#which again points to the main issue being direction

[memorys-skyscraper]

now hang on

man im watching clips of y8 with the eng dub and its uh. i mean, kasuga and chitose sound alright? robbie daymond makes a decent zhao too (and can sing, damn), but the rest...............

[sinning-23]

Backseat Pillow Princess

Hey y'all! I like to call this game, "Guess what I saw and cant stop fucking thinking about?" Take this because I need them both carnally and I'm sure you do too!

Enjoy :D

Warnings: violence, blood, swearing, the reader is annoying and Logan pretends to hate it in a way that seems like he actually does, they should have fucked but uhhh they didn't, lots of tension, pt.2 coming soon hopefully?

PT.2 UP NOW

"Bae i love youuu, you my everythinggg~"

"Can she shut the fuck up"

"I'm your main bitchhhh, fuck a wedding ringggg~"

"Only if you ask her nicely,"

"Nah, I like when he's mean."

"You've gotta be fucking kidding me"

The nonstop back-and-forth bickering had been going on for about 2 and a half hours now and the man the myth the legend, Wolverine was getting dangerously tired of it, unfortunately. Your shitty renditions of Sexyy Red matched with Deadpools incessant yapping was becoming too much to bear.

But little did he know, that was exactly your plan.

"Are we there yetttt" You whine from the backseat, sprawled out with your arm over your face.

It had been what felt like days (despite it only being a couple hours as previously mentioned) you'd been driving and the fact that you were in a small space filled with touch-starved testosterone(Wade and Logan) wasn't helping your case.

"If you shut up it'll go faster," Logan grumbles, Wade's chatting only worsening.

"No, it won't, you're just being mean! What's a sexy, super talented, immortal.. sorta, girl like myself supposed to do?" You whine again, an idea soon popping into your head.

If there was anything you loved more than seeing how far you could push this crotchety son of a bitch, it was stirring the pot.

Knowing the idiot riding passenger, a slip-up was inevitable and all it would take was the right pressure applied from yours truly.

"Hey Wade, wanna ask Wolvie what he's gonna do when he gets back? To his own timeline that is." You hum, resting your elbows on the middle console and your chin in your palms.

Ah yes, the fantasy your sick little brain conjured up was almost to fruition. All they needed were a few nudges and you'd all be at each other's throats with as much violent, sexual tension you could dream of.

"Yeah, what will you do if the TVA can fix your timeline?"

Bingo

You lean back, preparing for the absolute bloodbath that's bound to take place as the tension skyrockets.

Now up until this point, you'd be trying your damndest to get into Wolverine's pants, call it 'something you needed to scratch off your bucket list'. Anyway, from the "Mad Max"(as Wade put it) esque part of the void all the way here, you made your fair share of passes.

Unfortunately, all were shot down with a snark comment, the unsheathing of those gorgeous adamantium claws, or a growl...all of which only further fueled your desire. What could you say you liked a challenge?

"What did you say?"

You lean forward, making eye contact with Wade, his head shaking as if to say "No don't don't don't" but you were never good with social cues.

"He said 'IF' sweetheart." You retort, practically kicking your feet as the look in Logan's eyes grows wild, that growl barely bubbling in his throat as he and Wade converse back and forth.

"You shut the fuck up." He seethes, though directed at you his eyes stay focused on Wade.

You fight the urge to say 'make me" but you soon become quiet when Logan really starts to read your buddy in red. Oh, this fucker was definitely projecting...

"And you," He's got an accusatory, gloved finger pointing at the center of your face.

"You got some unresolved daddy issues or something? I don't know what hole or holes you're trying to fill but I can sure as shit tell you the harder you try to get under my skin the more it makes me wanna rip yours off that pretty-looking face." He growls, your heart practically beating out of your chest.

"Now I suggest each of you shut your goddamn mouths until we are where we need to be."

It's silent for a second again and you can feel the bridge about to break...anyyy second now.

"I'm gonna fight you now."

Three...

Logan chuckles, amused at the fact that Wade would even suggest he could getaway with something like that

Two..

And mid-sentence, Wade's fists make contact with Logan's nose.

One.

You scoot back, the car shaking as Wades head makes contact with hr car door and then the radio, each smack of his skull changing the station.

“Omg nooo don’t kill each other you’re both so hot and sexy and cool, nooo.” You yelp, your false concerned pleas falling on deaf ears.

And once the blood from each blow splatters against your face, you feel a bit opted to join in. Besides, he hurt your feelings, he deserved a little ass-kicking.

Question, when three seemingly frustrated and regenerative assholes get into a car fight with tensions, sexual or otherwise, that have been building for about 2 days now, what happens?

You slip past the pair of claws that just barely nick your side as you shove the driver's seat forward, effectively trapping Logan for a moment.

"You did this on purpose! You honry fuck!" Wade shouts, using his elbow to crack your skull and shoved you right back into your spot behind them before you can respond. Logan pushed the seat back again, now trapping you as his claws stabbed through the cushion, impalling you through the back of the seat.

"FUCK! This isn't how this was supposed to pan out in my head!" You yelp, gasping when the claws leave you feeling the worst kind of empty.

"I didn't even do anything he's the one that lied!" You seethe, using the heel of your boot to kick Wade's side in, the crack of bones bringing you much satisfaction.

"IT WAS AN EDUCATED WISH!" He defends, unloading about 3 bullets into your sternum before kicking Logan out the winsheild, glass falling inside and out.

You take a gulp of air, digging the bullet out before locking your arm around Wade's neck and the passenger seat headrest.

"You red-clad cunt! I was supposed to rizz him up, fuck him, and ride off into the sunset with my rugged fucking mountain of a man and you RUINED IT!" You shout, releasing Wade when six separate knives dig right back into you.

Taking the chance, you throw the back of your head at his face before pulling his claws from out your sides and kicking Wade's chest in. Looks like legs were your strong suit today!

"You said you didn't wanna fill any holes, yet here we are!" You growl in frustration, turning back around to shove your boot heel into this man's rock-hard chest.

He only grabs your ankle, pulling you forward, once again skewered by his claws. Your position is less than ideal, any other angle would for sure look l like you were on the receiving end of some damn good strokes.

And there it is, that stupid bloodied grin he gives while he watches your eyes squeeze shut and your head tilt back. A light, yet pained swear left your bloodied lips and the gasp that leaves your lungs when his claws retracted was just as erotic as you'd imagine.

"Would've been better off fucking at this point huh?" You joke, seeing Wade creep up behind the backseat door.

"Maybe." He responds a bit coy, the tension only dying down for a fraction of a second before you're at each other's throats again.

With your help, Wade is right back in the car, and the three of you are now waiting for the next move. Logan's up against the dash, Wade is heaving against the backseat by your side, the two of you manspreading with a dangerously hungry look directed at the man in yellow.

"This is pointless. We're gonna be here for hours regenerating and fucking each other up, but damn if it isn't fun." you chuckle, letting your head lull back against the completely destroyed headrest.

"So what do you suggest, 'sweetheart'," Logan growls, using your little pet name from earlier.

"Oh I think you know very well what I suggest, but I'm starting to believe you just can get it up can you peepaw?" You insult, Logan's face contorting in a sneer.

There's another silence, your gaze locked with Logan's as you both teeter on the edge of regular frustration and the urge to rip each other's clothes off. This fuckers love language was definitely acts of playful violence...if playful meant an absolute bloodbath in this stupid-ass honda odyssey.

"I feel like there's some underlying tension here that I definitely wanna be a part of.

"You shut the fuck up" You speak simultaneously, Wade doing just that.

"So what'll it be, bub. Fuck me or fight me?" You mock, seeing that smile right back on his face.

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

You would like to say that the remainder of the day, into the night, all the way into the wee hours of the morning were spent furiously love-making in the bloody and battered Honda, but that would only be half the truth.

The moonlight had shone so brightly down on the three of you, each movement calculated, as you continued to punch, stab, pick and damn near fuck each other in the enclosed space.

At one point your hands were pinned to the dented dashboard, Logan slotted between your legs, Wade right behind your oddly bent body....accept Wade's gun was at the small of your back and Logan had his hand wrapped tightly around your throat as your legs squeezed as tight as possible.

And at another, you'd been hovering above Logan, hands at his chest while Wade had a fistful of your hair, his grip lethal... a-although your hands were only at his chest cause you were double-fisting two knives that you had wedged to the hilt into each to his pectorals...and Wade was also pulling your hair to get a better angle at your chest since he deemed it was "only fair" considering you were going the same to the man beneath you.

It had only gotten worse, your comments ranging from rude to just plain nasty, and the farther along you went in the night....strangely enough, the better everything felt. The slight accidental/intentional grind of your hips against Logans, or the way you just so happened to fall back into Wade's chest, your bodies pressed so close together you could feel each breath you both took.

"Oh you just don't know when to quit, do you honey?" Logan grumbles, throwing you off him, your positions quickly switch.

"Not in my vocabulary sweetheart." You shoot back, gasping when Wade grips your hair again.

"Yeah, thought you were seeing the pattern ready peanut, she's hard to break." He chuckles, a filthy smile making its way over your bloodied face.

You were practically sandwiched, Wade behind you, his chest to your back, and your legs just barely make room for Logan who was kneeling one leg on the backseat, the other slightly off the edge.

"This is a little unfair don't you think? Feels like I'm about to get tag-teamed." You joke, the moonlight illuminating the current position just enough.

"You'd like that, wouldn't you? You're sick." Logan scoffs, only feeding into your slight delusions.

"Yeah, I might be sick but you're a hypocrite, You want it too, don't you? I know for sure Wade does, 'cause that's definitely not his gun on my ass." You shoot back, body and brain stirring from the hours of activities.

He doesn't say anything, just tightens he grip he has on your hips.

“Cmonnn, we had our nice,” you glance over at the destroyed radio, your hopes of trying to get the time seemingly crushed.

“We’ll say 9 hours give or take, we’ve already been fighting and none of us are really satisfied.”

You can feel Wade adjust, his hands now secure at your shoulders, massaging the small of your neck with his thumbs.

“We all know what’s gonna solve that and we can put this whole debacle behind us.” You coax, your hips rolling a bit to meet his and he turn his head, jaw working as if he was seriously considering the offer.

And with a finally huff what really sounded more like a growl of last restrained, he’s on you.

——————————————————————-

YES IM MAKING A PART TWO YES THERE WILL BE SMUT BECAUSE WTF YALL. UHHH HOPE YOU ENJOY LMK IF YOU WANNA BE TAGGED I. THE NEXT PART!

[starryalpacasstuff]

Fire (1996): A Mostly Spoiler Free Pitch Because You Should Watch It Immediately

It's time for "An Indian QL bulldozed past my expectations and I am reeling in awe", Part Two!

A few days ago, @neuroticbookworm told me about Fire, an old lesbian Indian movie she'd been wanting to watch. Me being me, I promptly tracked it down and settled in to watch it.

Very loosely based on the 1942 short story Lihaaf, the movie follows Sita, a newly wed bride who is settling in with her in-laws, which is how she meets Radha, who is married to her husband's brother. Both in unhappy marriages, they find solace and company with each other, quickly falling in love. Length: 1 Hour 40 Minutes TWs: Homophobia, C-word mentioned once, some depictions of domestic violence Release: 1996

The is almost entirely in English, and while one generally expects Bollywood movies to be in Hinglish, it's definitely a conscious choice here, which does make me wonder if the movie was supposed to be promoted to a greater international audience. You can find it here on Youtube, most of the (very few) Hindi dialogues have hard subtitles. I think it's also available on Prime? It wasn't available in India though, which is odd, but I didn't bother investigating. Let me know if anyone can figure anything out about this!

Going into this movie, I expected a melodramatic, emotional movie with a bittersweet tone. I did not expect a biting, incredibly engaging movie with excellent satire, symbolism, discussions of chastity culture, and an incredibly sweet, beautifully written romance. And I was certainly not prepared for how incredibly horny this movie is??? Both in subtle tension and overt sex scenes. There's also partial nudity, which again, completely unexpected. If you're going taboo, go taboo all the way I suppose. It's also very well directed, and while I'm not nearly as good at identifying details like that as some of the people on here, I did pick up on some colour coding and interesting framing. It's just overall packed with little details that I think a lot of us would have a field day analysing.

Honestly, I could talk about the cultural nuances in this movie for hours. Contrary to my assumption about the reasoning behind making the movie fully in English, the movie seems to rely on the viewer's understanding of North Indian customs to deliver a lot of it's messages, particularly with its satire, more on that below. While I don't think it's necessary to enjoy the movie, it definitely does add some meat to the story. Then again, I'm a biased party, so it'll be hard to determine just how many messages may be lost to someone from outside of India without someone to compare notes with (this is me shamelessly trying to get you to watch the movie). Honestly, I'd be 100% down to write a more detailed, spoiler-including post that goes into the implicit nuances if people are interested.

There's two main selling points for the movie; the incredible way it shuts down purity and chastity ideology and the absolutely adorable relationship between Radha and Sita. The movie is set on ruthlessly tearing down and emphasizing the ridiculousness of purity culture. A lot of the messaging is indirect and uses metaphors, but there's also several explicit scenes addressing the issue. It's one of the main themes of the movie and I'm almost convinced the real reason it's titled 'Fire' is the sheer number of burns it dishes out on this subject. The romance portion of this movie is one of the thing's that completely defied my expectations. It wasn't sad and dramatic, it was heartfelt and silly and adorable. There's several scenes of the two subtly flirting, laughing together and just being lowkey in love. But that's not to say there's no emotional depth—they're also there for each other and are quite vulnerable with each other.

The movie used a lot of metaphors, but my favourites were the almost satirical representation of mythological stories. In a religion as diverse as Hinduism, every holiday has two dozen stories behind it and each story has two dozen versions, so it's to be expected that you'll find a number of problematic or otherwise kind of ridiculous stories in the mix. The stories were told completely seriously, but the context of the movie highlights their absurd facets in a truly brilliant way. I'm not going to give too much away, but I will say, it was a delight to watch the juxtaposition of the myths and the storyline of the movie, particularly it's ties to the purity culture discussion. You'll understand when you watch it. I'm not turning this into a Hindu mythology lesson (yet) but one interesting tidbit is that Radha and Sita are both names of mythological figures; namely the partners of two of the most worshipped avatars of the god Vishnu: Krishna and Rama respectively. And I was overjoyed to find that their names do have relevance to the metaphors in the story, particularly Sita's.

When the movie was first released, there were massive protests against it, I'm talking hundreds of people storming into theatres to destroy them and drive away audiences. I don't know what to say here beyond this, but what I will say is that I think Fire is an amazing movie that absolutely does not deserve to be lost to the sands of time. I hope you give it a shot, and if you do, tag me in any posts you make about it!

Tagging people who seemed interested in recs from my last post, let me know if you'd rather I not tag you!

@lurkingshan @impala124 @bengiyo @letgomaggie @winnysatang

@watertightvines @nutcasewithaknife @blorbingqls @twig-tea

@waitmyturtles @cryingatships @benkaben @usertoxicyaoi

@befuddledcinnamonroll @flyingrosebeetle

[mattiebluebird]

Yk that post that's like ‘signal is the spiritual successor to nightwing’ bc I DO & IVE BEEN THINKING ABOUT IT NON-STOP.

And the comics pretty much confirm it (To Me) in Grayson #15.

So in this issue each of the Robins, minus Steph (RIP Steph) get paired off with one of the We Are Robin gang and give them their own advice on what it means to be Robin.

Tim—whose main problem with this whole thing is that they don't know these kids, how can they trust them?—gets paired with Andre Cipriani, a mob kid whose dad was murdered by a rival gang when he was eight years old. Tim trains Dre by having him fight blindfolded. He tells Dre that being a Robin is about truth and investigation, which makes sense, right? Tim became a Robin by figuring out Batman and Robin’s secret identity (keep this in mind, all the Robins’ advice links to their origin).

To be a Robin, you have to understand what you don't know. And then you must seek to know it. You must always ask: how can I see into the dark? Batman once told me, being a Robin can be summarized into one word: investigation.

These two were an interesting choice to pair up. I would've thought they'd put Dre with Jason, given their violent tendencies—Dre is smart, but at this point in the comics doesn't strike me as particularly investigative. Then again, right after this arc he goes undercover in a gang, so maybe he learned something?

Speaking of learning something: at first I thought they should've paired Dre with Steph (#teamcriminaldads lmao), and while that would be an interesting team, Dre did learn from Tim. If Riko were present in this issue, she would've been a good fit for Steph, as she idolizes the Batgirls and Steph was both a Batgirl and a Robin. Plus, Steph and Riko are both brave & have mean streaks, something that Riko has trouble showing because of her shyness. Steph’s advice probably would've been along the lines of “being a Robin is about defiance”.

Besides, if Tim and Dre weren't paired up, we never would've gotten this interaction.

— You like Liszt.

— What?

— Franz Liszt. The composer. You play the piano. I looked you up. People who play the piano like Liszt.

Points to Tim for the most autistic small talk ever. ‘You like this, which I know because I researched you in a totally non-creepy way.’ Amazing. 10/10.

Dax gets paired with Jason. They're interesting parallels. Dax is the inventor/mechanic of the team, but also sort of the wild card with very strong morals, like Robin!Jason in a way. Like Jason, Dax’s father is (implied to be) a crook, though they took different moral directions because of that—Dax is completely opposed to gun violence.

Anyways, Jason's main reservation is that you can't have Robin without Batman. And I guess he decided to solve this issue by just becoming Batman & making the WAR crew relive his origin story by stealing tires from the mob.

Y'know, kid, Batman once told me, being a Robin comes down to one word: confidence.

Jason Todd, the Crime Alley street kid who had the balls (and the skills) to steal Batman's tires and get away with it. Sort of. Confidence, indeed.

Damian's problem with the Robins is, of course, that they're weak, and strength (according to him) can't be trained; you either got it or you don't. He gets paired with Izzy, who probably has the toughest home life of the WAR crew. Her brother's in a gang (that he regularly beats her up for not joining), and she's failing all her classes because she's too busy working night shifts at her mom's restaurant to sleep or do homework.

So Damian's advice to her is pretty apt:

Batman told me that there is one word that captures the essence of being Robin. Suffering.

Damian and Izzy are both outwardly surly, stubborn characters who have had to fight to survive. Notably, Izzy is the first of the crew to almost resort to killing/guns (in WAR #6). She's also probably the best fighter in the WAR crew after Dre and Riko. She does dancing, gymnastics, judo, and kick-boxing.

And, finally, we reach the point of this whole post: Dick & Duke.

Duke deduces Dick's secret identity in like .5 seconds.

— I've solved a lot of hard in my time. This ain't hard.

— No. No, it wasn't hard. Not for you. Again, Duke Thomas?

Dick: You discovered my secret identity!

Duke: What? Like its hard?

After scoping out their strengths and weaknesses, Dick sends the Robins on individual assignments: Dre and Tim to investigate, Dax and Jason to cause a distraction, Izzy and Damian to apprehend Robo-Batman/Gordon.

Dick brings Duke on to a roof for a stake-out, where they have this exchange.

— You think only the originals understand how to be Robin?

— Nope.

— Yeah. Me neither.

Then it turns out that Dick actually turned them all in to the cops because he wanted them out of harm's way. He's been watching Duke for a while and he knows he's scared of heights, so he led him onto a roof he knew he couldn't get off of. Just before they part ways, Dick imparts his Crucial Robin Advice:

Batman once wais to me that being a Robin is about one thing. Family.

(I find this whole thing super ironic considering Dick's whole aside concerning the Robins was the fact that it doesn't matter if people know you're manipulating them as long as it works.)

The point of Robin? Family. Dick and Duke are alike in this way. Dick only became Robin to get justice for his parents’ murder. Duke only joined WAR to find his parents.

Their origins and motivations are similar, and so are the characters themselves. Dick is often called the world's second-greatest detective next to Batman himself. Duke is a child prodigy—one of our first introductions to his character is when he tried to solve the Riddler's riddles in Zero Year. He loves puzzles. He's an amazing detective.

And, of course, one of the things we know and love about Nightwing is his inherent kindness, something that's present throughout Duke’s entire character arc. Even their hero names, Signal and Nightwing, are parallels of each other (light and dark). Batman’s first sidekick and his last. And, like Nightwing, Signal formed his own team (WAR) with no help from the others (except Alfred ig).

Of course, the entire point of Signal’s character is that he's not just a Robin. He's something different. It reminds me of that post that's like—’poor dick grayson, originator of a legacy he never meant to be a legacy, crushed with guilt and jealousy when he looks at all those who came after’. To me at least, it makes sense that Nightwing’s successor would've never been a Robin at all.

[flower-boi16]

The Problems With Charlie As The Main Protagonist

I've spoken about my thoughts on Charlie as a character before a few times on this blog, but I think it's finally time to discuss why Charlie isn't exactly the best protagonist. On the surface, there doesn't seem to be much wrong with her, she's likable and endearing enough and she's easy to root for. But...once you look deeper, the problems begin to rear their ugly head.

1. Charlie Never Grows

The first major issue with Charlie as a character is how she never really grows over the course of the first season. The show never really gives her much of an arc...? Like, by the end of the season, what does Charlie really learn by the end? The only thing I can think of is that she was right about sinners being redeemed and...that's it.

And it doesn't really make Charlie that particularly compelling as a character, she's entirely stagnant. She does have a conflict with her father, which, while executed fine, isn't enough to make her a developed character. She only gets small tinges of development and that isn't really enough for me.

Charlie doesn't learn anything or grow as a character, which makes her pretty underdeveloped as a character. The show never really gives her any real character flaws to grow from and become a better person, she's always portrayed as in the right anyway and never challenged once. Speaking of that...

2. Charlie is Always Right

This more or less ties back into the "Charlie never grows" point I've said before and I've talked about this several times before, but it's still an issue with Charlie's character; she is ALWAYS in the right. Charlie's "everyone can be redeemed" mentality is never once challenged by the narrative, and anybody who does oppose Charlie in any way is considered as wrong by the narrative.

The reason why this is a problem is because Hazbin Hotel heavily preaches about being against black-and-white moralities, as seen with Heaven and especially Adam. Heaven is meant to be seen as bad because of its black-and-white mindset of "Sinners can't be redeemed and never will". This is put on full display with Adam, and his song Hell is Forever, to the point it literally includes lyrics like "the rules are black and white there's no use in trying to fight it".

You Didn't Know further pushes this with this line "the rules are shades of gray when you don't do as you say and you make the wretched suffer just to kill them again".

So the show wants to push a message of "black and white morals are bad", but...it's rendered moot by the fact that Charlie is purely portrayed as in the right. Charlie is completely correct, everybody can be redeemed, everyone even the most evil people who did the worst possible things can still be good, and anyone who opposes her is wrong cuz she's completely in the right...gee, for a show so heavily against black-and-white moralities...doesn't this all seem very black and white in it of itself?

Charlie's "everyone can be redeemed" mentality is just as black and white as Adam's "nobody can be redeemed", they are both extremes leaning in opposite directions, that are also both wrong in their own ways, yet the show portrays Charlie's extreme as the right one and Adam's as the wrong one.

I've already talked about this before but Adam is a pure straw character; he only exists so Charlie can prove him wrong, he cant have any real character depth beyond being a generic asshole or have a real point because the show is so dead-set on making Charlie purely in the right no matter what; the narrative never challenges her and anyone who opposes her is portrayed as automatically in the wrong.

This is not the only time this happens btw. In episode 5, Lucifer is also portrayed as automatically wrong for opposing his daughter’s goals. He himself says that “Our people are AWFUL. They got gifted free will and look what they did with it!”, and the show…never counters this, despite what Lucifer is saying…being true. The people in Hell ARE awful and it's their own fault, many of them ARE deserving of death because…well, their shitty people.

Charlie is never challenged once throughout the show and its a problem because not only does it fly in the face of the show being so anti black and white, it also wastes an opportunity for the show to develop Charlie as a character; with her learning that some people can't be redeemed because they either are incapable or uninterested in changing.

That would fit more with the show’s anti-black-and-white themes and also have Charlie go through real growth as a character as she learns that not everything is all sunshine and rainbows. But sadly, we can't really have that.

So Charlie's ideals are never challenged by the narrative and thus it not only flies in the face of the show's themes it also wastes an opportunity for Charlie to grow as a character. Now it's best to get into the next issue with her...

3. Charlie is Barely Focused On

Another big issue with Charlie as the show's main protagonist is that the show doesn't really focus on her that much, especially the first half. Now, shows don't need to focus on the main protagonist at all times, obviously giving some screen time to other characters is definitely something shows should do.

But the problem is that Charlie gets very LITTLE focus in the series despite being the main protagonist, and this contributes to the problem of her being underdeveloped. The first half of the show is especially bad at this; episode 1 Is the only episode in the first half that focuses on Charlie, but even then it's overtaken by the B-plot involving the other characters trying to film a commercial.

Episodes 2&3 are entirely dedicated to what characters like Alastor or Angel Dust are doing and episode 4 is completely focused on Angel and his arc. It contributes to the issue of the show not being able to develop Charlie that much as a character because she's constantly being overshadowed by other characters. The second half is better in this regard for focusing more on Charlie but still, for the first half of the show, it feels like Charlie is overshadowed by other characters which is embarrassing because, well, she's the main character, yet she feels like she's barely gotten any actual spotlight.

4. Conclusion

I want to love Charlie as a character. I really do. I mean, she's a part of one of my favorite character archetypes. I always LOVE over joyful optimistic characters because I just find them a joy to watch on screen, but sadly, Charlie doesn't have much depth beyond that archetype. She isn't that developed making her fail to be much of a compelling protagonist, her ideology is never challenged by the narrative wasting an opportunity for her to grow and contradicting the show's themes, and she's heavily overshadowed by other characters despite being the main protagonist.

So ya, that's why Charlie isn't that great of a protagonist...bye.

[wistfulcynic]

a non-izzy-centric reading of the events of season two

i didn't really want to get into this because it's so, so tiresome and i'd rather talk about the things i loved about this season. Poison, positivity, etc. But.

reading this post about people doubting their own judgement due to the overwhelming noise from Izzy stans along with a rewatch of season two from start to finish made me realise that i too had been influenced by a year and a half of being intensely frustrated by people insisting so loudly that OFMD was in fact the Izzy Hands Show. My initial issues with S2 mostly stemmed from overcompensating for that by resenting any development of Izzy on the screen because i did not want it to feed those people. Which meant that i also was centring Izzy in a way that he should not be centred! i was letting their noise lead me to read him as far more important than he actually is.

So i looked back at several points from the season that had me feeling uncomfortable and which, from a cursory browse through the Izzy tag i've concluded his stans see as a contradiction or a betrayal or something and re-evaluated them from the perspective of Izzy not being a main fucking character.

point one: "He's our dick."

When Archie (a newcomer and therefore a fairly effective audience stand-in for anyone not balls deep in fandom bullshit) asks Jim why they're going to so much trouble for Izzy, who she has immediately clocked as "kind of a dick", Jim gives this response. Which, if you think Izzy is important, may read as an expression of reluctant fondness. But then, Jim continues: "There was a time when life meant something on this ship. When we lived for each other, not just to survive." These lines are punctuated by a flashback to the famous Revenge crew found-family Renaissance-painting moment. Jim is nostalgic for the "good old days" of the Revenge under Stede's people-positive management style. It is out of respect for that (seemingly) lost way of life that they take the trouble for Izzy, not for Izzy himself. They'd have done the same for anyone, because they desperately want life to matter again. Izzy, as the person whose gamy leg is a direct result of his threatening Ed and bringing the kraken era down on all of them, is simply the one whose life happens to be on the line.

(honestly, i love this from Jim, who was one of Stede's boldest detractors in season one and still the crew member most likely to call him out on his bullshit. That's your "reluctant fondness" moment right there.)

point two: the new unicorn

apparently Izzy stans see the gift of the unicorn leg prosthetic as a symbol of deep love and respect from the crew to Izzy. Which is an absolutely wild reading when you look at what led up to it.

There's tension on the ship. Divisions. Lucius is chain-smoking and jump-scared by his own shadow. Jim, Archie, Frenchie, and Fang are overcome by guilt over their mutiny and frantically scrubbing nonexistent blood from the deck in what is a fantastically darkly funny Lady Macbeth moment for them. Izzy is sloppy drunk and yelling nonsensical abuse at the unicorn masthead. Roach, Pete, Oluwande, and Wee John make a well-intentioned but ill-conceived attempt to bring everyone back together (i say "everyone" but Izzy, significantly, is not included) which leads to them all being at each other's throats in the sort of mutually-assured-destruction configuration that starts world wars. It's a great scene. Izzy is not a part of it.

until he interrupts them, throws the unicorn legs at them and in his drunken clumsiness breaks his prosthetic. He then pointedly refuses their offers of assistance and drags himself away along the floor by his arms.

my friends. This is peak pathos. The crew do not respect Izzy in this moment, they feel sorry for him. They realise that he's worse off than any of the rest of them and that knowledge brings them back together. Making the unicorn prosthetic is barely about Izzy at all. It's about the crew coming together, repairing the rifts in their found family and as a bonus helping out their grumpy second cousin who doesn't really want to be there but has nowhere else to go. It's also a very generous offer of a new place on the ship--as the new unicorn--and a fresh start. Because that's what life on the Revenge is. For everyone.

point three: la vie en rose

much has been made of Izzy putting on drag makeup and singing at the Calypso birthday party, and fair enough. That's a big character development point for him. i don't hate it, though i wish there'd been more build-up to it, a longer conversation between Izzy and Wee John at least (insert obligatory "fuck Max" here) but regardless, if we accept Izzy's amputated leg as cutting off his old self and replacing it with the unicorn then we can arrive at a place where he's able to participate in a drag performance without too much cognitive gymnastics.

i've written before about the curious choice to have Izzy sing La Vie En Rose in French (after he initially sang it in English) at the very moment when Ed and Stede are having sex for the first time. On first watch i felt viscerally troubled by it, it felt like a validation of the obsessive psychosexual reading of Izzy's feelings for Ed. Looking at the season as a whole, it feels more like a (cringy, creepy, waaaay over the line) attempt on his part to signal approval for Ed and Stede's relationship. Especially when taken in conjunction with his (super creepy, like wtf who greenlit this) interruption of their breakfast in bed the next morning to make a ham-fisted innuendo. Weird but okay i guess, it's not like Izzy and social niceties have ever gone hand in hand.

many people point to the drag scene as the crew embracing Izzy and welcoming him as one of them. Again, i don't disagree. But, also again, this is not specific to Izzy. This is just what they do. They also embraced Archie with her snake-cult stories, they re-embraced Ed (who yes, they do love, refutations of arguments that they don't love Ed are a whole other essay though) and later they embrace Zheng and Auntie and also Jackie who once stole their savings jar and threatened to cut off their noses. That's what they do! They embrace people! That's what the show is about!

point four: the death scene

i have to be honest, i still hate this. i don't hate that Izzy died, i hate that he died in Ed's arms with Ed calling him his only family. That still feels unearned to me, and alas was probably another victim of the shortened season. But even with this extremely kind and forgiving death scene, the stans are not satisfied! They feel that the entire crew should have been gathered round, assuring Izzy of their profound love for him. There should have been weeping at the funeral, wailing and gnashing of teeth, rending of garments etc. It's what he deserves as such a beloved member of the crew!

except he wasn't beloved. He was accepted, yes. Welcomed, even. But acceptance is a far cry from love. Cheering as someone sings a song at a party does not mean you feel ready to weep at their deathbed or proclaim your undying affection for them.

yet even so, the crew are visibly distraught at his death scene. There are tears in many eyes! But effusive declarations of feeling from any one of them other than Ed would have felt (to anyone not convinced Izzy is the main character) completely wrong and very weird. You can headcanon what you like to fill the gaps in canon but on screen we have seen very few meaningful interactions between Izzy and any of the existing crew aside from Fang and Lucius and to a lesser extent Wee John. Izzy's primary relationship with another character is with Ed and so, as much as i still don't like it, Ed is the only one who has any real reason to be at Izzy's side as he dies.

as for the brevity of the funeral and the fact that they went straight from it to Pete and Lucius's wedding instead of having, idk, a prolonged wake at which everyone speaks at length about how important Izzy was to them, i mean. Obviously that wasn't going to happen. More than enough screen time had already been given to a side character who spent most of it either being miserable himself or making others so. It was time for the rest of them to find some moments of joy. As Izzy himself said, not moving on is worse.

in conclusion, i'd like to address the people saying that Izzy should have lived so he could continue his arc of self-discovery and sure, that would have been great--on the Izzy Hands Show. But OFMD is about Ed and Stede and Izzy had served his purpose in their story. i feel certain there will be copious fanfics to soothe anyone who feels Izzy was shortchanged.

on the show, though, he was treated in a very logical and foreseeable way as the antagonist who was able to see the light at the end but not necessarily to thrive in such a well-lit environment. Literature (by which i mean also films and tv) abounds with examples of this sort of character. They see the error of their ways but they are too stuck in them, shaped by them, to exist comfortably in any other way. They help bring about change to benefit others and not for themselves, that is the bittersweet beauty of their endings.

Izzy let Ed go. He embraced the softer parts of himself. He died surrounded by people who may not have loved him but at least accepted him as one of their own and felt genuine sorrow about his passing. That is a satisfying narrative end for a reformed antagonist! If you truly feel that he was shortchanged by it then you have forgotten what show you're watching and what sort of character he was.

Izzy Hands: not the main character, still an interesting one, absolute nightmare, what a guy.

[withthewindinherfootsteps]

MDZS Notes + Analysis — Chapter Two: “Reincarnation”

Three main things stood out to me when rereading this chapter: the theme of status, our intro to WWX, and the information we’re given about his state after death.

…Well, four things, but the other one will get its own post.

The theme of status is immediately introduced* with ‘MXY’’s treatment and the backstory of MXY and his mother, yet again showing just how well MDZS’s ideas are integrated into the text and how well it’s paced! You’re introduced to every important theme so, so early on. Two screenshots are analysed below:

(See: entitlement of the upper classes towards the lower classes, and how this can exist even between members of the ‘same family’; and arguably the idea of debts between a richer family and someone who was 'taken in'. There are a surprising amount of parallels between MXY and WWX, but I'll make my own post about that)

(See: once again, differences in status between members of the same family, and also the worse, and disposable, treatment of one daughter because she was "the daughter of a servant". Now, why does that phrase sound familiar...?)

Also, MXY's mother was sixteen when she attracted JGS's attention... if you somehow needed even more material to hate the guy...

We also get introduced to WWX’s personality(!), which immediately disproves the rumours from last chapter on how he'd cast the world into ruin:

(That's one of the first questions he asks after waking up – I love how he's so concerned about this! It shows us two important things, too: 1) Morality is important to WWX, and 2) Doing immoral things seems to be out of the ordinary for him. Both of these stand in direct contrast to the picture of WWX we were painted earlier!)

(Same thing here, along with showing us some of the (healthy!) pride WWX has – he wouldn't be offended at this if wasn't something he held as important within himself)

(I use this quote again, but here it's once again proving that the vengeful, evil WWX who'd sink the cultivation world into "nothing but chaos and despair" at the first chance he got... very much does not exist.)

(And finally, it's explicitly confirmed here that he's not the type to take exessive revenge and take pleasure in it... at least at this point in time, because. MXY definitely had reason to think this considering Sunshot!WWX, if everyone had been working from the truth. But importantly that isn't who he is now, and isn't who the WWX villified by the cultivation world was – imo that's including Nightless City, we'll get to that when I reach it. But note that actions during the Sunshot campaign aren't even mentioned in the prologue, because, shock, they actually helped the cultivation world win the war! Though that doesn't mean they weren't part of rumours + the WWX hatred mill later.)

Then some non-morality related things:

This is just really funny to me, with how the makeup being badly applied (:o) is enough of an issue to merit a thought – WWX I love you.

And then this way of thinking comes back a few times esp during the earlier chapters, enough to be noted I think.

Confirmation on WWX's status after he died – it's not anything new to point out, but this chapter does give us rare insights into what state he was in during the post-death, pre-rebirth period.

So, he was somewhat conscious, enough to be aware of what he was(n't) doing – seeking vengeance, haunting the living – and was seemingly in control of those actions. However, he was specifically a "wandering ghost" – his soul didn't pass onto the afterlife or "return back to Earth"** like the body-offering spell's caster's would. He was conscious that a long time had passed as well, and this long period of downtime where he could accept + deal with what happened in his first life is what likely allowed him to be so well-adjusted the second time round – even taking into account the remarkably good way he tends to deal with things in general (cue the "forgetting the wound when the pain fades" quote, it summarises WWX's mindset really well)***.

Also, as for resisting the summons from the prologue – I'm wondering how much was due to WWX's experience with resentful energy + general capability (if that affects it..?) allowing him to consciously refuse, how much was due to WWX not being the type to hold onto resentment (so possibly spells targeting ghosts, full of this resentful energy, wouldn't be as affected?), and how much was due to the relative lack of knowledge about how ghosts/resentful energy works compared to WWX. Or, if it was something else. Either way, achieving the impossible, that's WWX for you :D

It is interesting that he hasn't heard a voice in ages despite wandering, too – do ghosts just not hear the same way, or did he deliberately avoid areas with people? I could see both, the second being more likely, especially considering how many people wanted to summon him back for... less than stellar purposes.

Misc:

Poor Mo Xuanyu....

--

*Well, reinforced – in the prologue, one of the things said about WWX is that "if not for the YunmengJiang clan’s adopting and teaching him, he would have been a hobo living on the streets", which is among the insults people throw. So of course, class-affecting-perception is tied to WWX from the very beginnning! But this is the first time it's actually explored, not a throwaway line.

**Though that may be what's literally happening to WWX's soul here – it is wandering around Earth – I don't think that's what this line refers to. There's a very good meta on how different translations handled that line, I really recommend it (tysm @/mxtxfanatic for finding it)!

***It would be very interesting to read a fic where it felt like no time had passed for him since his death, actually! Though the extremely stressful circumstances are gone, it would still be interesting to see a WWX for whom the Siege, Nightless City, Qiongqi Path etc are pretty recent – but only in fic territory, since I'm so, so glad we got the WWX we did in canon. Also, I'd love to see a fic maybe exploring some of his time as a ghost...?

[littlenahsstuff]

Can you do alcina dimitrescu having to teach down her wife (the reader) because she got lost in the castle? Thank youu

Learning Curve

Yes, I can! I hope this is similar to what you were looking for. Sorry this took too long I was struggling with it and writers block for quite awhile.

Overview: you were previously Donna’s maid. You and Alcina get married after a very official courting. You only ever had been to castle Dimitrescu’s dining hall, tea room, and the gardens. After the wedding, you feel the need to prove yourself and what better way to start than to know the ins and outs of your new home.

Warnings: maybe like the tiniest bit of anxiety and frustration, you hurt your ankle, 2nd person POV, kinda-incorrect layout of the castle. So much fluff at the end.

You were the happiest you’d ever be. After a lovely ceremony at the Church, headed by Mother Miranda, and an incredible party at the vineyard, you felt as if your future will be amazing with your wife. There was the slight issue of her being nobility, but it didn’t bother you almost at all. You were, however, far less educated; you planned to utilise the newfound resources at your fingertips to help that.

You decided that you would start small, then learn the family and business’ history, and then become more worldly from there. You now didn’t really have a job. Donna was considered a friend, so you could visit her and spend time with the girls, though you would need something to fill up your alone time.

Alcina was completely honest with you about what goes on at the castle, so you knew the cellar wasn’t safe. You do think that you’ll try working from the ground floor up and see where it takes you though.

You decided you would start with the main floor first, it was least confusing, especially with the semi-open theme. You got most of the main floor covered easily, the main hall, the hall of four, kitchen, and the quart yard. That area was more dilapidated than you remember so maybe a little later in your marriage you mention renovations.

The rest of the first floor led you to two new areas, a room connected to the hall of four with an adorable and very intricate replica of the castle. It was incredible to see it all at once. The other area was another bedchamber also connected to the hall of four.

The second floor was far less easy but you did know a few rooms. You knew Alcina’s… well your bedroom, the bathroom and a few other bedrooms.

You found a hallway you’ve never been down and went through all of the doors. There was a room with a statue. You didn’t mean to but you tripped on the carpet and almost knocked the statue over, or you would have if it wasn’t bolted in place. It turned with a click, leaving you confused. A painting of a boat swung open.

You were amazed to find the secret passage and with wonder and bedazzlement you stepped through. There were a few cobwebs that made you shiver as well at some dust making you sneeze. It was narrow but just large enough you could stand straight. It led you to the fork in the road with three new directions. You wondered how big the castle was and you had no idea where would lead back to a place you knew so you just went left.

The farther you went and you ended up somehow finding another secret passage fork in the road, this time you decided to go right. You walked until the passage narrowed. The rest of the way was filled with cobwebs and you were chilled to the bone. At one point you felt something small bight you and you let out a yelp. Your lantern broke as it hit the floor. That was the last straw, you needed to get out of there.

You turned around the best you could and started to head back, the cobweb part was dreaded. You shivered once again.

You realized you were unsure which way to go back. You thought you guessed correctly until you tripped over a rock that had definitely been large enough that you would have seen it on the way there. Your ankle throbbed in red hot pain. You let out a pained wail and sat there unsure of what to do. You were embarrassed. You felt so naive for taking the passage when you should’ve stayed on your normal route. Your ears rung at one point but you knew you needed to do. You were exhausted but you called out for Alcina.

Alcina swore she heard something behind her office walls. It wasn’t the loudest though, as if muffled. She ran to make sure it wasn’t you.

“Y/n, darling?” She called out, she knew you were hurt when she heard the groan and she also figured out that you were in a passage behind the wall. Thankfully she remembered how to access them from all those times the girls made her play hide and go seek. She pulled the torche on the wall and a bookshelf slid open. She saw you sitting there clutching your ankle with a wince.

“Oh no, whatever were you doing in there sweetie? Those areas can get dangerous.” She questions you with such concern that the dam breaks free. You explain how you wanted to be more knowledgeable for her and you wanted to start with learning the castle so you wouldn’t need help.

“I love helping you, and I don’t need you to be any smarter,” she says “I would love to show you around what is now our home.” You stop sobbing but the teary eyed persist. You now she’s happy tears and give as you are given, a look of poor adoration. She picks you up to your surprise and sets you in a lounge chair by her desk. She rings a maid to come in.

“Now just relax her for a bit, I’ll be right here with you.” She says.

“Thank you” you make out, smiling.

“Anything my love.” She turns her attention to the maid that appeared.

“I need ice, a pillow and some pain medication. Call the merchant as well for something better as well as a brace.” She looks so attractive when ordering someone around for you and it causes you to night your lip.

She mistakes it as sorry and gives you a questioning look.

“I just appreciate how much you show you card,” you relent with a soft tone.

“In every sense, I will give you anything.” She hums and rubs your arm as she waits.

The made comes back surprisingly haste. She takes the ice pouch and holds it delicately to your ankle. You flinch at first contact but soon come to appreciate the numb feeling it causes.

You hum in approval.

“Now, my dear, once you are healed up I can give you the tour. For now let’s enjoy each other’s company. She sits next to you and moves you onto her lap and adjusts in such a way she can keep the ice sitting on your a clé while propped up with a pillow. She leans down to kiss you on the lips.

“I would love to spend time with you” you finally respond after the kiss. You cuddle the best you can until the ice melts and even manage to fall asleep for a little after you take medicine and the pain starts to go away. All while in the love of your life’s comfy lap and arms.

[yujeong]

I am deeply fascinated by White's fear.

I have no idea whatsoever why this boy believes he's dirty/filthy, or why he thinks Tee specifically would view him that way. The show has given us all but mere glimpses of his POV and none have managed to give me a concrete reason for it. But this is what makes it so interesting. Even with only 1 episode left, the writers can do wonders with this. Throughout the show, but especially in Ep11, we see White being pretty open about his attraction/love to Tee. He's the one who pursued him, who flirted with him, who went to visit him at his job everyday, who tutored him, who *kissed* him. Is this why he feels that way? It can't be, right? The boy is doing all this in public, it's not shame for his sexuality that's the issue. So, the other conclusion is that it's about sex. It makes him feel dirty, it makes him feel that *Tee* himself views him as dirty, even though he loves White and he loves having sex with White, something I'm sure White himself knows as well. Going back to Ep1, we do get some indication about White's fear, though it could be just me grasping at straws here:

1) During the first TeeWhite scene we got, White gets a hallucination of the masked murderer standing in the woods, watching them, while he's making out with Tee. He stops and says this:

Tee dismisses White's worries, saying everyone's inside the house so there's nobody to watch them, and White does this face:

and needs a few seconds to get back into it after they start kissing again. 2) When they return to the others and Top asks them if they had sex, White's reaction is this:

and later, when Top asks if he could participate too, White's reaction is this:

White doesn't really show evident discomfort, but he doesn't show indifference either. The main argument in favor of that is the fact that he appeared in front of others like this:

and after Top's comments, he is now like this:

He fixed his T-shirt in order for it to be tucked away in his pants, something he didn't even intend to do before Top's comments. He became self-conscious. 3) When the gang go to the CCTV room to find out where Por has gone, they stumble upon the TeeWhite scene of them kissing on the balcony. White's reaction is this:

which is followed, by this:

and then, by this:

White looks incredibly out of his depth and ashamed, mainly due to Top's attitude which is why he glances at his direction more than once. It's the most evident example we get in the series. Also, I find Tee's words here interesting. He says "My little one will cry, change the camera", meaning he knows other people knowing more about their sex life makes White feel embarrassed. Just a small detail that makes me curious. I believe it's due to example 3 that White gets this hallucination later in Ep2:

My main reason for this is the position. As many people have pointed out, it's at the place Tee mostly kissed him: his neck, spreading over his shoulder. All in all, I refuse to believe White is simply vain, especially since it's such a big fear of his that he has hallucinations about Tee feeling disgusted with him. It all just leaves me so puzzled. Just... White. Who are you?

[gffa]

Hello there! I was wondering if you could help me with some comic recs. I've been looking to read the Batman's-lost-in-the-time-stream stories specifically the ones where Tim tracks down evidence of Bruce not being dead (blowing up the LoA and losing his spleen in the process etc), but I find it tricky to pin down the exact comic names and numbers. I figured asking was worth a shot since you seem to know your way around the various continuities. Thank you! 💙

Hi! I will freely admit that I had to Google a lot of this, because I haven't read most of those comics since they originally came out and my memory is fuzzy, but I do think I can at least point you in the right direction. The majority of what you're looking for re: Tim is going to be in Red Robin, but a lot of this storyline spilled over kind of everywhere and crosses into several smaller event storylines, but as best as I can remember/find: (Note: These are all comics from around 2008-2010, so when you go looking for them, keep them separate from a lot of the current ongoings that have reached these numbers again. XD)

Bruce "dies" in the Final Crisis mini-series

Portions of that story also spill over into Batman R.I.P. 2008 (Batman vol. 1 issues #676–681). For memory, it's a separate story from the fight with Darkseid that "killed" Bruce, but aspects of it are intertwined with that main story, so feel free to skim if you want.

"Nightwing: The Great Leap" (vol. 2, issues #147-153) is part of the Batman R.I.P. storyline that will lead into Last Rites and Battle for the Cowl

The final issues of the Robin vol. 2 series, issues #175-183, are also part of the lead-up to the Last Rites storyline (and then part of the main storyline itself)

Last Rites is spread out across Batman #682-685, Detective Comics #851-852, Nightwing #151-153, Robin #183

Okay, for Battle for the Cowl storyline, there's a lot going on, but you can read the three issue mini series (Battle for the Cowl #1-3) and then kind of pick-and-choose what you want from the tie-in oneshots. I'm not sure how important most of them are, if you're just here for main Batfam drama, but the DC fandom wiki has a good list of them all.

This leads us into the Batman Reborn storyline, which is Dick as Batman and Damian as Robin and there's a lot of comics going on at this time that are dealing with the general fallout but not necessarily specifically about Bruce being lost in time. But I really liked this era, so of course I'd recommend reading it anyway.

Red Robin is where you're going to find the "Tim really looks like he's having a mental breakdown and goes off to find Bruce" content that you're looking for, those issues are the prime material for it, just that there's context spilling everywhere first before you get to them.

Batman and Robin from 2009 is Dick and Damian's side of everything that was going on--they do have other stuff they have to deal with, they're fighting against all the usual cases in Gotham popping up, but the "Bruce is lost in time" story does have a lot of context here as well, that Dick actually is doing research into this as well.

Early on in both of the above two comic runs (within about six issues or so) was an event called Blackest Night where all the dead came back to life and it's mostly about that, but the Batman tie in issues had Tim coming back to Gotham and the issue was raised of, "wait, why does Bruce's corpse look all wrong?" and people start to believe that Bruce is alive. I'd say read the two Batman tie-in issues for sure and at least skim the main Blackest Night #1-8 for anything Bat-related.

Batman: The Return of Bruce Wayne #1-6 is Bruce's side of his "death" and eventual return.

Bruce Wayne: The Road Home is the follow-up/aftermath of that and is spread out across several oneshots and the order is generally: Batman #703 (prelude) --> Bruce Wayne: The Road Home: Batman and Robin #1 --> Bruce Wayne: The Road Home: Red Robin #1 --> Bruce Wayne: The Road Home: Outsiders #1 --> Bruce Wayne: The Road Home: Batgirl #1 --> Bruce Wayne: The Road Home: Catwoman #1 --> Bruce Wayne: The Road Home: Commissioner Gordon #1 --> Bruce Wayne: The Road Home: Oracle #1 --> Bruce Wayne: The Road Home: Ra's al Ghul #1 --> Batman: The Return #1 (These are NOT issue #1 of their given series, these are all separate oneshots--aside from the Batman #703 prelude, of course.)

@fantastic-nonsense also has a really great context-laden post here about the storyline of them searching for Bruce and is very helpful to understand all the moving parts! If I missed anything major, hopefully she or someone else can step in and give us issue numbers. I know that's a lot of comics to throw at you, but it kind of goes to show that this is how some of the Bat-storylines used to have more of this kind of stuff, where they had big, sprawling events and everything kind of spilled over onto everything else. I don't miss having to buy a zillion issues to keep up with a storyline taking over my favorite book, but I do miss the interconnectedness of stuff like this, when it worked, it created storylines that genuinely were game-changing in the Batman franchise. Hopefully, this helps and if nothing else you can know that you inspired me to go pull out some of these runs and reread them to refresh my memory. (Even if I'm still mortal enemies with Grant Morrison, they wrote a lot of the comics that were at the height of my interest in DC. XD)

[radiation]

Ok here are my brief thoughts on Mouthwashing. SPOILERS WARNING And mostly negative sorry. Lots of things i liked but i think most ppl have said that stuff already so i wont repeat it

Loved the art direction, really loved the dialogue, I enjoyed the game a lot in the first half. Unfortunately towards the halfway point where it began leaning further into the horror game shit it really started losing me. The gameplay segments where you get chased around by something or other were seriously just horrendously, horrendously badly designed and a lot of the puzzles felt repetitive or inscrutable (Altho keep in mind I'm terrible at solving puzzles/finding shit in video games. When people talk about "yellow paint" I'm 100% who that shit is for)

It wasnt just the gameplay though, I also just wasn't a huge fan of the metaphorical / scary visuals / out-of-body experience stuff. I felt it slowed down the pace of events and put a barrier between me and the reality of the story being told. It rarely communicated new plot points and ideas and mostly restated information I'd already received verbally in an abstract way. Yes they were visually stunning, very technically impressive, and a few felt genuinely novel and well-placed (the reveal of the mouthwash ad on the TV fucking ruled), but I feel like for the most part those moments were almost obligatorily following modern indie horror game trends. I understand the point of that kind of stuff and it definitely can be effective, but idk i see it so much Im just personally very tired of it unless it really justifies its own existence, and in this case i unfortunately felt it didnt

I also didnt find the sort of "twist" with the main character very compelling and the more extreme his actions became the more I became disappointed. Like once you start getting a guy feeding another dude his own leg at a table with a bunch of dead ppl set on chairs with party hats on (even if its intended to be metaphorical) you have killed my suspension of disbelief. Especially since the character work at the beginning of the game felt a lot more grounded it was just like really. I get its horror but thats trite as fuck sorry.

A lot of this comes down to personal preference but if it were me Id have pared down the gameplay so its more towards the visual novel direction and made the scenario and character behaviors toward the end more grounded/real world so the horror comes more from the Real Fucked Up And Horrible Shit That Is Actually Happening, not the abstraction of it. I really found the character dialogue so much more compelling, original, and better at communicating ideas than the metaphorical visuals, so just own that instead. Like i personally wouldnt have had much of this stuff or any at all but again, definitely personal preference, so if it we're going middle ground -- horror visuals can still exist in some form, but i think would be better as a backdrop that fades in and out rather than being something that, in order to experience, you have to totally disengage with the story at hand for long stretches

Another thing I felt and like, sorry this is pretty mean, but as much as people praise the story it really isn't doing much of anything new or different. It's largely well-executed, but as far as sci-fi and horror goes, it's really quite generic. A well-put together combination of a handful of movies and games and whatnot, but rarely much more than the sum of its parts. The moments where it went beyond that were in the very real-life themes and the character work, which again got lost little by little due to its increasing insistence on being an indie horror game. The point for me isn't that everything has to be totally original and not at all contrived, like familiar ideas being well executed can be really really powerful, its more that with all the issues there were i didnt feel the story was strong enough to completely redeem it

Also slowly dawned on me that Anya is pretty much just shelley duvall and it started bothering me like i couldnt stop seeing it

+ I found the writing kind of misogynist. Anya isnt a bad character but if you look at all the individual points of her character its like wow you had to have the singular woman in the cast have literally all of those traits and all of those things happen to her? Its very like 1980s male auteur movie director type shit. And if the shelley duvall thing wasnt a total coincidence that like, especially does not put a good taste in my mouth

Also Swansea fucking rules best character eva

[yuurei20]

Toboso Yana on the creation process for Twisted Wonderland:

"For the main story, first I create a rough plot and submit it to Disney for approval.

After that, I discuss with the development team what elements we want to introduce per scene: ADV, rhythmics, battles, etc., and complete the scenario as a whole.

What I always keep in mind when writing scenarios is that the aim is not for it to be 'loved by everyone'.

Villains are not meant to be loved and cheered on by everyone.

They are villains: they were created to be hated.

That is why there is sometimes something attractive about them…

As long as villains are the basis for these characters, I think it is important that they never become overly good people.

Of course, there are limits.

And in cooperation of Disney we have been very particular about following storylines and quoting dialogue from the movies, so that people who have never seen the original films will want to see them for the first time, and those who have seen them will want to see them again.

The vignettes and event stories are technically spin-offs of the main story, but there are a lot more scenarios involved than are in the main story.

We try to delve deeper into the characters through their daily lives on campus and how they deal with the problems they face.

I think there are actually many players who look forward to these spinoffs more than they do to the main storyline.

That is why we want it to feel like the characters in each subplot are recalling living in the same world as the main story.

But how can we direct all these different stories in such a way that there is a sense of continuity? …this is an ongoing issue.

Vignettes, in particular, are often depicted not from the perspective of the player, but from the subjective viewpoint of the character in question, and the way the story is depicted varies depending on the relationships between them and other characters.

For example, B may be a black-hearted jerk from A's point of view, but from C's point of view, B may actually be competent, dependable and an overall good guy...

It is necessary to reconcile the two viewpoints on a case-by-case basis.

Currently, I can't think of any other way to uphold continuity besides reading through all of the stories and making changes when needed, again and again.

So that's what I do.

It is a daily process of trial and error.

Sometimes the relationship between characters changes completely in the main storyline, which will leave me scratching my head and wondering, 'When did that part happen?'.

However, I am sure that more and more events are going to be held in the future, so I am wondering if parallel and 'if' worlds are going to start appearing.

As for chats, we always try to make sure that involve a reference to the original work that inspired the character in question.

Since the Disney Villains are the 'Great Seven' in this world, it's a perfect topic for the characters to discuss after class.

We thought it would be great if people who like the villains could get excited along with the characters.

On the other hand, if you are not familiar with the movies being referenced, I hope it might feel as if the characters are teaching you."

[haleigh-sloth]

Alastor, the wild card

Okay, I have to get this out because it's driving me nuts not having it written down.

I watched Hazbin Hotel. I watched the pilot 4 years ago, immediately liked Alastor. 4 years go by and he gets put on the back burner, but now that the main series has begun, oohhhhh boy.

This is basically just me laying out everything I think is going on with/going to happen with Alastor--the seeming wild card--and then what I ultimately think his end game will somewhat look like. Alastor has a lot of different little plot points going on with him, that all point in different directions, but I believe will all end up pointing at one specific ending. I'll go through the different plot directions tied to him in a list but not in the particular order I think they will occur, because I'm really not sure of that yet other than the last:

Beef with the Vees, Vox specifically

Lucifer

His deal, in other words his "leash"

His relationship to the hotel and everyone in it

His relationship to Charlie

Not a long list but a lot of thoughts altogether so here goes.

The Vees and Vox:

I'll start here, but this ties into other stuff later. The Vees, very much MOSTLY Vox and Valentino, are problems. They're these media industrial overlords who own people (it's such a mystery what type of modern-day issues these 3 characters are touching on), and they exploit, take advantage of, and harm people. They're clearly antagonists, even if not the main ones at this time. Now for the sake of keeping this about Alastor, we're gonna focus on Vox, because obviously they have past beef. We don't know ALL the details of what it is (aside from Alastor rejecting Vox's offer), but we know it resulted in a fight in which he "almost" beat Vox. And it seems they were on decent terms at one point, evidenced by what looks like Vox's head in this torn out photo that Vox had pinned to his board in the finale:

Alastor has an ego. He's an overlord. A highly regarded one, and he's obviously strong. He writes off pretty much everyone around him. He doesn't seem to be afraid of anyone, or even remotely bothered by people who show up to attack him or the hotel. He only shows any kind of acknowledgement of someone else's strength when he goes to the overlord meeting in episode 3. But outside of that, he does not seem to give anyone else the time of day.

So that's really funny considering that when Vox starts trash talking him on TV, he takes the bait and gets competitive. He goes on the air, he trash talks back, he gets personal with it. And when Vox loses signal, Alastor continues sending a final, very sinister warning.

And he's not being his usual joke-y self. He's being serious. He's turning into his Wendigo-looking form, which is quite scary looking. We're supposed to take him seriously here because he's not writing Vox off. He is, for lack of a better way of putting it, taking Vox seriously as an opponent. He's being usually egotistical, but he's still putting more effort into this little social media battle than he has for (almost) any other opponent. And not to mention, Vox was shown in the pilot:

So, while this was pretty much shelved for the reason of season 1, it's coming back. And it's going to be an issue for everyone, including Alastor.

Lucifer:

This is going to be my second favorite section of this post. Because it's hilarious, and also somewhat endearing to me how he reacted to meeting Lucifer. I'm sure people noticed, but when Lucifer walked in and hugged Charlie, the frame moved up to show Alastor's face, and his eye was twitching in that moment.

Then a moment later they shake hands, and he wipes his hand off on his coat. And later Lucifer bumps into his arm when walking past him and he brushes his arm off-again. Clearly, Alastor does not like Lucifer. Now, I'm like 100% sure there are yet-to-be-revealed reasons for this that have not even been remotely touched on (Lilith), but there are some obvious guesses we can make based on what we now have in season 1.

There's the fact that Alastor's ego is present here. He points out Lucifer's height, in a condescending way. So that's a thing, but I think it goes beyond that. I'll dive into Alastor and Charlie toward the end, but I do think Charlie is part of the reason for his behavior in episode 5. Alastor is showing off his additions to the hotel, but he isn't really boasting about himself at this point. He's being very pointed about giving Charlie all of the credit, and he is very intentional about saying what an "impressive young lady" she is and saying how "VERY proud" THEY (meaning him and the others there) are of her. It's very odd and hilarious that he's pulling all of this out in front of her dad. I mean, I have my guesses, but given that Alastor then starts challenging her dad in a sing-off, saying he's a dud of a parent, and just straight up saying he could be her dad--I'd say Lucifer's lack of effort in Charlie bugs the shit out of Alastor. I'll explain more on that later, though.

The last point I'll make here to transition into the next section is that I'm sure Lilith has something to do with this disdain for Lucifer. However, I'm really not sure what side of Lilith Alastor knows. My guess is it isn't a good side though.

Which brings me to Alastor's "leash", the handler being Lilith.

I mean, this feels as on the nose as the Dabi is Touya theories. Alastor's been gone for 7 years. Lilith has been gone for 7 years. Vestial said he heard a rumor Alastor fell into "holy arms". We know Lilith is chillin in heaven (but other people don't..so again, mystery). Alastor won't tell anyone why he was gone. We know someone owns Alastor in some way right now. I mean....it's gotta be Lilith. It could be a red herring and be a complete surprise later, but it feels like something very obvious that we just won't get to see for a while and will have to wait in anticipation. Lilith is not painted in the best light right this second, but honestly it's impossible to tell whether she's actually Not Great or if there's layers to this. My guess is probably a little of both.

Alastor being involved with the hotel could be because of Lilith. That also feels somewhat obvious, though again, I'll dive into Charlie in a second.

Hazbin Hotel:

Things start to somewhat all tie together here.

Okay let's take this back to the pilot when Alastor introduced himself to the show. He said he views the hotel as an investment for entertainment, and a lost cause, and something to laugh about. He repeats this in episode 1 to remind everyone that he still views Charlie's vision as something impossible to achieve and something to laugh at. Howeverrrrrr--

We shouldn't ignore the fact that ever since he showed up to "help", under the guise that he thinks the hotel is a joke, he has given a lot more than he had originally stated he'd intended. For someone supposedly who enjoys watching others fail and fall into misery, he sure does put a lot of effort into something he considers to be a massive joke. And the funny thing is that he says in the pilot that redemption is impossible, but we literally KNOW IT'S NOT. Sir Pentious immediately brings Alastor's motive for involving himself with the hotel into question. Of course we have no idea how much Alastor actually knows about redemption, but we can't disregard the very real possibility that he's involved with Lilith (holy arms) and the very real possibility that he's aware of her whereabouts (heaven). We don't know all of those details yet. But what we do know is that all of Alastor's efforts are fueling something that is working. SO HIS EFFORTS ARE MAKING A DIFFERENCE..

So I guess that brings me to--what does he actually think of the hotel? Like reeeeaaallly think of it?

His behavior throughout the 8 episodes shifts significantly from the pilot and episode 1 even. He repeats it's a joke in episode 1. And then continues to put genuine efforts into keeping Charlie from giving up even when things get tough and she feels really beaten down. (I'll tie this into why I think he dislikes Lucifer in the Charlie sections).

I also am questioning his real vision of the hotel because it is certainly not something to be ignored that he put Husker and Niffty into the hotel--the hotel about redemption and salvation. Yeah, he's an overlord. He owns their souls. But he's forcing them to stay in a hotel that we literally already KNOW is going to save them in some way. Husker and Angel have their thing going, which will be a good thing. Niffty has a group of people who will protect her, evidenced by episode 6. So, again, Alastor's efforts are all leading to Charlie's hotel being nothing but successful (in the end). But yet he says it's all a joke.

And I think the biggest hint at there being something more here is that Alastor willingly put himself against Adam. And we KNOW that Alastor is leashed somehow. His wings are "clipped". And he ran off to go have a quick little break down in private about almost being killed because of this. Obviously his powers are shackled per his deal.

And yet? He still pit himself against Adam. Knowing this about himself. He also DID almost die for them--his friends, if we can assume he really meant that (I think later on that will be the case). This notion obviously bothers him, a lot. He went to his broadcast station and freaked out over the fact that he really did almost die for them. And then he still went back, knowing that they know he lost his fight. What a blow to his ego! He's the only one who lost and they all know it because they had to deal with Adam after he left.

I won't write off the possibility that he has to be there per some deal (assuming it's Lilith), but that doesn't negate the fact that his demeanor toward the hotel and everyone there changed from beginning of season 1 to the end.

We don't know yet what Alastor really thinks, yet. That's internal and won't be shown until later. But I don't think it's wise to take his word for it from the pilot and from episode 1, and then ignore everything that came after when it's obvious his behavior shows something else entirely.

Lastly, his relationship to Charlie ties everything together.

Again, this started off as a joke to him. He SAYS that he thinks Charlie is working for something impossible. And yet throughout the season he's been shown to be really endearing toward her.

I think my favorite part showing this was him telling her in episode 7 that "It's not like you've ever failed to inspire before." He meant himself. Because in that same sequence Charlie says she usually sings to get her point across but it never works. Except it did, because that's literally what brought Alastor to her doorstep.

That, plus Alastor's obvious disdain for her father that he shows when she isn't looking (the eye twitch), him trying to motivate her from giving up when she's all depressed, him singing about her with Rosie. I think he genuinely admires her and finds her inspiring, and genuinely likes her. Which is really interesting when you look at how he reacted to the presence of her father, and when you consider the very real possibility that he's very much indebted to her mother. Their dynamic is by far my favorite because Alastor is just very NOT easy to read.

However there is a problem that will come up later, and it's the deal he made with Charlie.

So now I'll try to tie everything together:

Alastor has this unsettled business with Vox. He isn't going to let it go. It's going to be a problem somehow. Alastor is stuck in a deal with someone, it's going to be a problem somehow. Alastor now has an unfulfilled deal with Charlie. It's going to be a problem somehow. Alastor hasn't made any vocal admittance that he doesn't view the hotel as a joke, so his front about it being impossible is still kind of there, and that's coupled with the fact that we know he's wrong. All of these things are obstacles to what I'm PRETTY SURE is going to be the hotel's final and biggest obstacle and success:

redeeming Alastor.

Before I go further I'm going to touch on the pilot here.

There are three very bold statements made in the pilot:

"Inside of every demon is a rainbow."

"Inside of every demon is a lost cause."

"He can't be redeemed."

Who is right?

Well, CHARLIE is the heart of the show. The core of what the show wants to portray--redemption and salvation. (Hams is probably right that she is a Jesus figure). I think the odds are in her favor. ALASTOR made a statement that we now have very solid undeniable evidence disproving, now that season 1 is over. So he's out. VAGGIE ended up having a dark and painful secret that she's done unforgivable things to Charlie's home. And yet, she's making the judgment call about Alastor? I think she's out. And also, her statement is the introduction to one of the biggest challenges in the show for Charlie. Because Charlie believes in the opposite of what Alastor and Vaggie are saying. And like I said, the odds are in Charlie's favor.

Now, Alastor obviously doesn't seem like the type to want redemption, or strive for that. Because I'm pretty sure he's not. For now, on the surface. There are a lot of negative things in his way. His beef with Vox and his deal shackling his powers that he wants freedom from. And I'd honestly bet money that those things will all stand in the way of Charlie redeeming him because he'll be focused on these things that keep him from wanting to do better and change--even though throughout season 1 he already showed slow but undeniable signs of changing, whether he wants to admit it or not.

But I think the point of his arc is to end up being someone who does want better. I think his obvious liking for Charlie is something that will save him from a dark and desperate place, a place we've kind of already gotten a peak into. And I think that at the end of the day, every ounce of effort he put into the hotel for Charlie, under the guise of it being for his entertainment, will all end up helping him the most out of everyone in the end.

And I'm very excited.

[prontaentrega]

@fluctuating-fixations It's mostly about some specific word choices that don't really change the plot or the whole direction of the story so it's not like, an entirely different book, but they alter the whole tone of it and makes it worse to me. The first thing i noticed I didn't like about it was when Valentín first mentions Marta and he says "my girl" i immediately went he would not fucking say that!!!!!

In the original Spanish the word he uses for Marta is "compañera" which translates to partner or comrade (F). It's not the most common word to talk about your girlfriend in spanish so it's a deliberate choice on his part. What was the need to change it? to make it sound more natural? to make him sound less political?

In that same page he goes on to talk about his guerrilla comrades and he actually uses the word compañeros for them. The masculine/neutral form of the word he uses for Marta

But the one that really annoyed me is this one

Because in this part the word he uses in Spanish is, again, compañera. And idk about you but i think it has a completely different meaning if you say "if she's my woman, it's because she's in the struggle too" or if you say "if she's my comrade/partner, it's because she's in the struggle too." And besides he would never call anyone "his woman" it's just completely contrary to his whole character... this and a bunch of other small stuff like it mischaracterizes Valentín as more of a macho figure than he really is. And this is an issue i have with literally every adaptation and translation of this book tbh everyone's always so fixed on making this college educated communist latino more violent and sexist and angry. I wonder why

This one's minor but it also bothers me, when talking about the panther woman movie there's a character that in Spanish is "the architect colleague" but in English she's "the assistant" ????? what reason was for that other than misogyny

Maybe this is a non-issue and I'm nitpicking but with the book's narrative being exclusively a dialogue between two people, word choice is fundamental because this is the only way we have of knowing these characters. And especially on a book where gender expression and gender roles are such a main theme this is not like, getting mad because they switched coffe for tea on a sentence. Which I'm also mad about btw. They completely ditch any mention of the characters drinking mate and switch it for tea. Once again I'm asking what was the point? to make it all less exotic? to make it easier to understand to English speakers? having to look up what a mate is or just guess it from context isn't gonna kill anybody, but the translation is so afraid of alienating its gringo audience that it discards cultural context and reduces its only two characters to shallower versions of themselves. And I'd say the cultural context is pretty relevant because this is a book about two political prisoners under a dictatorship that was written and published when Puig's own country was under a neoliberal dictatorship. It's not Vonnegut's cat's cradle with a made up dictator in a made up country, this was actually the situation in Argentina in 1976.

And obviously someone who only speaks english won't notice any of this. What makes me sad about this is that none of the problems i have with it have to do with impossible cultural clashes, it would be extremely simple to fix all of that. It's a tragedy that the only english translation of a latin american book about gender and propaganda was made in 1976. But still I'd rather someone read the book even with the bad translation than not read it at all

[idreamtofmanderleyagain]

Let's talk about The Emperor and Stelmaine for a minute.

So, when it comes to the latest Emperor hate, the assertion that "The Emperor raped Stelmaine" or that what happened to her was otherwise "like rape," has been going around, presumably because of a TikTok video that got popular.

So let me start off by saying I get it. It's pretty infuriating, but I can at least understand the logic. I get why something in this evokes that a little for some people; She loses her agency completely, forced to work with him. In his rage at the player's dehumanizing behavior after he makes a sexual advance, he shows them this story, and says the phrase "you will take me to the brain because you have no other choice." He is speaking specifically about the forcing player's aid in the goal of destroying the Elderbrain, but the statement does come as a response to a (dehumanizing) rejection, and the brain is the main source of sexual connection for him.

So like, if I were to erase all other contexts, I can see why some people react to it like that.

Uhhhh, however....

People who make this argument always like to erase how directly interconnected the Emperor's survival is in every choice he makes, from Ansur to Stelmaine to You.

We don't know what exactly happened with Stelmaine, but if they ever developed a friendship, and she didn't know he was a mindflayer, and discovered it later, he would have had no choice but to enthrall her. If it started from the beginning, again we should consider that on his own, he has no resources or infrastructure to keep himself safe, and therefore would have targeted a politician to put his dwelling place under his own power.

But I digress. There are way too many factors in play that we know nothing about when it comes to Stelmaine. What we do know is that the Emperor is often reactive when it comes to the others in his life. He explicitly says that he fears your rejection and betrayal, and that is tied up directly in his own survival. We saw this happen with Ansur. And with both Ansur and Stelmaine, the Emperor contextualizes your relationship through both of those experiences. He is constantly waiting for you to call him a freakish monster and refuse to even converse with him, which would result in his survival being threatened.

His sexual advance itself is arguably not about sex at all, but about ensuring you develop an emotional entanglement with him so that, you guessed it, you would get invested in his survival. Immediately afterwards he gets back to talking about the goal.

It's important to note that you are free to reject this advance kindly and he takes no issue, he doesn't even pout. He only starts threatening you when you basically just call him a lying manipulative freak. To him, that belief is threatening, even if the accusations of manipulation are accurate, because it means you are uninvested in his survival and could turn on him at any point.

At this point, he notes that his methods of manipulation have improved since enthralling Stelmaine, and you should be grateful for this. An asshole statement to be sure. However, this direct correlation he makes suggests that the othering he is experiencing from the player lines up with the experience he had with Stelmaine.

It also makes it abundantly clear that after Stelmaine, he came to the conclusion on his own that he never wanted to do it again. He feels a grief and trauma over Stelmaine that he hints at, and uses to gain your sympathy. But it is THIS scene that fully reveals why he feels that grief. If he was the rapey, soulless monster people make him out to be, he would feel no grief over her, and most notably, would never have bothered putting so much time, strain, and effort into gaining the player's agreement and consent literally every step of the way. He, a mindflayer, makes a conscious choice every time you interact, to gain your support the hard way. To basically put his own survival in your hands.

For one of his kind, with the odds stacked against him no less, to choose verbal/emotional manipulation over any other tool in his arsenal, is much more notable than I think a lot of people click into. He's making a concerted, active choice against enthrallment.

Even when you push him to the point where he threatens it, he still never enthralls you. He gives himself up to the Elderbrain, rather than enthrall you. The threat was always empty.

That suggests to me that the thing that traumatized him about Stelmaine was the enthrallment.

For the Emperor - and I would like to repeat that we are talking about a mindflayer and not a irl human being - manipulation is gaining consent. In his perspective, gaining consent is what he is going through so much effort to do.

[listentoace]

Hey, I wanted to address a couple of things.

I have been receiving several asks regarding some of my recent posts. I admit they are darker than the usual stuff. That was a decision I consciously made, because I do tend to have darker fantasies and wanted to see how they would be received. I consider most of the criticism I received to be valid points. Here are a few of them:

The whole idea of "ruining yourself"/"ruining your body" as you're gaining weight can be found fatphobic

Connecting feederism to habitual behavior, addiction, loss of control, and even brain damage can be found scary or even disturbing

Encouraging people to embrace health issues (both physical and mental) because of feederism can be found toxic

Constantly connecting feederism and weight gain with the negative side effects (sluggishness and laziness, health issues, societal judgement, etc.) can lead to the conclusion that feederism, obesity, indulgence, etc. are generally bad things

I won't try to defend myself. In fact, I completely agree with (most) criticism I received. The only kind of "criticism" I don't recognize are attacks toward me personally, but that's just reflected in a minority of the asks I receive. To all people who have sent me asks: it's great that you're sharing your opinion and thoughts, and I encourage you to keep doing so!

I think it is necessary to mention again that I don't mean anyone any harm. I am not fatphobic, and I do not mean to force any kinks upon anyone. This is just me writing and recording some horny ideas I occasionally have for those people who are into the same stuff. It is also very important to mention that in many cases, the fantasy of something can be very hot, while the reality of it could be very stressful and traumatizing. This is especially the case with more intense fantasies and kinks, e.g., being kidnapped and fattened. Everything I write takes place in "fantasy land". Nothing I post is meant as a threat, actual encouragement for dangerous behavior or self harm, or other harmful behavior. Pleae keep this in mind!

Getting back to the criticism: Yes, I like the dark stuff. I am very intrigued by the idea of feedees getting fatter for pleasure, despite all the negative consequences that can come with weight gain and obesity. I also enjoy calling people out for it, both with mild teasing and with very direct "you're damaging yourself" claims. I know that this is not everybody's cup of tea, which is why I already tag all posts with darker topics related to self-destruction, severe health issues, permanent damage and even death with "#death feederism" and "#death feedist". This is also mentioned in my pinned info post under "My Content", encouraging people to hide these tags who are not into certain content I post. However, it is quite clear that this isn't a great solution – otherwise I would not be receiving these asks.

I am very open to solving this issue together. After all, it always has been my personal ambition to write and record content for your enjoyment and pleasure. I want to make you – the readers and listeners – feel good and excited. I don't mean to scare or disturb you with my darker fantasies and kinks that don't appeal to you. Nonetheless, I do enjoy causing "holy shit, this is really bad, but it just feels so good!" pleasure and horniness.

In the past, I occasionally made use of trigger warnings at the top of my posts. If I recall correctly, I did hide the main content behind the "Keep reading" button. This was not consistent, but I am open to generally implementing this for all future posts that include sensitive subjects, such as death feederism, consensual non-consent, heavy conditioning and brain damage, or severe degradation and objectification.

However, before I do that, I first wanted to recognize the asks I received and open the conversation by addressing these issues. I encourage you to share your thoughts on this with me in the comments, asks, or my dms. Please let me know whether you think the combination of a trigger warning and a "Keep reading" button is sufficient and reasonable. I will still be tagging my posts accordingly, like I've done in the past, so filtering through hiding certain hashtags will remain an option either way.

I'm looking forward to your feedback and ideas, thank you for the criticism! :)