to Train Your Dragon

I’m not a fan of wasting time writing a religious character doing their religious thing when Plot Is Happening, but smaller things are what I’m talking about. Like them wearing a cross/rosary and touching it when they’re nervous. Having a specific off-beat prayer, saying, or expression because they don’t believe in cursing.

The classic ones like black cats, ladders, broken mirrors, salt, sidewalk cracks can all be funny. Athletes have plenty, too, and some of them, particularly in baseball culture, are a bit ridiculous. Not washing socks or uniforms, having a team idol they donate Double Bubble to and also rub their toes. A specific workout routine, diet, team morale dance.

Other things, too. A character who’s afraid to go back downstairs once the lights are off, or fear the basement or the backyard shed. Or they’re really put-off by this old family photo for no reason other than how glassy their eyes look and it’s creepy. They like crystals, dreamcatchers, star signs, tarot, or they absolutely do not under any circumstances.

They believe in all the tried and true ways of predicting the weather like a grizzled old sailor. They believe in ghosts, vampires, werewolves, witches, skinwalkers, doppelgangers, fairies. They talk to the cat statue in their kitchen and named it Fudge Pop. They whisper to the spirit that possessed the fridge so it stops making all that racket, and half the time, it works every time. They wear yellow for good luck or carry a rabbit’s foot. They’re not religious at all but still throw prayers out to whoever’s listening because, you know, just in case. They sit by their window sill and talk to the moon and the stars and pretend like they’re in a music video when they’re driving through the city in the rain.

Haptics, Proxemics, and Kinesics

These are, for all you non-communication and psych majors out there, touch and physical contact, how they move, and how they move around other people.

Behold, your shipping fodder.

Two shining examples of proxemics in action are the famous “close talker” episode of Seinfeld (of which every communication major has been subjected to) and Castiel’s not understanding of personal space (and human chronemic habits) in Supernatural.

These are how a character walks, if they’re flat-footed, clumsy, or tip-toers. If they make a racket or constantly spook the other characters. If they fidget or can’t sit still in a seat for five seconds, if they like to sit backwards or upside down. How they touch themselves, if they do a lot of self-soothing maneuvers (hugging themselves, rubbing their arms, touching their face, drawing their knees up, holding their neck, etc) or if they don’t do any self-soothing at all.

This is how they shake hands, if they dance while they cook or work. It’s how much space they let themselves take up, if they man-spread or keep their limbs in closer. How close they stand to others or how far. If they let themselves be touched at all, or if they always have their skin covered. If they always have their back to a wall,  or are always making sure they know where the nearest exit is. If they make grand gestures when they talk and give directions. If they flinch from pats on the back or raised hands. If they lean away from loud voices or project their own. If they use their height to their advantage when arguing, puff their chest, square their shoulders, put their hands on their hips, or point fingers in accusation.

If they touch other characters as they pass by. If they’re huggers or victims of falling asleep on or near their comrades. If they must sleep facing the door, or with something solid behind them. If they can sleep in the middle of a party wholly uncaring. If they sleepwalk, sleeptalk, migrate across the bed to cuddle whoever’s nearest with no idea they’re doing it.

If they like to be held or like to hold others. If they hate being picked up and slung around or are touch-starved for it. If they like their space and stick to it or are more than happy to share.

Do they walk with grace, head held high and back straight? Or are they hunched over, head hung, watching their feet? Are they meanderers or speed-walkers? Do they cross their arms in front or lace their hands behind them? Do they bow to authority or meet that gaze head on?

I have heard that Prince Zuko, in Last Airbender, is usually drawn sleeping with his bad ear down when he doesn’t feel safe, like on his warship or anywhere in the Fire Nation, or on the road. He’s drawn on his other side once he joins the Gaang. In Dead Man’s Chest, just before Davy Jones drives the Flying Dutchman under the waves, two tentacles curl up and around the brim of his hat to keep it from blowing off in the water.

When they fight, do they attack first, or defend first? Do they touch other characters’ hair? Share makeup, share clothes? Touch their faces with boops or bonks or nuzzles and eskimo kisses? Do they crack their knuckles and necks and knees?

Do they stare in baffled curiosity at all the other characters wholly comfortable in each other's spaces because they can’t, won’t, or don’t see the point in all this nonsense? Do they say they’re happy on the outside, but are betrayed by their body language?

Voice

Whether or not to write an accent is entirely up to you. Books like Their Eyes Were Watching God writes dialogue in a vernacular specific to its characters. Westerners and southerners tend to be written with the southern drawl or dialect, ripe with stereotypical contractions. Be advised, however, that in attempt to write an accent to give your character depth, you could be instead turning off your audience who doesn’t have energy to decipher what they’re saying, or you went and wrote a racist stereotype.

Voice isn’t just accent and dialect, nor is it how it sounds, which falls more solidly under useful character descriptions. Voice for the sake of humanizing your characters concerns how they talk, how they convey their thoughts, and how they become distinct from other characters in dialogue and narration.

If you’re writing a narrative that hops heads and don’t want to include a big banner to indicate who’s talking at any given time, this is where voice matters. It is, I think, the least appreciated of all the possible traits to pay attention to.

First person narrators have the most flexibility here because the audience is zero degrees removed from their first-hand experiences. Their personality comes through sharply in how they describe things and what they pay attention to.

But it’s also in what similes and metaphors they use. I read a book that had an average (allegedly straight) male narrator going off and describing colors with types of flowers, some I had to look up because I just don’t know those off the top of my head. My immediate thought was either this character is a poorly written gay, or he’s a florist. Neither (allegedly), the writer was just being too specific.

Do they have crutch words they use? like, um, actually, so…, uh

Or repeat exclamations specific to them? yikes, yowzers, jeepers, jinkies, zoinks, balls, beans, d’oh!

Or idioms they’re fond of? Like a bat out of hell. Snowball’s chance.

Do they stutter when they’re nervous? Do they lose their train of thought and bounce around, losing other characters in the process? Do they have a non-Christian god they pray to and say something other than “thank God”? Are they from another country, culture, time period, realm, or planet with their own gods, beliefs, and idioms?

When they describe settings, how flowery is the language? Would this grizzled war hero use flowery language? How would he or she describe the color pink, versus a PTA mom? Do they use only a generic “blue, green, red” or do they really pay attention with “aquamarine, teal, emerald, viridian, vermillion, rose, ruby”?

How do this character’s hobbies affect how well they can describe dance moves, painting styles, car models, music genres?

This mostly matters when you’re head-hopping and the voice of the narrator serves to be more distinct, otherwise, what’s the point of head-hopping? Just use third-person omniscient.

If you really want to go wild, give a specific narrator unique syntax. Maybe one character is the ghost of Oscar Wild with never-ending run-on sentences. Just be sure to not go too overboard and compromise the integrity of your story.

In the book A Lesson Before Dying, a somewhat illiterate, underprivileged and undereducated minor has been given a mentor, a teacher, before they face the death penalty. At the end of the book, you read all of the letters they wrote to their teacher. There’s misspellings everywhere, almost no punctuation, and long, rambling sentences.

It’s heartbreaking. The subject matter is heavy and horrible, yes, but it’s the choice to write with such poor English that has a much bigger impact than perfect MLA format.

How to implement these details

Most of these, in the written medium, need only show up once or twice before your audience notices and wonders why they’re there. Most fall squarely under character design, which falls under exposition, and should follow all the exposition guidelines.

These details exist to be random and fluffy, but they can’t exist randomly within the narrative. If you want to have your character be superstitious, pick a relevant time to include that superstition.

Others, like ongoing speech habits or movements, still don’t overuse, especially if they’re unique. A character might like to sit backwards in a chair, but if you mention that they’re doing it every single time they sit down, your audience will wonder what’s so important and if the character is unwell.

And, of course, you can let these traits become thematically important, like a superstition being central to their personality or backstory or motivation. These all serve the same purpose of making your character feel like a real person instead of just a “character”.

Just think about tossing in a few random details every now and then and see what happens. One tiny sentence can take a background character and make them candidates for the eventual fandom’s fan favorite. Details like these turn your work from “This a story, and these are the characters who tell it” into “these are my characters, and this is their story.”

[lil-gingerbread-queen]

One evening, I got possessed and redesigned Captain Marvel. Well, redesigned and rewrote.

Long explanation about it under the cut.

Captain Marvel is the gods' champion, but in canon, his capacities come from a mix of gods, from both the Roman and the Greek pantheon, and heroes, Greek or biblical. In comparison, Black Adam's capacities come only from Egyptian gods, making him their champion. Therefor, let's bring down SHAZAM to just Greek gods, as we need Zeus for the thunder. There's also a period during which Mary Marvel gets her capacities from a mix of goddesses and one god, so let's mix the gender again. Here is the new hexad:

S - the stamina of Selene - Selene is the goddess of the moon, who, like her brother with the sun, drags the moon behind her chariot. But, if the sun disappears each night (in Greece), the moon stays in the sky for weeks, so stamina! There aren't a lot of Greek gods with name in S, so let me have this (also, I love the moon and any moon goddess).

H - the speed of Hermes - Hermes is the messenger of the male gods, who is known for his speed, because of the wings on his ankles. Nothing more complicated.

A - the strength of Atlas - I kept Atlas, but I changed him for strength because holding the world up requires more strength than stamina imo. The representations of Atlas often show a man doing an extreme physical effort, it demonstrates more strength than stamina to me.

Z - the power of Zeus - Didn't change. The king of the gods and the thunder guy.

A - the courage of Ares - Ares is the god of courage, that's in his domain of expertise.

M - the wisdom of Metis - The first goddess of wisdom, eaten by Zeus, and the mother of Athena, the second goddess of wisdom. "But, she's kind of "dead"?" And Black Adam got his power from Aten, who was the only god of the Aten religion of Akhenaton, and so, not with the Egyptian pantheon.

As the champion of the Greek gods, Captain Marvel needs to look the part. I'm a hater of the original latex superhero costume, I want some real fashion. It has served its purpose, it's time to change. Ancient Greece's armors were the principal inspiration, but some other bits of Ancient Greece's fashion were also brought in. Sandals are a bold choice, I admit, but that's what Greeks wore to war and we are talking about an indestructible being. Soldiers also wore what would be considered a skirt now, so I want to include that, and I even thought of a joke: when Billy first transforms, he makes a comment about the "skirt", and the sorcerer goes "Ah yes! When men used to dress like men." (Did you get it? It's a joke about how those bigoted idiots will complain about men wearing anything labelled as "feminine" about how "men don't dress like real men anymore", totally ignorant of how what is "masculine" or "feminine" depends on the time period and culture, and heels were created to make men look powerful and ride horses to war.) However, I'm uncomfortable with skirts in design for flying superheroes, if there's nothing under, so he gets leggings, bringing back some of the original suit. The cape is also asymmetrical.

While researching information about Captain Marvel for this redesign, I learned that DC is evil:

Fawcett Comics created Captain Marvel in the 40s, by taking some inspiration from Superman from Detective Comics, but with a lot of differences still. It was a success, and Captain Marvel became more popular than Superman, selling more than the adventures of Clark Kent. DC didn't like that, and they sued FC for plagiarism, saying Captain Marvel was a copy of Superman. And, for some reason, they won. So, FC had to stop selling Captain Marvel and the Marvel family's comics, and the readers went back to Superman, giving money to DC. Decades goes back, Marvel is born and they create Captain Marvel, the name being free to use. FC, they are not having a good time. There's no money, and so, they are selling. AND WHO BOUGHT THEM? THAT'S RIGHT: DC! And once they own FC, what do DC do? Bring back the cash cow, Captain Marvel! So, it was plagiarism, but only when they couldn't make money from it. They cannot use Captain Marvel anymore because of Marvel, so it's Shazam, but they successfully "stole" the success of a smaller company than them. DC was doing evil capitalism before it was a thing, in the 40s!

Therefore, I can do whatever I want and DC cannot stop me, they don't deserve those characters. And this redesign has now become me rewriting Shazam. So, when Billy transforms into Captain Marvel, he is not another personality (like the current DC's canon), it's still him, but in a young adult body, a body at his peak athletic performance.

Now, Black Adam, which is where I start doing my own story. I will not lie, I knew nothing about Black Adam, apart from the fact that he is a bad guy and he really loves his wife. Well, if he loves his wife, he must be attractive, because that's hot. And Black Adam, born Teth-Adam in Ancient Egypt, is chosen by the sorcerer known as Shazam as his successor. This means two things: 1, Black Adam is an Egyptian, and 2, he is young. In DC's canon, he is Ramesses II' son, but I will just make him from the Ancient Egyptian nobility, but this explains the short/shaved hair, as rich Egyptians would wear wigs and have their hair shaved for hygiene.

Let's talk about the elephant in the room: the absence of a thunderbolt, or more so, it's replacement by an angular sun. Black Adam's power doesn't come for Zeus, a god of thunder, but Aten, a sun god, like Ra. So, Black Adam shouldn't have the abilities to manipulate thunder, but the sun. And not the sun as a ball of burning gaz, the sun as a source of rays of light and heat, like the Egyptians saw it. His power is connected to light, arrows of heat as Egyptians saw it, and the sun is angular to share similarities with the thunderbolt. Like Captain Marvel, he needs to dress like the champion of the gods, Egyptian this time. I took inspiration from Ancient Egypt's armors and fashion: the top being this scaly leather they wore, sandals being back again but Egyptian's style... There are more artistic details in Black Adam's suit to highlight is social class, and there are two kinds of details. The first ones are associated to his power, like his collar, which is a frequent accessory in Ancient Egypt, which has rays to symbolize the rays of the sun, coming from his head, from himself, or his greaves, which also have sunbeams. The second ones are more associated to his culture as an Egyptian and the sun. His forearm armors are imitating the wings added to scarab amulet, which were put over mommies, and these scarabs fly to the sun, aka Ra, with the dead. His cape is also taking the shape of these wings. And his belt displays the eye of Ra, a sun disk with cobras coiled around it, an extension of the god's power, a symbol of his destructive and protective capacities.

To end, this is my rewrite of Shazam's story:

During Ancient Egypt, under Akhenaten so ca 1350 to 1330 before Christ, a sorcerer decided to summon the god Aten with a magic ritual, asking for a champion, a hero to protect humankind. All powerful Aten, impressed to have been summoned by a mere mortal, accepted to fulfill his demand. He called five gods to join him, and each gave a gift, added to his own power of the sun. Aten finally gifted the result to the man, and explained how to summon it: by yelling the gods' names, SHAZAM! Before leaving, the god, moved by the mortal's humility and his care for humankind, gifted him immortality. The sorcerer refused, it's too much. Aten pushed, because a man like this is rare, but he will lower the gift. He will age until a certain age, and then stop, never dying from old age or getting sick. However, he can still get killed. The sorcerer went on to do his mission, why he had called the god, and more as the years went on. Anytime he transformed, he would become the young athletic champion of the Egyptian gods. When he got around 60 years old, he decided to find an heir. He chose Teth-Adam, a young man and member of the Egyptian nobility, who had demonstrated his qualities all around the kingdom. But he, sadly, soon was corrupted by his new power and abused it, trying to take over the throne. The sorcerer had to intervene, but his heir was too strong to kill or to let go of his powers. So, the sorcerer took his soul with the power, and enclosed it in a scarab amulet he buried with the pharaohs. A millennium went by, and the old sorcerer now answered to the name Shazam. With the arrival of Alexander the Great, he went on to travel through the Greek land. But, a new catastrophe was coming, and so, having lost his power, he summoned Zeus like he summoned Aten. Zeus, impressed by the mortal, accepted to redo the gift of the gods. He called five gods and added their gifts to his own power of the thunder. Shazam could save humankind again. Zeus, to applaud his heart, asked him to choose a gift, not for the champion but for himself. Shazam asked to know when he will die, so he could find the perfect heir. The Fates gave him the answer. Shazam, afraid of his last mistake, refused to find an heir for centuries, millennia, and traveled through the world, saving humankind. He had a magic secret temple, on another plane, he could go to. But the date of his death was approaching, and Shazam had yet to find a champion. Everyone he met wasn't good enough for him. His last pick? Billy Batson. And Billy was far from the perfect champion he needed, but not the worst. With no time to waste, Shazam gave his power to Billy, before dying, crushed by a rock. When Billy Batson yells "SHAZAM!", he transforms into an adult version of himself, at his peak athletic performance, and becomes the champion of the Greek gods. The ghost of the sorcerer guides him through his adventures, during which he encounters Teth-Adam, now Black Adam. Teth-Adam's amulet was found by archeologists in the 19th century, and it had strange effects on everyone who landed their eyes on it, people fighting for the small treasure. Finally, one (shitty) archeologist stole the scarab and flew back to the USA with it. As time went on, the amulet's control over him became stronger, and he finally caved into opening it to see what was inside. But, sadly for him, it only contained the powerful soul of once the champion of the Egyptian gods, who took possession of his body and transformed it, killing him in the process. Now, Teth-Adam lives forever as Black Adam.

[gothgleek]

Redesigning Rhaenyra’s Costumes

Let’s be honest, her costumes were not giving what needed to be gave. I’m sure Covid impacted the fabrics that were available and how a thorough a job they are able to do fittings but the end result still wasn’t great. However, I did enjoy the ahistorical nature of it in that, much like GOT, you could not find direct historical inspiration for all the outfits. I tried to keep that in mind when I drew Rhaenerya’s outfits while also trying to keep it similar to her costumes in the show because I’m not redesigning ALL her dresses. I might redesign other dresses in the future, along with Rhaena and Baela.

1.Red Tourney- Great idea, terrible execution. it is so ill fitting with no structure whatsoever and it makes her look so frumpy. Which I know is not the intent because of her flared collar. Honestly, I’m not the biggest fan of the collar because it seems a little too advanced for the time period in the ASOIAF universe and Cersei would have certainly had an Elizabethan collar while queen. However, it is probably the most defining piece of the outfit so I had to include it. I also hope that it comes back in future appearances otherwise it would be such a bizarre design choice. Anyway, for my redesign I structured the collar a bit more, making it resemble a dragon wing. She has a blue-purple broach to represent her mother. The whole tourney is being thrown in her honor but Rhaenyra is really the only one thinking about Aemma. In a similar vein, Rhaenyra’s sleeves resemble armor with blue gems in reference to Aemma’s quote about a woman’s battle ground being the birthing bed.

2.Yellow Dress- This dress is inspired by the Byzantine period and by Rhaenys’s gowns. A lot of people on the show seem to favor wide necklines or off the shoulder dresses so I simply adorned hers with gemstones. Embroidery and sewn gems are also added because her dress was too plain and I think they tried to make up for it with shiny fabric. Plus all the men around her are obsessed with Old Valyria which I visualize as the Byzantine period and Ancient Rome so it makes sense she would incorporate Valyrian styles into her dresses. It is of course modernized with a medieval silhouette as she is expected to set the trends at King’s Landing. Matching the jewels is a simple gold circlet because Rhaenyra needs some casual crowns to wear around the house.

3.The Rose Gold Dress- Again, the idea was there but the execution wasn’t. This is the most medieval inspired of the dresses I redesigned for her. Since this is the scene where her and Alicent make up, she looks probably the softest we’ve seen her with light pink and a fabric belt. The fabric belt is inspired by Byzantine clothing. The bright red gems, tiara, the dragon scale dress and dragons scale lace under her rose gold dress do indicate that their animosity isn’t over but it is tempered for now. They simply miss each other that much. I emphasized the amount of gold she wears to contrast her older self who will wear more silver because it is a variation of black. I know she wears gold to match her dragon but she can’t wear black and gold without looking like a Baratheon I’m afraid.

4.Meeting in a Maternity Gown- I liked the original dress except for the front lacing and the white fabric. I don’t know why they made her wear white so much. I know they needed a pale fabric to show her lactating in this scene (��) so I kept it a pale gray since it’s still aligning herself with Team Black. In my redesign she’s wearing pale gray in softer fabric as she is probably seeking something comfortable post giving birth but it’s still regal enough to stand toe to toe with Alicent. She’s also wearing a variation of a French hood because that is what she wore at her coronation and she’s trying to maintain the idea of herself as heir. Instead of a front lace corset detail- which I assume was for breast feeding purposes because why would someone either handmaidens wear something that needed tying in the front?- I gave her a robe and belt. She’s aware of the rumors about her sons so she wears some of Laenor’s house colors to dissuade those rumors. Sort of like, “See how happy we are? I’m wearing his favorite color!” The gray and blue are House Strong colors though so she is showing her love for him as well. But both are so overwhelmed by her house colors, it barely registers. Rightfully so as she is representing herself during the council meeting. I added more dragon emblems because I loved her dress in the teaser trailer for season 2.

[it-may-be-dull-but-im-determined]

So it's been an entire week of Wicked-the-Movie-part-the-first being completely unavoidable and I am so.freaking.tired.

And why am I still going on about why I didn't love it? Because it's one of those things that people vaguely know I'm a fan of the show. So they keep asking me what I thought and I'm just overtired enough to still launch into an incoherent explanation of why it didn't work for me.

That explanation is entirely meaningless, because I am really not the intended audience. I never really thought I would be (probably from about the moment they cast Ariana Grande, if we're being honest). And mostly that's because I read the book multiple times 20+ years ago and I've seen the west end production 20+ times since then. I've sidetracked NYC trips to see it on Broadway and to San Francisco to see it at the original workshop theatre and I remain obsessed with the 2007 Broadway cast. I did indeed show up to the opening night screening dressed in pink and green and I have two different types of Chistery plushies sat on my sofa idk??

I'm a.. fan, to all intents and purposes. But I'm too much of a fan to want a new version that doesn't really add anything meaningful to how the show tells the story - part one is an hour longer than the show and yet it moves it further away from the book, if anything. It took me a LONG time to process how the show adapted the book back in 2006 but the show added that goddamn all time great soundtrack dammit. The movie adds pretty much.. nothing of note?

The things that bug me about the movie are not things that would ever occur to the people asking me what I thought it the film, and they're probably irrelevant to other people who consider themselves long term fans. Everyone is a fan in their own way, and that's great. It also means I reserve the right to want the character choices to make sense (they do not make sense. Why is Elphie being treated like a grown adult and not even enrolled at school?? Why is she wearing a version of her Act 2 dress TO THE OZDUST and not only undermining the costume reveal in Defying Gravity but also making the lyrics of Popular MAKE NO SENSE to the point they then ...have to invent the word 'froat' for absolutely no reason? This version of Elphie does not actually even need a makeover. Why are we even here, folks? I'm so confused 😭)

What I wanted was the damn film made fifteen years ago with a lot fewer intense close ups starring... Literally any of the show cast, idk? Idina and Kristen, Julia Murney and Kendra Kasselbaum, Kerry Ellis or Rachel Tucker, idk I have a lot of favourite Elphies?? Actually let's not get started on casting because *sob* Ariana Grande?? really?? And I will yet again be baffled why every other shot of the film was a close up of the actor's face. It's a musical. The songs are designed to be viewed from a distance. As per the show, the cast are very much decades older than the characters they are playing, but unlike the show this then becomes VERY OBVIOUS in close up on a cinema screen. In IMAX it was veering on fucking terrifying at times, and Ariana Grande becomes an abject lesson in how lip filler can go horribly wrong *shudder*

Here's the other thing: I know full well the show creatives were involved in the film as well, so I'm not sitting here complaining about John Chu per se (although I am also complaining about a fair few of his choices to over-egg the existing story). Stephen Schwartz is just as responsible for how the songs sound in the movie. The choices to keep the nonsensical points of the show plot but pad out the runtime to bizarrely now give you time to notice that the plot structure verges on nonsensical. There's a whole clash of sensibilities as to how they approached the work 20+ years ago compared to now, and to what it meant to me back then and now as well.

Yep everyone else loves it. Good for them. I'm just kinda being forced to keep having pointless conversations about why I didn't love it and it's giving me thinky thoughts about what the hell fandom means in that context idk.

[nny11writes]

Only One Bed: A Design Choice

For my trick or treater @glitrahasconsumedme, please enjoy this glitra fic I never posted! Happy Halloween! :)

(consider this the probably one full sized candy bar I had on hand and you got it for having the best costume of the night)

“Thanks for letting me crash again, Hordak’s been riding my ass but not paying me for the pleasure so the funds are not so great.”

Glimmer tried to not snort too hard as Catra dramatically flopped about her limited space in the passenger seat. She’d missed this. She’d missed her. By the stars and the moons, she was going to fix this and woo the girl in the process.

She carefully pulled into her driveway and tried to not be too excited. Catra might be jet lagged beyond reason (not that her sleep hygiene was ever great to begin with), but too excited would 100% give up the game. “I’d say fuck him, but don’t.”

Catra giggled a little helplessly while pawing at her bloodshot eyes. “Yeah. No Hordak fucking please.”

The woman she was desperately in love with might have trash humor and been stopped by security after being pegged as being high on drugs delaying them almost five hours, but gods fuck Glimmer had missed her garbage cat.

The ride went smoothly enough and while Catra was struggling to undo her seat belt and open her door, Glimmer grabbed her luggage and started towards the front door only to hear cursing.

“Wait. Where’s my bag? Shit. Fuck! Glimmer I fucking forgot my fucking-” Catra whipped around with wild eyes only to see Glimmer heft the duffle in the air proudly. “You’re laughing. I almost died from a heart attack, and you’re laughing!?”

“Yes!” She cackled, skipping inside her house and graciously ignoring the fond sounding bitch. Nope. No siree, didn’t hear a thing. Maybe you heard something, and if you did, get your ears checked. Be cool Moon, calm down! She was perfectly calm!

Now, she just had to be cool. Real cool. She could practically picture the lightning bolt flying around her non-existent sunglasses cool. Step two of her fool proof plan was a go-go. Glimmer watched as Catra hopped on one foot and crashed into the wall twice while trying to take her shoe off and winced. Step two was soon to be a go-go. “Need some help there?”

“I’m FINE!” Catra growled but did finally get her shoes off and stumble into the living room. “Uhhhh…”

Yessssss step two was a go-go!

“What’s up?” Be cool Glimmer.

“You...couch? You got a new couch? That looks uhm, a little, you know fancy. To be sleeping on?” Catra’s voice cracked slightly and she instantly felt horrible about this plan. She’d been banking on Catra being tired but not cry over something like this tired.

“Duh, you’re not sleeping on the couch silly. What are we? College students? C’mon, my California king came in a few weeks ago, plenty of space!” Glimmer gently bumped their hips together before looping her arm through Catra’s in apology. “Let’s get you passed out.”

Catra snorted softly but was clearly still recovering from the emotional trauma of thinking she was- gods, what? Sleeping in the bathtub? “Fuck you.”

“Ask nicely.” Glimmer pushed Catra into the bathroom. “Bath wipes on the sink, put them in the trash. Do not flush them or I will kill you.”

“Okay, and I’m supposed to?”

Don’t scream at her, don’t yell at her, she’s not being difficult on purpose for once, hold it together now. “Use them. Always feels better after a shit day or travel day to clean up.”

“Are you-” Catra cut herself off with another sniffle, carefully picking up the package of body wipes like Glimmer hadn’t bought them expressly because of her phobia. “Thanks.”

“You’re welcome, clean up I’ll pull your jammies and if I don’t like them you’re wearing mine.” Glimmer smirked over her shoulder, calling through the now shut door, “AND I’LL CHOOSE THE GIRLY GIRL ONES.”

Her threats were unnecessary, because Catra had at least listened to her this time about bringing proper pajamas. The last time they’d taken a trip together Catra had thought she was being hyperbolic about the jammies situation. Her mistake. Glimmer had few demands of her travel companions, but bringing real pjs and a ceramic mug were non-optional. Catra had learned that the hard way by wearing a purple silk sleep set while being forced to drink the coffee Glimmer made from the trusty ten cup drip she brought with her on every trip out of a stoneware mug covered in babies. Right on top of everything else Glimmer found a soft t-shirt wrapped around a pink and brown mug with “pussy play” surrounded by cats proudly emblazoned on it. Under that was a pair of shorts so fucking comfortable looking that Glimmer had to remind herself to not steal them instantly.

After passing Catra her clothes and changing into her own jamjams, Glimmer quickly set the bed up and prayed that the quick wipe bath wasn’t long enough for Catra to try and fight her about sleeping conditions. Or fall asleep on the toilet. Damn there were more variables than she’d intended.

But it turned out she shouldn’t have worried about that. She should have worried more about Catra’s entry into the bed, which consisted of her flicking the lights off and screaming while somehow doing a cannonball into the center of the mattress. By the time Glimmer stopped shrieking and having her heart beat through her chest, Catra’s cackling had died off into soft snoring.

Step three was a go-go.

Glimmer scooted over and wrapped herself around the little adorable ball, completely on purpose, and went to sleep.

~

Several Years Later

“Well,” Catra snickered, “we got together because of a cliche really. It only actually happened because I had to sleep in Glimmer’s bed when I was visiting, so there really was only one bed.”

Perfuma and Scorpia exchanged confused glances.

Oh shit. Glimmer tried to signal them but it was too late.

“What do you mean? Was something wrong with the pull out?” Scorpia asked.

Oh no.

Catra squinted at them and pointed to the pink leather cushions her friends were sitting on. “The pull out? What pull out? She had this couch by then!”

Perfuma had the gall to giggle as she waggled her eyebrows while standing up. Rude! “Oh silly, this is a pull out couch.”

“...no it isn’t.” Catra wasn’t really glaring so much as confused, right until she saw Glimmer’s bright red face. “Oh my god.”

“Oh yeah, we’ve slept on this puppy a few times!” Scorpia helpfully got up to unfold it to demonstrate as if Catra hadn’t already cottoned on to Glimmer’s old scheme.

Catra blinked at it before glaring proudly at her girlfriend. “You bitch!”

Glimmer tried to put on her best puppy dog eyes, not that it seemed to work well.

“You MANUFACTURED bed scarcity!”

“For a good cause!”

Was Glimmer ever going to live this down? No. Was she going to get kisses for life from Catra? Yes.

Worth it!

[bluegekk0]

You talked about how the troupe isn't really a cult in your AU and how bugs join it to have a better life, right? Well is there any details on why Brumm and Divine joined the troupe? I'm more curious about Divine though as I believe she's based on a termite queen, and I don't imagine many bugs would want to give up that position. Maybe she had a very tiny Kingdom that was destroyed and Grimm offered the position?

If I'm being honest I haven't thought much about that, for some reason I just kinda shrugged it off cause in my eyes they've been in the Troupe for so many years you'd think they were there from the start. But no, they had to join at some point, you're right. Maybe I'll come up with something while rambling hahah

I'll start with Divine cause I actually really like the idea you suggested. Wars are definitely a thing in their universe, especially years back when she would've joined. Since Grimm is hundreds of years old (I'm going with about 400 years old), he definitely lived through many notable events in the history of their world. So a small kingdom getting destroyed during a war is not out of the question, and it would undoubtedly grab his attention as a possible location for a ritual. It's hard to find a ground more rich in nightmare essence than a place devastated by a war, after all. Whether it was an actual kingdom, or some kind of manor house she owned that became a target, I could absolutely see Divine holding an important position that was taken from her by force alongside her land and her court. And perhaps she managed to hide from the conflict long enough for Grimm and his (then very small) Troupe to find her and offer her safety.

She would still have a choice, obviously, but if she already lost everything at that point, I could see her taking the offer and seeing it as a chance for a new life. Grimm's gesture would also not go unnoticed by her, and that would be a good reason for them to become close friends. Aside from that, I do believe that she had an interest in fashion from the beginning, so working for what's essentially a theatre was a really nice opportunity for her. She definitely has a tendency to boss around, I imagine, she's a perfectionist and wants everything to go as she envisions it (and to be fair, she is extremely talented at what she does, so her vision is usually the best one). Coming from a royal/manorial background would certainly explain this attitude. And Grimm would let her do that, I think he liked her from the start - not romantically, she wasn't his type, yes, but more importantly he avoided relationships with anyone in his Troupe. She also held a lot of respect for him in return, so the two managed to find balance. Though I really like to think of their friendship as one where she's not afraid to give him painfully honest advice and lecture him on things the rest of the Troupe would be too terrified to even think about, let alone say out loud.

For that reason I like to think she was one of the very first members of the Troupe, though Brumm ranks slightly higher than her, but that's because she's comfortable with her current position as the costume designer (she's respected enough to get her say regardless of how much power she actually holds in the Troupe, so she's satisfied).

So how did Brumm surpass her, despite joining later? Well, he's very dedicated to the Troupe, he takes his duties very seriously and is incredibly loyal to Grimm (like I mentioned before, the banishment ending of the quest isn't canon here, so in the AU he hasn't even considered the possibility of betraying him). But why? I think that, just like with Divine, the Troupe saved him from something terrible (perhaps he lost his family and had nothing else to live for, and Grimm's offer was a chance at finding a new purpose? It would be something like that, unless I get a better idea). But he wouldn't be the only one, many of the Grimmkin joined in similar circumstances, so why him? He had to do something to earn Grimm's trust to the point of becoming his right hand man.

I think I mentioned once that FPK wasn't Grimm's first love. He had a partner many years ago, though it didn't work out since they were a mortal and he couldn't bear the inevitability of their fate, and when he suggested it, they refused to join the Troupe for personal reasons. He knew he couldn't force them to do so, he respected their choice, but he was also terrified of the prospect of watching them die of old age, so as much as it pained him, he decided to pull a cowardly move and end it (and then convinced himself that love just wasn't for him, at least until he met FPK). But the details are besides the point. I'm mentioning this, because he loved that partner very much. And what better way to gain someone's trust than to protect the one they love? If Brumm saved their life, Grimm would be eternally thankful, even if the relationship didn't last. It would prove to him that Brumm is worthy of his trust, and with his loyalty and dedication to the Troupe, it was only a matter of time before Grimm offered him a special position. And many years later, Brumm would once again prove that Grimm's trust was well placed when he saved FPK from death.

Though if that's the case, it's ironic that Brumm saved Grimm's love not once, but twice, all the while having feelings for the Master. He did approach Grimm to confess at some point years ago, but just as he expected, Grimm didn't feel the same way. He made it clear that he wasn't interested in a relationship and that he only saw Brumm as a friend. Brumm had to accept it. He took his shot, but his feelings weren't reciprocated, which he already expected, so in a way it was just him getting it off his chest. It wouldn't start to sting a little until Grimm's reunion with FPK, having to witness the two being affectionate and very clearly in love did make Brumm a tad jealous, he sometimes wished it was him in FPK's place. But the jealousy did not get to the point where he would let FPK die in the Grimmkin attack, not just because of his loyalty for Grimm, I see him as the kind of person who just can't walk past someone who needs his help.

The irony wasn't lost on him, he remembered the day he saved Grimm's old love interest all the years back, and perhaps if it happened earlier he would be upset, but at that point he just laughed at it. I like to think that was the moment he realized that he was wasting his chance at love by clinging to old, one sided-feelings, and he finally truly moved on. I'm still considering giving him another love interest, he deserves to live his life to the fullest. Would it be someone in the Troupe? Grimm avoided relationships with anyone in his Troupe, but he didn't mind them mingling with one another as long as they still performed their duties. After all, he knows better than anyone that falling in love with someone you'd outlive is a heartache like no other, so if someone wanted to find a partner among the Grimmkin (or bring a loved one to the Troupe), he wouldn't want to bring that pain upon them. So perhaps a newcomer to the Troupe would catch Brumm's eye? It could be an interesting plotline...

But that's for another day, I've already rambled enough hahah

[tuxedaaron]

I wasn't planning to draw these pictures when I did.  I really wasn’t.  When creator, Butch Hartman, came out with his video of what Danny, Sam and Tucker would look like in 10 years, I had already put dispersed images of my own vision of Future Danny and Future Sam (introduced in my Danny Phantom fanfic series), years earlier, so I kind of just rolled with it.  But when Hartman decided to hit the net once more with a second video of what some of the other DP characters would look like, 10 years later, I felt I had no choice.  So, with without any further ado, allow me to present my fanfic vision of what Danny's family would look like in the "future" of my fanfics. (I wasn't planning to do this until I got at least closer to writing said "Future" stories.  But in light of those events, there was a part of me that kind of felt like my hand hasdbeen forced here.) First, let's start with Danny's sisters, Jazz and Danielle (anyone who's been reading my fanfics knows that Danielle has been adopted by the Fentons, so for all intents and purposes, she IS Danny's sister now).  In Jazz's case, this might seem a little traditional, taking after her mother and all.  But for some reason, I felt that Jazz would wear a suit that was pink (I don't know, it just seemed to suit her).  Also, you may note a few esthetic choices, loosely inspired by Marvel Comics, "Spider-Gwen" (or "Gwenpool", if you're one of those fans who prefers to lean THAT way).  I also gave a sword that I felt was pretty badass, similarly based on a sword design from the Gundam Seed Destiny anime. And then we come to Danielle, who's definitely had a bit of a makeover as she's reached adulthood.  Some people might see this as something of a radical departure from her original design, expecting to stay with something more tomboyish.  But my thinking is that over time Danielle comes to discover that a girl can be a badass, but still manage to be all woman at the same time.  As such, my thought for a future costume for her takes some design cues from one such all-woman badass who goes by the name of Bayonetta. Now it's on to the parents.  In the future, thanks to Danny Phantom's influence, ghostly presences have become a much more common occurrence...and in some cases, even welcome.  At the same time, however, ghosts that have been allowed to call earth their home can't be allowed to run around, unchecked.  As a result, the infamous government organization, the Guys in White, has been retooled into an agency for POLICING ghostly activity, rather than COMBATING it.  And once more, due to Danny Phantom's influence, guess who's been put in charge of heading it up?  Of course, Jack, being Jack, tends to feel that the best way method of policing is through superior firepower, which is why Maddie tends to make the bulk of the command decisions. As with most things, the more things change, the more they stay the same.  You'll note that overall, Jack and Maddie's looks haven't changed all that much.  The jumpsuits are still there.  They've just altered esthetics a little, to match with their new environment.  One could even look at it as kind of a nod to Marvel's Fantastic Four, when they briefly swapped their traditional colors out for the white suits and called themselves the Future Foundation. Physically, not much has changed, either. Jack's showing signs of a receding hairline, as well having gone grey over the years.  Maddie's hair is starting to fade a bit, too but not that much (hey, I had a grandmother who was a redhead and she kept her hair color practically forever, so...yeah).  Also, in Maddie's case, I updated the hairstyle a bit, again, giving a nod to her original style, while altering it just enough to make it into something fresh. And then, it’s back to Danny and Sam.  Anyone who's seen my previous pictures of these two know there's really not much here that needs explaining.  Danny has noticeably done a fair bit of growing and buffed up over the years.   Meanwhile, despite having considerably filled out, herself, Sam hasn't grown out of her lifestyle preferences (and as you can see, even went through a bit of a piercing phase at one point).  And for anyone with questions about her wardrobe, yes, pants like those DO exist in nature. I have SEEN them. But with the passage of time also brings the next generation, which brings us to the main subject of this pic in Ebony Fenton, Danny and Sam's future daughter.  Whenever someone’s asked, I've typically merely described Ebony as "a chubby little three-year-old ball of cuteness".  Which she TOTALLY is, as you can see here.  Of course, it's also her silly, childlike nature and playful mannerisms, which you CAN'T see (and are too many to list) here, that make her so adorable.   However, what you CAN see is in her eyes, showing that she has indeed inherited something from her parents.  Something that will become more and more visible, as she grows older. Another addition to the family, however, comes in the form of their pet, a mini potbellied pig who goes by the name of Snuffles...so named for his penchant of constantly sniffling things (Ebony, however, just calls him "Piggy").   The decision for the pet was Sam's, for a couple of main reasons.  One, to be different (as she so often likes to be).  And two, to give Ebony a pet that may subtly influence her dietary choices later in life.   Besides, who can deny that potbellied pigs are RIDICULOUSLY cute? ^_^ Well, that’s all for that.  Again, hope everybody likes what they see. ^_^

[polygonate]

time to do some half analysis, half memeing on the eurovision finalists costuming

Loreen from Sweden

not my favourite look, its very muted and a lot of the cut-outs feel unnecessary, that being said, i loved the thick stitching on the bottom of the bra, the power of the nails literally carved from stone, and the sleeve elements covering the hand tattoos, overall some really great ideas but they dont give any cohesive vibe and feel underwhelming for the spectacle expected rom eurovision outfits.

Käärijä from Finland

this man and his performance is unhinged. the costuming reflects that perfectly, we got spiked collars on them, reminiscent of a rabid dog or a club goer, the backup dancers have cutouts and additions to the outfits whch seem erratic, chaotic, and best of all, serve no purpose whatsoever. the spikes on his jeans add to the superfluousness of it all and add a level of consistency in the design. we have chaos, we have vitality, we have the ridiculousness of it all. and this isnt even talking about the power in this mans not-shirt like what is he doing? i love it 10/10 no notes king.

Noa Kirel from Israel

you know those fantasy videogames where the women have breastplate with weird fantasy shapes which will stab into their chest if they bend over? here we have been given that idea in real life and it looks absurd (in the most wonderful way) more importantly they all look really comfortable which is amazing to see especially with all the movement in their choreography. i really like the lead/backup distinction in the pants with the what looks like pleather black/white highlight. amazing construction, could have gone harder but i dont think it needs to. after her performance of her song unicorn, we see her relaxing with a fluffy unicorn headband and i just thought you should know that.

Marco Mengoni from Italy

bead shirt, shirt made outta beads, pretty to look at, interesting gradient, nice addition of glam, theres not much here to mention.

Alessandra from Norway

the power, the presence. the cape. she is going ham with the aesthetic of both luxurious queen and intense club-goer. i love it. she goes hard, and so do her backup dancers (they look quite similar but less extravagant, as they are her subjects)

TVORCHI from Ukraine

they look like if techbros tried really hard but the only references they had were anime, techwear and egypt for some reason. not for me but i'll still cheer when they get invited to smash brothers

Gustaph from Belgium

let me break this down for you. pink ass-less chaps, on top of pink shorts, on top of pink pants which are too baggy to lie flat. who does this?? ontop of that we have the whole Boy George BigHat (tm) and a white blazer. this man is homo sexualling all over the place. combine that with his entourage of women in high coverage outfits, absolutely living their best lives and someone in a laced bodice with knee length stilletto boots, the energy of this is really well executed, especially for eurovision.

Alika from Estonia

i love a good pantskirt but this? not a pantskirt. this is a marvel of engineering and fabric manipulation. you have to see this one in motion i am begging you.

Vesna from Czechia

!!! the performance of these artists are actually unbelievable. literally perfect. the costumes allign really well with the whole message of the song with its power of the feminine and power of a support system. no notes.

Voyager from Australia

really good cohesive group outfits, the pattern on them is houndstooth but its silver and black which is an amazing aesthetic choice its so good. very fun ride and very eurovision

Teya & Selena from Austria

you cannot convince me they dont have tumblr. really striking outfits, the gloves have a really fun addition of texture to them which elevates the costuming for me.

Mimicat from Portugal

how many elmos did she have to kill for that dress. will she kill again? (i think so) 10/10

Remo Forrer from Switzerland

hes just wearing clothes.

Luke Black from Serbia

didnt know if i should use this pic or the one where hes surrounded by gorpcore ninjas while a mecha kaiju poses dramatically but you can see the pirate shirt better here

really good ruffling, lovely stitchwork on the trousers, just a well made fit overall.

La Zarra from France

this dress is entirely handsewn. the beadwork alone took 4 whole weeks and it is worth it. absolutely delectable. i cant stop looking at it. also the tower of a skirt that she begins in is ridiculous. 11/10 fashion capital of the world for a reason.

Blanka from Poland

she is literally a model. i think that counts as cheating. stll the dress has amazing colourisation and the sleeve is a statement.

Andrew Lambrou from Cyprus but secretly australia

well tailored but thats it? like wheres the anything.

Blanca Paloma from Spain

the top looks uncomfortable, interesting but uncomfortable.

Albina & Familja Kelmendi from Albania

the shapes, the jewelery, the giant sleeve flaps, i love it all. the thigh cut outs confuse me but the rest is amazing

Brunette from Armenia

i dont even know what to call what she is wearing. but it is cool major respect to whoever applied those grommets and to whoever laces it all up for her.

Pasha Parfeni from Moldova

all the costumes here are both intensely connected to the cultural roots of moldova and at the same time just go wild. you need to watch this one. i guarantee you will not be bored.

Lord of the Lost from Germany

anyway i could critique this misses the point of its existence. the purest form of the word egregious.

Monika Linkytė from Lithuania

the fabric manipulation here is crazy. like really technically advanced. only thing is it looks kinda gross, i dont like it

Joker Out from Slovenia

this boy band look like they got their clothes from an op shop. the vibes are quite wholesome which works with their whole performance. they need to stop winking at the camera tho.

Let 3 from Croatia

their costumes take inspiration from croatian military uniforms and combine them with feminine and goofy aesthetics as a political statement against warmongering and some other stuff.

good stuff, actively ridiculous, 10/10

Mae Muller from United Kingdom

well constructed pieces. i love a cropped jacket and this jacket is the most cropped of all. other than that is kinda basic but she makes up for it with all of the graphic design being her passion in the rest of her performance

overall p hype, cant wait for next year :)

[weonlyneedfour]

Noma Lacri

Title: Angelo Cibernetico. Alter Ego: Unknown. Has gone by Maria or Lisa on separate occasions. Confirmed to have been born human. Private subject. Nationality: Italian. Occupation: Full-time Emancipator, lab assistant to Miss Ion in her downtime. Otherwise unknown. Group affiliation: The NY Emancipators.  Base of Operations: Manhattan. Genova, Italy (former). Likes: Friends. Dish-washing (7 limbs help a lot). Dislikes: Enemies. Power outages. Skills: Hacking. Crowd control. Holds the world record at Snake.

Powers: Strange cyber-biological lifeform. Enhanced speed, strength and durability. Able to reconstitute her form following physical injury. Able to travel through electric wiring and enter/speak through/manipulate/fix machinery. Able to "communicate" with machine-based lifeforms. Can produce nanobots to extend her powers to biological lifeforms upon contact, mostly used for healing purposes. Nanobots must be removed or withdrawn quickly to prevent injury to both parties. Does not need to sleep, but requires sustenance to survive. Her stomach appears to contain a miniature portal that compensates for her lack of mouth. Eats by using said portal and using her legs/tendrils to push objects inside of it. Theoretically able to "eat" and convert anything into energy, including living beings. Said option is a last resort. Displays unusual degrees of spatial awareness and cold reading, speaks in inscrutable but often prophetic tones. Unclear if this correlates to any kind of mind-reading or future-telling ability or is another side effect of her biology.

"Honestly, next to Noma? I'm a poser. She scares the SHIT out of villains in ways I couldn't dream of, and she's got some really, really weird powers we know very little about. Don't tell Jeremy I even said this, but I honestly think she could beat Sangrier, and NOBODY beats Sangrier, that's the highest compliment I could give anybody. I know she tends to take this wrong way, and I can't blame her, but I'm not being ironic, I genuinely admire her a lot, I think she's too hard on herself. I'm actually kinda jealous of her sometimes. Being a badass scary monster rules, man, why would you even want to not be one? What, cause people hate you and try to kill you for it? Yeah, tell me something I don't know." - The Vulturine

"I, I wanted to get lunch with her back when we started, just to get to know her, tell her about the costume I was working with Huxley and Ion to design for her, see if she was onboard with the wings and cape and public branding of it all. She can't exactly, um, take her mask off like the rest of us, so I got some takeout. She didn't say anything much, kinda left me talking to myself for most of it, I guess she wasn't hating it? She closed her eyes and made this clicking sound sometimes when I made a joke, I, I'll take that was a laugh. Anyway, dating just came up in the conversation, and she told me to ask out Guard Ramon at some point after work. It, it was this V.A.P.O.R officer I was kinda thinking about a little, and I kinda freaked out that she knew what I was thinking, but she wasn't judgy or mean about it, I didn't, I mean... Okay, look, MAYBE she is kinda creepy, maybe she doesn't get along with most people and, maybe she words everything she says like she's putting it in your tombstone, but she means well, truly. I definitely 100% don't think she's ever going to start eating people and that's NOT A COOL THING TO IMPLY, VULTURINE, OKAY? - Hayato

"I don't think Noma has anything to go back to, outside of what we do in this team. I mean, I don't have anything I'd want to go back to, but that is on me, yes? I left my country and family by choice. I did the right thing. Noma, I, I'm not sure. I don't think she had a choice, in whatever she became. I'm not sure if "right" or "wrong" are sufficient for her. I think whatever Kirigami is planning, what we're trying to build here, maybe she needs it more than we imagine. And we do need her, it's, I don't want her to ever feel like she doesn't belong. I trust her. I'd like to think I have her trust, she looks out for all of us, yes but... But I've been thinking lately and, Noma only speaks generally when she truly, urgently has to, and she speaks to me more so than anyone. We work together, k, that helps. But I wonder if, maybe I'm just not asking her the right questions? ...I'm a little afraid of what I'm gonna hear if I do ask her the right questions." - Miss Ion

[magaprima]

Okay, so the outfits from yesterday’s post. I did plan to put the detailed reasons and thoughts all in one post, but I’ve quickly realised my thoughts are too many so I’ll do one post per outfit. 

Outfit One: The Red Animal Print Number

I included this one because, firstly, it was an AMAZING look, and it’s gorgeousness made up for the fact Lilith had barely any costume changes in Part 4. 

But getting into the deeper reasons why I picked it;

1. It’s Lilith’s associated colours of red and black, meaning it’s what I consider her ‘core’ looks. Anything that has the red and black palette is when Lilith’s full personality is coming out, this is when she isn’t pretending to be anyone else (she tends not to wear the red/black palette when she’s pretending to be Mary Wardwell (the closest we get is she does wear all black when she’s being more herself as Mary, like when she’s being a witchy mentor) or when she’s catering to the Infernal Court), and so you can pretty much presume that not only are you going to see elements of Lilith’s real, unaffected character when she’s in this colour palette, but you can also presume this is a style choice, something she likes without having to dress for any other purpose. 

2. The fur sleeves. Not only do they look really striking and manage to make this dress go from ordinary to infernally stylish, but they also have an element of comfort, both for herself and for baby Adam. They’re perfect for cradling Adam, because they’re soft and large, and she does rest him in them easily. It’s just really important that that was likely a deciding factor in Lilith’s outfit choice, that it’s something that also benefits her son, that her son will like, that there are elements he can enjoy. It also has an important and interesting call back to Stolas, with the illusion of black wings they give when she raises her hands high, as well as possibly referencing some myths that talk of Lilith herself sprouting wings in order to fly from the Garden.

3. It’s very much Lilith’s thing of ‘embracing her sexuality without being actively sexual’. She is having zero sex here and she’s even getting very little flirt going on, she’s very much in one of three modes in Part 4 - Mother, Survivor, Avenger-- and none of those are sexual. But Lilith has a constant theme of using sexuality without engaging in it (And I did a whole much longer post about how great CAOS was for showing how a woman dresses does not have to reflect her nature/choices. e.g Zelda is hyper-sexual but dresses rather conservatively. Lilith dresses in traditionally provocative style but doesn’t ever actively seek out sexual connections. Her style is not consent). But the dress is low cut, there’s a high split in the leg, it’s tight fitting; it’s very sexy, but at the same time is designed for comfort and ease. This is because Lilith wants to dress this way to feel attractive, not because she’s trying to attract, and I think that’s a key part of her character.

Which brings me to point 4.

4. It really represents her multi-facetedness, and how she is made of so many aspects. Because this dress is sexy in its cut, its colours are representative of her personality/power associations, the length echoes the gowns she wears as Queen/Regent, the sleeves are an element of comfort, and then, as the final important note of multi-faceted-ness, it’s the fact that while the dress is so stylish and sexy...the fact it has buttons all the way down implies an ease for nursing. Just as the sleeves are for her son, so are the buttons. This is perfect Lilith rep within a single outfit; of so many sides, so many elements, and showing that becoming a mother doesn’t reduce her other aspects, that they all co-exist inside her just as they co-exist within the dress.

5. And as a final added point, the fact it’s animal print is a great nod to her association with wildness, wild animals, and the fact she came from the place of nature and animals. 

So yeah, it’s a peak Lilith dress. 

[dilfdoctordoom]

On Tom Taylor, the Current Nightwing Run & Ableism

I did mention I was gonna do a post about it, so here we are. There are some things I want to make clear before we begin: the issue exploded on Twitter on the very first day of disabled Pride month; disabled people have been discussing the ableism in Taylor’s Nightwing run since it began; nobody has blamed Taylor for what happened to Barbara in 2011. We are, however, blaming him for the way she is written in his series during 2021. 

I am also going to be discussing the ableism in the fandom in this post. The reactions I have seen, from here to Twitter to TikTok, are showing not only a great misunderstanding of the situation, but a purposeful misunderstanding. The very real reasons disabled people are angry right now have been twisted to make us seem ridiculous and overly sensitive and I cannot help but feel that is very intentional.

Another quick addition: disabled people are not a monolith. Barbara Gordon spent over 20 years as a paralyzed wheelchair user. Stating (and I would like to note, never truly showing) that she is a part time cane user now is still erasing her disability. These things are not interchangeable.

So, with that out of the way, let’s begin.

Tom Taylor’s run is ableist. That is a fact of this situation. He made the active choice to include a version of Barbara Gordon that is ableist caricature. Story wise, the role that Barbara plays could have easily been filled by anyone else. There is no real season, within the narrative and outside of it, for Taylor to include this version of Barbara Gordon, who has received a decade of criticism from disabled people. It’s very well known that this iteration is problematic, to put it kindly, and Taylor is aware of that. 

He made the active decision to include her, anyway, showing, at the very least, that he is passively, if not actively, ableist. Passive ableism is still ableism and disabled people are allowed to take issue with that.

That alone is reason enough for disabled people to be angry. But that’s not why things exploded on Twitter.

On July 1st, the very first day of disabled pride month, the new design for Barbara was dropped. After months of teasing Barbara’s return to a wheelchair using Oracle (see: Last Days of The DC Universe, Batgirl (2016), etc), they debuted... a new Batgirl costume that the artist has openly said draws inspiration from the Burnside suit.

There’s a lot of issues to unpack here, so let’s start small: the issue with consciously calling back to Burnside. The Burnside era of Batgirl stories was... beyond awful. The villain of the series’ first arc, was an AI based on Barbara’s brain patterns when she was disabled. It was evil because of all the rage and pain Barbara felt. The actual Barbara, on the other hand, was good -- because she was able bodied. Because her PTSD had been tossed aside. It was a horrifically ableist era that drove the idea that Barbara’s life was terrible when she was disabled; that it was some horrible, twisted secret.

Comics have kept that narrative going. Barbara is seen hiding books on chronic pain; she reacts aggressively to the mere idea that she could be in a wheelchair again, acting like it would be weakness. Whereas Barbara had once been Oracle not because of, but in spite of, her disability, who was fantastic representation for the disabled community, she now acts like it is the most shameful thing in her life.

To call back to Burnside is to call back to that ableism and make no critique of it. If anything, it’s to embrace the ideas of that era.

There is also the design itself to consider. Many people have pointed out the inclusion of a back brace, as if that saves it from ableism -- it does not. Any person who has ever worn a back brace can take one look at this design and know that they did not consult a disabled person. Hell, by how impractical that thing is, I doubt they even Googled a picture of a back brace.

It’s a superficial acknowledgement that Barbara is supposed to be disabled. Something that was apparently thrown in to appease the numerous complaints of Barbara being able bodied; something that no one working on it put any effort into.

When it comes to aids, this is not a new thing for Barbara in Infinite Frontier. She’s said to be using a cane occasionally, that we got a better look at in Batman: Urban Legends, and as any cane user can tell you... that is not a cane that could feasibly be used. It’s another pathetic attempt to acknowledge that Barbara is supposed to be disabled, without actually doing anything of importance.

[IMAGE ID:  A segmented cane with a tri-pointed handle with a wrist strap. There is a stripe across the sections to connection them, labelled “solar battery charger buttons”. The text reads: “telescoping antenna doubles as cane or weapon if needed”. END ID]

Dropping this design (which we have now established to be problematic) on the very first day of disabled pride month is a sickening move. The very first day, and DC has doubled down on their disability erasure, thrown in superficial things like a back brace to act like it’s fine.

Tom Taylor is definitely involved in this, whether you like it not. No, he is not in anyway responsible for the events of the New 52 and what they did to Barbara Gordon, but that does not absolve him of blame for what is currently being done to her in his run.

When the design dropped, it started trending due to disabled fans reactions. To be clear: we were directly calling out the ableism in this design. This was Tom Taylor’s response:

[IMAGE ID: A tweet from TomTaylorMade that says: “Hey, @Bruna_Redono_F I think our new Batgirl suit is getting some attention.” He then adds a winky face emoji and tags @jesswchen and @drinkpinkkink. Attached are a screenshot showing that Batgirl is trending in the United States and a picture of the design itself. END ID]

This is him, bragging about how the disabled community reacted. Perhaps before this tweet, you could’ve made an argument that he was not ableist, but after he flaunted the fact that disabled people were rightly furious over this, like it was something to be proud of? No. If you are defending him, you are a part of the problem.

Taylor has included ableist writing in his Nightwing run, beyond the inherent ableism that comes with the current iteration of Barbara Gordon (whose inclusion, yet again, is his decision).

[IMAGE ID: A panel from Nightwing #79. Barbara and Dick are standing in his apartment. Barbara is saying: “I have some pretty new technology holding my spine together. I’m happy to do most things -- eat pizza in the park, take down low-level thugs -- but leaping from rooftops seems... unwise.” END ID]

What Barbara says in the panel above has bothered a lot of disabled people. The implication that she couldn’t “eat pizza in the park’ and “take down low-level thugs” without a spinal implant that conveniently erases her disability is... fucked up, to put it mildly. Those are both things that Barbara has done in a wheelchair. The first one is something wheelchair users can do and the implication that it’s not is beyond offensive.

But, let’s leave Barbara behind for a moment. I have previously mentioned that disabled people have been discussing the ableism present in this run long before July -- and that ableism is not only centred on Barbara. Dick is also a player in all this.

Dick Grayson was shot in the head. I don’t believe I need to retread the story, but just in case: Dick was shot in the head by KGBeast, developed amnesia from the event, and went by Ric Grayson for a long enough period in comics. If you have been active within the DC fandom for the past year or so, you know all about this controversial storyline and its fallout.

The Ric Grayson arc concluded itself the issue before Taylor became the writer for the series and ever since his tenure has begun, Taylor has completely ignored the reality of Dick being a disabled man. We understand this is comics, that things do not function the way they do in our world, but still -- it is clear that this gunshot wound to the head has affected Dick massively. We had an entire arc dedicated to how he struggled to find himself in the aftermath.

Taylor is choosing to write Dick as an able-bodied man, despite his canonical injuries and how they would impact his life.

This man is choosing to give empty gestures towards Barbara being a disabled woman (as discussed above, the completely dysfunctional back brace, etc) whilst writing her as able-bodied as possible. He writes both Dick and Barbara as able bodied as humanly possible. That is ableist. He is ableist. This is the same man that said he made a dog disabled ‘in honour of Barbara’. I do not think I need to elaborate on why that is bad.

The least he could’ve done, was get a sensitivity reader. We know that Taylor is not beyond getting people from marginalized communities to consult on his work (see: Suicide Squad), so why, when writing two characters that should be disabled, one that the disabled community have been criticising for a decade, does he not reach out to a single disabled person? A mere Google search could’ve improved the situation massively. In both the new design and the current writing, it is beyond clear that this is not just an able-bodied person writing it -- it’s an ableist person.

He could have listened to the numerous disabled fans that spoke out. Instead, he chose not only to refuse to do that, but to describe justifiable anger as ‘raging’. He treated us like we were crazy for daring to speak out about blatant ableism being parading around of us in our pride month.

Tom Taylor has failed to do the bare minimum and in doing so, he is, at very, very least, guilty of complicity. Again: passive ableism is still ableism.

The argument at hand is not just about Barbara Gordon and the continuing ableism that shines out from her current writing. The argument is about the treatment of disabled characters in his run. It has also become about the way he treats physically disabled people.

We also can’t have this conversation without acknowledging the fandom’s role in it all. I waited a day to write this up, to allow all the reactions to flood in... and I am sickened.

We have everything across the board. Able-bodied people that have actually listened to disabled people, who have supported us (which is deeply appreciated). Able-bodied people who may have had good intentions, but a skewed sense of the situation and perpetuating some of the more insidious lies being spread around (IE. that this is only about the new costume).

There are, obviously, the ableist reactions, though, that we will be discussing here. People deeming the current issues as ‘crazy’, calling disabled people ‘overly sensitive’ and ‘delusional’. Many people have completely glossed over the examples given for why Taylor, specifically, is ableist, and instead have resorted to telling disabled people that we are wrong and should be mad at DC instead.

It’s important to note that Tom Taylor is an adult man. He doesn’t need a fandom to attack disabled people for daring to call him out. He is not the victim in this situation; he has, for quite a few disabled people, been the aggressor.

I have seen claims that Infinite Frontier is a ‘slow burn’, implying that disabled people need to patient... as if we have not waited a decade for less ableist writing. There is a complete refusal from able-bodied fans to actually listen to what disabled people are saying. They would much rather rush to the defence of the (honestly rather mediocre) current Nightwing run. 

Disabled fans know that comic book spaces are ableist. We know that both DC and Marvel and many of their writers are ableist. We are still allowed to be pissed as hell about it and acting like the current reaction being had right now is disabled people being ‘overdramatic’ is yet another example of how the able-bodied side of the fandom both refuses to listen to and undermine disabled people when we call out ableism.

We know it when we see it. We always do and we always will and we will always be able to recognize it far faster than an able-bodied person. If this many disabled fans are coming out and talking about an issue, calling it ableism, then it’s time for you shut up and listen.

Stop being a part of the problem and start supporting disabled fans for once.

[nerdwriting]

The Creative Directors Behind Fate: The Winx Saga Must Not Be K-Pop Fans

Also, they have a pretty wrong idea of the role fashion should play in a show.

There are a few words that will stand out across most reviews of Netflix's Fate: The Winx Saga - drab, boring, flop, flat, unimaginative. Critics and audiences consensus is that the show is not only a mediocre-at-best story, but also an atrocious (and ultimately confusing) choice of adaptation of the color pop and fairy magic cartoon it’s based on, 2004 italian cartoon Winx Club.

Fate has plenty of it's own issues - white washing and erasing characters, cringey dialogue, outdated melodrama, etc. But where it truly, unequivocally fails is as an adaptation. Fate misses everything that was magical and lovable about the original series, in all levels, from bizarre writing choices, - such as never actually developing any sense of friendship between the characters, who are based on a cartoon about…..a group…….of friends -, but it's especially and immediately felt in the art direction and costume design.

Winx Club is set on a fantastical world, Magix, where each of our main characters hail from a different planet, à la Sailor Moon. Alfea, the fairy school they attend, is the most common background: a pastel colored, futuristic high tech-meets-fantasy, art nouveau inspired castle. Alfea sets the tone for the whole visual of the cartoon: bright, colorful, futuristic meets vintage, leaning into the technological positivism of the Y2K style, uniting it with magic, DnD worthy monsters and, of course, fairy wings. Often featured are also the Red Fountain school, where the Specialists train, and especially Cloud Tower, the goth and gothic inspired witch school Alfea has an OxBridge rivalry with (How cool would that be in a live action? I guess we’ll never know…).

On Fate, Alfea is the only school we ever see, and it’s another beige boarding school in not-Britain, somehow set in a magical world where everyone has the exact same technology and even social media that we have on Earth in 2021, no transformations and, most egregiously, no fairy wings.

This lack of visual creativity is pervasive throughout the whole show, and its most heartbreaking iteration is in the characters' wardrobe. The styling has the barest bones of a color scheme, - such as 'Bloom has to only dress in red since fire, duh',- the clothes are ill fitting, bland, dark and very dated. These are supposed to be teenagers who enjoy fashion, and yet they look like varying types of soccer moms from 2010.

The series seems to operate on an old and tired vision that women and girls can’t have depth and have adventures and fight monsters while also caring about fashion, a vision that the original show played a big, big role in challenging in the early 2000's. Fashion and costume design sets as much of the tone of a visual medium as the script does; through clothes we can gauge characters’ backgrounds, passions, and personality.

Winx Club has some of the best examples of this in the cartoon sphere - Bloom’s comfortable and bright style, Stella’s glitzy and bold, Musa’s edgy and cool, Aisha’s sporty and fun, Techna’s neon and tech gear inspired, Flora’s earthy and romantic, they all work as extensions of each character and serve a narrative purpose. And that’s not even mentioning how insulting it feels that in their quest to make Winx “edgier, darker” and fit for an older audience, the creators of Fate somehow decided that was in opposition to caring about style and fashion. Most “girly” shows, including the Winx Club are just as much adventure action shows as the ones geared towards boys, and it’s emphasis in fashion, friendship and color does not detract from that. The original run of the cartoon deals with war, violence, grief, abusive relationships and even genocide; leaning into those plotlines would not require Fate to erase any integral parts of what made Winx so beloved, and the fact that they did shows that the Netflix team completely missed the point of fashion in the original show, and really, the point of fashion and costume design in the world building of any show.

That, however, is not a mistake K-Pop makes very often; (This might seem like a bit of wild swerve in topic, but stay with me here). Unlike it's western counterpart, the Korean pop scene never lost the emphasis on music videos and how the visual medium can complete and potentialize music and performance; the K-Pop culture is very album and concept oriented in a way that has been all but lost in many other pop circuits, and the music video, styling and set design of a ‘comeback era’ is a key point of excitement among fans.

As such, music videos that follow storylines, connected universes, boundary pushing concepts and visual effects are the norm, rather than the exception, and a list could be made of works that are beautiful examples of what a live action Winx adaptation could look like. In fact, and very smoothly, here is a small list of exactly that!

A Small List of K-Pop Music Videos That Are Better Winx Club Live Actions Than Fate: The Winx Saga

3. Red Velvet - Psycho

If it was a darker and more somber look that Fate wanted, there was a way to make it actually appealing. While it still feels a liiitle too grown up and elegant for Winx, (maybe this author is biased, as a full proponent for the Y2K fun) Psycho makes a very compelling argument for a witchy, mysterious, fairy tale-esque show that could look scrumptious and definitely not boring, or even a gorgeous example of what the witches in Cloud Tower could look like. Black and white, dark green, pastel blue and pops of jewel tones make Psycho's color palette. To add interest to the understated colors, the styling is heavy on textures; We see plenty of stonework, intricate embroidery, tassels, lace on lace on lace, feathers, bows, opera gloves and lots of glitter. All of that is offset by bold, dark makeup, leather accents and eerie cinematography. Needle & Thread, Marchesa Notte and Self Portrait lend their hyper feminine and intricately detailed tulle gowns, juxtaposed with the creepiness of the lyrics and the dark backgrounds; their deep berry and green fairy tale looks are built with pieces from Zara to Nina Ricci to Dolce & Gabbana to Alexander McQueen.

Red Velvet’s more edgy styling for 2018's Bad Boy would also not feel out of place on the Trix.

2. IZ*ONE - Fiesta

IZ*ONE kicked off 2020 with sweet and fun Fiesta. The MV features rooms with mismatched décor that go from retro to space opera, rocky faux landscapes that feel other worldly, and visual effects that would look perfect on the back of a transformation sequence. Mirroring the set design, the girls wear various outfits by sustainable up and coming brand Chopova Lowena. Their signature skirts made with discarded and repurposed fabrics give a cool and interesting twist on a schoolgirl look that would look very sweet for a band of school fairies that occasionally go off to save the world. Also, wouldn't those bedazzled headphones look great on Musa's fairy outfit?

1. Aespa - Black Mamba and Next Level

Aespa is what fans call a monster rookie. With only three music videos under their belt, they still have some of the most visually interesting work in the industry right now. Their concept is very tied in with high tech, featuring even AI avatars of each member, packaged in a glitzy, fantastical and futuristic aesthetic, candy pop meets cyberpunk. I think I’ve exhausted ways to say that is exactly what a perfect Winx adaptation should feature.

Their debut smash hit, 2020’s Black Mamba is truly a perfect moodboard for live action Winx. Wearing a sequined and colorful mix and match of Dollskill, Gucci, Didu and Balenciaga to a backdrop that features some alien fairy forest realness, a pyschedelic fever dream, rooms straight out of a Y2K catalog or donning lime green and black techwear inside a metro fighting the "black mamba", Aespa look through and through the part of fashion loving fairies who save the world together, while looking fierce, stylish and, most importantly, interesting.

The styling and the sets jump seamlessly from more casual colorful fits with blouses, shirts and baggy pants to barren, darkly lit backgrounds and fringe-and-glitter heavy pieces necessary to fight giant snakes, in a way so fitting to transformation outfits for magical girls we could cry.

In their third MV, 2021's Next Level, the cyber in their concept is taken up a notch (get it. because Next Level-), set to a futuristic urbanscape intersped with a planet made of crystals and the ocasional alien fauna popping up again. We get treated to Monse, The 2nd Skin Co., Johanna Ortiz and The Attico styled to fairy princess standards, sporty sky racers and a white and sequined group styling that is top ten fairy busy saving the world uniform material, or maybe even a specialist worthy getup.

This particular look from Ningning is so Techna that it almost feels as if it's mocking Netflix.

And doesn’t this Karina trapped inside the "black mamba" in Alexander McQueen feel like a perfect Dark Bloom moment?

These are only a few examples of interesting and creative designs that are in line with what a live action Winx Club should have given us. There are so many more I could list, even among other TV Shows, like Sex Education and even polemic dark Euphoria, that know how to have fun with style and design without losing the depth of their stories. In the end, it's hard to justify why Fate creators even wanted to make an adaptation that didn't even try to capture the heart of its source material, and all we can do is watch one more "Restyling Fate: The Winx Saga" video on Youtube whilst mildly dreading season 2.

[tim-hoe-wan]

Your dad seems to be decent by hollywood standards imo. I work in the industry but in costume design. Most of the top honchos are incredibly annoying because they're basically bffs with the actors and directors now that they think they're above you. If you complain to them regarding an actor's behavior, they'd gaslight you instead. Even the other execs I've met still try to wash their hands saying they had no choice but to keep quiet on abusers.

I agree with you, in the end admire the work but not the person. They're f*cking strangers, the only thing you see about them are the things their publicist allowed you to see. This parasocial relationships are so damn frustrating, cause as shown by the Depp trial, it actually can create horrible consequences. On a smaller scale, I once complained to a friend about this horrible experience I had with a celebrity and they tried to make a million unreasonable excuses because it turns out they were a fan.

It's also why I end up unsubbing from gossip subs or forums, it's very difficult to find any sort of unbiasedness or lack of projection. I can't handle another one of their temper tantrums whenever a celeb they like suddenly is shown to have done anything problematic. I also can't swallow it when there's a clear herd mentality already on celebs. I know you hate discussing them and trust me I'm also tired as someone who isn't a fan, but look at the discussion on Olivia/Jason on that sub. People already have a set idea who is the good and bad person here, but in reality, maybe it's one of those situation we shouldn't even have a discussion yet? There's not really anything solid to go that there is an innocent party in this case. Like you said, in most civil disputes, no one is 100% innocent. It's annoying because at one side you have clear Harry stans who really just want to drag Olivia no matter what. And another hand, you also have most probably Harry stans who want to drag Jason in the mud.

I'll be honest, my case here is both of them are pretty horrible people and I say that as also someone who works in the industry. It's been pretty known that both Jason and Olivia are mutual cheaters. I don't know if it's an open relationship, but it's known they've both cheated even prior to separating. I also don't believe Harry and Olivia are real, but if it is she definitely did an overlap because she deleted ig pics that showed her and Jason were very much together until September at least and contrary to her statement. They were also papped doing couple's counseling in December. She lied about it which really hurts any credibility I can give her. And again she lied about not living with Jason (there's a court doc she filed that's been posted online, showing she lives with Jason when she filed a restraining order against her stalker). She was associated with Weinstein and other horrible men so I can see that she's very opportunistic and a hypocrite to achieve fame. So yeah, I can't easily buy she's an honest person and she definitely thrives on the attention she receives. However, Jason wasn't exactly a loyal man too. I believe he was probably blindsided and got his ego hurt considering they went couple's counseling. I'm also not well-versed in law to have an opinion if he tried to serve her on stage in purpose but I could see it as a possibility. People are too blindsided by his Ted Lasso persona or their own misogyny to see, hey maybe they're both horrible people? Maybe if you step back from your own bias, you can see that it's possible neither are victims and maybe you shouldn't make this a stan war?

I'll actually allow to answer this one since you probably have the most level headed take I've seen.

I completely agree with you, in my opinion both of them are dicks.

My take is that, this really won't blow the way it did if it were not for Harry stans of every calibre. You have those who will try to just drag Olivia no matter what. You also have those whose inherent bias is Harry and everyone around him is good and innocent and they can only be victims. But in reality, this doesn't need to be another one od your discussion points. This is clearly a situation that, if you really care about those kids, you'd try not to put anymore of the situation into the limelight. There's not hardcore factual evidence to suggest one party is more innocent than the other. All I've seen so far is a certain bias due to their parasocial relationship and projections which should not even be there.

Regarding the service of summons, I would tend to believe Jason's side as someone studying the field and have met countless third party servers, there's a big chance how it would be presented is out of his control. He admits to knowing where she was, but we don't know for sure how actively she's been avoiding or out of reach since they've also mentioned trying to serve her at her hotel. It's most ideal to be done discretely, but a lot of process servers try to do it in public since they unfortunately get harassed a lot. Plenty of them also don't care about the situation, they have to catch you and finish the job cause they won't get paid. I mean from the people I've met considering it's not a high paying job and the risk it carries, they don't exactly care about your feelings at times. I mean Jason has a very good pr team behind him. I doubt they would ever advise him to be a dick on main.

Regarding to the mutual cheating, yup I've heard about it too. That kind of relationship is pretty rampant in the industry and a lot of times the affair stays and end on set that's why it never gets out. I also know about the deleted pics and the various pap photos that show Olivia was lying about the timeline. I also know about her lying to tmz since I also have friends there. As I've mentioned before, I have friends with access to Gorkana and can monitor a celeb's activities to show she's been pretty pandering to Harry's fanbase. Her constant pap calling also shows she's very much enjoying the attention, but I don't see how that's a bad thing. Celebrities are attention seekers, some are just better at trying to be discreet with it. But yeah, she's not exactly the most credible person whether as an activist, her morality, or her honesty. So I don't see anyone particularly innocent with either party.

End of day, I think this topic is something that doesn't need a discussion point. It's basically just marriage story made public by two probably equally horrible people and the public shouldn't act like they know what's really happening in private. It's also just impossible to have an unbiased and grounded discussion on this. The Harry stans have already decided which one is innocent and which is not. For some of them it's Olivia, for some it's Jason and seemingly no in between.

I should also state that I lean towards not liking Olivia. That said, I don't want a discussion on that, because while there's legitimate reason not to like her, it's hard to filter through anonymous people those who dislike her out of pure misogyny. I mean she's an irrelevant celebrity but you guys drag her without dragging Harry and Jason as well when they both willingly associate with her? Also the way he knows how horrible his fanbase is and act like he sees nothing, kinda makes me think Harry is equally as horrible as those two. He knows perfectly well it's his fanbase that's being weaponized by either teams to slander the other. Harry once again showing he is the less talented, male version of Taylor Swift.

[wonderneverlandsystem]

I wanna not post anything because I am grieving right now. But I need to get out some emotions or else I might genuinely hurt the next person that pisses me off. So I'm using the Duffer Bros because they made me remember never to fucking trust two cishet white men to write queer people with any fucking integrity or care. Or to trust them at all really.

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SPOILERS FOR ST 4 VOL. 2

I am not only greatly fucking disappointed like most of us in this fandom are at this piss poor writing, I am fucking livid about the queerbaiting and especially them using Will's sexuality to further Milleven and making it so Robin's purpose was just bettering Steve. They gave us an amazing fucking character (Eddie), who was queer (and that is not fucking deniable the costume designer put way too fucking much into making sure shit was historically accurate to not know about the hankerchief), and who had great fucking potential, and they just fucking killed him even though not only was it extremely unnecessary, it did nothing. It didn't further shit. He was not an expendable fucking character like Jason, the only fucking people who even reacted or gave a fuck about Eddie's death was Dustin. And his uncle.

I know Vol. 2 was rushed, I get that. That does not excuse the garbage fucking writing choices the Duffers made and the queerbaiting that they, the official netflix and stranger things accounts on tumblr and twitter, and the cast did. All story writers are supposed to care about their story more than monetary gain and popularity, but if that were true in this case? The Duffers would've fucking took more time, waited, and fucking done their job better. They ruined a really good fucking story, that had so much potential, they ruined great characters that had so much potential. No amount of pressure from people should make you rush or ruin something you love working on. If it does? You need to take a break from writing all together.

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FINAL NOTES

So to the Duffer bros? Fuck you, do better.

To the cast? Your performances were all amazing and you all are so talented, but some of you really need to educate yourselves, specifically on queerbaiting.

To whoever the fuck is running all the official accounts? Reblogging and retweeting posts about Steddie, Byler, etc. even though that got thrown in our face and practically spat on by the Duffers? Unless you for some reason didn't know about that (in which why the fuck were u put in charge of whatever accounts ur running)? Fuck. You.

To all of my fellow fans of the show? I'm sorry.

I'm sure I will get messages about how I could've "worded this better/nicer" or that I "didn't have to be so mean" or that "They were just trying their best" but I could not give less of a fuck. The Duffers failed not only their fans, but more importantly I hope they realize they failed themselves. They ruined. A GREAT story. It was not without its flaws, but I truly believed it was a great story until Vol. 2 came out and they fucked it.

Signing off, Jace.

[strawbkiwijuice]

‘Why White is the Best Aesthetic For Villains’ an essay by strawb

Whether in popular modern media, or steeped in the mire of mythology and folklore, villains have always held an important and notable role in storytelling. They are the antithesis of the hero, they represent all obstacles, hardships, and suffering that a hero will actively go through in a story. And so it only makes sense that their aesthetic matches the nature of their less than savory cause. But is there a hierarchy of aesthetics? Is there one thematic presence that will always win out when pitched against all others? The simple answer is yes. From purity of spirit, holiness of cause, and innocence of mind; White is the color that is best suited for villains to don when crushing a hero beneath their heels. In this essay, I will be explaining in detail why the color white is the best villain theme color.

To begin, let's look at the different kinds of themes villains fall under. Popular color schemes for villains are purple, green, red, and black, with lesser popular colors falling mostly under browns and blues. Looking at each color individually, what do we have? Purple, a color associated with poison, but also royalty. For a villain to wear the color gives off the immediate presence of command and a sinister secret. Though its really only in superhero villains that you find single tone ‘costumes’, the presence of purple suggests to an audience that this person has a nefarious, hidden purpose that will only be revealed with time. It suggests that they are not who they say, or that their words hold double meanings. Purple is also a rare color, which is why it is associated with the upper class, and so again, a villain wearing this color is communicating that they are unlike others, they will not be confined to the standards of either the hero, or society. 

For instance, take the marvel villain Thanos. He is the perfect example of the high class and commanding nature of the color. He is a war lord, the head of an army, and also an (admittedly terrible) father. Patriarch, general, lord, he oozes noble presence, and speaks in a calm, sophisticated manner. In this way, the color he sports matches perfectly with his nature. In contrast, the Joker, though in the movies of late he tends to wear ragged half suits and poorly kept makeup, in some of his original designs, he wore a very flattering purple pinstripe suit. And even if he did not wear the makeup, we would be able to glean much just from his choice of clothes. A cultured man with many secrets, one of a kind, purposefully non conforming to society. He holds himself in high esteem, and rules over his lackeys with an iron and bloody fist. 

Moving on, green, though it is the color found most often in nature, is also a common color of villainy. It is associated with acid, sure, but also with mold, slime, and waste. It is a toxic color that can easily find itself out of place, depending on its surroundings, and when it comes to villains, a green theme suggests that they are going out of their way towards their own ends. They have been displaced and want to make others feel the same pain or discomfort they feel. Villains with green as their main color are often unstable, or easily agitated, as the color itself tells us that they are not in a place of comfort, and could strike at any second. Because of the stark difference between the natural green that happens in nature, and the unnatural green that can be found in more industrial areas, green tends to be a more simple and obvious color for villains. It comes across easily that, yes, this is the bad guy, you can see they're bad because look, they do not fit in, their green stands out so much! It's a common color for enemies in games as well, such as goblins and orcs, whose green skin among that noble heroes sets them apart and marks them as monsters. An obvious example of this is, of course, the grinch. We all know his small hearted antics, and the song that tells us of his nasty attitude, but were that not the case, what would we think he is, when his bright, lime-ish green is contrasted to the calm colors and lights of the town of whoville? He doesnt belong, he stands out obviously, garish and unrefined among a population, an obvious villain amongst mortal men. 

In red, we become simpler still in both theme and message. The color of blood, of fire, of anger and pain; villains who sport the color allow their emotions to fuel them, and they are often some of the strongest. If we go back to nature, we see red in some dangerous places. Poisonous mushrooms and flowers, animals with venomous bites. Red is a warning sign, and villains wearing red are similarly not shy about showing the heroes how strong they are, daring them to fight against their plans, if they can. It is also another regal color, though its majesty rests more in might than title, as it is a color appearing often in war medals. Whether its a red cape accentuating a ‘costume’, a fully red outfit, or the red skin of a rage fueled monster, the presence of the color is a message of caution. Tread carefully, be wary and wise, this villain is strong and they are not afraid to show it. 

Finally in our lineup of examining common villain colors is Black. A favorite of its kind, black is death, decay, fear, and darkness. It is all consuming and relentless. A villain wearing black is the strongest of their kind, but a fathomless strength that the eye cannot immediately comprehend. To don the color suggests mystery and depth. Unlike purple, which is secretive in an obvious, almost performative way, black is a secret that can never be known, a secret that, if told, would be the last thing you ever hear. Villains in black are often dignified to the point of being standoffish. They cannot be understood by normal people, they are the depth of the ocean and the endless expanse of space. They do not expect their actions to be accepted or liked, and they don't care about the suffering they cause to others, as long as they meet their own ends. A black theme tells you that the plans this villain has coming are going to be terrible and almost impossible to defeat. They are the big bad, they are the final boss. In this way, however, black is also a simple villain color. It is the most obvious. The color black is the absence of light, it has no room for others, there are no colors left when black is involved. 

Now, due to popular media, these colors are commonly associated with villains because of their presence. They speak to the audience without saying anything, they tell you everything you need to know about why this person is evil, just from their design. But it's in that unspoken description that they are so lacking. Popular media would have you believe that the right way to present a villain is as obviously as possible, from Maleficent, to Thanos, to Asmodeus, to Ursula, one thing remains the same, and it is that their evilness is spelled out for you by their appearance. And that is where we come to the true answer to these aesthetic woes. 

White, a symbol of purity, of good, of moral wholeness. Men of the cloth wear it, doctors wear it, brides on their wedding day wear it, and why? Because it has come to be known as the color of the pure, bordering divine. And it is in that very perception that lies the reason why it makes the best villain color. A villain in white is not pure, a villain in white is not good, he does not hold any moral ground, his actions are not defendable. The entire aesthetic is based in a ruse. When a villain wears white, they are telling you that they believe their cause is pure, they are saying that they are the ones in the right, and the hero is the one who is wrong. Villains in white are steadfast in their beliefs, and will not waver under the threat of the encroaching heros. They follow their cause, their wants and desires, with a stalwart stride. White is the best color for a villain because it tells you nothing of their deeds, but everything about their personality. You will never know what a villain in white can do, what lengths they will go to to complete their mission, because to wear white is to wear a cloak. The perceived goodness of white is a mask that can confuse the common senses, and though it may not necessarily convince any hero of a villain's innocence, it will display that the villain will not be shaken by normal means. How dangerous is a villain wearing white? How is one to know? White, the color of the elderly and the young, how powerful can such an entity be? White gives the hero nothing, it is beyond secretive, it is beyond deceptive, it spares you no words. (Yas king, give us nothing)

A villain wearing black is a given, they are to be feared and hated, they seem beyond saving, But why? Black is also protection, authority and sturdy resolve. A villain wearing green is expected, they are toxic and explosive. But green is nature itself, endlessly growing and nurturing. A villain wearing red is dangerous, like a wild flame that will eat away at everything until only its own will remains. But is red not also the color of passion and pleasure? Beauty, emotion, and love are expressed in reds the same as blood and pain. A villain wearing purple is common, they are haughty and secretive. But purple is also noble and majestic, a rare bloom in a garden of banality. In this way, you can see the two sided nature of a villain's aesthetic. They are designed so that you see the immediate, and most simple associations of their colors first, because they are made obvious to the eyes. But white is different. The simplest connotations of white are of pureness and light, without any complicated explanations, just going off of what you see and perceive, white is good and holy, and that is why it is the perfect color for a villain. Let your audience be conflicted about their immediate perceptions. Let the obvious aid you in your storytelling, instead of bogging you down in tropes and cliches. White may be holy and pure, but it is also the color of infection, of searing heat, freezing snow and a world history’s worth of colonization. It is the most deceptive of villain colors, because it does not speak its true nature. And thanks to the commonality of today's villains and their aesthetics, it never will. 

In conclusion, above all other villain color aesthetics, white is the best choice, because the connotations associated with it are not immediately obvious as evil. Unlike other colors, which prey on human perception to tell you about a villain's personality and goals, white keeps everything hidden, and confuses the senses, which can be scarier but much more rewarding than solely clinging to cliches of modern media to drive your villainous force. It leaves things to the imagination, where can be found man's true worst enemy. The real villain.