#which. mostly means talking too much about it

[dirtylittlesecre7]

Oh my gosh— someone who writes for nam-gyu? Am I dreaming?! I CANNOT find any fics of him!! Need headcannons about him rn😩 I feel like that man would enjoy making you cry and upset, like he would grin and laugh while doing so. (Cough— Hatefuck—cough..) Just need headcannons about that man so bad😩🫣

This is actually my first time asking, so I really don't know what to say🥲 but I hope you consider this🫶🫶🫶

-🌟anon

warning | nsfw content

word count | 0,6k

a/n | thank you so much for your request luv! I hope I could write something as you wanted

！he's had mixed feelings from the moment he first saw you. hate? anger? like?

oh no, not like. he just hates you so much that he wants to fuck you until you know your place.

"fucking bitch."

"huh?" thanos looked at him incomprehensibly, about to turn his head to you, but nam-gyu quickly changed the subject "nothing."

！he's insanely jealous of thanos👀 even if you don't respond to his flirting, seeing a man next to you makes him angry enough. at least it gives him a reason to make you cry more.

！he should be the only one who annoys you. if he sees someone picking on you, he'll quickly intervene, at first he'll protect you from that person, but then...

"are you too stupid to not protect yourself? no. don't even think about crying." his emotionless voice makes you tremble as he watches you quickly wipe your tears away "good. don't you dare unless I make those tears flow."

！he likes to tease you until you cry because he thinks you look so beautiful with tears in your eyes. If you turn your head and try to hide your face from him, he will forcefully grab your chin and make you look at him with your eyes full of tears. you will see that he is trying to calm down by taking a deep breath because oh...you have no idea how horny he is.

！If he can't sleep at night, he will come to your bed and bother you. If he can't sleep, you can't sleep either. but strangely, talking at night is when you get along the most. guess you are both too tired to argue, but that doesn't mean he won't say a few things about you.

okay, now please hear me out..

！this man is completely clingy when he loves you, but he is also hard when he fucks you, I can't say he doesn't like slow sex, but when he can fuck you like crazy, he doesn't really think about the other option.

！I say clingy because he can never be comfortable if his hand is not on your body in some way. he has to touch you in some way so that he feels better. when you least expect it, you may find his hands on your waist pulling you closer to him "mm...look who's here?"

！If we talk about life outside of the game, you can become his only world. yes, he likes to make you cry and upset. but only you. the others have never caught his attention and they don't. he still thinks you have the most beautiful tears.

！I can't say he's very loud in bed. he'll mostly let out short gasps and short moans. he likes listening to you more, whine for him and he'll make you see stars.

！he likes to tease you and make you cum so much that you cry from sensitivity. when you beg him to stop, he just puckers his lower lip in a mocking tone.

"aw.. does it hurt? what should I do?" he leans into your ear while his fingers, which don't stop, hit the inside of your pussy hard while you just had your 3rd orgasm "Is that all you can take? c'mon.. you can give me more, hm? ah..yes don't hide your voice from me, fuck-"

！he'll run his hand over you while you're sleeping at night, sorry not sorry. when you open your eyes and notices how his fingers are expertly tangled in your wetness, he'll smirk and say "you awake? good. now you better spread your legs for me and be loud as possible."

he's obsessed with you in some way, romantic or not, and he has no plans to leave your side.

[thewadapan]

Maybe Nost's best story! Also his least fun. Definitely did not like reading most of it. Would recommend reading... maybe any of the others over this one?

I think with The Apocalypse of Herschel Schoen, Nost has managed to write a book which is haunted.

Stepping back a little. Herschel Schoen seems to have been conceived almost as a short story, which only happens to be as long as it is as a result of the (deliberately) belaboured and verbose prose used by all the narrators. It's much closer to The Northern Caves in this respect, which I remember as being mostly straightforward and intelligible, with only the highly-divisive ending leaving me with a dangling "??????" to grapple with. Meanwhile, with Floornight and Almost Nowhere, I often struggled to keep up with the object-level facts of what was even happening in the plot/world, and I feel like I mostly read those stories "on vibes", following them mostly in terms of their subtext.

So yeah, Herschel Schoen to me felt like it was using the "fairytale" format of being a Christmas story to streamline things as much as possible, such that both the object-level events of the story and the batshit conceptual-melting-pot subtext were more or less legible to me, despite Herschel's incredibly unreliable prose. There is a sense in which it feels like a children's story to me. It has very few characters, and those characters are extraordinarily archetypal.

So I do think Almost Nowhere retains its crown as Nost's most ambitious, most revolutionary, and most complex novel—if I say that I found Herschel Schoen "better", it's only because I feel I was able to understand it. It speaks more to my failure as a reader than anything.

In terms of my experience as a reader, it was fairly similar to that described by @recordcrash in his review. Most of the story is a fucking struggle to get through, mostly because of... the prose? The pacing? These issues are really the same issue: what few events occur in the book take ages to describe, and the fact that every recounting takes forever means that there physically isn't room to cram in more events. And as Makin Recordcrash puts it: I just don't enjoy hearing the thoughts of an unwell mind, particularly at length. All of Nost's books have it, this entirely-made-up concept which "you just wouldn't understand" but which it nevertheless will tell you about at length. There's Salby and mundum in The Northern Caves, there's Azad and the aliens in Almost Nowhere, there's whatever the metaphysics shit was in Floornight (I forgor), and this is the book that has the most of it, proportionally.

(My girlfriend bounced right off it- actually, let me use this opportunity to tell a story. When we first met, we were talking about the internet or something, and for whatever reason at one point I unironically said something like "oh yeah I read this cool novel set on a forum but you probably wouldn't have heard of it" and she just went "oh do you mean The Northern Caves?" and I briefly became convinced that she was some sort of psyop intended to oneshot me, a notion I have still not been able to shake over two years later. Point is her remark on the first two chapters of Herschel Schoen was something like "it's too Nostalgebraist for me", which I think is understandable.)

Anyway, like Makin, I struggled with most of the book, only for Chapter 21 to be so fucking good that it sort of retroactively made the rest of the book good, at least insofar as it was mostly necessary to set up such an audacious ending? Even knowing that this had been Makin's reaction, I wasn't prepared to believe it—again, usually Nost books are very much the other way around—but lo and behold, the twist is in fact very clever, very fun to read, and very aligned with my aesthetic interests.

All that said, I do feel like Makin sort of bombed through the book (by comparison, it's taken me almost two weeks to finish it), and maybe missed out on some of the more fun and interesting stuff the book is doing on a thematic level. Below, I'll try to delve into my interpretations in more detail.

I've seen a few takes from people that the main thematic throughlines of this book are a bit disconnected from one another, but to me this couldn't be further from the truth.

I identified four main themes, in descending order of prominence: "neurodivergence", "AI", "media", and "capitalism". I guess you could say "Christmas" is something of a fifth ur-theme, which dovetails into these in superficial ways:

Neurodivergence—the idea of "believing in Santa Claus" is framed as stunted development, a delusion which reveals someone to be less mature mentally than they are physically. The book is specifically concerned with contrasting dysfunctional "child" behaviour with functional "adult" behaviour, flipping these ideas on their head by having Ruth and Miriam basically lose it over the course of the story. A sister inverted. Also, the "preparations" needed to be made before Christmas morning are very much analogised with obsessive compulsions, right?

AI—like Santa Claus, something which promises to fulfil all our wishes, instantly, at the same time.

Media—particularly in terms of relations between Christianity and... secular Christmas, right? The story is very much riffing on the structure of Christmas stories specifically. To me, it feels like a world literally dreamed up based on Christmas stories. That, more than anything, is why it's set in New York, I think.

Capitalism—notions of "wanting", of meritocracy. I don't know, we all know "A Christmas Carol", I don't need to explain this one.

Like, if I had to guess at the genesis of this book, based on Nostalgebraist's comments, I feel like it's taking the starting point of "story about what if the AI doomers were right" -> "through the lens of Christmas" -> "[everything else in the story]". Of course there are tons of other influences in there, but those to me feel like the two ideas with the most explanatory power.

But even if you discount the underlying idea "Christmas", I don't think you could tell a good story about AI (in its current form) without writing about neurodivergence, media, or capitalism. If we're tasked with imagining a non-human mind, it makes sense to first imagine the most-non-human human mind, right? If we're talking about the machine's output, its facsimile of media, we have to talk about the real thing too, right? And if we're asking about the purpose of AI, what exactly it is we're trying to industrialise, what scarcity we are trying to erase, then we have to talk about capitalism as well! For me this was all perfectly obvious, I dunno.

I was pleased that I noticed many of the same things @weaselandfriends identified in his list of observations on the book. When it described the wall of doors in the living room, my mind went, "that's fucking weird!", though I didn't really think too deeply about it. The same things goes for all the anachronisms, which I think is one of the story's best gimmicks. Yes, for most of the story, they serve to create a "timeless" atmosphere, evoking all these Christmas stories at once, while simultaneously putting into doubt the reality of what Herschel and Miriam are describing.

But then, of course, with the twist, I think it's pretty hard not to read these as anything other than hallucinations conjured by the AI. And what I think is particularly brilliant is that the story at no point calls direct attention to the anachronisms as being of particular significance—you only notice them because you know enough "facts" about the real world to notice them—which naturally calls into question the elements of the story which are wholly ficticious, where there's no ground truth to compare against. Just how real are Herschel, Miriam, Ruth, anyone!? And does it even matter how real they are?

Part of the book's "magic trick", as I read it, is that both interpretations of Herschel's POV are able to coexist within the reality of the story. We can imagine that there really existed a boy perhaps called Herschel Schoen (just as we can imagine there really existed a guy called Jesus? This is silly, pretend I didn't say that) who perhaps lived in New York City and lived with some kind of delusion, perhaps regarding an Original Creation that only babies remember. Like, even this much isn't certain, perhaps Herschel is entirely hallucinated; the story is in fact preoccupied with the question of whether or not there's even any difference. Anyway, at some point, the AI apocalypse happens (I think this is one thing we can be pretty confident about), and for the AI's own purposes, Herschel is resurrected/recreated (again like Christ- disregard this aside!) in an "emended" form, where whatever changes are made mean that he is in fact right about the Original Creation and the future etc, his mind really was tampered with. The concept of "emendation" seems to me to be the biggest point in favour of the book overall believing that a substitution is not the same as the original; that the "transformation" of one shape into another does not mean it becomes the other, as its own history remains distinct (much as the "original" events of whatever happened to the "original" Herschel on the "original" Christmas Day can be said to have, in some sense, happened—and cannot, should not, be "forgotten"). But maybe these elements of the story were intended to be disparate, though, or related in some other way, and I'm just conflating them?

One of my favourite interpretations that I've seen raised in a couple of places is that Herschel's writings, with which he literally armours himself, are in fact literally protecting him against oblivion, because the AI can only learn based on the written word or recorded speech. It doesn't really matter what happens to the papers, so long as they are written at all. Herschel pours so much of himself into those papers so as to be understood, and in the end he is understood—if not by Miriam and Ruth, then by the only being he needs to be understood by: this machine. He secures his own existence, in at least some limited form, in the "Original Creation", simply through his writing. I think Herschel is the "most real" part of the story.

It's Miriam, though—the second-"most real" element—that I think makes this story haunted. It's the way she packs all those papers into a suitcase, and for the briefest of moments you can breathe a sigh of relief, that we're one step closer to understanding how this book came to be, in-universe. But immediately, it's obvious that this explains nothing, it explains less than nothing, because there are all these chapters which just don't fit, they can't be neatly contained in that suitcase. Bavitz draws direct parallels between the inexplicable frame narrative and the anachronisms, and he's absolutely right to do so. The story is often very careful about providing something which looks "quite right", at a glance, but the moment you think about it, this pit opens up under you. Something about this metatextual conceit actually makes my skin crawl.

It feels pat to say, "oh, that's because it's trying to evoke AI hallucinations". I feel like that's only part of it, because again, most of Nost's novels have this to some extent. But yeah, I think if you wanna read Herschel Schoen as a horror novel, then this is what is scary about it. Conceptually, everything with Miriam mainly recalls for me the idea of "crashes" from Almost Nowhere, which were one of the big horror elements there, the idea that the world you're walking around in is actually, imperceptibly, some kind of not-world filled with not-people. But more directly, I find myself remembering a bit from the third act of OCTO (a criminally underrated and under-discussed webnovel) where a superintelligence is trying to "resurrect" a human, and keeps putting her in increasingly-lifelike simulated "habitats" to try and create the right set of "inputs" that will make her function properly—i.e., without just like, screaming. I feel like that is what we see happen to Miriam in this book. I feel like, when the lights go out, at the end, it has nothing to do with light at all: it's more that the machine just no longer needs to simulate a world for Miriam, at all. The transmission stops. And then what becomes of her?

I think this sort of brings us to Ruth, doesn't it? A big point is made about how there's a difference between "Miriam" and "my sister, Miriam". As though in the latter, the reality of "Miriam" in the training data is watered down by all these tropes surrounding sisterhood. I mean, fuck, maybe that's where the incest stuff comes from, right? I feel like similarly, there's a reading for Ruth where the AI is first conflating these images of "a mother" with these images of "a terrorist". She acts like a fucking cartoon character for much of the book, as many of the less-well-drawn characters do, and I think that's entirely deliberate. As she draws more on the "terrorist" tropes, she stops being a "mother". And again I think this is what Nostalgebraist has always done so fucking well, in that the bullshit sci-fi allegory stuff can also just be read on an entirely character-driven level: here is a resentful, neglectful, ultimately abusive mother, here's the emotional reality of that, heightened and communicated.

I think this provides a vague stab at an explanation for the beating scene that Bavitz found so confusing. It's like the AI draws on this trope of like... the mother, in the kitchen, with the frying pan. It puts the pan in her hand. But it's not actually a frying pan, it's just the image of a frying pan. In reality, did Herschel's mother beat him? How did she beat him? Hell, maybe she didn't, maybe the AI just got so caught up in playing out the trope of the abusive parent that is gets to the point of this beating, and then just dream-logics itself to the next thing in its training data, where of course the beating never happened. I don't like that, it feels like we're gaslighting the kids here (which I think is very much the allegory intended) by saying it was just a hallucination. I think something like it happened in reality, and cannot, should not, be "forgotten". But I think the book does want you to think that its depiction does, in some way, break from reality. Hell, in much the same way that child abuse might be said to break the reality of family? Nah, that's too pat, isn't it?

I guess what I'm trying to get at here is that, ironically, I found the novel was at its best, and at its most human, when it was writing frankly about the experience of mental illness, about family, about institutions, about childhood. So what's maybe frustrating is that I'm not actually convinced Nost is capable of writing a... shall we call it a "normal" story about those things? A story with no metatextual bullshit, no sci-fi conceit, but a realist story. There are parts of all his books, where I really think that the explanation for why they are the way they are is that they are "bad on purpose", and all the bullshit is a way of turning these shortcomings into strengths. The self-effacing voice which whispers that the characters aren't sufficiently well-drawn, are too cartoonish—well, what if that was the point? What if there was a reason for that, in the story?

But honestly, I wouldn't have it any other way. Straightup, if these were normal stories set in reality, I wouldn't be fucking reading them. This is a web author who's trained himself on a bunch of classic lit, and a bunch of anime or whatever, and has smooshed those influences together and rocket-fuelled the result. It's inimitable. I deeply admire just how experimental Nostalgebraist's writing is. No-one else is doing it like him.

Anyway, what else. Herschel gets described as having a "shell" at various points, and Frederick's surname is "Eggert". Is that anything?

The Apocalypse of Herschel Schoen

My fourth novel, The Apocalypse of Herschel Schoen, is now available in full.

Merry Christmas to all, and to all a good night!

[docdudo]

Hybrid 141 As Parents - Foster Human Child!Reader (Part 12)

You woke up feeling uncomfortably warm. Not that it bothered you too much—it was the kind of warmth that made you feel too comfortable to move. Wrapped tightly in a cocoon of blankets, you realized you were stuck in someone’s arms.

And when you blinked your eyes open, all you saw was darkness.

The darkness of someone’s shirt.

You shifted slightly, trying to free yourself a little, but the grip was way too strong. You literally couldn't move, the blankets wrapped too tightly around your body. It made you squirm a bit to try and get free, but still, nothing. "Mhm..."

"Kyle, Johnny, let her go." Simon's low voice sounded muffled somewhere behind you, his heavy hand patting your covered body lightly. "I don't think humans enjoy nesting immobile like this."

Which, yeah, had some truth to it, considering you were still squirming a little, unconfortable with being stuck in place so firmly.

"It's for protection..." Johnny whined—mostly playfully—as he gave you one last squeeze before loosening his hold, pulling you up slightly so you could now see the rest of the room. The blanket that was wrapped around you not so constricting anymore. "Well, good morning, pup! Slept well?"

You blinked slowly, still feeling too sluggish to answer properly. Instead, you rubbed your eyes and face slowly with both hands, trying to wake up a bit. That didn’t stop Johnny, though, who immediately reached out to feel your forehead, checking your temperature. "Ah think it went down..." The Werewolf muttered, his brow furrowing slightly in concentration. It was harder for him to gauge your temperature when he ran much hotter than humans.

"Let me."

Gaz stepped in, leaning closer to feel your forehead, his feathers twitching slightly even when his body was otherwise totally still.

"You feel much better, fledgling." He announced, a small, gentle smile on his face.

"Great! This means we can play, right, pup?"

You glanced up at Johnny’s face nervously. He looked so eager, but you weren’t quite sure if you were ready to play yet... he was still way too big and scary to consider fighting with him.

“Johnny.” Simon reprimanded in his low voice as he stood from the nest. “What did we talk about before?”

"And ya think ah'll hurt her or somethin'? Ya don't knae human limits either, do ya?" Johnny didn’t yell, but his naturally loud tone rose slightly, and your body tensed instinctively between the soft blankets.

Were they fighting? Were they going to argue because of you?

"Humans are more delicate." Gaz chimed in with a neutral tone, stretching his wings as he stood up from the nest, still addressing Johnny. "Especially her, weak as she is after the flu...."

"I knaw ya worried, Ky. I knae, but I'm very careful. Ya knae that." Johnny replied, his voice softening as he moved up to hug Gaz's side gently, one hand smoothing down the feathers on his wing. "Besides, ya have to help me convince Ghostie—he’s such a hardass."

"Har har." Simon deadpanned, rolling his eyes as he bent down to lift you out of the nest. His heavy hands patted your pajamas gently to both fix your clothes and wake you up a bit.

Johnny grinned smugly, amused by Simon’s reaction, his wolf ears pressing down as he let go of Kyle to approach you.

"Ay, pup, do ya wanna see how hybrids spar?" Johnny asked with a mischievous grin as he looked down at you, stepping closer to Simon.

"Huh...?" You murmured, blinking up at him, caught off guard.

"Johnny—" Simon hissed, the raspy, airy sound of a Wraith’s warning making you jump back in surprise.

Only to be interrupted by Johnny tackling him down back into the nest, the Werewolf growling back as they tumbled on top of the blankets and pillows.

You gasped weakly in surprise, eyes wide as you watched them both fall to their knees, Johnny's bicep trying to get a hold of Simon's neck as he tried to push the bigger man down. Simon was clearly stronger though, as he held back the Werewolf's arm and pulled it off of him.

Gaz chuckled sharpily at his two mates' antics, shaking his head softly as he walked past you to go to the bathroom. The soft feathers of his wing brushed against your back reassuringly as he went.

You noticed Simon’s sclera starting to darken, and he let out a low hiss before tackling Johnny's side roughly, pinning him to the nest this time. Johnny growled back, his nails digging into Simon’s arms, in his compression shirt, which somehow resisted tearing under the sharp claws.

You could see both of their muscles bulging with how much strengh they were fighting eachother with.

“You two muppets, stop that.” Price’s voice came from the doorway. He entered the room, shaking his head in mild amusement at the scene. “You’re scaring the kid.”

Johnny took advantage of Simon’s brief distraction to push him off, immediately crawling over to you with a panting grin.

"See? Isnae it fun??" He asked, leaning on the edge of the nest with his arms crossed and his head resting on them. "Course ah'd go easy on ya, pup. Let you mess me up, aye?"

"Who called, Price?" Simon asked, straightening up and casually scratching his arm where Soap had sinked his nails in.

"Nikolai. He was with Kate and Rya." Price replied with a small, affectionate smile, a tinge of affection on his gruffy voice.

"Are they...?" Simon started to ask, glancing at you briefly before looking back at Price, trying to be subtle to avoid worring you in case he was wrong.

"Yes, they are paying us a visit soon." Price confirmed, his tone careful as he gauged your reaction.

"Who...?" You asked quietly, already feeling anxiety creep in at the mention of three new people.

"Bonnie lassie, it's okay, aye? It's just our pack!" Johnny said quickly, trying to reassure you as he got up to his knees to manage to look you better in the eye. "Our pack is very nice, aye? Nice people, very gentle! Ya'll love them!"

"Well, Rya, sure, but Nik and Kate...." Gaz emerged from the bathroom, looking refreshed and wearing a small, amused smile.

"Gaz."

"Kyle."

Both Ghost and Price immediatly scolded the Harpy in unison, their tones sharp but familiar. Gaz just laughed it off, shaking his head lightly.

"Kidding, kidding~"

"They are very nice people, I swear it, doll." John said quickly, his small smile softened by the warmth in his voice, though partially hidden by his beard. "I'll show you pictures after, okay?"

You hesitated, still feeling uncertain. Nervousness tightened your chest, but you nodded slowly. It wasn’t like refusing was an actual option. This wasn’t truly your house. Maybe the best you could do was what you'd done in some foster homes before that had frequent visitors: hide away from sight until they were gone.

Like a cat.

"Let's have breakfast, hun. And you need to take one more dose of medicine. Maybe some warm tea too, hm?" Kyle smiled, his wing brushing your back gently to nudge you toward the door.

You were still getting used to the mornings in their house. They were clearly early risers, with none of them showing the slightest hesitation about starting the day even if they just woke up. The ease with which they interacted, did chores, and moved around impressed you. It was a stark contrast to your usual sluggish mornings.

Not that you were grumpy in the mornings—just… slow. Sluggish. You often zoned out while sitting at the table, barely able to keep up with the energetic chatter and movement around you. They talked continuously, laughing loudly, getting up and sitting back down, picking up dishes, and cleaning as they went.

Truly impressive. You could never.

After taking a warm shower, brushing your teeth, and getting dressed in warm clothes, you found a new problem, though. Johnny was trailing you like a persistent puppy. His wide grin practically begged you to join him in whatever he had in mind.

"If you're going to play with her, take her downstairs to the gym." Simon suggested, clearly offering no help in discouraging Johnny's enthusiasm.

The small, betrayed look you shot Simon only made him chuckle softly as Johnny gently took your hand, leading you toward their indoor gym.

The gym was much bigger than you'd expected, equipped with far more gear than some gyms you'd seen before. The bright white lighting and clean concrete floors created a spacious and organized feel. Each piece of heavy equipment was well-spaced, making it seem as though every detail had been carefully planned.

You scanned the area, taking it all in, until Johnny tugged you toward a section lined with thick, black padded mats on the ground.

"I... don't know how to... fight...." You murmured, your brows knitting together in confusion as you looked up at Soap. It was almost a silent plea for clarification.

"I knae, lassie, don't ya worry! We're just playing!" He beamed at you, guiding you to the edge of the mats. "Here, take off your shoes, bonnie."

Both of you stepped onto the mats. You wore the new socks John had gotten for you—purple with white stars—that carefully protected your small feet, while Johnny went barefoot. His feet were large, with sharp toenails and thick fur along the tops, really what you would expect from a Werewolf.

"What... do you wanna play...?" You asked hesitantly, your voice barely above a whisper in the otherwise quiet gym. "Play fight...?"

"Ah like some wressling like anybody, mah kids also love it too! Ah'm sure we'll have some fun, wee lass!"

He smiled confidently, dropping to his knees. He had an eager and wolfish grin on his face, energy pratically radiating from him.

"Let's see what ya got!"

Part 11 /

[teradul]

Holy fuck Welcome to Noxus is amazing.

And I do mean that. And part of the hype is for how it folds Arcane in, but it also kinda has me worried.

Like, with Arcane and its canon, the best approach to the timeline is to let all of the cuncurrent events that work in a comic-book like environment of connected but mostly self-contained stories (that necessitates that concurrentness given the scope of the stories and the number of artists working on different parts at any given moment) to be spread out into a much larger timeline. Where a strong narrative drive can be better explored.

And with the state of the Noxian invasion of Ionia, especially the Singed of it all, it would be, imo, the best interest of the story to make Arcane as early in this timeline as possible. Before the first invasion of Ionia, AT LEAST. Makes sense, right?

But we see Katarina going against the Black Rose. And we see them talk about the next move while teasing what seems like Riven's Blade. And all of that is very much post-invasion stuff. Like, Katarina has her daggers infused, which also means we're post J3's death and in the middle of the Mage rebellion in Demacia, which is something that with "The Arcane is waking up" from the show, would have fit much more easily into the Sylas is recruited by the mageseekers part of that plotline than being forced to be happening right now.

We're currently 1 step removed from Arcane and shit is already looking wobbly at the seams because it was never intended to work like this, and even though Welcome to Noxus was incredibly hype and might be dethroning RISE to me, it very much needs you not to think too much about the broader universe implications, despite its purpose being trying to sell me on that broader universe.

[soldearestsoulmate]

Character + Prompt/Request:

Sol x GN!Reader, for the beginning, then Sol and GN!Reader (spoiler. you break up)

One angsty torturing of Sol coming right up! pfff <3 (More could of been added to this...A continuation? Maybe Reader comes back...Even after all the red flags there, and suspecting what was done...What if they still come back? Only time may tell. lol)

Warnings: Attempted drugging with sleeping pills, manipulation, toxic relationship.

“Why would you put so much hope in me? Things have clearly never worked out for me!”

Rarely he rose his voice at you, unless he really was affected by his emotions, which clearly he was right now.

You've heard him say this before though, done this before. Over and over again, things go well, then they fall, then you work to try to rebuild it all with him, for him.

You loved him, you did. Cared for him deeply. But everyone has their limits, and you finally reached yours.

"You're right...They haven't, and maybe it's a sign this won't work out after all." His eyes widened at your words. He opened his mouth to speak but nothing came out at first. Then he started to panic, you could see it clearly, he quickly grabbed your hands, with pleading eyes.

"NO! THIS WILL WORK! IT WILL! IT HAS TO! YOU'RE MY SOULMATE AFTER ALL! WE'RE MEANT TO BE!" You felt his hold tighten, it was starting to hurt...

"Sol...Maybe you've been wrong though? What kind of soulmate can't make their love truly happy?...Help them with their problems when needed most? Make them more happy than sad, and feel more love than sorrow? That's no soulmate...at least one you deserve. You deserve better."

"No no no please don't say that. Don't believe any of that. I'm sorry! I'm sorry I keep screwing this up! I keep making it hard for you, for us! But I'll try, I'm trying! I'll do better. I'll--I'll try therapy again. I'll talk to Hyugo and--"

"And what? We repeat this all over again? Sol...Please...You know we've been hanging on by a thread for too long...I love you, I really do but...I love you too much to keep making you suffer like this...I...I can't stand to see you hurt anymore...And I know I'm mostly to blame for it all..."

"NO! YOU'RE NOT! IT'S HIS FAULT! ALL ICHABOD'S FAULT! EVEN AFTER RIDDING OF HIM HE STILL--"

"...What?"

Sol let his grip go, taking a step back, realizing what he said. "I mean...I..."

"Sol...What about Crowe? What do you mean 'ridding of him'?"

"P-pumpkin...I can explain. Let me just--" Sol attempted to hold your hands again but you stepped back, moved away from him. Eyes widened in confusion and fear.

"...What happened to Crowe? Solivan, god help me if you did something to him--"

"Pumpkin please! I swear it's not like that! Just let me explain and--"

"Then explain right now what happened to him. Explain or I will call the cops." Sol felt his heart skip a beat and tighten from your threat. Yet he forced a smile, trying to act calm.

"Of course...But let me please make you a drink, some tea, it'll help calm you while I explain...Okay? Please..." Sol's pleading eyes never failed to have a affect on you...So you nodded and let him go get that drink for you.

As Sol left the room, he texted Hyugo, a simple text, saying "They found out." sent out and then he put the phone away to focus on you.

He went to the kitchen to prepare that tea he promised, but pulled out something he thought he'll never have to use again.

"...You just need some sleep, pumpkin. I promise you. It'll all be better soon." He softly said this as he mixed in the pills into your drink. Then looked at the drink in his hands. He knew this had to be done, but wished it didn't come to this again. "I'll make this better again. I promise..."

After a moment of making peace with this decision with himself, he made his way back to the room where you were at.

"Here you go, pumpkin. One warm cup of tea made with lov--" Sol froze as he entered the room, to see no sight of you. Then saw the window wide open, your one and only exit taken. He didn't even care about the cup of tea he dropped, that both shattered and spilled over his shoes.

All he was focused on now was running to the window, to look around outside, in hopes of seeing you but you were nowhere to be found.

"PUMPKIN?! Y/N!" His breathing quickened, his heart raced, he felt his panic rising more as he started to pace the room. Looking for a sign of where you could of went. He even flipped the house upside down for a possible chance of finding you, hoping you were just hiding but you weren't there. You were gone.

Then with trembling hands he grabbed his phone to try to call Hyugo but kept messing up. He was scared, not over you getting the cops after him though. He was scared of losing you, of you being away from him.

He wasn't thinking straight anymore. He left the house in a panic now to look for you, to find you and bring you back home. To make this all right, but you wouldn't be found...Not anytime soon that is...

So he'll just run, and search for you for hours, calling you out, begging and pleading for you to come back. All while he ignores Hyugo's panicked texts and calls...

[katerinaaqu]

Hi! Love your takes and all! What do you think of people talking about Penelope being all buff and strong physically as she was "Spartan?" or that she find Odysseus more attractive with blood plaster on his body as she is "Spartan" or such?. Is it true in the Epics? I read something about a Lykurgus or something..I just want to have a nuanced answer to that, also sorry for the silly question.

You are very kind Anon and I am glad you find them useful

Okay for starters I think this whole thing is a massive stereotype in regards to Sparta that "they are all sexually aroused by blood and violence". I mean yes Sparta as we know had an extreme military outline but it is not like they all just killed around to have fun like a twisted version of Asterix village or something. They valued war and the strength in war of course and they took pride to their warfare and all but yeah I think the whole thing of "oh gosh! Blood! Foreplay for Spartans" is just a joke that goes too far sometimes (although we DO have some exaggerated sources about the Spartans but, surprise surprise, they come from their main rival, Athens so yeah one needs to consider that too. So yeah although the Spartans were strictly military I do not think it is actually realistic to say that they all went like:

lol XD

Two this "Sparta" that they mostly mention is at least 100 years if not more away than the "Sparta" mentioned in the epic cycle. You see the Epic Cycle might have been synthesized at the 8th century BC but the events taking place in it, reflect on the Bronze Age or the Mycenean kingdoms which existed before. These "Spartans" everyone speaks about is usually referring to the Doriean Spartans. The Dorieans were a Greek set of tribes with their own dialect that came down from the north at the year around 1100 BC, around 100 years after the estimated date of the events of the Trojan war and they got to remain to the areas such as Macedonia or Lacedaimona aka Sparta thus we have Macedonians and Spartans speak Doric Greek dialect while Atheneans speak Attic Greek dialect and the Asia Minor greek cities speak Ionian etc Either way as I said the events of the Trojan war happened around 100 years before this Doric Tribe descend much less till the strictly military spartan system to be fully crystallized. So we need to think of that. And even then it is not like the Spartan women were some sort of body-builders who didn't have any sort of binary roles to their society or being active warriors in armies etc (don't mistake them for Amazons guys! Hahahaha!). They did actively excersize more than most Greek cities at that time and they did take part in athletic events more than let's say Athens (Athenean women by n large seemed to participate in sports such as running and those were exclusively for Hera's celebrations) so we can imagine they would be more athletic than the average Greek lady but that doesn't mean they were soldier-trained or anything. The military training was for boys at the city of Sparta. And women still had their own binary roles in their respected society, they just had some more freedom as compared to their Athenean counterparts.

So even if Myceneans DID have a more military form of society or at least based on the findings they did focus on warfare to their art and such and the building of their walls and all they still wouldn't be the same as the doric Sparta that were exclusively military. Could perhaps mycenean Sparta have the basis for the future doric Sparta? Perhaps but I doubt we have sufficient evidence to say they are identical.

Three. I believe that people who wanna desperately depict Penelope as some buff lady, misses the concept of Penelope's strength in the Odyssey. Penelope was not strong because she could fight with the sword. She was strong because she was mentally steadfast, clever and resourceful and enduring and she managed to hold the kingdom of Ithaca steadfast by herself for 20 years. It wasn't about her being buff lady. Homer does seem to imply she was tall and stoutly buillt; see my other post where I mention her physical description in Homer:

but not buff as "I'm gonna kick your ass" buff and all. Homer doesn't mention that any of the Spartan princesses have some specific training (Helen Clytemnestra or Penelope) but later literature implies that they have basic knowledge on weaponry (for example in later 5th century dramas and above Clytemnestra not only is seen wielding a weapon but knowing some basics as to how it was made) but it needs to be said that the posthomeric sources were also influenced by their contemporary Sparta aka the doric military Sparta. Homer doesn't imply that this strict military doric way of life was part of his lore but he does imply that Sparta relies more to its military (as compared to Ithaca or Pylos for example) so maybe he attempts to create the illusion of historical continuation but either way no this whole "300s-like" Sparta was not crystalized yet to the times that Homer synthesized his poems much less to the time of Bronze Age.

And there is no hint that Penelope goes "WOW BLOOD!" that seems to me one of the overused jokes on the internet, again emanating by the whole series of Sparta stereotypes used for comedy. It was in fact Euryclea the one to almost welp in happiness seeing Odysseus covered in blood and that was because Odysseus had killed the men she hated. Penelope doesn't show such a thing. Odysseus also washes himself up to be presentable to her. And even in posthomeric sources Penelope was not linked to physical strength but rather with the strength of her mind and the purity of her intentions (well...except maybe from Parthenius narrative if I recall correctly. There Penelope is pictured as scheming in jealousy against one of the sons Odysseus ellegedly produced and manipulated her husband to kill his illegitimate son)

As for the last part I am not sure what you are referring to? Are you referring to Lycurgus that is mentioned in some later sources as king? I did find for example the reference of Plutarch (who lives much much later) that he implies that Lycurgus lives at the same time as Homer or possibly had met him personally but is that what you are referring to? Either way I assume you refer to the historical person rather than some mythical figure because in homeric realm we do have rulers such as Tyndareus (the king of Sparta father to Helen and Clytemnestra) and Icarius (father to Penelope). It seems that Homer with the mention of the two rulers, even if not directly mentioning it, seems to be winking at the later but still ancient custom of doric Sparta to have two kings but I am not sure if that truly was his objective (and therefore creating an anachronism most likely)

I hope that answers your questions a bit

[glassladyoftheopera]

In Stars and Time as a Musical Follow Up: Costumes

Okay, a topic I may have enough thoughts on to make a full post about; costumes! (and a little bit stage craft in some places.)

This is mostly about what people would do if they wanted to actually put on a live version of this, versus treating it like a concept album. I am however going to mostly ignore cost restraints outside of like, truly ridiculous stuff.

So first, some general notes.

The color palette: we will still have all of the costumes and sets be in grayscale, with the red used in the 'say it's name' and Act 5 sequences probably mostly being done through lighting. We will not have the actors use skin paint though. I'm not that mean. The audience can buy the idea that the world is meant to be black and white just fine without it.

Materials: I would avoid overly synthetic looking fabrics to maintain the 'vaguely fantasy medieval' vibe, but I wouldn't worry about using actual natural fabric. Comfort and cleaning are higher priorities.

Ensemble: Not much to say about them! Just that the production would have to be careful to make sure everyone is in truly neutral grayscale and not let too warm / cool of grays slip in.

Okay, let's talk characters.

Siffrin is tricky basically every option for interpreting the cloak has it's own pros and cons. Having sleeves means better movement options for the actor, but they only show up in a handful of images in the game. Full poncho means we get Full Triangle Vibe, but it would hamper movement a lot. Cloak with a pinned closed front means we see more of the rest of the costume more often, which I wouldn't mind, but it does break up the classic triangle silhouette. It's honestly still my pick though. Then there's the eye patch. I know some shows just give characters eye patches, and as long as you're careful staging the dances it will probably be fine? But I assume semi-mesh eye patches for performers are a thing, so I'd try to find one of those. Lastly, hat. It probably couldn't be as absurdly big as in game without casting major shadows we don't want on Siffrin's face, so they'll need a slightly narrower brim and we'd keep the hat pinned in a more back position.

Mirabelle's outfit probably wouldn't need to change much, but her little fingerless gloves would need some reinforcement at the top to keep them from falling down her arms. There's also the matter of her needing to have her sword with her most of the show; it might need to be a little smaller than a true rapier, but Shakespeare shows have duels and such so we can make something work.

Odile wouldn't be particularly difficult to costume as long as you don't make her sweater / jacket too heavy and put some straps on her shoes. Fake glasses aren't hard too bad, but some rigging in the back to keep them on will be helpful.

Isabeau I'm sorry but your sleeves have to be a little less gigantic, it will get in the way of the audience being able to read your gestures / get caught on stuff. They can still be long and loose though. Also, in real life the stripes on his pants being that wide could be an issue in terms of reading where he is on stage with the set / looking kind of goofy, so I might make them just a bit thinner.

Bonnie... I do not know how to make your weird pillow hat work in real life. For most game accurate version you'd have to make it completely from scratch. Something like a beret in terms of construction but... big. And probably held up internally with stuffing and wire. The alternative would probably be a big sunhat, and if you want to include Bonnie getting a new hat just slightly redo that scene to find something else that's similar.

Heck yeah its time for Loop! Now, we're definitely not doing a full star head, that wouldn't let the actor do any of that good emoting. But! I think a lower face mask could still work. You might have to hide the actor's mic under there to make sure they could be heard, but it's definitely possible. They would definitely need a custom wig for spikiness, plus a star-like head piece to top it off. Now the rest of it... I mean, you could go full body suit. I'd probably do that as the first choice, though maybe adding a wispy loin cloth or tie around the middle for modesty depending on your performer / venue. But! Different productions could get really creative with it, as long as the base still has them black and covered with stars and there's the star in their chest. Add in some specific design quirks that are only elsewhere found in Sif and The King's costumes, but just tiny little detail type things? Chef's kiss.

Speaking of the King! He unfortunately does need to be Very Big, but thankfully Broadway shows can pull that off! Something similar to the Wizard head in Wicked could work here, where only some parts of the set piece move (mechanically or via puppetry) and the actor is a voice over. The hair could be a mix of practice and projections. The tears that show up in the fight would probably also need to be projected. The hard thing would be getting it to disappear quickly enough. Maybe the last bit before the loop resets is always in front of the curtain? Could be cool. A less well funded production would probably have to either use mostly projections or re-work to use less moving parts.

Last up Euphrasie! Since she has a long dress getting her some extra height wouldn't be too hard, and she doesn't have to dance or anything so that helps. But! She does need to do the Act 4 finale dramatic kneel down, which is harder to work around. If we cast a tall actor and just use lifts in her shoes, it could work. She wouldn't be as super tall as she would be if we used hidden stilts, but I like the image of her cupping Sif's face, it goes all the way back to the comics, I gotta keep it.

What about y'all? How would you dress everyone? Any little details you'd want to see? And tricks to deal with the problems I thought of? Have fun!

[the-starlight-mistress]

Thinking about the “buddy is a key” theory from Cinderella boy.

Usually the old but not aging character x the super young barely legal character really bothers me. It seems like barely concealed fetish and usually normalizes bad dynamics and toxic situations.

However it hasn’t bugged me so far with stargoth and I’ve been trying to figure out why.

Here’s what I think it comes down to.

For me the big issue with a much older character and a much younger character is the older character has the ability to use their experience in the world to manipulate the younger one. Even accidentally. The older one may know more sexually, socially, or emotionally and can use that against the younger person whether they mean to or not.

For example: this is the reason that vampire romances can be really hit or miss. It’s often the vampire using their knowledge and skills in the human world to control the human because the human is too young and impulsive to know better. Even if the vampire looks like they’re 20 they will still act and think like someone who has had 5 times the experience of a 20 year old.

But if buddy is a key, then he doesn’t have this sort of upper hand since he doesn’t have experience as a human. Not only is his only time being human relegated to story books (notoriously non realistic) but most likely he’s been in key form for most of his existence (given the fact that silver mentions often not knowing how much time has passed since she was allowed to be in not key form) which significantly lessens his years of consciousness (I think. please correct me if I’m wrong).

So even if he is technically some random number in the 100s years of age, he’s still got the mind and behavior of a young man, as we have seen throughout the comic.

Idk if I’m explaining it well but to me it’s a bit similar to those anime girls who look, talk, and act like children but are 120 or whatever. people try to justify sexualizing them because “well they’re 120 so they’re legal” but outsiders know that that’s a child even if the age supposedly makes them technically older. Same with buddy. He may be whatever age but he just doesn’t have the life experience to justify saying that he’s emotionally that much older than chase.

Anyway idk if any of this makes sense. It’s mostly just me rambling my thoughts. And I thought maybe it could help some of the people who would walk away from the fandom if it’s confirmed that buddy is indeed a key.

[pensandsliverswords]

no one asked but here’s my rankings and opinion of all of them

1 - Mann - probably favorite mostly bc of familiarity. v impactful; good deepness; ending has great vibrato and timing especially at the end. 2 - Lewis - most deep? (2nd most deep) I like it. v serious good use of softness for emphasis. Best pre prayer climax. Good dramatic ending. different interpretation yay! 3 - Rocca - I’m sorry this is French erasure. It’s a French musical originally written in French and you don’t have a French version?? Anyway gonna rank it bc i love the French version a lot. Similar to the Spanish the orchestration did a good job fitting the words. Good pacing not as distinct an interpretation but v strong ending little drama by softness. I vote we do this again removing Crowe and putting rocca in. 4 - Secomb - kinda rushes the beginning but I like his drama in the middle especially on “keeping watch in the night” and “for so it must be”. enjoyed the ending orchestration fit his voice well. 5 - Vidal - I dunno how this compares to other Spanish versions but he has good pacing and is strong the whole time which I like as a distinct interpretation. Similar to the French one in a way. They both have totally strong interpretations. 6 - Quast - deep and velvety. Okay what’s with the phrasing. Either too much vibrato or too staccato like he coupldnt make up his mind on how he wanted to play it. Liked the ending. 7 - Allam - don’t like orchestration and pacing not as impactful; too soft. Weird lyrics 8 - Carpenter - again v staccato like kinda rushing? Rushing breaks the drama of the middle of the song 9 - Crowe - so soft?? And flat oh my goodness I mean if he plays javert more softly the whole time I guess that’s an interpretation it’s just a wrong one. I once saw someone talking about how he sings this like it’s being him home. Def the weakest in all senses. Why does he sound so flat. What went so wrong. I’m a mezzo and I can sing this better (I do like the orchestral transition at the end but otherwise the orchestra was bland)

propaganda under the cut:

Allam

Mann

Quast

Lewis

Carpenter

Secomb

Vidal

Crowe

[your-unfriendlyghost]

sodapop patrick curtis thoughts on my desk by the end of the week or ur DONE /j

How I feel about this character

  Uh like he’s perfect and should be my wife i think

  Nah but fr Soda’s one of my favorite characters ever. He’s sweet and all, but he’s so much more than that. Pony says he’s movie-star handsome, that he can go from gentle one minute to “blazing with anger” the next, that he gets drunk just on living, and understands everybody. Soda’s a Kerouac-style “mad one”- “mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes Awww!”

He’s a guy who’s sensitive but strong, a “bawl baby” who’s tough, he’s probably got ADHD and dyslexia, the school system failed him. His folks died and left him holding his brothers together by a thread. He’s pretty but not pretty enough for Sandy to stay. He might end up dying in Vietnam, and thank God that isn’t canon, but it’s still there. He’s happy to live life simply, behind a white picket fence with a wife and kids- hell, he’s thrilled to. But that’s not gonna happen, at least not for a while, because Soda is a tragedy. But he loves his brothers and his friends so much that he becomes a beacon of hope despite it all.

  I love Soda. Honestly, this barely scratches the surface of how I feel about him. I haven’t even touched on the adrenaline junkie stuff or the ways he’s sometimes so relatable to me that it hurts. 

All the people I ship romantically with this character

Steve, and sometimes Evie. 

  I’ve found I’m a friends-to-lovers enjoyer, so Stevepop scratches that part of my brain lol. To have someone who’s got your back through thick and thin, aware of your flaws but in spite of them- well, ain’t that the dream? The angst of it being the 60s makes it interesting to me too, because there’s a lot of ways to handle that. Man, when I first read the book I didn’t get the hype for them at all, but idk. It clicked. I get it now. 

  And then Steviepop is my roman empire lol. It’s all I love about Stevepop, but Evie adds even more complexity. I like her a lot and I love writing her, and I love writing her with characters who I also love. There is absolutely no canon anything to back this ship up. But dammit that’s the point of fandom.

  I will say though that I like exploring Soda’s dynamic with Sandy, but I don’t really ship them. I think the fact that Sandy left him (and I mean cheated on him, even if that can be read ambiguously) implies that there’s something about him that could be undesirable, romantically. I don’t mean cheating is good or that people deserve it, just that in this case, the idea that Soda’s an imperfect boyfriend adds layers to a character who is mostly just positives. We’ll never know Sandy’s POV on it, and I don’t think Soda will either. Sandypop to me will never have closure. That’s what makes it hurt so much. That’s what makes it relatable

My non-romantic OTP for this character

  I mean honestly? Steve. I know this isn’t really fair, since I like Stevepop and all, but idk, there’s no one else who I think it could be. 

  Steve’s a character who’s cocky and troubled and prone to assholeish-ness, but even he loves Soda. He knows about Sandy and gets angry on Soda’s behalf at Pony for mentioning her, which means Soda can tell him- angry, tough Steve Randle- about sensitive stuff. And Soda, who I think is a little in love with everyone he meets and could have anyone he wants, sees this bastard and sticks with him. He sees the parts of Steve that Pony can’t. Parts that make him worthy of being his best buddy.

It’s been said before, but no matter how you look at it, romantic or platonic, they’re each other’s person. I don’t think I could put anyone else in this slot.

My unpopular opinion about this character

 I have a few lol.

1- I see a lotta fics and takes where the whole “drunk on living” thing is a lie Soda feeds Ponyboy, and while I like that take, I do also think it’s totally possible and even plausible that Soda really doesn’t drink and Pony’s view of him (in that aspect) is right.

  I dunno, I mean, I know firsthand what it’s like to just get drunk on adrenaline/excitement. Adrenaline is a hell of a drug, and the rush from it is better than any other high I’ve had. Thrill rides make me act as stupid as someone drinking- when I’m excited, I lose all ability to filter thoughts or fight impulses. I’ve done all sorts of dumb moves- climbing onto tables, singing loudly without knowing or caring if it bothers people, play-fighting my buddies so hard we both get genuinely injured, standing up in a convertible going down the freeway... (This is obviously anecdotal and not real evidence or anything, but like, duh. This is an opinion piece lol.)

  I guess what I’m saying is that there’s a lot of interesting things that can still be done with a Soda who genuinely doesn’t drink. (Or at least not much.)

2- I love darker takes on Soda. I love when people dig into his addictive personality, his temper, his relationship with his looks/self image, all that stuff. I love his flaws, and I especially love when they co-exist with his earnest sweetness and genuine sensitivity. In a few of my fics, I’ve explored some slightly darker Sodas- Sodas who are impulsive, pent up, semi-narcissistic and occasionally manipulative. I haven’t delved deep into it or anything, and I usually keep his character wholesome, but I love it when other folks don’t. 

3- I actually really like the Vietnam War storyline. I mean it hurts, but it seems plausible. I hate the idea of him dying there, but I like exploring the idea of him being drafted. Hell, maybe he even enlisted. The military is known for being a good way to earn enough money to pull one’s family out of poverty, and this paired with the flawed ideas of masculinity and strength of the time lead to a really interesting version of Soda’s future.

  I’m real glad it isn’t canon though.

4- This isn’t technically unpopular but brown eyed Soda will always be canon to me. I like Rob Lowe’s Soda a lot but man….he coulda used brown contacts, yk? /hj lol

One thing I wish would happen / had happened with this character in canon.

Well I still think it’s a crime his emotional monologue got cut outta the original version of the film. Thank God for the full novel version, but man, still.

Woulda also have been cool to see him mentioned in That Was Then This is Now, but I get that SE Hinton wasn’t trying to make an Outsiders sequel really.

Idk, Soda served his purpose, I think. 

tl;dr- I love him

[squid-bunny-msi]

1998 OR 1999 JIMMY ASK EXTENDED

When I can't sleep I just be typing anything

SO THAT ONE ANON WHO ASKED which Jimmy do I choose, if 1998 or 1999, I give all the points on why it's hard to choose

1998 Jimmy

1998 Jimmy comes from the beginning of MSI, despite starting in 1997, it's only in 1998 when we can see "decent" footage of the shows. The outfit coming from the veery early years adds an emotional layer to it

The aesthetic of 1998 Jimmy is also kind of my aesthetic too, in fact, his style, I feel like I can't describe it well, but it's like an "alt/darker" style of the 1999 one? (duh, it's black). What I mean is, What core is this? Jesus Christ tie, split dye hair, black suit, watches in his wrist, along with the old recordings that made everything darker and crunchy, nobody knows about them and they're just in a tiny room with punk posters? It's like a memory from long time ago.

Before 1997-8 era, there was 1995, with the self-titled album. 1998 is the first time I see the cross tie being incorporated, which I think it's one of the most iconic parts of Jimmy's outfit, which he kept wearing from then on. I think the cross tie connects MSI's debut work with their then kept secret PINK works and the self-titled album.

When I first knew about MSI, I found 1998 Jimmy particularly handsome, back then I didnt like much the 2008 Jimmy because I found him ugly (lie, i DID like him i was just embarrased to tell people cuz I used to only like anime guy ahh faces and he's more like handsome in an ugly way..heh..), then I found 1998 Jimmy, and then 1999 Jimmy and OUGGGGGG🤤

When I draw Jimmy, this era is the one I draw by default, currently it's a tie between the 1999 one.

He has black in his outfit and I love black.

1999 Jimmy

I think this outfit, along with the 2008 one is the MOST ICONIC outfit of Jimmy. If you draw Jimmy in any of those two, it's instantly recognizable to people in and outside the fandom

His pink outfit gives a statement that goes with the band's intentions: He wanted people to get mad to a guy running around in a pink suit. He told this in an interview

An entirely pink suit along with fairy wings is a very original concept for a punk's look if you ask me. Usually we have the perception of punks as people with mohawks, jackets, black t-shirts and spikes, but instead we got twink man with a pink suit singing crazy with fairy wings 😭😭😭🙏 gives a twist ngl, and I like that A LOT

This might seem crazy but I think all the info you need to know about him is right there if you just look at his 1999 outfit: bright pink suit, skirt, cross tie, dyed funky pink hair, stupid fairy wings and Adidas shoes. If you analyze each one of these elements and make an assumption on who he is or how he acts (without knowing him), you'd probably get it right.

He's very fun to draw! Right now I've simplified his shape and now I draw him faster and easier, he's also fun to paint because he uses bright pink.

This was the outfit he used the most in FGWSSS and Tight era I think (mostly FGWSSS), which are considered the classics of MSI, which makes this outfit more iconic imo.

He's so stupid looking in this one but handsome as well

Here are the main points of why I like both 1998 and 1999 Jimmy and why it's hard to choose between them. Its 3:30am Thank you for coming to my TAlk tuah 😂😂😂

[keepthedelta]

Hi Delta, what do you mean that Lewis was always more weirder about Nico during their careers? Because I totally agree with you. My older brother, who was quite into F1 since early 2010, used to tell me about these two, who were not teammates but were always together. Nowadays, he is not so into the sport anymore. He says there is no passion and the drivers play too much PR.

okay it's a totally personal opinion, but when you look at their actions when they were racing and after nico's retirement, i think lewis is the one who comes across as a bit weirder. it's stuff like the whole "i don't remember when i met nico that's the sort of thing you remember about your lady" thing, even though he had literally already written it in his book. it's the fact that when things first started getting nasty between them, nico's media line was "yes, there will always be a certain level of respect rooted in that friendship" while lewis went "well we're not friends". and after lewis said that, iirc there was a journalist that asked about their history together and lewis got very quiet and a bit lost and a bit emotional and didn't really have an answer. there was a time when lewis was asked by a journalist how he and nico had changed since they were children, and lewis said "well he's married now" (he did also follow that up with and i'm almost married, so i think some of it was about nicole scherzinger, but i think it's interesting that his response was about their personal lives).

and i think the way lewis has defined their relationship over the years is interesting. he's gone from talking about nico in his book to pretending he doesn't remember how they met to saying they're not friends to saying they were best friends to saying they were never friends. the story has changed so many times from him, while nico has generally been quite consistent about it. and although people think of nico as the one who can't stop talking about their relationship now, when they were racing together, lewis was the one largely defining the relationship to the media. nico mostly stuck to pr line "it's complicated" etc. while lewis was telling them that nico watched him swim in the pool and then came down to talk to him. and while this is something that had definitely happened at some point (i think they mentioned it in 2013), i personally have my doubts that it happened in 2016. lewis said that to the media just after baku i believe, which was where he fucked his quali astronomically and destroyed his drivers room he was so annoyed with himself. niki lauda said that they were barely talking and wouldn't even say the others name in the garage, so while it's very possible that they were trying to ignore each other at work and being desperately weird at home, i think it's equally possible that lewis was making the whole thing up to make the relationship seem better than it was (but also in a way that positioned nico as the weird one).

and then there's all the ways lewis tries not to say nico's name or acknowledge their friendship. when he was talking about coming to monaco for the first time on some british tv show he said he came to visit "a frien - someone i used to kn - a friend". like, someone is clearly not over that whole relationship. and when talking about having harder teammates than max verstappen, he can mention george and valtteri and jenson and fernando, all people he's beaten, but not the only teammate to beat him to a championship? and his excuse of "oh i've just had so many teammates" well you managed to name everyone except nico and lets face it that was not an accident. he put effort into not saying nico's name, and not talking about their relationship. meanwhile nico can say that they're neutral and that lewis gives his daughters presents at christmas because he has totally accepted their relationship and their history for what it is in a way that i don't think lewis has.

and i do agree with your brother, there's way too much pr now. i don't need the drivers to be physically fighting each other on the track but i think the way everyone has to pretend to be best friends is frustrating. it's a sport, and these are competitors, and if the fans are expected to have sports feelings about it then the actual athletes are also going to have sports feelings about their own careers. pretending otherwise is both boring, and almost insulting to the viewer. i know it's for marketing purposes, but most of the people watching are adults who can conceptualise people in competition with each other, even if they're on the same team, not being best friends.

[egophiliac]

CROWLEY SSR THOUGHTS

there is zero basis for this, but I can't get this thought of my head

I don't know why I decided to draw it this way

[willoillo]

I spent like all of today reading through book 6 cuz I needed a mental break today, which means I have completely finished this first arc!!

Thoughts on book 6 first:

As... Should be obvious from how quickly I finished it, I really liked this one. This book wasn't plagued with any of the pacing problems that the other ones had, and both the heartbreak and the victories felt well-placed and hard-earned.

The twist with Tigerstar in the third act was spoiled for me, unfortunately, but I think it still had the intended effect. It is kind of an anticlimax for his character? But I feel like it was a fitting end.

The ending itself was very satisfying. It feels like it ties together the story so far, which is... Incredibly tricky given how all over the place the series has felt. But it manages to pull it off, and it does so in a way that makes it feel purposeful. It's a very strong ending.

Now, onto the series as a whole...

I'm gonna start with what I liked, because there is a lot to like!!

I think the idea of the clans is relatively well thought out; how the different environments shape the kind of cats there, what kind of food they're likely to hunt and the difficulties they'll face, the various characters we meet... It does really feel like a setting one could sink their claws into and never really let go, and given how frequently the clans change loyalties and how quickly the cats grow up it seems really easy to fit your own characters into.

I also think the naming conventions are interesting!! How clan names are chosen, the way they change as a warrior develops, the unique terms for illnesses and the seasons and other common things. Fresh kill in particular has entered my vocabulary and stuck there cuz it's just such a good descriptor in my head.

I do love the focus on, like, legacy that the series has? With this focus on growth from kit to apprentice to warrior, and how important teaching the next generation is. It also ties in really well with the passing of the seasons; no matter what else is going on, the seasons march on, bringing their own challenges and forcing the cats to adapt to them.

I definitely fell in love with a lot of the characters, as well? The interpersonal relationships and how they grow and change, as well as how they don't, really breathe life into the world. From what I've seen, I'd say that Cinderpelt and Sandstorm are my favorites, but I also ended up falling in love with Greystripe and Silverstream's doomed romance, as well as Bluestar's quiet compassion.

I like the way Starclan is handled; they feel present the entire time without disrupting the tension or providing an answer. The messages from Starclan always feel like a mystery to be solved, which makes them engaging and kept me guessing.

The kitties are a lot of fun to draw, unsurprisingly; I still might make more art, if only for fun, and I'm really happy with how Bayflower turned out. I have a Warriors OC now and I wouldn't give her up for the world x3

That said, no series is perfect, and this one was... Kind of a bumpy ride. Lots of ups and downs. The clans beyond Thunderclan aren't very fleshed out beyond their like, broad characteristics and the few characters from them we meet directly, quite often the story feels aimless and things come together either too late or not at all. There's a fair bit of fatphobia and ableism in it. The villains in particular aren't very fleshed out; they only get to be a complex character until they've chosen their side.

The biggest thing that frustrated me though, is how inconsistent the series is. Some of these books were excellent, others were frustrating, and most fell somewhere in the middle, with moments that I absolutely loved compared with moments where I got so bored or frustrated I had to put down the book for a bit.

I'm not surprised by this? It's very common with long running book series, especially ones with multiple writers. But it still made me really unsure of what to think and made the experience less enjoyable overall.

Given how many books this series has, and how bumpy the ride has been so far, I think that this is where I get off. It's been an enjoyable time, and I'm very glad to have read the series, but there's A LOT of books and I don't feel comfortable committing to them after my experience with this first arc. I'm sure there are gems in there, but I don't feel like digging for them.

That said, if you have a particular book you think I should read, or an arc I should skip to so I don't miss out on a character you love, now's your chance to tell me!! I'm not averse to reading more in this setting, I just don't want to commit to the whole series.

Overall, this was a great time, and I'm glad that I read this first arc. There's a lot to love here, and I no longer feel lost or confused by the kitty references, which is great!! I can like. Get some of the jokes, and watch animatics without being completely lost, which is ESPECIALLY a boon. I adore fan animations they are the COOLEST thing.

Library found their copy

So it's time to do this!! If I enjoy my time I'll keep reading, but I make no promises.

[ct-multifandom]

I don’t usually make posts like this, but I’ve been seeing a lot of anti-intellectual junk lately, and I really think we need to put the word “pretentious” up on a shelf until people learn what it actually means.

It doesn’t describe someone who likes artsy-fartsy deep meaning media. People who are pretentious are fake. They’re posers trying to be sophisticated and unique, not like other girls. They pretend to only like stuff they think will make them sound cool when they talk about it. They want to act like they know something you don’t, and they want attention for it.

By definition, if you genuinely enjoy something, you can’t be pretentious. If it resonates with you, and you analyze it, and you don’t care what people think, that’s the polar opposite, actually. If you love obscure experimental prog music, if you watch underground high concept indie films through English teacher eyes, if you spend hours in a modern art museum reading each piece as a vessel for storytelling, if your backpack’s full of poetry books that inspire you, if you play underrated games that were someone’s passion project, if you have an interest in studying the classics or the masters, you are not pretentious.

Of course, some people just don’t like some stuff, and that’s fine, but that’s not what this is about. Don’t let anti-intellectuals shame you for enjoying things just because your interests are inaccessible to them, because they refuse to be brave and put effort into critical thinking. You’re not stuck up for refusing to overlook the craft of artists.

[icewindandboringhorror]

"We can get through this by working together, reach out to your friends, community is all we have, a social network will be your security in the world, now is the time to lean on others!"

I do agree, and it's scientifically sound (pretty sure there is data about how people with better social networks live longer and etc) but also....augh..... what about the severe social issues, difficulty to leave the house, physical issues which lead to like zero socialization energy a majority of the time, etc. etc. Social support can be a replacement for structural support, but.. I guess I just wish it didn't have to be. Community is extremely difficult to build, even moreso if you're someone who has issues with social cues or group conversations or even just being around others in the first place. And blah, nuance, of course I'm just complaining or maybe being too negative or maybe misunderstanding, but, I hardly have the energy to brush my hair once every 2 months.. how am I supposed to maintain a wide social network and be active in a Community and Join Groups lol... sometimes it kind of feels like "er.. well if thats my only option then...... ruh roh". It's overwhelming