#we all have our own limits for what we can accept in the characters we love <3< /div> Explore tagged Tumblr posts

[opheliahightower]

ooooo everyone hates alicent so much. sorry im on the side of late stage abortion.

“she’s a terrible mother and it’s her fault that aegon is king when he didn’t want to be” blah blah blah. yeah she fucked up. but if it wasn’t alicent in his ear it would’ve been otto, let’s be honest.

alicent deserved to #killthatthing as soon as she realised she was pregnant with a baby she didn’t want with a man she didn’t want to impregnate her. but she didn’t get that, and instead she had years of otto and colecel in her ear telling her to get aegon ready or let him die, after discovering that she actually couldn’t trust rhaenyra like she’d maintained she could for years - despite her being a terrible friend to alicent since the marriage was announced. then because she didn’t want those children, and all they represented was her pain, she wasn’t able to love them in a way they deserved.

2/3 of those who she raised turned into pieces of shit, and the 1 that didn’t, was forced to marry and bear children in the same way alicent was, and she had to watch that happen and then live with herself afterwards. not only that, but it was 2 of her children forced to marry each other despite it going against everything alicent was raised to believe is right.

and now, that child who turned out gentle, whose son was murdered in front of her for a war everyone keeps telling alicent that she caused, isn’t even getting the agency to refuse going to war? despite the fact that everyone knows it would ‘break her mind’?

yeah i’m getting my daughter and saving her from that fate like i couldn’t save her from mine, too - even if it means sacrificing my rapist son and my kinslayer* son.

[punkbarbarian]

for folks who don’t follow them on instagram— ally beardsley wrote part of an op-ed in the washington post for the 50th dnd anniversary about a moment playing dnd that really stuck with them and i wanted to share it here!

“a character’s journey — and my own”

I was an aspiring comedian in Los Angeles and had just landed a salaried job at the comedy website CollegeHumor. My co-worker and friend Brennan Lee Mulligan was looking for six comedians to create a show that would be like an at-home game of D&D. Why not? “Dimension 20” became a weird punctuation to my day.

I remember there being too many rules to remember. I kept turning to my friend, Brian Murphy, to ask which dice I should be rolling. I wasn’t paid overtime, but I loved the group and was having a lot of fun.

For the second season, I had my sea legs. I created a character for the campaign who was transgender. I had started going by the gender neutral they/them pronouns at work and among friends, but sourcing hormones or getting surgery seemed equal parts expensive and invasive. A fun thing about fantasy is stripping away the crunchy, real-world limitations and asking yourself: “What would I do if I could do anything?”

That season’s arc for my character, Pete, was extremely euphoric for me. I had described him as a trans cowboy you might see at Burning Man, and the artist drew him dressed as a freaky Hunter S. Thompson in an open shirt to show his top surgery scars. He has wild magic — uncontrollable and dangerous in the game mechanics — which we used to explore the painful chaos of leaving a family that doesn’t accept you.

Since then, I’ve started testosterone HRT and had top surgery. It’s funny to listen back to myself playing a character who had transitioned in ways I hadn’t. It’s full of inaccuracies that make me smile. Pete takes a testosterone pill every day; I now know it’s a weekly injection or a topical gel. I see my face, one wrapped up in playing something so new but instantly right. It was like an oracle. A near-future me who has health insurance! Who’s talked to their mom about being trans and even spent a week post-top surgery on that mom’s couch in Temecula, Calif!

As I started transitioning my appearance, seeing that in front of the camera felt raw. I was starting hormones, and my voice was cracking. Realizing it was all being recorded felt naked at times, but it has been really nice to talk to fans and friends about how important it is to see someone that looks like you taking a big risk on themself.

With Pete, it was really important to me to tell a story other than the dramatic lead-up to a medical transition. So we started with him having just gotten out of surgery, but that’s all you see of that process. Part of his backstory is that he doesn’t have a relationship with his transphobic parents, and before shooting the first episode, I felt sick to my stomach. I’ve been on a journey with my parents, and our starting place didn’t have much common ground. When my character meets with his father, it felt as though I was actually running into my own on the street.

Brennan could sense that discomfort, and as my character’s dad was about to call Pete by his deadname, Brennan shut the interaction down, surrounding his dad with bubbles that carried him into the sky. Magic is the power and freedom to manipulate your reality, and you can banish the awful voices in your life — let them swirl away into the air.

[utilitycaster]

An ongoing theme, with regards to the gods (as opposed to Predathos and the Imperium) is that of free will. The gods are stringent in collecting on promises made, and the Betrayers will use initial consent as license to act freely, but it’s notable, in a campaign where nearly all the main player characters are shaped by entities that never once gave them a choice, the gods require an invitation. Except, worryingly, Predathos, a being of nigh-divine powers who does not seem bound by this limitation. And, of course, mortals can do as they will.

When Lolth overtakes Opal, the fact that Opal assumed both the crown, and the title of champion, willingly, is repeatedly mentioned, in DM narration and by Lolth herself. Lolth also mentions to Dorian, (perhaps untruthfully, though the events of EXU indicate this might be genuine), that she wished for him to become her champion instead - but he did not put on the crown, so she can’t have him. Obviously, Lolth takes many liberties with Opal once given entry, but she can only speak to people or act through someone who has permitted her. We see this too with Asmodeus: it is ultimately Zerxus’s choice not to walk away and face his death, but make good on his pact; some degree of initial consent is needed. K’nauth and Judicators are also both explicitly described as voluntary: once permission is given, they are bound, but this is no different than the contracts of warlocks and notably, with the gods, while we’ve seen them make deals under dire straits, we’ve never seen such unwitting participants in their pacts as Fjord with Uk’otoa or Laudna with Delilah among the gods. All entered in control of their faculties, to our knowledge, though not necessarily with the full knowledge of what it entailed.

The Prime Deities are differentiated from the Betrayers in that they continue to provide free will to their champions and their faithful. The Raven Queen accepts Vax’s trade of his life for Vex’s, given without any direct communication from her, but she quickly does begin to communicate clearly; when Vax communes with her in Duskmeadow, she tells him what she wishes, putting him much more at ease. Later, after his death, she gives him an option to either remain dead, or to have a little more time left with Keyleth, Vex, and the others of Vox Machina before he completes his task and returns to her, and he makes a choice. When Morrighan asks for guidance, the Raven Queen’s response is to ask “why are you fighting, and what are you fighting for?” and stresses that she wishes to lay out the exact terms before Morrighan agrees to anything. When Percy asks her what to do she, ironically enough for a goddess of fate, tells him he possesses the capacity to do great things of his own accord. All of Vox Machina’s divine favors come willingly, only after a conversation; the Wildmother first reaches out to Fjord before he decides to accept. And mortals have the capacity to resist even these promises; Opal is only partially successful but she does not give the Spider Queen two deaths and she does not leave alone. Fy’ra Rai finds herself able to go against Lolth’s wishes even when the Wildmother does not wish to intervene; it is her choice not to kill Opal but to go with her.

When mortals express doubt in the gods, it’s typically not their actions. It’s because they don’t think they meddle in the matters of mortals enough. As mentioned, Percy struggles with the open-ended nature of the Raven Queen’s advice. Essek, frequently considered an “anti-god” character is actually quite mild in his doubt and ultimately more frustrated at the clerics of the Kryn Dynasty than the Luxon itself (put a pin in that). Ludinus Da’leth states the gods should have prevented the Calamity, despite us knowing that the Prime Deities avoided intervention and that ultimately, while the Calamity had a number of causes, mortals (Vespin, Laerryn, much of the city of Avalir) were at the root. Ashton and Imogen’s frustrations with the gods have both ultimately been that they asked for assistance and did not receive it.

The extension of the Prime Deities’ belief in the free will of mortals is sufficiently strong that even during the Age of Arcanum, when many mortals rejected them, and when they did not require mortal intermediaries, they still chose to preserve it until the Calamity began. Each major action by the gods as a group is ultimately one to preserve themselves (the sealing of Predathos; the destruction of Aeor; the current campaign’s truce) or to preserve mortals (the Primes during the Schism and in creating the Divine Gate).

Contrast this with Delilah, who seizes control of Laudna and who is never stated to have asked permission for any of her actions. Compare to FCG, designed by Aeorians to lose control and kill. Compare to Chetney, bitten by a werewolf in the wilderness (and the others of the Gorgynei as well) - indeed, what control he has is the legacy of magic granted by the Raven Queen and by a nature spirit tied to the Wildmother. Contrast this now with Predathos, whose Ruidusborn had no say in this connection and indeed, many are motivated in service to Predathos with the goal of freeing themselves. Enforcers within the Kreveris Imperium refer to themselves as The Will, and Elder Barthie refers to those who oppose them as being made “pliable”. Chetney’s loss of control under Ruidus is deliberately triggered by the Weave Mind, with whom he made no deal.

If we (in my opinion, rightfully) reject any argument that denies the right of sentient entities to self-preservation, we are left with the following accusations of the gods: failing to stop wrongdoing by mortals (both in their name and unrelated); and acting in accordance with pre-existing agreements. The latter we can also reject; it is not perhaps kind of the gods to hold people to their contracts, but this is not unique to them and as discussed extensively above, they do require that, at least initially, the promise be made willingly.

The former, unfortunately, will not be stopped by destroying the gods. Ultimately, such people as Tuldus, Bor’Dor, and the people of Hearthdell were oppressed by their fellow mortals. In-world, we have seen zealotry in the name not just of the Prime Deities but that of countless lesser ones, notably Uk’otoa; if only the Prime and Betrayer gods are at stake, this simply creates a power vacuum to be filled by other entities vastly more powerful than mortals. On the other hand, should all power-granting entities be devoured, setting aside the upheaval this will cause in society, this leaves no shortage of room for oppression on the basis of race or political affiliation, both of which we’ve seen. The Tal’Dorei Campaign Setting’s original incarnation, prior to the further development of Wildemount for Campaign 2, even stated the Dwendalian Empire forbade all religion and was still an authoritarian one. Colonization is the end goal of the Weave Mind and indeed the motivation for killing the gods per Edmuda. It also is not unheard of on Exandria for reasons not attributed to religion, notably the settling of the Menagerie Coast by Marquesians, and Tal’Dorei (formerly Gwessar) by human settlers from Issylra. And, of course, as we know in our real world, you do not need provable deities for religion to develop nor for colonization and oppression. Mortals do these things in reality and Exandria, whether or not the gods exist, and destroying the gods in Exandria achieves no prevention, only carnage.

Returning, finally, to Essek: when we look at the major characters who are PCs or are aligned with them who have expressed frustration with the gods, the only one who has much of a case for being influenced by the actions of a deity is Percy, who is staunchly on the side against Predathos. One could split hairs and note that Vecna was not a deity at the time of the murder of Percy’s family, his own torture, and the destruction and occupation of Whitestone, but rather merely a power-hungry wizard extending his lifespan via unscrupulous means, but Percy’s own choices render this moot. Meanwhile, the gods simply did not alleviate Imogen and Ashton’s experiences, both of which were in part due to powers caused by entities the gods, in fact, failed to sufficiently destroy (Predathos and Ka’Mort specifically) and mostly perpetuated by mortals reacting to Imogen’s abilities or Ashton finding themself orphaned on the outskirts of a notoriously rough city and later, caught as the fall guy in a failed heist by a morally questionable wealthy collector.

It is my belief that Keyleth’s anger is, on some level, extended towards someone who can’t respond nor change and who she feels she cannot be angry at, and that is Vax. Vax made the deal and the Raven Queen collected; Vax decided to take the Raven Queen’s second offer. He was forced into neither, and as discussed later, he likely would have responded poorly to a True Resurrection attempt given his faith. Vax is dead because of Vecna, but neutralizing Vecna didn’t fix it. I think Dorian’s anger at Lolth meanwhile is valid, but it’s also something I’d imagine he feels he cannot direct towards Opal, even though her actions are a part of it. And I’m sure both Keyleth and Dorian blame themselves, to an extent, whether or not that is rightful. The gods make just as convenient a scapegoat for those hurt by mortals as they do an excuse for cruelty.  But I don’t think killing them will bring back Vax, and certainly not Cyrus. Much as Derrig and Will and four other Ashari lie permanently dead at the hands of Otohan Thull despite her demise, and Orym’s trauma remains, killing the gods will not undo what happened to Imogen or Ashton. And since their main crime is considered to be inaction, killing them does not end suffering (and, indeed, should we dig into the infrastructures of Exandrian society and cosmology, may very well drastically increase it). It merely confirms that no one will receive their favor rather than only some; a bringing everyone down to your misery rather than striving to elevate all. An apt, if slightly tongue-in-cheek comparison to the real world is the fact that the cause of student loan forgiveness has been hamstrung and neutered by people furious that, since they didn’t receive help, no one else should - it is a self-centered and retaliatory mentality to lash out so far in jealousy that one would willingly destroy the life of another with the goal of increasing universal suffering.

Sources:

Timestamps available upon request but here are the episodes I’m drawing from. Printed works include pages.

Lolth, Opal, and Dorian: see 3x92-93; see also EXU Prime episode 8, EXU Kymal episode 2 for Opal willingly accepting and EXU Prime episodes 5 and 7 for the Spider Queen trying to get Dorian to put on the circlet.

K’nauth: EXU Calamity episode 2

Asmodeus and Zerxus: EXU Calamity episode 4

Judicators: 3x43

The Raven Queen and Vax: notably 1x44 (initial deal), 1x57 (Duskmeadow communion), 1x103 (her offering him the choice to pass or to become a revenant). Percy is also in 1x57.

The Raven Queen and Morrighan: 3x93.

Vox Machina’s divine favors: 1x104-1x106

Fjord and the Wildmother: 2x65; powers granted in 2x76.

Fy’ra and the Wildmother: 3x93

Essek’s feelings: see the final portion of this excellent post from essektheyless

Ludinus on the gods: 3x45

For causes of the Calamity, see EXU Calamity in its entirety, but Vespin specifically is episode 4, many of Avalir’s actions (including ignoring the hall of prophecy) are episode 2, and Laerryn denying the Arboreal Calix needed energy and casting Blight are in episode 3).

Ashton on the gods: 3x65

Imogen on the gods: 3x79

See page 12 of The Explorer’s Guide to Wildemount regarding the Prime Deities’ choice not to enforce their will during the Age of Arcanum.

Sealing of Predathos: 3x43; destruction of Aeor: EGTW 121; Truce mentioned in 3x67 and has appeared in 3x89 (Vezoden) and 3x92-93 (The Wildmother and Lolth).

Schism: EGTW 12; Divine Gate EGTW 13-14.

Delilah seizing control: 3x23

FCG’s design: 3x32 and 3x45

Chetney and Gorgynei (history and control): 3x40-41

Weave Mind control of Chetney: 3x91

Goals of Ruidusborn: multiple but see 3x48 and 3x89, 3x92 for a strong example with Liliana.

Imperium practices: 3x84

Tuldus: 3x44. Bor’Dor: 3x63. Hearthdell: 3x60-61.

Actions of Uk’otoa: much of Campaign 2 but notably 2x98 and The Mighty Nein Reunited.

Original description of the Dwendalian Empire: Tal’Dorei Campaign Setting (not Reborn) page 99

Goals of the Weave Mind: 3x85

Colonization of the Menagerie Coast: EGTW 17 (largely a peaceful one); Colonization of Tal’Dorei: Tal’Dorei Campaign Setting Reborn page 18 (explicitly stated to be against the wishes of the elves; led in part to the rule of Drassig and Scattered War).

Percy and Vecna: Vecna ascends in 1x106; the events of the Whitestone Occupation begin prior to campaign 1. Percy is in multiple war councils against the Vanguard and notably appears in the plans for a distraction to allow Bells Hells to take the Bloody Bridge in 3x81.

Imogen and Predathos: the revelation that Predathos may be within exaltants comes in 3x92; 3x83 and 3x87 both have involuntary experiences due to Predathos and see Liliana’s arguments in 3x48 as well as Imogen’s discussion of Gelvaan.

Ashton and Ka’Mort: emotional fallout most notably in 3x78; Evontra’vir’s description of what happened with the shard in 3x74. Memories of the Hexum Manor heist can be seen in 3x35.

[nicktremblaywayfu]

From the two reagents of the Sinyala Facility, presenting

The second Outlast Trials Anniversary Art Collab event 2025!

Hosted by @nicktremblaywayfu

Co-hosted and facilitated by: VostokLucini

First of all, what is the Outlast Trials Anniversary Art Collab event? As the name implies, this event will be an art collaboration from Outlast fans to celebrate Outlast Trials' first release anniversary! This was started last year, celebrating Outlast Trials' Early Access Anniversary. And now, back in for celebrating Outlast Trials first full release anniversary

[REGISTRATION IS CLOSED NOW! THANK YOU FOR YOUR ENTHUSIASM.

Event Schedule:

19 January - 2 February: Enrollment

3 February - 2 March: Drawing Phase

17 February: First check-into to make sure every participant is in progress (if there is any postponement, do let us know)

24 February: Second check-in In this phase, if you are not able to draw the canon character you choose, a pinch hitter/substitute will be picked

5 March: Posting time!

The timezone will be used in WIB. However, I will make sure the zine will be posted on 5 March, Canada Time.

Art Guide:

The size of the canvas should be 2480 x 3508 pixels portrait (A4 size)

Make sure it is colored with minimum bust-up (Half-body and full-body are encouraged). The characters will have a party theme and accessories, such as cake, party hat, confetti, party horn, etc. Sketch or WIP as submission will NOT be accepted.

The theme will be how the character celebrates the anniversary. You can make it as a full illustration or a character with a party accessory on a simple background.

Traditional Artists are welcome! You can directly draw it on A4 paper or in any size of paper, and then we will crop and adjust it. As for the background, feel free to contact us for help in editing.

Once it’s finished, post it in our discord in the #final-posting-anniv channel

You are not allowed to post your finished art in other social media until the final result is posted. A cropped sneak peek, however, is allowed.

One art page should only contain one character. You can, however, put your Reagent OCS celebration on one page.

Event guide:

You will draw the characters you have picked. Prime Assets, Ex-pops, Reagents, Denizens) and make sure it’s SFW.

The canon characters will be "first come, first serve" however, you can draw additional characters. Please make sure any additional character does not take the spotlight!

To ensure it may be enjoyed by everyone, please refrain from adding shipping elements in the artwork (especially if you add additional characters).

You can also draw just your reagents. There's no limit on reagents if you would like to submit multiple! Give yourself a reasonable workload within the timeframe.

OCs are only allowed for reagents.

After all the art is submitted, it will be collected as a digital, free zine. Every participant will get the file and the digital zine will be available for the public to see

You can print the zine on your own. However, selling it as fan merchandise is STRICTLY PROHIBITTED. Any commercial distribution is forbidden.

The result will be posted on social media with each artist’s credit and shown to Red Barrels. We will also send the digital zine through their email so make sure you give the best of your artwork.

General Rule:

No AI Gen or any stolen media allowed. The participant will be banned and blacklisted. Tracing stolen artwork is also forbidden.

No racism, homophobia, transphobia, sexism, or any form of hate speech is allowed. Bullying/harassment in any form will not be tolerated.

Please ensure you can meet the deadline of the event. This is very important to prevent a participant from only being able to submit a Sketch WIP on the final day and possibly hindering the event.

If there are any further questions, contact me on Tumblr or VostokLucini on discord

See you at the event!

-Cheers, Alvin and Voss 💖

[dcufans4palestine]

What you need to know about DCU Commissions For Palestine

DCU Commissions for Palestine is a fan-led event to raise money for Palestinian causes. Creators in the DCU fandom can volunteer to offer commissions in exchange for donations. All creators interested in offering fanworks (including fanart and fanfic) for any part of the DCU fandom are welcome to join! Creators will have complete control over what they offer.

How it works:

Creators will have the opportunity to sign up here between July 1 and July 15. By signing up, creators agree to offer DCU commissions in exchange for donations. Before July 20, creators will be expected to create commissions sheets explaining what they will offer. These commissions sheets should be limited to DCU fanworks, but there are no limitations other than that. All comics, ships, characters, crossovers, etc. are welcome! We will provide examples for any creators unsure what a commission sheet should look like.

Commission sheets will go live on July 20. Creators will post their sheets on their own accounts, but all offerings will be compiled in a masterpost on the @dcufans4palestine page and shared via reblogs. Donors will be able to search through tags to find offerings based on types of work, specific characters, ships, etc.

Commissions will be live from July 20-August 10. If creators have a maximum amount of slots they are willing to accept and those slots are filled before August 10, they are welcome to close their commissions early. Donors will donate directly to charity and then send proof of their donations to us, and then creators can get started on the commission! More info about donating will be available closer to July 20.

On August 17, posting will begin. This is not a deadline for when works must be completed, but this is when our account will begin sharing completed works. The week of August 17 will be a celebration of everyone’s hard work! Throughout the week, we will spotlight specific creators, fandoms, etc. Depending on the size and success of the event, there may be some additional surprises in store ;)

If you wish to get involved, follow this account and join our discord!

Additional info under the cut!

FAQ:

How much will commissions cost?

That is totally up to the creators. We will provide price suggestions for any authors or artists who are unsure how to price their offerings, but these will only be suggestions. Creators will also get to choose if they have just one price options or price tiers.

Is NSFW art/writing allowed?

Yes, but only if the creator explicitly states that they are willing to accept NSFW commissions and donors who want NSFW work must be 18+.

What types of work are allowed?

We expect that most commissions will be for digital fanart and fanfiction, but any type of DCU fanworks are allowed! If you wish to donate a physical item for the event (merch, comics, physical fanart, etc.) please contact us directly!

If I want to be a creator, is there a minimum amount of work I need to be willing to offer?

Nope! All we ask is that creators be upfront about their offerings. If you only are willing to take up to three commissions, state in your commission sheet that there are only three slots. We also ask that creators contact the account once their commissions are closed so that we can share that information.

Where will donations go?

We have a carrd with plenty of donation options, all supporting the people of Gaza. Creators can specify in their commission sheet if they would like donations to go to a specific cause. Otherwise, donors can donate to any of the fundraisers in our carrd or any other vetted fundraiser or charity supporting Palestinians.

[bloomshroomz]

Partnering aromantic writing advice

The topic of aromantic characters dating is a bit of a contentious one in fandom spaces, but I think that it can be a great way to represent partnering aros if you do it right. I'm not an author, but I am a partnering aro, so I want to give some advice (or at least food for though) to those who may want to pair aromantic characters with partners in their fictional works.

1. Start with their aromanticism first.

This is very important. Do not slap their aromanticism on as an afterthought to their relationships. Develop their aromanticism first.

How do they feel about traditionally romantic activities? Do they enjoy them? Do they feel indifferent to them? Are they averse to them? Do they perceive those actions as inherently romantic in nature, or do they not? Does it depend on the action?

How do they experience attraction? Do they experience some amount of romantic attraction, or none at all? Does it happen only under very specific circumstances? Do they experience other forms of emotional attraction, like platonic or alterous attraction? Do they experience physical forms of attraction, like sexual, sensual, or aesthetic attraction?

Why have they chosen to be partnering? Are they doing it to fill an emotional need, in a world where friends often don't prioritize each other enough? Are they doing it to fill a physical need? Are they doing it because they enjoy traditionally romantic activities, regardless of whether or not they personally view those activities as romantic? Are they doing it for financial, social, and/or medical security? Are they doing it out of social pressure? Are they doing it because they perceive no inherent difference between partnership and friendship, and don't object to either?

Are they romantically partnering, or are they partnering in a different way, such as queerplatonic partnership? Are they partnering in multiple ways? What does that distinction look like for them? Is there a distinction at all?

Do they ever feel burdened by their aromanticism because they feel like it "get's in the way" of their desire for partnership? Tread very carefully if you go this route. Do not "cure" their aromanticism. Try to build towards self acceptance.

Aromantic people can date, but our aromanticism can and often does impact how we date, and how we feel about dating. Even when aromantic people are in committed relationships, or want to be, we are still aromantic.

2. Explore how this impacts their relationships.

Being aromantic often makes dating/partnering more complicated.

Did their partner(s) know that they're aromantic when they started dating? If not, do they know now? How did that conversation go?

Did the aromantic character know about their own aromanticism when they first started dating, or did they realize it later? How did they come to realize that? If they were in a relationship at the time of realizing it, did the realization spark anxiety over the future of their relationship? Did it spark relief?

Do they experience difficulty finding partners? Is it because people are less willing to date aromantic people? Is it because of highly limited attraction? Is it because the aromantic character has very specific needs when it comes to relationships, such as needing a less common (e.g. queerplatonic) relationship, or having a lot of strong boundaries around traditionally romantic activities? Is it because their orientation is difficult to explain to potential partners? Is it a combination of factors?

3. If you're writing fanfiction, respect the aromantic character's canon identity.

If an aromantic character is canonically non-partnering, romance-averse, romance-repulsed, or similar, keep it that way. Hands off.

[yukipri]

Some thoughts on Cara

So some of you may have heard about Cara, the new platform that a lot of artists are trying out. It's been around for a while, but there's been a recent huge surge of new users, myself among them. Thought I'd type up a lil thing on my initial thoughts.

First, what is Cara?

From their About Cara page:

Cara is a social media and portfolio platform for artists. With the widespread use of generative AI, we decided to build a place that filters out generative AI images so that people who want to find authentic creatives and artwork can do so easily. Many platforms currently accept AI art when it’s not ethical, while others have promised “no AI forever” policies without consideration for the scenario where adoption of such technologies may happen at the workplace in the coming years. The future of creative industries requires nuanced understanding and support to help artists and companies connect and work together. We want to bridge the gap and build a platform that we would enjoy using as creatives ourselves. Our stance on AI: ・We do not agree with generative AI tools in their current unethical form, and we won’t host AI-generated portfolios unless the rampant ethical and data privacy issues around datasets are resolved via regulation. ・In the event that legislation is passed to clearly protect artists, we believe that AI-generated content should always be clearly labeled, because the public should always be able to search for human-made art and media easily.

Should note that Cara is independently funded, and is made by a core group of artists and engineers and is even collaborating with the Glaze project. It's very much a platform by artists, for artists!

Should also mention that in being a platform for artists, it's more a gallery first, with social media functionalities on the side. The info below will hopefully explain how that works.

Next, my actual initial thoughts using it, and things that set it apart from other platforms I've used:

1) When you post, you can choose to check the portfolio option, or to NOT check it. This is fantastic because it means I can have just my art organized in my gallery, but I can still post random stuff like photos of my cats and it won't clutter things. You can also just ramble/text post and it won't affect the gallery view!

2) You can adjust your crop preview for your images. Such a simple thing, yet so darn nice.

3) When you check that "Add to portfolio," you get a bunch of additional optional fields: Title, Field/Medium, Project Type, Category Tags, and Software Used. It's nice that you can put all this info into organized fields that don't take up text space.

4) Speaking of text, 5000 character limit is niiiiice. If you want to talk, you can.

5) Two separate feeds, a "For You" algorithmic one, and "Following." The "Following" actually appears to be full chronological timeline of just folks you follow (like Tumblr). Amazing.

6) Now usually, "For You" being set to home/default kinda pisses me off because generally I like curating my own experience, but not here, for this handy reason: if you tap the gear symbol, you can ADJUST your algorithm feed!

So you can choose what you see still!!! AMAZING. And, again, you still have your Following timeline too.

7) To repeat the stuff at the top of this post, its creation and intent as a place by artists, for artists. Hopefully you can also see from the points above that it's been designed with artists in mind.

8) No GenAI images!!!! There's a pop up that says it's not allowed, and apparently there's some sort of detector thing too. Not sure how reliable the latter is, but so far, it's just been a breath of fresh air, being able to scroll and see human art art and art!

To be clear, Cara's not perfect and is currently pretty laggy, and you can get errors while posting (so far, I've had more success on desktop than the mobile app), but that's understandable, given the small team. They'll need time to scale. For me though, it's a fair tradeoff for a platform that actually cares about artists.

Currently it also doesn't allow NSFW, not sure if that'll change given app store rules.

As mentioned above, they're independently funded, which means the team is currently paying for Cara itself. They have a kofi set up for folks who want to chip in, but it's optional. Here's the link to the tweet from one of the founders:

And a reminder that no matter that the platform itself isn't selling our data to GenAI, it can still be scraped by third parties. Protect your work with Glaze and Nightshade!

Anyway, I'm still figuring stuff out and have only been on Cara a few days, but I feel hopeful, and I think they're off to a good start.

I hope this post has been informative!

Lastly, here's my own Cara if you want to come say hi! Not sure at all if I'll be active on there, but if you're an artist like me who is keeping an eye out for hopefully nice communities, check it out!

[jubileemon]

Orihime's Powers and Representation

Orihime's power in regards to her characterization. Orihime is an idealist. She exists in a very violent world, yet refuses to fight unless she's under really terrible pressure. She used to see Ichigo as her Prince Charming, her Knight in Shining Armor, until she realized that is simply wasn't the case. The girl was pretty much living in her own little fantasy world to cope with her HUGE troubles, which is why yanking her out of it and making her face a reality so stange to her own left her so distraught. So what do her powers do exactly? Reject reality.

Also in regards to Orihime, the reason why Loly and Menoly hate her even more after she uses her Reality Warper powers to bring them back to life. is more complicated than just being two ungrateful sadists. To start, Hollows/Arrancar/Espada as a whole are beings that are born when souls don't cross to Soul Society and stay in our world, becoming corrupted with supernatural energies. And here, two Arrancar girls (Hollows who have removed their mask and gained Shinigami-like powers) have witnessed how a lowly human has the power to undo death, pretty much messing with everything they know about their own existence. What is a crowning moment for Orihime, in the view of these two girls (and especially Loly, who had a better look at all of this than Menoly since she was horribly mutilated by Grimmjow yet she was not dead) is like catching view of an abomination, which explains the whole "she's a monster" deal.

Hollows, beings that are born from death, despair and fear, are being faced with a being who can literally rewrite reality so that events do not occur. Taken in this context, Orihime is less like an angel of mercy to these two and more like a God from their perspective. A being whose nature and abilities are so alien that they outright defy explanation. Considering this, its understandable that they would react less than pleasantly to what happened to them.

Further to the above point on Orihime's character in relation to her powers — there's a very specific reason why Orihime actually used to be useless on the battle field, and it's not any kind of limit on her power. It's been heavily alluded to that Orihime's power is pretty much limited by her own imagination. Naturally, when it comes to helping people, her healing powers can reverse pretty much anything. However, think about who Orihime is. She wouldn't hurt a fly if she could help it. She can take down random Hollows like that mook that was attacking Tatsuki in the school because it's monstrous in appearance, and they'll hurt more people if she doesn't attack. Place a humanoid enemy in front of her, and will take her a while to see that she should consider them an enemy, and she simply cannot attack them unless it's really needed. This is why Tsubaki's power will always be the most limited of her set.

Actually, about Tsubaki... think about the Shiten Koushun aka Shield of Four Heavens' Resistance. How is it formed? Via adding Tsubaki to the Three God Reflection Shield, thus making him turn a defensive barrier into an offensive weapon. Tsubaki is the weakest of the six Rikka spirits as well as the one who's less like her, personality wise; and the ones forming the Reflection Shield (Hinagiku, Lilly and Baigon) are relatively similar to her in character. This means that, if she wants to join the battle effectively, Orihime must accept to use Tsubaki yet not by simply sending him off towards the enemy (like many of her haters want her to), but by integrating him to the side that she dominates the most. Only by using Tsubaki in combination with Hinagiku, Lily, and Baigon can she draw his attack potential... mirroring how Orihime must now fight alongside Ichigo, Chad, and others if she wants to not stay behind. Also, when was the Shiten Koushun seen first? When she and Ichigo were attacked by Ginjou. Who was actually a humanoid enemy (more exactly the formwr Substitute Shinigami, but we didn't know that back then, and neither did she). This means that Orihime either is working on the issue mentioned above or has already gotten past behind it.

As for her Santen Kesshun (Three God Reflection Shield)? It too, is not the fragile thing it seems to be. It is specifically stated to Reject an attack and its consequences. It stands to perfectly good reason that it doesn't matter if the shield shatters instantly or not — another can always be thrown up. What matters is that whether the shield shatters or not, it genuinely DOES reject the attack that hits it.

Furthermore, it actually makes a ton of sense that it shatters so easily, too. Orihime's powers are a form of reality warping, after all, being what Aizen calls "the Rejection of Events"; she's essentially the Queen of Retcons. When her base shield blocks an attack, it also retcons that attack out of existence. But then, that raises the question... if there was never any attack to block, then why would she even make a shield in the first place? The reason it shatters isn't that it's fragile; it's the shield disappearing in a Puff of Logic because the attack it was meant to block suddenly never existed in the first place.

As for her Santen Kesshun (Three God Reflection Shield)? It too, is not the fragile thing it seems to be. It is specifically stated to Reject an attack and its consequences. It stands to perfectly good reason that it doesn't matter if the shield shatters instantly or not — another can always be thrown up. What matters is that whether the shield shatters or not, it genuinely DOES reject the attack that hits it.

Furthermore, it actually makes a ton of sense that it shatters so easily, too. Orihime's powers are a form of reality warping, after all, being what Aizen calls "the Rejection of Events"; she's essentially the Queen of Retcons. Logically, when her base shield blocks an attack, it also retcons that attack out of existence. But then, that raises the question... if there was never any attack to block, then why would she even make a shield in the first place? The reason it shatters isn't that it's fragile; it's the shield disappearing because the attack it was meant to block suddenly never existed in the first place.

[glass-warehouse]

Saganu.... urrahhhggh

Saganu's actual name, and just himself in general, has been bugging me since I got around to cleaning up my Chiss Name-maker spreadsheet. I’m blaming the SWTOR writers (sorry guys) over this. I know they just needed to give him a name – no backstory required. 

In any case, I'm going to break it down myself. Through a poor hodgepodge combination of Legends and Canon. 

Unfortunately, this also involves me going over his position, a lot. I know it might seem irrelevant, but I hope you understand why I had to mention it by the end. 

This goes out to all the Saganu fans. I think there are only four of us...

Intro: 

When you first meet Saganu, he is both a commander in the CEDF/CDF and Aristocra of House Miurani. I cannot begin to tell you how difficult this makes things. First off, I don't think this is allowed. The whole deal with the CEDF is that they serve the Ascendancy as a whole, and not just one Family. Families tend to have their own fleets or Phalanxes for things like that. 

Right then, let's break this down. Get ready for a ramble. 

Rank: Aristocra 

Legends and Canon do not agree on the position of an Aristocra. 

In Canon, this is like, the lowest rank of political importance you can hold within a Family. I'm aware there is also 'The Aristocra', an organisation within the Syndicure (Parliament) that holds a lot of power. But, man, we are not getting into that. And I don't think that's what the writers meant when they made him an Aristocra. 

In Legends, Aristocra is a very high rank. To the point where they can represent themselves as the head on behalf of their Family. Is that not wild? They aren't officially the head of the Family, but they can just say they are and everyone accepts it. 

In Saganu's case, this is very hard to settle on. He is both more important than Canon rank but less than Legends. I'm more inclined to place him toward Legends, simply because of the promotion he receives later. But why the fuck is someone that important just kinda chilling on some secret Hoth base, with limited manpower, and asking Imperial Intelligence for assistance, I will never know. 

Rank: Commander 

In Canon, Commander isn't even a valid rank... There are four different versions of 'Commander' in the CEDF, and Saganu's is never specified. I think the writers just wanted him to sound important. 

In Legends, we have almost nothing to go off, especially at this point in history for the Ascendancy. I believe that when the story was written, the writers were basing the structure of the CEDF as if it was the same as the Imperial Navy - as there is a Commander rank. In the Navy, Commander is the 5th highest position, making it a little more than midway through the ranks. I'd say that about tracks with what we expect at this point in the story, our character's position, as well as how Saganu acts and is treated. 

Again, placing him is difficult. I'm just going to say that Saganu is a Senior Commander. At least this way he has a proper CEDF rank... and it’s the best option I can fit him into. 

Further Notes: 

I'm aware that in-game, Saganu is only ever mentioned to be the Base Commander of Zero Station - quite frankly, I'm already having a bad time with this as it is, so I'll be ignoring this entirely. 

There is nothing I can find that suggests that Saganu was a commander and then became an Aristocra, or vice versa. Both facts are presented at the same time as if they are both currently true. And besides, he's known as 'Aristocra' Saganu, not Commander. 

This would be a lot easier if both ranks were on equal standing - but they're not. 

Canon - Aristocra < Senior Commander 

Legends - Aristocra > Senior Commander 

Roles and Names: 

REGARDLESS of Saganu's rank when you meet him on Hoth, he should have introduced himself with his full name. And, as I'll get to at the end, his core name would've been different. 

Chiss naming convention, and all the ways it can change, is bad enough already to wrap your head around. What's important is that Saganu did NOT hold a high enough position either politically or in the CEDF, that it would have had an impact. 

Politically, it doesn't matter how important you are, whether that's being an Aristocra or Patriarch, your rank doesn't change your name. 

In the CEDF, only those who held the rank of Commodore or higher (all Flag Officer positions) would have their names altered. 

(For any that don't know - when Officers are promoted to a Flag rank, they are stripped of their Family name. This is to ensure that they serve the Ascendancy proper, and prevent any biases toward their Family ties.) 

Saganu's position of Senior Commander is not a Flag rank - therefore, his name should remain unchanged. 

HOWEVER! - this does change when you meet him again after Knights of the Eternal Throne. 

Traitor Arc: 

When Saganu visits the Alliance, he tells the Commander that he is now 'Supreme Commander of the CEDF', because of how he handled the invasion of the Eternal Empire. *** 

AGAIN, 'Supreme Commander' is NOT a rank in either the CEDF or the Imperial Navy - the writers really did pull this one out of their arse. 

Anyway, this rank signifies him as the head of the CEDF. He's the one who oversees all of the CEDF's military operations. To be more Canon accurate, this rank would be 'Supreme Admiral'. I'll continue to refer to it as such. 

Supreme Admiral is a FLAG OFFICER rank, so this WOULD alter his name. 

What I am going to ignore is that in-game, Saganu is still referred to as Aristocra and that the mail he sends the Commander once all is sorted is also under the same rank. At this point in time, he CANNOT be an Aristocra - as mentioned before, Supreme Admiral is a Flag rank, so he cannot hold any Family ties. 

Now, here's what you've been waiting for. 

Meeting on Hoth: 

Full name - Miurani'saga'nuru 

Core name - Isagan, Nisaganu, Nisagan, Isaganu 

I've listed all possible variations for his core name. So, you can decide what you like best, as they are all technically correct. 

After KOTET: 

Full name - Saga'nu 

Core name - Doesn't need one. 

If you are looking at 'nuru' and thinking, "Oh like, nuruodo? Like Thrawn?" the answer is YES. 

Nuru is the default spelling. The 'odo' part is an honorary suffix he received. 

Because I'm running out of steam, here's an excerpt about it:  

"The Stybla honouring ceremony, also known as the Stybla honouring ritual and the odo ceremony, was a ritual in which the Stybla family conferred the suffix "odo" onto the name of an honoured individual ... this was typically only awarded to those of House Stybla, though a few non-Stybla have gone through the ceremony." 

And, YES, this is considered Canon - though it originated from the books, so don't hold out any hope you'll ever hear it mentioned in Disney SW. 

Any Stybla Family SWTOR toons out there, take note! 

And that’s a wrap... phew... 

God, if you've read this all the way through you deserve a fucking pat on the back, seriously. 

*** I realise that it's roughly 12 years until you see Saganu again after Hoth, but this motherfucker only really got promoted around KOTFE, over the 5-year time skip. 

It's hard for me to write in words how OBSURD it is that he went from Senior Commander to fucking SUPREME ADMIRAL. IN FIVE YEARS. 

I realise that he may have had other promotions over the other 5, 6, or 7, years that are unaccounted for, but the jump he made to Supreme Admiral is ridiculous.

This is the equivalent of being an Area Manager in retail to becoming the CEO, in the space of 5 years. 

The SWTOR writers love to always go bigger and better. And then they have to write themselves back down again because they went too big. 

All they had to imply was that Saganu was promoted. We already know he's important, okay SWTOR? You can calm down. Nobody (other than me) is paying attention to what title he has. 

[starqueensthings]

A very Crosshair Character Analysis

I posted a poll the other day looking for some opinions, and the prompt was: does Crosshair ever truly miss a shot? Meaning, of all the shots we’ve seen him aim and fire, how many of the few that didn’t land, were intended not to land? Does Crosshair have the skill and ability to land every shot he takes, and what of the ones that go astray (because there are some!)? The overarching, collective opinion (77% of votes) is that the sniper only misses a shot when he intends to, but let me explain why I was asking— the "methods behind my madness," if you will… (Fasten your seatbelts, and keep all extremities— and pitchforks— inside the ride!)

If Crosshair “doesn’t miss”, then there are some things that demand consideration and possible explanation. Please accept this weird internet essay as a deep dive into Crosshair’s character based solely on how I perceived his actions throught season one and two, and opinions I formed while watching his character develop. And while this could not be a Tech-approved analysis without touching on both his perceived good qualities and “flaws”, please know this is not a hate-on-Crosshair post.

Before I get into specifics, I think it’s imperative that we establish a basic understanding of his personality before the chip’s activation. While there is, sadly, not much “footage” we can use to form a true characterization of him, there are some instances we can touch on. The Skako/Anaxes arc from TCW and the earliest few moments of “Aftermath”, Crosshair is shown to be quite sarcastic, uninterested in trivial conversation, measurably combative toward those with differing opinions to his (seemingly all regs, including but not limited to Kix and Jesse), moderately argumentative toward leadership outside of his own Sergeant (mainly Rex, as Crosshair seems to have no qualms following Anakin’s or Cody’s orders), comforting to those who need it (Echo), and an overall good tactical team player.

So, let’s start this analysis by dialling things way back to their mission on Kaller and the complications that arose once Order-66 had been dropped. More specifically, hunting Caleb down in the forest. One of the things I noticed upon first watching that scene and every re-watch since, is how often Crosshair toggles back and forth between blaster bolt and stun cartridge on his rifle, as if constantly battling the indecision of exactly how he wanted to detain the Jedi. Now, if you remember, Tech com’s in and basically says [paraphrased obviously]: “Shit is starting to his the fan, we better get our butts outta here,” to which Hunter responds: “Can’t. Haven’t found the kid yet.” Crosshair then chimes in with, what I have long-deemed to be his catch phrase: “Wrong,” and proceeds to shoot the branch that Caleb is perched on. Not Caleb, who, in Crosshair's mind, should be the rightful recipient of a kill shot… the branch. Hmmmm.

If every one of Crosshair’s shots is so masterfully aimed that its deemed an automatic hit, and thus every miss is intentional (a notion of which I also believe, less one particular shot which I’ll touch on a little later), then there would’ve had to have been a portion of Crosshair’s cognition overriding that Order-66 command to eradicate all Jedi, even if it was only enough to fleetingly switch his gun to stun.

Not long afterward, we see his beloved Firepuncher saber-whacked from his hands, and Crosshair opts to then continue his attack with his backup DC17. Missed shot, missed shot, missed shot, missed shot. Were these blown shots intentional as well? And if so, why does he continue to assail the Padawan? Is Crosshair only able to fight off the command to kill Caleb while his finger is on the trigger, possibly knowing that’s when the fight against his own mind becomes most crucial? Is he clinging to some autonomy in the moments where he’s not posing an imminent threat to those around him, like during the flight back to Kamino? Or can he only resist the chip’s influence when the urge to do something terrible is paramount?

Let’s skip ahead, shall we, to when the Batch is attempting to flee Kamino with Omega. Crosshair sashays onto the landing platform in his new gothboy armour, fresh out of an undescribed chip “augmentation” procedure (whatever that eludes to), and proceeds to have a small stand off with Hunter— both of whom have their weapons directed pointedly away from each other (interesting). During the succeeding fire fight, we see Crosshair line up several well aimed shots, many of which appear to be only inches away from landing on their “intended target”. He eventually succeeds in shooting Wrecker in the shoulder, and I’d like to point out that this shot lands almost exactly where Wrecker was hit by the training droid some hours/days previously. Was the placement of this shot intentional? Did Crosshair pick that particular target area knowing Wrecker would survive the damage?

The shot I find most intriguing is the one near-perfectly aimed at Hunter’s head (lol— brothers). You know, the one where Omega saves the day by unexpectedly blasting Crosshair’s rifle out of his hands. If the chip's activation was the reason he was now hunting them and claiming their treason, why had that moment seen him hesitate? Perhaps he needed a second to line up his shot, you might argue to which I would say argue: we’ve seen him use the active recoil from that same rifle to line up his next shot many times in quick succession with a zero margin of error (see the Skako/Anaxes arc in TCW and the first few minutes of Kaller), including when each shot was aimed at targets both more dynamic in action and further away than Hunter was.

Crosshair then takes several shots at the ramp of the Marauder as they take off, all of which are well aimed… and simultaneously redundant; the passengers are taking cover in the ship already, the Marauder has begun its take off, the ramp is closing, Crosshair running whilst knowing he can’t reach them. I personally attribute those last few shots as tokens of both anger and resentment for being left behind, not ones made with the intention of killing. I think that he expected his brothers to know him better than to believe these actions were of sound mind— he thought they’d be able to deduce that he was fighting a losing battle inside his own head, yet they were quick to believe he would actually entertain such sudden and aggressive hostilities toward them.

At this point, you might be itching to argue that maybe Crosshair's accuracy is largely diminished when he opts for a pistol instead of his rifle, and while I can't dispell this theory, I can provide some statistics. We see Crosshair use a pistol only four times in the entirety of the show so far: 1. against Caleb on Kaller (objective miss), 2. against the Batch Batch as their leaving Kamino (objective miss), 3. against a soldier while he and his new elite soldier squad infiltrate Saw's camp (direct hit), and 4. against Leiutenant Nolan when that asshole he gets on Crosshair's last nerve at the Outpost (direct hit). I will leave it up to you to decide if the theory of whether his skill level changes based on the weapon he's firing holds any merit, or is worth further discussion.

Moving on— the 99-clan is reunited on Bracca. Let’s turn our attention to the shot Crosshair takes at Tech whilst the latter was emerging from the ion engine, and I’m going to include pics this time to support my assertion.

Crosshair has an undeniably clear shot— his line of sight is not impeded, there are no environmental or atmospheric disturbances to disrupt his composure, he was ready and waiting for them to appear. The shot that he fires lands a good distance in front of Tech. Though the unexpectedness of it was enough to startle the genius into nearly falling out of the engine, I believe it was intentionally aimed this way (see below). A warning shot if you will. A “Hello, I outsmarted you and am waiting at your point of attempted escape. Stop trying, and get down here because I don’t want my new imperial cohorts to take aim for me and kill you” shot.

The next arc (Ryloth) quickly demonstrates that any neurological augmentations he’s been subject to (at this point, I believe we've been shown two, but have been led to believe there were several), have had no effect on Crosshair’s infamous sniper skills. First, he fires a perfectly aimed tracking beacon onto the moving target of Gobi’s ship. Then, upon the ship’s return, uses a single shot to disable one of the engines; a shot taken from, what appears to be, several kilometres away and having the immediate desired affect of disabling the ship. Finally, he makes the astoungingly precise shot (and I’m using astoundingly very heavily here) of blasting Senator Taa in the head. This shot, more than the previously mentioned two, are a sign of his impeccable marksmanship. Let me remind you, he was an undisclosed albeit very far distance away, on the opposite ridge of an enshadowed canyon, and is still able to shoot the senator in a place in which HE WOULD SURVIVE the attack. And not just survive, “make a full recovery” as Rampart claims afterward. This is unrivalled accuracy, and while I do not support the assassination attempt in itself, I can not deny how much skill was required to have achieved it.

My next point is something I have always personally found quite compelling, and it occurs in an off-the-cuff, likely forgotten about piece of dialogue.

Brief context: Crosshair has scooped Hunter off of Daro, they’ve landed on Kamino, and the duo (and a third soldier) are on their way to the Command Center to await the rest of the squads arrival. One of Crosshair’s elite troopers waits until he departs the platform before approaching Rampart and saying: “I question the clone’s motives with his old squad. I don’t trust any of them.” I’m intrigued to know where such a potent mistrust began. Is it simply because he’s a clone? A person born and raised unnaturally in comparison to someone with a traditional gestation and upbringing? Or has this soldier previously identified possible cracks in Crosshair’s imperial facade? Has Crosshair failed to hide his distress in quiet moments where he possibly longs for the life he had with his brothers? What is it that triggers this soldier to suspect Crosshair has an ulterior motive in capturing his old squad, and one that they’re apparently worried would not coincide with Rampart’s ideals?

Ramparts reply, in my opinion, gives us a well disguised clue: “If his plan fails, none of them will be a problem any longer.” If his plan fails. Crosshair’s plan. Crosshair has a plan for mobilizing his old family into one place, and what is it? Is he concealing the hidden objective of a reunion with his brothers under the guise of squad assassination? Was it always his plan to eliminate his new elite squad members, hence the perfectly placed mirror pucks we see him utilize in the training room, to make room for his old squad?

Remember, Hunter asks him some time later: “So this was your grand plan? Bring us here and kill us?” Crosshair answers: “If I wanted you dead, you would be.” And this is a statement which I believe to be incontrovertibly true. He has never wanted his family dead, despite having both the resources and skill to ensure they would be if that’s what he desired, but no. He’s angry that he’d inherently felt more loyalty to them than they had shown to him; frustrated that their choices post-Kaller did not align with his expectations of their choices, disheartened that they hadn't initially recognized to his choices to be ones made outside his character, and Crosshair now eagerly rebuffs their every excuse. Reference the spoken: “They don’t leave their own behind… most of the time.” . . . “You tried to kill us, we didn’t have a choice.” . . . “And I did?”

And follows the: “We’re loyal to each other, not some empire.” . . . “You weren’t loyal to me. I was one of you. You may have forgotten, but I haven’t. And it’s why I’m going to give you what you never gave me: a chance…” conversation. (Just stab me in the heart and twist the knife around, Jennifer!!!! Ouch!!! I'm still not over this!)

Was this his plan? To lure his brothers back to their home, and indirectly beg them to join the empire? To offer them the chance to join the ranks of those who have relentlessly hunted them, in the hopes that there might be some semblance of safety in conformity? To reunite the elite squad that they were in the days of the Republic (the original elite squad of which Rampart is trying to replicate with tactically inferior recruited bodies), simply for the safety that joining the empire could potentially promise? Is this the first demonstration of Crosshair using hostility to shield those he cares about from the callous clutches of the empire that he’d become painfully familiar with?

Regardless of the still-unexplained motive, Crosshair’s plan fails. Hunter has either become, or has always been, as protective of his family as Crosshair is stubborn, and he would never willingly subject his brothers (and now sister) to a life of committing abhorrent war crimes in the name of an Emperor who rose, uninhibited, to extreme and unnatural levels of power whilst abolishing the Republic of which they'd previously served. That’s not what their squad was made to do, despite Crosshair trying to convince Hunter perhaps maybe it was.

Unsurprisingly, Crosshair’s pitch falls on deaf ears, even despite killing his elite squad as an offering of trust. Once the training droids have been taken care of and the fray had subsided, Crosshair stands to find Hunter now has a blaster pointed directly at him, as does Wrecker— (Echo and Tech, curiously, keep their weapons pointed away), and the tables have quickly turned. Hunter begins his own plea to his brother, and it leads to a very ambiguous admission. Hunter: “Crosshair, forget the empire. This isn’t you, it’s your inhibitor chip.” Crosshair: “Wrong. I had my chip removed a long time ago.”

What degree of this admission is true? All of it? Parts of it? None of it? Was Crosshair only told that his chip was removed during one of the apparently many augmentations he’d been subject to? Was it removed and replaced with an alternative? Or was it truly extracted, and his questionable actions have been entirely his own? If so, was it the fall of the Republic that spooked him enough to join the ranks of an unknown empire? Did the thought of disobeying orders bother him enough to sacrifice the family dynamic he’s always known, and replace it with a safe sense of conformity? And if this is the case, was missing all of the shots he’d aimed at his brothers, a veiled display of love?

Atop the water hours later, Tipoca City has fallen. Due to their imminent death, Crosshair and his squad have been forced to work together to survive. Tech makes a lingering comment about Crosshair’s unyielding personality being outside of his control, and it’s still ringing in our ears at this point because it implies that a lot of this misunderstanding may just be because of how strongly Crosshair forms opinions, and how only one of his brothers understands that about him. Omega is mid-drowning trying to save her droid friend, Hunter is .4 seconds away from leaping into Kamino’s frigid and turbulent waters to try and retrieve her… and we see Crosshair grab his rifle. This is a shot, of any, that I would expect him to miss— water both impedes and shifts the trajectory of a projectile and mathmatically accommodating for this would take some serious, well thought out calculation; the only usable light for aiming is from the burning remnants of their home, and the container in which Crosshair is perched heaves and tips with every wave.

But he doesn’t miss. He, again, demonstrates that he can make any and every shot he wants to. He lands his shot on AZI’s chest (not dissimilar to where he shot Wrecker, on an obviously smaller scale), and pulls Omega from the depths of the water. Upon turning to see his brothers poised and ready to shoot him if they deemed the need appropriate, I think Crosshair realizes how monumental the fracturing of their squad was. They have no trust left for him. His actions, powered by an inhibitor chip or not, quickly led them to believe he was not the person they knew him to be. As much as he desperately wanted to them understand how powerful the control of the chip was, they didn’t. And I think this moment robs Crosshair of some of his anger and resentment he harboured toward them, and reaffirms that his only option now is to follow the path he was first influenced to follow, regardless of if it’s what he wants now or not. He then chooses abandonment. He chooses to be left stranded on that platform, likely aware that the potential he’d perish there was high. His separation was now his choice.

Let’s move on to Season Two! Episode 3, appropriately named “the Solitary Clone”, indirectly shows us more about Crosshair than I believe any previous episode ever has. Crosshair’s marksmanship is, once again, on full display as he takes down an old separatist tank with one shot (I’m still reeling over it, ok? That shit made me horny). And I can’t move on from this episode without also mentioning how it ended— we know Crosshair has respect for Commander Cody, that was demonstrated by his willingness to follow Cody’s command while he rebuked others’ in the Skako/Anaxes arc. I think it’s also apparent by the return of his notorious sarcasm, that Crosshair is happy to see a familiar face, one of which he may have previously deemed a friend. Cody, in return, places tidbit of trust in Crosshair (I’m also going to link this post in case anyone is curious about my thoughts on Cody’s initial comments). Not only does the commander inch toward the precarious conversation about “going rogue” and the Order-66 debacle, but Cody lets Crosshair take the lead after their shuttle crashes on Desix. “Trust me,” Crosshair begs, and Cody accedes.

They gain access to the strong hold; Crosshair, Cody and Nova (RIP) struggle only mildly with the droid forces ("Droideka's."). Crosshair demonstrates more inhuman trigonometry abilities and immaculate skill by using those mirror pucks to shoot around corners. Cody saves Crosshair’s tushy when a Commando droid gets a little too close to the sniper. Crosshair lowers his weapon at Cody’s request while they negotiate with Tawny Ames, a motion he had otherwise refused earlier in the episode (the civillians they come across behind a closed door— Cody lowers his gun and reassures them, Crosshair does not.) And when the Empire shows its true colours by demanding that Cody renege on his promise of peace and assassinate the governor, Crosshair does not hesitate to answer the call.

Now superficially, this act would appear as nothing more than a repeat of his crimes on Onderon, or Crosshair simply “following orders” as he had previously developed into a sort of mantra. But I think it’s much more layered than that. I think Crosshair recognized that Cody would be subject punishment did he not comply, a notion reinforced by his extended time at Rampart’s elbow, where it was regularly displayed that clones were of little significane and use to this new military regime. What would happen to Cody as a result of his disobedience? Would he simply be demoted from Commander? Would he be court-martialed and questioned? Detained and imprisoned? Killed? Is this why Crosshair took action into his own hands, and “did what needed to be done”? To protect Cody from the repercussions of disobeying a direct order? Or, more harrowingly and something that I am more inclined to believe, was Crosshair protecting Cody from the poignant shame and self-hatred that he knew the Commander would feel if he DID comply? Was Crosshair unwilling to let the mind of another clone be tainted by the emotionless demands of the empire, so he took the action upon himself? Was his objectively unnecessary and cruel attack, an action of deep seated respect and appreciation? Is this why Cody's comment about living with the consequences of their decisions affects Crosshair so deeply as they separate at the end of the mission?

Let’s dial back to the debated intention of Crosshair’s shots— are his missed shots deliberately missed? Our next stop on this journey is The Outpost (my personal favourite, and not because of the dreamy, sardonic, bearded Commander Mayday), but because of the overt growth that we see Crosshair attain. (Here’s an analysis I posted a while back about some of the messages I think the writers were trying to convey via symbolism throughout Crosshair's episodes to this point). If you've read it and even partially subscribe to my theory, then we can agree Crosshair’s mentality has been shifting little by little since we saw him last, and his attachment to Mayday (and the adjacent benefit that Crosshair rediscovers in companionship and brotherhood) is proof of this. So here’s what happens— raiders make it inside the perimeter of the Outpost thanks to limited man-power and degrading equipment. Crosshair heads directly to where he knows he can play to his strengths: high ground. He’s taking quick and careful aim at the retreating insurgent when the nearby shuttle explodes, and something peculiar happens. Whether it be the blinding flash of the explosion magnified significantly by his riflescope that had caused him such immediate discomfort, or something more (chip alert? Maybe? Or residual effects of having it augmented so many times?), but Crosshair’s subsequent shot is not of his regular quality. He hits his target, so I am not deeming this as a shot missed, but Crosshair has a track record of “one-shots” or “kill shots” of which this is not.

I’m inclined to ramble on for centuries about this episode because there is simply so much development, growth, and symbolism that occurs in those 28 minutes— it’s truly a masterpiece in story telling, but I’ve deviated too far from the intention of this essay (novel) so let’s trek forward.

Let’s get to Tipping Point, and what I would deem to be his only failed shot (and the implications of what it might mean). Crosshair has been sedated, interrogated, injected, neglected, confused, and abused since arriving on Tantiss. (You guessed it, I also have an analysis of this episode, structured a little differently than my previous but still helps to break down what I deem to be the motives behind his actions). Hemlock first attempts to bribe Crosshair with his freedom in exchange for information on his brothers, and as such, divulges his true need for Omega. Crosshair, who has never really had the chance to bond with her like his brothers have, refuses to provide any information. And why? Having only a surface level relationship with Omega, and having rebuffed her advances for companionship several times, why would he protect her in the face of imminent chemical torture? Because it directly protects them, and they are no longer being hunted by a squad of recruited bodies lead by an angry brother... but by a twisted and cruel doctor who's methods were proven unorthodox and tortuous upon immediate introduction.

Upon awakening from another round of interrogation, Crosshair understands the time to act is diminishing quickly, as is his ability to refuse Hemlock the information he wants. Each interrogation leaves him physically and mentally weaker; the time is act is now. He shoots and kills the pair of troopers, as well as the interrogation droid, with no difficulty. He stuns Emerie the scientist (possibly recognizing her clone accent for what it is, thus opting not to kill her?), steals her access card, and stumbles from the room. His body is no where near recovered from whatever toxin that droid injected him with, and he staggers through the unknown halls. Quickly coming across a pair of troopers guarding a doorway, the next shot is the only one that I believe he truly missed, and understandably so. It lands on the wall between their heads, and Crosshair quickly realizing his failure, shoots them with the following two rounds.

While missing that shot is largely inconsequential to the overall story, I think it’s an important anecdote for his character growth. In that moment, Crosshair is both physically weakened and mentally desperate to get a message to his brothers, and it’s the combination of those that had his aim faulty. He’s found himself nothing more than a man broken… stripped of the celebrated titles he’d once possessed and mentally mined until simply raising and aiming a blaster, a motion he’d once found more innate as breathing, was a motion difficult for him. He's forsaken his family, lost his purpose, been rendered nothing but an experiment and a tool.

So to summarize this egregiously long essay of Crosshair’s character, I’d like to reiterate that he is human. As we all do, he has faults. A lot of his reasoning is arguably flawed. He makes poor decisions, often in haste without considering the ripple effect it may have. He is extremely stubborn, and he does not communicate well. And there are things he’s done and decisions he’s made that I can not personally elucidate and would love to openly discuss with other Crosshair enthusiasts (example, trying to incinerate his brothers in an ion engine— did he assume Hunter would double back again, and this is Crosshair’s attempt at forcing them into the open? Or is this one of the moments when he cannot fight off the chips control?). You don’t have to like him. You don’t have to agree with him or anything he says. You don’t have to like me or agree with anything I say, but as we head into the third and final Act of this remarkable story, it is worth determining which of his actions are superficially misunderstood, and which have a deeper meaning that a casual viewer might simply overlook.

Thank you for attending the Ted Talk that no one asked for.

Holly ♥️

**forewent the taglist as this is not my typical content

[raven-at-the-writing-desk]

✨ let’s do a twst trade ✨

Hello ^^;;

This might be coming out of the blue. I’m typically a very private person and tend to stick with social circles I’m already familiar with.

Recently, I’ve been thinking that it would be nice to put myself out there and interact more! I can get easily overwhelmed, so I thought a good way to go about this is to do a handful of art/writing trades. This keeps the number low and conversation approachable, and I think that’d help slowly ease me into being more comfortable interacting and participating in community events.

***UPDATE: Trades now closed, thank you all for the interest!***

Here are the parameters and other important notes (setting these for my own comfort and lifestyle):

This will be a Twisted Wonderland themed trade because that’s the one thing we can guarantee to have in common.

I’ll write a fic for you! Minimum 1-2k words (but I tend to ramble so it could easily go higher than that), starring at least 2 characters (I can write more, but let’s not go too crazy and ask for all 22 NRC students in one fic).

I CAN write platonic, romantic, angst, fluff, yandere, AUs, etc.

I’m okay with writing any and all TWST characters, including staff, RSA students, family members, and other NPCs.

Of course, OCs are also welcome! I’d love to learn more about yours.

Be prepared with references for your OC(s) if applicable. This could include illustrations, but at the bare minimum should include a written explanation of who the character is, their personality, likes/dislikes, and relationships with canon characters.

There are limits to what I will write, as I am uncomfortable with some subject matters. For example, I’m not willing to write anything pregnancy-related. We can discuss my “no goes” in more detail if we decide to trade!

Upon request, I can do a simple digital piece of art OR a washi tape illustration (you won’t receive the physical piece, just a picture of it) for you. I believe most people know me more for my writing, but I wanted to keep these options on the table!

You trade me a fic of your own OR an artwork of roughly the same quantity/quality. As the saying goes, “what you give is what you get.”

We will talk and agree before we start on our pieces what each of us will generally provide at the end. (For example, a 5k word fic for a full color waist up illustration, 1k word fic for a black-white doodle, etc.)

You have to be okay with receiving a vague prompt. I like to be surprised, so I’ll probably just give you a list of general themes, ideas, and characters I like, then set you loose to see what you come up with.

You can be as specific as you like with your own prompt for me though—I’m flexible. Let me know what you don’t like as well so I can avoid including those elements.

To keep things fair, we’ll both hold onto our pieces and exchange them at the same time.

Regarding my written piece, it will be in a Google Doc for you to access.

This is NOT first come, first serve. I can only realistically take on 3-5 trades at this time depending on interest and complexity. If I turn you down, it’s nothing personal!

Priority will be given to mutuals (chances are that there’s more likely to be common ground if we’re already following each other).

Preference will be given to those indicated as adults in their blog intros/profiles (this is just what vibes the best with my personal communication style)

Be patient!! It may take me a few weeks or more to complete my part.

Be aware that doing a trade with me does NOT necessarily mean we will become best friends, and nor should this be the expectation 😅

If you’re okay with the above and are interested in a trade, please DM me! In your DM, you should indicate some prompts/ideas for what you’d like me to write. Please wait for me to respond; do NOT assume that I’ve accepted the trade request just because you’ve messaged me.

[xxscarletxrosexx]

A Linguistic Analysis of the Spelling Names "Ania" and "Anya" (and the chapter and languages of Ostania)

This includes spoilers from Short Mission 11, or Chapter 90.1

It's not a secret that Anya's (Ania) name change was officialized along with Loid (Lloyd) and Yor (Yoru/Yolanda) in July 2019. I do recall that our loveable Forger family had different spellings in the early manga releases. Many believed that it was Endo-san's way to cover up the spelling mistake, but I believe that, whether or not the origin and/or intention was a mistake, it paved a beautiful opportunity for a deep dive into linguistics and character analysis on Anya Forger.

First, I'd like to address my thoughts on "ANIA" as the spelling. Here are a few of my impressions on this:

"ANIA" could be perceived as her original spelling because wherever she came from used this spelling.

"ANIA" could just be her limitation as a child when it came to spelling her name.

"ANIA" could be an acronym from her lab that probably served the purpose of her existence.

"ANIA" could be the name of her mother/creator. And she was subjected to share the same name of her creator for "sourcing" purposes.

"ANIA" when applied to numerology number, reinforced her code name which is 007 (which is super meta to me, but probably is a coincidence because we all know 007 was Endo's way of referencing James Bond). S/O to @momentocollector for sharing this!

Second, I'd like to address "ANIA" as an identity for our precious baby girl.

"Ania" is the chosen spelling. This could possibly mean that this is her real name and how it should be spelled (You, as the owner of your name have every right to decide what your name should be, spelled, or pronounced after all).

"Ania" could possibly be an influence of either her mother-tongue language's spelling.

"Ania" could possibly be due to her limitation of spelling. (I don't think she is aware of how her name should be spelled.)

Recall that Yor carved out Anya's name as "Ania" and didn't question it. This could be a reflection of Yor's own lack of familiarity of Ostanian orthography since she is academically limited, and she would have listened to how Anya would have wanted her name to be spelled. Furthermore, this tells me that Yor's absence of questioning reflects that she accepts her daughter no matter who she is, be it "Ania" or "Anya".

Third, I'd like to address "ANYA" as her name's spelling.

"A-N-Y-A" is the spelling that her papa gave her, which tells her that she can now be on the same playing field as her parents. Their names and titles are all "masks" in this masquerade that they call "Forger". So, to little Anya, it means that she finally belongs with someone. Anya has essentially found "her home".

We also know that Franky did do a lot of paperwork and found that "Anya" is the spelling that was written down on her adoption papers. This reinforces that "Anya" is the standard Ostanian orthography of her name.

I perceive Loid as a person replicating the "average Ostanian" (since this is a deep cover mission after all), so to also tell her that her name is spelled a certain way reinforces that she has a new identity as an "Ostanian child". (I find this quite ironically poetic because it's a "fake man" giving a "fake name" to his "fake daughter").

I also see that when Anya's eyes light up, it could also mean that this new identity in her spelling change meant she was finally liberated from her days as a lab experiment and living in an orphanage.

Fourth, I'd like to address spelling etymology.

Since I'm not a Japanese linguist expert, I found @connoisseursdecomfort post to be quite educational when it came to Japanese spelling.

What we learn from the above post is that "Ania" is an acceptable name spelling in "Old Japanese". But as time progressed, the spelling changed to "Anya" which is the modern-day spelling of this name (this may tie into Anya's character lore).

We can track "i" becomes "y" in the evolution of the alphabet from Phoenician (c. 1000 BC) to Archaeic Greek (c. 750 BC). S/O to @rachellysebrook for this link. (Again, what this reinforces is Anya's background with an unidentified mother country/mother tongue language).

Another thing is that Yor Forger did not react to the spelling of "Ania". It could possibly be that she recognized Anya's limitation, given that her daughter already had poor scores since her admission.

We also learned that Yor, a real Ostanian, seems to be limited with Ostanian orthography which is most likely due to her dropping out of school to take care of Yuri (fake Ostanian /j). From her interaction with Anya, off-screen, it appears that Yor seems indifferent to spelling standards of names (Which is nice! She is subtly against society's norm and I love her for that). Had she been aware of the spelling, she would have been the one to ask instead of Loid. (But again, it must be Loid because it's poetic and has a much more meaningful interaction between "Loid" and "Anya").

Fifth, I'd like to address the name's (possible) impact on character purpose in the story.

"Anya" means mother in Hungarian (S/O to @httplovecraft1890. This inspired my thoughts on "Ania" as a name in the lab). Could this possibly be an inspiration or coincidence? It could be a stretch, but perhaps Anya's purpose in the lab is that she's a "mother weapon" for war.

"Ania" means "gracious" and "merciful" according to Google. Which makes me think that the lab scientists went with this name because it would represent her purpose as a weapon of war. Perhaps Ania becomes the "truth serum" and could be seen as the "angel of death" because she knows the war captor's thoughts and inevitably they are executed (a possible headcanon).

Sixth, I'd like to discuss the factors of the mysterious "unidentified language".

Anya did use "oui" in the anime when Loid had adopted her. This automatically made me think her possible origins could be French, but it could also take another step back in the language family: Romance. What makes this work is that we treat "Classical Language" as a dead language based on what we read/saw in the manga/anime like Latin. Anya has an innate potential to be bi-/multilingual.

Bonus: Seventh, I'd like to talk about the languages in this anime (This is a bit of a ramble but since we're talking about linguistics, I thought why not)...

Based on the dialogues spoken in the anime, we can confirm that English exclamatory (Oh my God, Goddammit, Shit, Wow, Elegant, etc.) and the Japanese language are the main components of the Ostanian language. This is reinforced by many characters who have used English expressions (Loid, Yuri, Yor, Anya, Damian, Henderson, etc.)

What does bug me is whether or not "oui", a French exclamatory, should be categorized as part of the Ostanian language or if that should be categorized for Anya's hidden lore. The reason is that when Loid/Twilight heard Anya say "oui" in front of him, he did not question it. (Perhaps he was too tired to process this, or he excused it as something Anya could have seen on TV and is merely mimicking. I really don't think Twilight would be the type to excuse this realization had he not had the aforementioned state of mind). I'm leaning more towards the latter as this is from Anya's mother tongue language.

In conclusion (or tldr;): "Ania" may be her real name, but "Anya" is her new identity as part of the Forgers.

If you read everything, thank you for your time! The linguist in me is so happy that Endo-san is steeping his foot into linguistic territory. As short as this chapter was, it said A LOT to me linguistically and provided more details to the scraps of lore that we know of Anya but it also tells us a bit more about Yor, Loid/Twilight, and Ostania.

[verdemoth]

(CLOSED FOR NOW) EMERGENCY 'mice in the walls :(' COMMISSIONS

Update 01-16-2025: got some comms fast! I have 3 people w 4 artworks to work on right now so I’ll see how this small batch shakes out before i bite off more than I can chew, thank you everybody 💖💕

Art Examples mostly from the last year or so. More examples in the '#my art' tag on this blog

Yeah there's mice in the walls and ceiling and it's far too large a problem to put off or take care of on our own with a few traps. I live with my grandma, grandpa, and granny, and all four of us are disabled and can't work, so we have very little money and many problems requiring money, it's quite a pinch. Need to start getting pest control ASAP so I'm opening commissions in the hope of easing the financial strain as much as I can.

Paypal is my only way of accepting payment right now. I will expect payment in full via invoice after I have provided a sketch for feedback purposes & proof of work. Once payment is received, artwork will be completed as soon as possible. If an issue on my end prevents me from completing the work in a timely manner, full or partial refunds can be discussed depending on the state of the work done.

My prices can be haggled with, but at a baseline I estimate:

Coloured Fullbody -> 30 USD/43 CAD

Coloured Headshot/Bust -> 15 USD/22 CAD

Sketch Fullbody -> 10 USD/15 CAD

Sketch Headshot/Bust -> 5 USD/7 CAD

*Coloured works may be lineless or lined

Free Additions: simple accessories (eg glasses, some jewellery), simple minimal shading, some simple props (+ won't charge extra for disability aids/accessibility items), request a specific style I've used in past works

Additions at Extra Charge (discussed on a case-by-case basis): extra characters/extra artwork, complex time-consuming designs/outfits/props/poses, Extra Extra Clean lineart, scene elements, full & layered shading based on light sources, background scenery

I can do custom designs but expect prices to be higher for the extra time and work

Vetos: I will not take human/majority humanoid or complex mech comms right now as that is a great deal more work for me that I don't feel I can currently fulfill up to my own standard of quality (may change as I get a sense for my current limitations). I don't draw NSFW or fetish content in any circumstances. May reject comms I'm personally uncomfortable with

Specialty: Any variety of animals, creatures, monsters, and etc. Extant, extinct, fantasy, mashup. Especially if feral, but most anthro characters will also do.

When the artwork/design comm is payed for and done, it belongs to the commissioner to do what they want with. Credit is requested, if on toyhouse I'm Tala2121.

[archandshri]

28th June ‘24 - [arch] One Page Limitation??? - My process for Traffic Zine #5

Hello All!

A couple months ago, I got accepted to @trafficzine, a digital anthology of pieces by a large group of artists and writers based on the most recent season of the Life Series. I made this piece back in April, but thankfully I kept some notes of my process. 

Heads up - this contains spoilers for Secret Life :D

We were able to choose our own prompt from a list! For this project, I wanted to push my comic making - especially how to communicate a lot of information in a small space. I went through and watched a few clips from the series to see which prompt would fit a comic and settled on Scott’s death.

As usual, I began by getting some reference images and going ham on some big paper. This gets me excited about the project and helps generate ideas. I go for whatever interests me in terms of medium and subject matter, but I try to use a process that doesn’t let me control too much (in this case brush and ink)

initial sketches for fun and vibes :D

During this, I also took the time to transcribe the scene - I wanted to use the dialogue directly, and see how much I could fit into the single page that I was allowed for the zine.

In these early planning stages I make sure to do warm-up sketches to remind myself of the energy I want to communicate. This also keeps things fun and fresh so I'm not ONLY thinking about page composition and making things 'good'. (the expectation for it to be 'good' kills a project prove me wrong)

Dialogue from the clip + warm up sketches

Next up, I started to plan what panels I have on the page. At this stage, some panels might just be a box with some words, and some may have a sketch if I have a clear composition in mind. This stage is mostly for pacing and plot, so instead of focusing on what the panel and page will look like, I will think about:

what will happen in the panel

it's purpose and

what it will communicate

Sometimes I'll illustrate a string of panels that tell the story and fit them on a page after - but this depends on the project and my confidence with the size of it.

After messing around with these and coming up with a pretty clear direction, I draw a bunch of boxes to see how the panels could sit nicely together. At this stage I might realise I have too many panels, and need to cut a few or come up with a creative solution. Nothing is set in stone at this point.

sketching panel layouts

Now begins the fun! I decide on the layout I prefer and I can start putting planned compositions into the boxes. I often do this digitally, or a digital editing process will be involved.

Once planned, I print these out to do a more refined sketch over. I find that my traditional drawings have a lot more life and character to them than digital ones, so I try to keep the majority of the process traditional, with passes of scanning and digital editing.

I tried a version with her looking out at the distance - ready to face the oncoming battle. But it still felt off. So I turned to my slides to ask myself some questions!!

I tried to think of more things that were working - but I really felt like it was lacking a lot. I was going for this slower emotional feeling because that came more naturally to me, but it just wasn't working for this image. The original clip is quite rushed and chaotic - which would be harder to communicate in a comic format but the challenge interested me. Either way, I knew I wasn't happy with this direction so... i decided to start from scratch! Back to the drawing board!!!

In the previous version, I had cut out a lot of the dialogue, but I decided to go back to the original clip and use AS MUCH as possible. Since passing the bow was my favourite part of that first composition, I really wanted to lean into it as the emotional height and final goodbye before Scott's death. It's a moment to slow down and absorb the vibes :D

I made a list of panels along with their descriptions to refer to when trying to figure out the order of panels. there were SO MANY and it was VERY CONFUSING when they were too small to read.

These thumbnails were super small and would not have made sense without my list, I swear.

I printed this tiny thumbnail out at A4, so I could sketch over it and get a clearer sense of flow. Then began a loooong process of printing out tiny photocopies and rearranging the panels to be legible. It was a difficult balance of communicating busyness while making sure the hierarchy/reading order made sense.

After some tweaking, i printed out an A3 copy to draw my panel borders and text.

Doing this on a separate piece of paper means I don't have to worry so much about messing up the text or borders when drawing the characters. This allows me to be more free and expressive with my illustration.

Woah! Quick trip back in time!! During the thumbnailing process I drew these warm up sketches! I looooved the way the linework came out. I drew this on an A3 piece of paper - and the shocked Gem would, in theory, be one of the smallest panels. So I decided to do a crazy thing.

I touched up the sketch digitally, compiling some of my favourite warm up sketches, some traditional sketches made for the panels, and filling the rest in digitally. Then I printed this image out in QUATERS at A3!! This meant the final sketch layer, printed out was A1!! (aka very large, considering the final file would be at A4, about 8x smaller)

I did this so I could get fairly small detailed lines with my pencil while being quite expressive and firm with my mark-making. Slowly, I dlined all of the panels traditionally and scanned them in. Then I assembled the finished linework on Photoshop, along with the text and panel borders and got to colouring :D

final linework :D

For colouring, I played a little bit with halftone but I found the texture made it feel a bit too busy - the panels are already doing enough. Because of this, I also decided to use a limited colour palette. Here are some images of the colouring process, which I won't go into today.

I'm really happy with how this came out - I think it captures the chaos of the moment, while taking time to linger on the emotion of it. Keeping that bow moment really made it, I think.

I think the last panel is still quite weak. Earlier in the process there was a low-angle shot of Gem about to kill Scott which may have been more powerful, but I think I was struggling with my actual drawing skill when it comes to perspective. A lot of learning how to draw, and in particular with comics, is about knowing where your skills are at, how to utilise them best and how to test and push them.

I'm glad that I started again, instead of finishing that composition I wasn't happy with. It was a tough project but I learnt sooooo much from it, and it's been essential skill-building for.... the current comic I'm working on (stay tuned!!! :0) Thanks for reading this incredibly long post! Go check out @trafficzine and look at all the other cool art Cool vibes and silly men,

Archie :D

[sourvers]

I believe the real power or poignancy of Arcane that makes it so intrinsically difficult to analysis/discuss especially on moral/ethics/relationship/values and much, much more is how nuanced every character is- how nuanced the world truly is. Each character is by no means “completely innocent” yet, we as viewers experience their pains and their joy; ultimately forming interpretations & ideas based on not only the show itself but the thoughts of others and the values of our own. Arcane is a show that makes you think, and think hard.

Personally, I’ve been seeing so many interesting interpretations, opinion and analysis that sometimes I just get so lost. However, here are my thoughts on Arcane specifically on the premise of human nature.

Arcane extends beyond the concept of “twin cities”, “doomed sister”, “prejudice & political corruption,” “the cost of ambition” and so on. Arcane is this strange, twisted, gut wrenching cacophony of the human need to be seen and more importantly, felt. It is the way in which nations, societies, and individuals seek understanding. It is this gritty fight, cry, and perhaps dream that attempts others to catch a momentary glimpse of the whole picture: to be heard, to be tender, to run the course of life wild and free, to experience profound regret, to be confused, to bring about havoc, to long for rest, to let go. All these collective experiences- at the same time or not- come together with the initiative or wish to be felt by individuals or even groups with various motives. Some as personal as to not walk through life alone and others with aims at serving justice. However, to be felt utterly and wholly is impossible. It requires living that individuals life start to finish. Which is why societies and individuals strive for the closest act: empathy. This need to be both felt and seen is littered across Arcane: we have Victor and Jayce with their intertwined characters arcs, the brutality between Zaun and Piltover, along with Vi and Jinx with sisterhood, defining what sisterhood means to them, and the blunt reality of their actions and circumstances.

Through tragedies such as (but not limited to) the death of Caitlyn’s mother, enforcer brutality, discord within and between the cities, or simply the utter haunting of the past, Arcane creates a portal of seemingly endless interpretation and debate because human nature is at it’s core- debatable, obscure, and in some ways, undefinable. What defines actions as justifiable? What is justice? What defines actions as selfish or blatantly wrong when faced with the entire story? If, as Caitlyn said, “No amount of good can undo our crimes,” then what’s next? What’s next for those who carry the burden of regret? Shame? Of crimes that simply can’t be taken back? What is the fate, the outcome, judgement or verdict of these individuals, or in this case, characters? In some cases, it is evident based on morals or certain values. In others, there are spaces of grey. Then there is the next question, “When is it right, acceptable, or even necessary, to move on? Either from loss, pain, injustice, or hurt? Or is ‘moving on’ even the correct phrase to encompass the myriad emotions, experiences, and influences that lead individuals to take the steps into the possibilities of now without abandoning the people, lessons, or memories of the past?”

(There are more questions in the show that truly intrigue me and hurt my brain a touch because I personally can’t answer it. Such as “What is a necessary evil?” “Does maintaining the status quo lead to a false sense of security?” “Is violence the necessary means for change?” “What defines forgiveness and what defines naiveness?” “What justifies creation/ambition?”)

Perhaps, Arcane is just as its title suggests. Maybe I’m wrong. Ultimately, human nature is a concept not new to Arcane or any media for that matter. We have it in books, poetry, art, and music as a means to express the frustrations or pleasures of human life. We have it in math and science as a means of understanding the fundamentals of our world in attempts to rid ourselves of our fear of the unknown or perhaps to satisfy human curiosity. Maybe it’s a mix of both. Regardless, Arcane is a show that brought me to some difficult yet eye opening conversations that has reflected out into how I comprehend and approach other media. That at the end of the day is my true takeaway despite my own mixed feelings about the show— Arcane is that nuance: the nuance of life.

Feel free to drop your thoughts! (respectfully please) I’d love to read them regardless of where you stand.

[expanding-hyrule]

Expanding Hyrule Resource Post

Hi there and welcome to Expanding Hyrule! This is an archival blog for the subgenre of the Legend of Zelda fandom for "Original Legends" works across mediums.

This is a resource post for what the blog plans to organize and it will be updated as new resource lists, FAQs, and material come to light. This whole community is very new, so suggestions on its organization are always welcome.

------------------------------------------------------------------------------

Links

Main Resources: AO3 Collection* - Community Discord (16+) (About post) - Fic Archive - Art Archive Community Project Hub Posts: Story Spotlights

Community Challenges: TBR BINGO

------------------------------------------------------------------------------

Meet Our Team

Amelia ( @amelias-hart/ @amelias-zelda-calamity-quintet )

Hi, I'm Amelia. I created EH! You will see me with my hands in a little of everything we do here for the project, from organization to blog management to Discord and so on. I have a number of original legends in the archive, but my big two of Goddess of Secrecy and Mark of a Hero.

Void ( @the--voided )

Hello, all. I go by the Nameless or Void, whichever is easier for you. I am one of the Discord managers for Expanding Hyrule. As such, I do hope to get to assist in building this community into a wonderful safe place for all of us Zelda fanatics! My original legends work is Void's Grasp.

Karama ( @karama9 )

Hi! Karama9 here. I'm going to be helping out with the Expanding Hyrule blog on tumblr and some of the events, as well as some data management! This community keeps getting bigger and better, I'm glad for a chance to help any way I can! My original legends works are All That Hurts Us, Hero, and No More.

Abby ( @abbyzwrites / @abbyz-elda )

Hi everyone! I’m Abby! I’m going to be helping out with establishing the EH archive and encouraging more engagement with fics and art that are part of the community! I am also the writer for A Link to the Stars, one of the fics in the EH archive 😊

Aus ( @doubtfulloser )

Hey! I'm Austin/Aus, and I'm hoping to help the EH community where I can! I'll be helping with discord management, art assets, and event planning.

------------------------------------------------------------------------------

FAQs

What is the "Original Legends" tag?

Original Legends is a tag for fan creations in the LoZ community who are telling stories about Hyrules thus unseen. So, not based on any particular game but on the franchise as a whole. Generally, the current definition of Original Legends go-eth thusly:

Stories following original Links, Zeldas, and/or Ganons in tales that could be their own games. Those aren't limited to adventure or fantasy stories, but they do need to be original stories for their cast.

Are there any exceptions to works you will include?

There are currently three exceptions to Original Legends works we'll include in the archive:

Links Meets (unless it is entirely Original Legends)

Immediate sequels/prequels (Looking for about a 100 year/generational gap between characters)

"Coffee shop" AUs (Works that are Original Legends by nature of how severe the genre changes it, but still use existing cast)

These exceptions are in place until Original Legends is a better established tag and may be removed in the future.

Are there limits on genre? Nope! Any genre or AU so long as it's a new story.

Do you accept submissions?

Absolutely! This helps a whole ton. You can send them in via the blog's ask and submission box or by hopping on the EH Discord.

What is Expanding Hyrule's stance on AI?

The archive will not include work that uses AI in any capacity.

*While the collection is open for works, if you're not comfortable with adding your work specifically to the collection (valid) but would like it bookmarked, you can @ this blog, @amelias-hart, or @amelias-zelda-calamity-quintet to get it added that way instead.