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afrognamedfizzarolli · 2 days

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Helluva Boss observations and easter eggs you may not have noticed!: Pilot

The pilot is both a great place and weird place to start, as it is our introduction to the cast and world, but also no longer considered canon. Many of the events and details we learn/see are later confirmed in the series itself, but there were quite a few changes.

I want to start off with some design changes!

With Millie, she used to have white roots visible, this actually kept up for a few of the early episodes. As we know now it seems imps have two noticeable instances of sexual dimorphism: females have black horns with thin white stripes and naturally black hair, and males have evenly sized black and white stripes on their horns and naturally black hair. We see many trans or otherly gender queer imps that dye their hair with visible roots. I assume Millie's design was changed when that was established to be a gender difference in imps.

Her heart tattoo is also much smaller, and switches sides (an animation error almost certainly) When the pilot first came out I actually thought she had a heart on both shoulders.

Some stuff with Stolas!

We see his hand outlined with a red glow at one point, presumably representing his magic. While in the series his magic is represented by blue. This is most likely due to the change of his character as he was originally planned to be a villain.

Not a design change, but I find it funny that Stolas' name in Blitzø's phone is "Creepy Mouth (aka one night stand bird dick)". Surprisingly all being spelled correctly.

Stolas' Grimore! I actually only noticed this on this last watch. It was a darker blue(purple? red? It changes in different scenes) and instead of the moon design it has a different insignia of his that we still see throughout the series in various places (notably on his bed) it also has no design on the back.

Little details!

I didn't realize before either that the woman who Moxxie is trying to shoot before Eddie gets in the way, is Eddie's mom. I'm sure this is something many others picked up on immediately though.

Speaking of which, the human news anchor shown at the end bares a striking resemblance to a character of Brandons: a news anchor named Flint Dicker.

A poster of "THE AMAZING IMP SIBLINGS" is on the wall of the conference room. Showing Blitzø, Barbie Wire, and another character labeled "Tilla". This was changed in the series to just being Blitzø and Barbie, Tilla's design being slightly altered and then used for their mom.

Hazbin easter eggs! Oh boy is there a lot of them.

In the commercial sequence we see in the room of one of the targets a framed drawing of Sir Pentious

In the background of when Blitzø is interviewing a previous client, there is a billboard for 666 News ft. A photo of Katie Killjoy, I especially love this one as Brandon ended up voicing her!

In Blitzø's office he had a vision board labeled "BOSS GOALS" with 5 drawings, in the center is Blitzø labeled "ME!" Top left we have Katie again, top right is a duck with a top hat and two $'s, this assumably referencing Lucifer, bottom left is Rosie, an arrow pointing to her hat labeled so eloquently "HAT" and lastly in the bottom right there is a more detailed drawing that looks to be Carmilla Carmine labeled "Moxxie drew not as good" this tracking later as in 1.05 "The Harvest Moon Festival" Moxxie talks about Carmine angelic weaponry, showing a great interest in her business.

Next is a dumpster in an alley with various graffiti. Notably, a face that looks to be Nifty, "ALWAYS CHASING RAINBOWS" and "HAPPY HOTEL". There is also a sinister face labeled "DEVIL". Im not sure if this is a specific refrence to anything though.

Lastly, one that I'm sure almost everyone noticed but feel the need to include, is we can see Loona watching Charlie's performance of "Inside of Every Demon is a Rainbow"

Funny observations:

When the crew teleports into the church, we see maany people with some pretty detailed designs, I do not know if or what they may be referencing, but I have a strong suspicion it is something, my guess is that they are caricatures of some people who worked on the pilot. One person in specifically is wearing a jacket with a patch reading "WHEN YOU SEE IT" with a 👌

Signs! In the hospital we see a sign saying "WE SAVE LIVES" in faded text it reads between we and save "try to" and after lives another line is visible starting with "but" I cannot make out the rest.

Others show that they are in ward 13, the next room over labeled as 667, implying the room that Eddie was in is 666

A note is taped to the side of the fridge of the break room reading "LOONA DONT EAT MY LUNCH -MOXXIE"

Another thing I only noticed recently is when Blitzø sneaks out at the Goetia palace, he is naked except for his jacket, with the grimore serving as some creative censorship. (+Stella's beta design. I personally love her current design, but this one wasn't bad)

When Blitzø makes the comment about making Moxxie the employee of the month he holds up a small plaque as an example, a larger version of this same plaque, is visible on a wall in the commercial sequence.

While in their hazmat suits(idk if that's what these actually are), you can see the shape of Moxxie's bowtie under it

... and just Blitzø holding some targets panties, cause why not

There are a handful of other details, but I'm going to hold onto those as later on we see call backs to them. Also, I've spent a lot more on this than Id planned already, I have at least 3 hours on this one alone.

Please bare with me, I promise these will get more interesting the further we go in the series!

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denimbex1986 · 4 months

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'...“It’s fun playing bad, but actually he’s not,” the actor says, smiling as he reflects on his character, Crowley. “He’s a villain with a heart. The amount of really evil things he does are vanishingly small.”

...As it always has, “Good Omens” dissects the view of good and evil as absolutes, showing viewers that they are not as separate as we were led to believe growing up. Aziraphale and Crowley’s long-standing union is proof of this. The show also urges people to look at what defines our own humanity. For Tennant — who opted to wear a T-shirt emblazoned with the words “Leave trans kids alone you absolute freaks” during a photocall for Season 2 — these themes are more important now than ever before.

“In this society that we’re currently living in, where polarization seems ever more present, fierce and difficult to navigate. Negotiation feels like a dirty word at times,” he says, earnestly. “This is a show about negotiation. Two extremes finding common ground and making their world a better place through it. Making life easier, kinder and better. If that’s the sort of super objective of the show, then I can’t think of anything more timely, relevant or apt for the rather fractious times we’re living in.”

“Good Omens” is back by popular demand for another season. How does it feel?

It’s lovely. Whenever you send something out into the world, you never quite know how it will land. Especially with this, because it was this beloved book that existed, and that creates an extra tension that you might break some dreams. But it really exploded. I guess we were helped by the fact that we had Neil Gaiman with us, so you couldn’t really quibble too much with the decisions that were being made. The reception was, and continues to be, overwhelming.

Now that you’re no longer bound by the original material that people did, perhaps, feel a sense of ownership over, does the new content for Season 2 come with a sense of freedom for you? This is uncharted territory, of sorts.

That’s an interesting point. I didn’t know the book when I got the script. It was only after that I discovered the worlds of passion that this book had incited. Because I came to it that way, perhaps it was easier. I found liberation from that, to an extent. For me, it was always a character that existed in a script. At first, I didn’t have that extra baggage of expectation, but I acquired it in the run-up to Season 1 being released… the sense that suddenly we were carrying a ming vase across a minefield.

In Season 2, we still have Neil and we also have some of the ideas that he and Terry had discussed. During the filming of the first one, Neil would drop little hints about the notions they had for a prospective sequel, the title of which would have been “668: The Neighbour of the Beast,” which is a pretty solid gag to base a book around. Indeed there were elements like Gabriel and the Angels, who don’t feature in the book, that were going to feature in a sequel. They were brought forward into Season 1. So, even in the new episodes, we’re not entirely leaving behind the Terry Pratchett-ness of it all.

It’s great to see yourself and Michael Sheen reunited on screen as these characters. Fans will have also watched you pair up for Season 3 of “Staged.” You’re quite the dynamic duo. What do you think is the magic ingredient that makes the two of you such a good match?

It’s a slightly alchemical thing. We knew each other in passing before, but not well. We were in a film together [“Bright Young Things,” 1993] but we’d never shared a scene. It was a bit of a roll of the dice when we turned up at the read-through for “Good Omens.” I think a lot comes from the writing, as we were both given some pretty juicy material to work with. Those characters are beloved for a reason because there’s something magical about them and the way they complete each other. Also, I think we’re quite similar actors in the way we like to work and how we bounce off each other.

Does the shorthand and trust the two of you have built up now enable you to take more risks on-screen?

Yes, probably. I suppose the more you know someone, the more you trust someone. You don’t have to worry about how an idea might be received and you can help each other out with a more honest opinion than might be the case if you were, you know, dancing around each other’s nervous egos. Enjoying being in someone’s orbit and company is a positive experience. It makes going to work feel pleasant, productive, and creative. The more creative you can be, the better the work is. I don’t think it’s necessarily a given that an off-screen relationship will feed into an on-screen one in a positive or negative way. You can play some very intimate moments with someone you barely know. Acting is a peculiar little contract, in that respect. But it’s disproportionately pleasurable going to work when it’s with a mate.

Fans have long discussed the nature of Crowley and Aziraphale’s relationship. In Season 2, we see several of the characters debate whether the two are an item, prompting them to look at their union and decipher what it is. How would you describe their relationship?

They are utterly co-dependent. There’s no one else having the experience that they are having and they’ve only got each other to empathize with. It’s a very specific set of circumstances they’ve been dealt. In this season, we see them way back at the creation of everything. They’ve known each other a long time and they’ve had to rely on each other more and more. They can’t really exist one without the other and are bound together through eternity. Crowley and Aziraphale definitely come at the relationship with different perspectives, in terms of what they’re willing to admit to the relationship being. I don’t think we can entirely interpret it in human terms, I think that’s fair to say.

Yet fans are trying to do just that. Do you view it as beyond romantic or any other labels, in the sense that it’s an eternal force?

It’s lovely [that fans discuss it] but you think, be careful what you wish for. If you’re willing for a relationship to go in a certain way or for characters to end up in some sort of utopian future, then the story is over. Remember what happened to “Moonlighting,” that’s all I’m saying! [Laughs]

Your father-in-law, Peter Davison, and your son, Ty Tennant, play biblical father-and-son duo Job and Ennon in Episode 2. In a Tumblr Q&A, Neil Gaiman said that he didn’t know who Ty’s family was when he cast him. When did you become aware that Ty had auditioned?

I don’t know how that happened. I do a bunch of self-tapes with Ty, but I don’t think I did this one with him because I was out of town filming “Good Omens.” He certainly wasn’t cast before we started shooting. There were two moments during filming where Neil bowled up to me and said, “Guess, who we’ve cast?” Ty definitely auditioned and, as I understand it, they would tell me, he was the best. I certainly imagine he could only possibly have been the best person for the job. He is really good in it, so I don’t doubt that’s true. And then my father-in-law showed up, as well, which was another delicious treat. In the same episode and the same family! It was pretty weird. I have worked with both of them on other projects, but never altogether.

There’s a “Doctor Who” cameo, of sorts, in Episode 5, when Aziraphale uses a rare annual about the series as a bartering tool. In reality, you’ll be reprising your Time Lord role on screen later this year in three special episodes to mark the 60th anniversary. Did you always feel you’d return to “Doctor Who” at some point?

There’s a precedent for people who have been in the series to return for a multi-doctor show, which is lovely. I did it myself for the 50th anniversary in 2013, and I had a wonderful time with Matt [Smith]. Then, to have John Hurt with us, as well, was a little treat. But I certainly would never have imagined that I’d be back in “Doctor Who” full-time, as it were, and sort of back doing the same job I did all those years ago. It was like being given this delightful, surprise present. Russell T Davies was back as showrunner, Catherine Tate [former on-screen companion] was back, and it was sort of like the last decade and a half hadn’t happened.

Going forward, Ncuti Gatwa will be taking over as the new Doctor. Have you given him any advice while passing the baton?

Oh God, what a force of nature. I’ve caught a little bit of him at work and it’s pretty exciting. I mean, what advice would you give someone? You can see Ncuti has so much talent and energy. He’s so inspired and charismatic. The thing about something like this is: it’s the peripherals, it’s not the job. It’s the other stuff that comes with it, that I didn’t see coming. It’s a show that has so much focus and enthusiasm on it. It’s not like Ncuti hasn’t been in a massive Netflix series [“Sex Education,”] but “Doctor Who” is on a slightly different level. It’s cross-generational, international, and has so much history, that it feels like it belongs to everyone.

To be at the center of the show is wonderful and humbling, but also a bit overwhelming and terrifying. It doesn’t come without some difficulties, such as the immediate loss of anonymity. It takes a bit of getting used to if that’s not been your life up to that point. I was very lucky that when I joined, Billie Piper [who portrayed on-screen companion, Rose] was still there. She’d lived in a glare of publicity since she was 14, so she was a great guide for how to live life under that kind of scrutiny. I owe a degree of sanity to Billie.

Your characters are revered by a few different fandoms. Sci-fi fandoms are especially passionate and loyal. What is it like being on the end of that? I imagine it’s a lot to hold.

Yes, certainly. Having been a fan of “Doctor Who” since I was a tiny kid, you’re aware of how much it means because you’re aware of how much it meant to you. My now father-in-law [who portrayed Doctor Who in the 80s] is someone I used to draw in comic strips when I was a kid. That’s quite peculiar! It’s a difficult balance because on one end, you have to protect your own space, and there aren’t really any lessons in that. That does take a bit of trial and error, to an extent, and it’s something that you’re sometimes having to do quite publicly. But, it is an honor and a privilege, without a doubt. As you’ve said, it means so much to people and you want to be worthy of that. You have to acknowledge that and be careful with it. Some days that’s tough, if you’re not in the mood.

I know you’re returning to the stage later this year to portray Macbeth. You’ve previously voiced the role for BBC Sounds, but how are you feeling about taking on the character in the theater?

I’m really excited about it. It’s been a while since I’ve done Shakespeare. It’s very thrilling but equally — and this analogy probably doesn’t stretch — it’s like when someone prepares for an Olympic event. It does feel like a bit of a mountain and, yeah, you’re daring to set yourself up against some fairly worthy competition from down the years. That’s both the challenge and the horror of doing these types of things. We’ve got a great director, Max Webster, who recently did “Life of Pi.” He’s full of big ideas. It’s going to be exciting, thrilling, and a little bit scary. I’m just going to take a deep breath.

Before we part ways, let’s discuss the future of “Good Omens.” Gaiman has said that he already has ideas for Season 3, should it happen. If you were to do another season, is there anyone in particular you’d love to work with next time around or anything specific you’d like to see happen for Crowley?

Oh, Neil Gaiman knows exactly where he wants to take it. If you’re working with people like Gaiman, I wouldn’t try to tamper with that creative void. Were he to ask my opinion, that would be a different thing, but I can’t imagine he would. He’s known these characters longer than me and what’s interesting is what he does with them. That’s the bit that I’m desperate to know. I do know where Crowley might end up next, but it would be very wrong if I told you.

[At this point, Tennant picks up a pencil and starts writing on a hotel pad of paper.]

I thought you were going to write it down for me then. Perhaps like a clandestine meeting on a bench in St James’ Park, but instead you’d write the information down and slide it across the table…

I should have done! I was drawing a line, which obviously, psychologically, I was thinking, “Say no more. You’re too tempted to reveal a secret!” It was my subconscious going “Shut the fuck up!”

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phantasmicfish · 2 months

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So I saw Dune Part 2 yesterday and I was initially super crushed because of the deviation from book canon but the more I think about it the more I sorta like it…

So without further ado here’s a list of stuff I liked about Dune Part 2:

- all the scenes initially of Paul growing closer to the Fremen. You can clearly see that they become friends, accept him as a Feydakin, that they’re laughing, joking, hanging out. (And contrast that to the end of the movie, where Paul has no more Fremen friends, only followers. In the book, this is echoed, where Paul recognizes that he has lost his friends to the Muad’Dib religion. Take book Stilgar, who truly embodies this… by the end of the book, Paul says: “I have seen a friend [Stilgar] become a worshipper.”

- giving Chani explicit rejection of Paul’s messiah status was an interesting choice. Chani’s main thought over part 2 is that they don’t need religion to save them, that through Fremen power and desert power, the Fremen can save themselves. She recognizes that this fanatical worship can be a vehicle to control and enslave her people, and I sorta wish we saw Paul lean into that more… that they found a way to stay together and ‘fight’ the prophecy together based on Chani’s ideals…

- also, I love how engrained this rejection of religion and prophecy is in her character. Book Chani takes no issue with her Fremen name, Sihaya (desert spring), but movie Chani hates it “because it’s part of some prophecy.” Later, we see that despite her rejection of prophecy and religion, that the prophecy does indeed come to pass— the tears of desert spring save Himx aka, Chani saving Paul after he drinks The Water of Life. (Interesting how Jessica has to force Chani to save Paul using the Voice… another example of Jessica explicitly forcing Paul to become the messiah).

- adding more depth to Fremen culture— the South being the more religious fundamentalist tribes vs the North being more secular. Early on, the movie paints this immediate divide between the tribes of Fremen who accept Paul and Jessica versus those who treat them as offworlders (who murdered Jamis). In the books everyone accepts Paul and Jessica after Paul bests Jamis and Jessica quotes some scripture, but I think it makes more logical sense that there’s be friction over these two random offworlders coming in

- I love love loved Paul speaking at the meeting of the Fremen tribe leaders in the South. He fully accepts his messiah status, exercises his power of the Voice + his prescience as a way to command all the Fremen under his name

- I’m a big fan of omitting the two-year time skip, so with that I’m glad Leto II was skipped over entirely. I always felt that Leto II was an unnecessary character addition to the book, especially when he just dies and everyone sort of goes “oh well” and moves on, so I’m glad it’s omitted.

- another interesting choice was to paint Jessica as a straight up villain in comparison to her book counterpart was. The Jessica we see here is seemingly corrupted by the Water of Life: she walks around talking to herself (Alia) and scheming Paul’s ascent to Lisan-Al Gaib. She knows about the Holy War, which is the very thing Paul is trying to prevent, yet she expresses no concern about bringing it to fruition. (Probably because Jessica knows it’s impossible to prevent, but still.) The very last line of the movie, where Alia asks Jessica what’s going on and Jessica says “The Holy War has begun” is just total villain in my mind— explicit acceptance of the Holy War, like it’s just another stepping stone in her plan. Plus, the fact that Paul has visions of Jessica leading him into this period of great starvation totally cements her as a villian.

- going off of that, I like that we see Jessica undergoing actual agony when she takes The Water of Life. When book Jessica and Paul take The Water of Life they accept it calmly and without obvious pain (book Jessica was sitting with her eyes closed, as if sleeping), so this physical reaction that Jessica has to the poison adds to the idea that The Water of Life did change her in a negative way.

- I feel like so far we’ve been introduced to Alia as just a weird talking fetus who’s been consorting with Jessica, so Paul’s vision where Alia says “I love you” really strikes home, that she really does care for Paul which we might not have understood otherwise

#I should probably add something about Feyd-Rautha bc I thought his scenes were really cool so that’s a TBC of this post #also I can’t believe they skipped over Count Fenring! The one person who could defeat Paul in battle… I’m crushed #dune #dune book #dune part two #dune part 2 #chani kynes #paul atreides #jessica atreides #alia atreides #dune spoilers

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sexlapis · 6 months

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actor! toji fushiguro thoughts 💭

actor toji would be one of those hot dilf actors that women would always be drooling over, edits of him always popping up on your fyp, the most outta pocket comments underneath all of his insta posts, he would be the number 1 dilf for all the old man fuckers.

toji rarely posts on social media. he’s at that age where he just does not care to post his whole life online, but that only attracts people to him more because he is so mysterious. he would have like 10 million followers and only follow 12 people (including you)

toji would probably be one of those actors that have no variety in their roles, but everybody would still eat it up anyways. toji as an actor would typically play a villain/antagonist or an anti-hero, typically in an action movie/series and he plays them well. toji can embody an intimidating, frightening, intelligent villain very well. he could be cast as one of the most horrendous, horrible villains and be a menace towards the main cast but because he looks like that, he is forgiven.

but there are those rare times toji is casted as a father or father figure and his character would do anything for their daughter and everyone just loses it. he plays the father role well, almost too well. he is so caring, protective and sweet towards the actress playing as his daughter, even behind the scene clips with one another, he is just so gentle and dreamy. the fans cannot handle it!

during interviews, toji can be charming. he cracks jokes and he answers questions honestly, even if they make him look unprofessional. he really does not give a fuck about that, which only makes him even more attractive. he’s a little sleazy sometimes, but that just adds to his lazy effortless appeal.

he just has such a dominant personality and not in a bad way either. like if an interviewer asked a question that made a cast member uncomfortable, he would smoothly change the subject and the mood, making everyone forget about it entirely. also, his stare is really intense…like when the interviewer or a fellow cast member is speaking, he makes sure to look at them and listen really closely, not even realising how intimidating that could be 😭

despite his unprofessional personality and wealthy background, people who work with toji cannot say anything bad about him. he is a great actor with great work ethic and is always respectful to his cast members. and most of all, he is humble. due to his background and accomplishments, other actors on set expect him to be all flashy and all head in the clouds, but toji isn’t like that. toji is very aware and down to earth and he doesn’t see himself as superior because of his wealth. he sees what that power does to some people (his family) and he wants nothing not do with it.

overall, for the most part, toji is a respected actor, with a loyal (albeit crazy) fanbase, he actually enjoys his job and lives a relatively private and quiet life. people barely know anything despite his wealth and fame and prefers to keep it that way.

a/n: this was inspired by jeffrey dean morgan lmao. also i’m thinking of maybe doing a mini one shot with actress reader x actor toji in the form of one of those youtube videos like “(reader) & toji fushiguro being a couple for 10 minutes straight” i think that would be fun 🤭🤭

edit: toji & reader being a couple for 10 minutes straight is here <3

#lana del rey girlies would love him so bad #actor!toji #toji x reader #toji fushiguro x reader #toji headcanons #toji fushiguro headcanons #toji x you #toji fushiguro x you #toji x y/n #toji fushiguro x y/n #toji fluff #toji fushiguro fluff #toji zenin x reader #t

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ittsybittsybunny · 2 months

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ATLA Live Action Series Review:

The Good

Aesthetically this show felt right. Sure sometimes the outfits didn't quite feel lived in, but I always felt like I was watching a fantasy world with decent effects and interesting design. Also, I really enjoyed the sets!

Bending: Yes some of the fights feel very quick, but the bending looks cool. It is certainly better than 10 benders lifting one big rock. I can honestly say the opening bending fight scene gave me so much hope for this show.

Kyoshi Warriors: I loved seeing them in live action, and I thought Suki's performance was great!

Omashu: I think the mashup of the mechanist made sense since that is an important character overall and I would hate to see him cut. However, both Jet & the secret tunnels felt sloppily thrown in.

Northern Water Tribe: I really loved the way it looked, and appreciated the two episodes we spent here. I think Yue gained more agency in this interpretation, and why shouldn't the moon spirit be a waterbender. Also, episode seven felt the most in tune with the original show's spirit.

Zuko: I think he was one of the most fleshed-out and best parts of the show! Dallas Liu really captured Zuko's spirit, and the scene between him and Aang in episode 6 was wonderful!

Soundtrack: Hearing the original soundtrack bits is always great, and when I first heard the ending music I was so excited.

Is the show perfect, no - but I wouldn't mind a season 2.

The Bad

Pacing: Turning 20 episodes into 8 was bound to lead to some cuts...but oftentimes times things felt too quick or disjointed. I think there were editing problems contributing to this for sure, but sometimes things skipped around too much without a clear purpose as to why. Also, why bring in plots from later seasons when you barely have enough time already?

Writing: This show definitely suffered from exposition dumping, though it did get better as time went on. I think the biggest example of this is actually opening in the past rather than the present. We do not get to learn along with Aang that the world has changed, instead, we get to learn that 100 years have passed....which doesn't hold the same tension or worldbuilding.

Clunky Dialogue: Along with exposition, clunky dialogue is another example of bad writing. I think sometimes I felt like the acting was kind of meh in the beginning, but then over time I began to realize it had far more to do with the lines characters were trying to deliver. The actors themselves are not bad, just cursed with awkward writing and lines that feel out of touch with the setting they're in.

Main Trio: I don't entirely know that I believe Katara, Sokka, and Aang are friends as opposed to 3 people stuck together to save the world. Aang feels a little too somber for a young kid running away from his responsibilities, Sokka is protective, but not exactly the heart of the team, and Katara is sort of just there until the last two episodes. Where is her struggle, her desire to learn so strong she steals from pirates? Also, while Gordon Cormier did a great job, Aang does zero waterbending on his own, is overly serious, and tells Katara not to fight. Where is his desperation to protect his friends? It feels like they all lost emotional depth.

Tension: Bringing Ozai, Azula, and Zhao out in the beginning immediately causes us to lose the realization there is an even bigger bad. Part of why Ozai is so terrifying is he is a primarily silent villain until the third season when we finally see the face of the "big bad evil guy" behind it all. Yes, they add to Zuko's backstory, but again, they are revealing the villains too early. Azula is the antagonist of season 2 and one of my favorite characters, so I hope they do more with her in the future. Finally, Zhao is supposed to be an example of the uncontrollable nature of fire unrestrained, instead, he comes off as vaguely threatening with the supposed true power being Azula.

Characterization: While all characters are bound to lose something in a shorter show, it still felt like certain characters were more mutilated than others. I am sure there are 100 different opinions on who, but I think the biggest victim was Katara.

Katara: Katara manages to go from a complete novice to a bending master in what feels like a matter of days. The journey feels short, and that makes the results feel largely unearned. Katara is one of the strongest personalities in the show, determined, kind, and fiery. In many ways, she is the unpredictability of water - equally dangerous as it is necessary to live. She is the child of a war who lost her mother, forced to grow up too soon, and even raised her older brother. Yes, Katara often gets stereotyped as the mom friend, but overall she feels underutilized in this show. We really don't see enough of her journey until the very end.

Iroh: Iroh was always comedic but most importantly wise. Even when Zuko is trying to give himself advice, he mimics Iroh. Instead, he seems to be used more as comedic relief without the underlying experience. He just doesn't feel right. Also, he kills Zhao instead of Zhao getting himself killed - which is less about Iroh and more about the writing than anything.

Ozai is weirdly a little too nice. Yes, he burned Zuko and pits his kids against each other, but he feels toned down in a show claiming to be more mature than the original cartoon.

Azula is perhaps more realistically worried about losing her status as the golden child, but she is also missing the cruelty she and her father share. I understand worrying about making your character cartoonishly evil, but the Fire Nation is currently a deeply nationalistic empire trying to control the world. Where is the deep-seated belief that they are better than other people, not just trying to bring balance to the world? There is a line between creating complexity and toning down the very real evil inherent in this plan.

Roku: I can only say what the fuck was that. He was barely there, and not the serious master to Aang's youthful exuberance.

The Ugly

Show, Don't Tell: The show's single biggest issue seems to be speeding through story parts by simply stating things. Instead of allowing the audience to discover, trusting that we are smart enough to understand, let's just blatantly say things like Zuko is the only reason the 41st division is alive to their faces. Even though in the context of the story Ozai literally already said that.... it's the division, the division for Zuko, Zuko's division.

Thematic Misunderstandings: I think this show makes several minor changes with major implications, such as airbenders actively fighting the firebenders, when airbenders are known for their pacifist nature and the lie of an Airbender fighting force is actively propaganda. Similarly, Aang very quickly accepts his role as the avatar and doesn't even run away in the beginning. Without this conflict between his desire to be a carefree child and the fact that the world needs him - the show loses a key aspect of Aang's character. Also, the obsession with downplaying the avatar state as something dangerous feels like a disservice to the tradition, connection, and strength of the avatar, which can be permanently destroyed as the trade-off for that kind of power. It's dangerous for the balance of the entire world, not just because it's powerful!

The Agni Kai: Zuko's fight against his father is one of the defining moments of Ozai's cruelty, not just because he is willing to fight his child, but because Zuko tried to do everything right. Zuko shows deference to his father, apologizes, and most importantly refuses to fight! The determination not to upset his father and still be grievously injured and banished is a hugely important theme for the fire nation and Zuko's life as a whole. He tries to do everything he is supposed to and only regains his father's acceptance after he "kills" Aang. Zuko's struggle between moral vs. social right and wrong in contrast to his family is hugely important to his character.

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TLDR: ATLA was a fantastical animated television show that was never afraid to show character development and flaws. When you turn 20 episodes into 8, you are bound to lose something. You hollowed out the middle, leaving the shell of important moments and events without ever wondering if all the times in between formed the true spirit of the show.

Rating: 6.5/10 It's perfectly fine and worth a watch. Not a disaster, but certainly falls flat of the original.

#atla #avatar the last airbender #avatar the last airbender tv #atla tv #spoilers #natla #i loved it i hated it i mostly sat through it #i would like a season 2 though #aang #katara #sokka #zuko #iroh #uncle iroh #azula #ozai

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chaedomi · 9 months

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LITTLE MERMAID

SUMMARY . unable to witness your death a second time, your sister desperately strives to change your fate, even if it meant ridding of others to prevent it.

CHARACTERS . ARIADNE VALENTINE

WARNINGS . YANDERE, female child reader, platonic, ooc, violence, abuse, death, unhealthy relationships (if i missed any, kindly alert me)

WORDCOUNT . 1.8k+ / MASTERLIST.

LETTERS . i have only read up to chapter 17 in Becoming The Villain's Family when this idea just spawned. so, the timeline in which i wrote this fic will focus more so on the scenes in the beginning.

HERE’S A fun fact. Did you know that if you were to encounter a Mermaid, the higher the chances are of encountering a Siren as well? In addition to the creatures viewing each other as family, because of a mermaid’s delicate nature, sirens are naturally possessive of them. They become drunk and hypnotized by a mermaid’s affection, and thus, diligently fulfill a mermaid’s desires to preserve the shine they thrive off of. It’s an interesting tale, to learn the charmers become the charmed. However… if The Mermaid were to ever fall, so will The Siren as their main source of warmth has died. They will descend into madness and become the hostile nature they are known for or even worse, willingly succumb to the hands of death.

In the past, both you and your half-sister, ARIA, led a pitiful life. Throughout your years, your stepmother would force your sister to consume a potion, rendering her speechless, whereas yours will gently hug you, encouraging you to always remain neutral. It was confusing and painful, as it seemed those were the only moments your mothers cared about you both. Your stepmother, quiet as a mouse, and your mother, apathetic as a heart of stone.

During those times, you and Aria were grateful for each other, more so Aria, as she would cling to your tiny body crying and trembling while you tenderly kissed her cheeks and wiped away her tears.

Eventually, the truth came to light when you were the age of five, and your sister, ten. Through the season of spring, your mother passed, inclusive of your stepmother, who apparently went mad and took her own life after hearing of your mother’s death. By eavesdropping on the maids, it was then you both learned of each other’s identities, Aria, a Siren, and you, a Mermaid.

Sirens, gaining the name of the ancient monster, that flowed through your stepmother’s blood, through their songs, they possessed people, treated them, controlled them, and shook their emotions. Mermaids, gaining the name of the mythical creature, that flowed through your mother’s blood, through their tears, they shed milky crystals that held the power to repel a siren’s song. With those tears too, they were capable of granting grand wishes whether great or small, destructive or creative. Despite how dangerous their power was, they were harmless and good-natured.

Twelve years ago, your father had kidnapped a Mermaid and a Siren, presenting them to the world as they were originally known as myth. That Mermaid was your mother, and The Siren, your stepmother.

Your mind was too young to understand the information told and realize how dire the situation was. So, it worried you to see your sister in a constant state of panic and tears every now and then. You had asked her several times for the reason for her grief, but she brushed your concerns off each time, snuggling closer to you. And your worries slowly diminished as well as you returned the hug. Till… it happened one night when your father was unbelievably drunk out of his mind.

It was sudden, you were telling a story to your sister while she clung to you before your father barged inside the room, a wave of hatred visible in his eyes. One thing led to another and your sister was dragged outside the room by the hair. Even though you couldn’t make sense of what was happening, the sword that was tightly grasped in his hand as he took your sister away, was enough for you to spring into action. A silly game of tug-of-war it was, you, screaming your lungs out while you pulled at the hem of your sister’s nightgown, and your father, effortlessly dragging you both, to where he pleased. What it took to stop him, was the perfectly sweet voice of your sister, and the solid gems that fell from your eyes as you wept. He resembled a total madman, reaching toward you both as he cackled about the materials he could possess. You could only cry harder as your sister hugged you, burying your head against her chest.

Your lives were horrific beyond that point. Living the lives of a Mermaid and a Siren, you both were forced to mature quickly, learning and hearing unspeakable things. Becoming caged animals, you were pressured to fulfill the greed of scum. And despite all the abuse you suffered, you continued to push smiling, even when the exhaustion taking a toll on your body became more visible with each passing day.

Such a selfless soul you were too, quick to jump to others' needs instead of yours. Whenever your sister silently wept after a song, you would rub her head in comfort, sweetly hushing her as she lay in your lap. Whenever she was angry, you would squeeze her hands, attempting to calm the brewing storm in her heart. Whenever she felt as though she couldn’t make it, you would kiss her cheek, saying that she has done so well.

She, of course, soaked up every affection you provided. Too occupied wallowing in her sorrows and the comfort she will receive afterward from you, she forgot that you were also affected, dealt with the same ill-treatment, as well as that you had your limitations. So when the day arrived when you had no tears left to cry, her heart shattered.

It was a pitiful sight to witness, your sister in a mess as she cried desperately to you, begging for you to stay. You wished that you could, but the longer your head rested on her lap, and her cold hands held your cheeks, you felt more of your life fade away. So you forced yourself to cry, to shed one more tear, and it fell.

With that tear, you wished, that perhaps in another lifetime, both you and your sister could enjoy your days in endless glee, like free birds soaring in the sky.

As you drew your last breath, your sister too accepted her death, willing to perish alongside you. You were her joy, her motive to continue her days. But, when you left, so did those things. And she sang her last song, calling to whoever could come and console her weeping soul. Even when her savior came and held her in his arms, your sister’s eyes never left your corpse as she continued to sing. Maybe, if she died, she’ll be reunited with you in the depths of hell, unknowing of the white glow that shone by your corpse as she closed her eyes…

…So it came as a great surprise when she reopened her eyes not to hell, but to a lovely floral scent wafting in the air… As it dawned on her that she reverted to her ten-year-old self her head immediately snapped to the spot beside her on the bed, a lump visible under the duvets. With a shaky hand, she slightly tugged it downward… revealing your adorable face.

She almost cried there on the spot, leaning forward to press a kiss against your temple. She remembered that wish you made on your deathbed… could this outcome be a result of your wish being granted? If so, she will not take it for granted. Your father… who ruined both of your lives, she will inflict vengeance on him. She will save you from your fate no matter what it takes.

“MY YOUNG Lady, you seem upset. Is everything alright?” Dana asked, chuckling lightly. Damn right, she’s upset. And no, she’s not alright. Can’t she tell? She was considered to be weak physically, but, god, the sight in front of her filled her with so much rage that she was capable of snapping the spoon in her hand in half.

The maid assigned to you was just doing what she ought to do, heeding your commands. If you tell her to bark like a loyal dog, she will do just that and obey your orders. So, naturally, if you had instructed her to spoon-feed you the food brought to the table, the maid would oblige.

Aria's teeth sunk further into her bottom lip, listening to how you squealed and laughed in glee when the maid gently wiped the crumbs off your face, chuckling along with you. Why were you acting so sweet and loving to someone you just met? She was there longer than that maid ever was, no? She was the only one there for you when you suffered, so rightfully, whatever abnormality or emotion you may feel, she is the only one allowed to witness it.

"What is it you don't like, My Young Lady?" Tearing her eyes off the sight that sickened her greatly, she stared blankly at her caretaker, who contrasted her expression with a beaming smile. She was so focused on the scene that she hadn't realized her body moved on its own, scribbling messily on the piece of paper she used to communicate.

She slowly wrote again. “You don’t like the maid, My Young Lady?” Dana tried to hide her amusement over the situation, albeit terribly, I may add, the fingers pressed against her quivering lips a dead giveaway. “So, that’s why you have that frown… Young Lady, are you perhaps jealous?”

Jealous? The feeling inside her body burns too hot for it to be deciphered as jealousy. What she felt was a pure unspoken rage that could tip over at any given moment. Such anger she felt… was similar to the night she confronted her drunken father after she awoke as a child. In short, she didn’t want this maid to just leave. She wanted her gone. Entirely.

“Hmmm…” Dana frowned at Aria’s discontent. Pinching her chin in thought, she glanced in your direction. “The Other Young Lady does not know how to use cutlery correctly, hence why she always seeks assistance. However… Ah!” Dana snapped her fingers as a thought popped up. “Why don’t you feed The Other Young Lady instead?”

The rate at which Aria immediately perked up was comical. Eyes sparkling like fine jewels, she was practically buzzing in her seat! Satisfied that she made her Young Lady smile, Dana quickly moved to update your maid on the change of plans.

You were very confused when your maid abruptly stood from her chair, big-doe eyes staring when she stood near the doorway with a large smile plastered on her lips. But when your sister approached you, taking the spot the maid sat on to feed you, all questions vanished. You were already glad to see your sister just… there, so, think of the wave of happiness that rushed over you when she wrote she wanted to feed you!

The food served became tastier now that your sister was the one feeding you. And with a full mouth of food and eyes that glimmered in admiration of your sister, you huffed out an ‘I love you’ as best as you could. It was a bit gross to see some bits of food fly out of your mouth, but the warmth that clenched her heart from your genuineness overpowered her disgust. Smiling fondly, she wiped your messy mouth before leaning over to press a loving kiss on your forehead.

Your happiness truly is the source of her own happiness. Keep smiling for her, she will do anything to preserve it and anything for you, her little mermaid.

©chaedomi. please do not modify, edit, copy or reproduce any of the works published.

#🥛━ 𝓒𝐇𝐀𝐄 #becoming the villain's family #btvf #btvf x reader #manhwa x reader #manhwa x you #yandere manhwa x reader #yandere x reader #platonic yandere #yandere platonic #yandere x you #yandere x y/n #child reader #female reader

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comradekatara · 1 month

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What do you think of Ozai as a villain? 👀 i'm seeing people saying the live action Ozai is better and i'm like "nah". They missed the point of the character

i mean i think a lot of people misunderstand ozai because people want a compelling character (especially a compelling villain) to be “layered and complex” in a very specifically emotional sense. but i do think ozai is layered and complex, simply in a different way that people expect. azula, for example, is a great villain because she is psychologically complex, and every action and motivated is entrenched in layers of nuance. but ozai is thematically complex, functionally layered. his underlying emotional motivations, however, are beside the point.

ozai’s narrative function is primarily to be metonymically figured as the embodiment of patriarchal and imperialist violence. ozai performs this function through interconnecting the domestic (his abuse of his wife and children) with the national (his role as sovereign of an empire). zuko’s disavowal of ozai in “the day of black sun” very explicitly ties his personal abuse to the logic of imperialism, and zuko denounces both logical tracks through acknowledging their interrelation. it’s hardly an uncommon character construction either: the domestic (specifically, the patriarchal nuclear family model) as microcosmic of the societal (specifically, patriarchal societies that are otherwise organized along unjust hierarchies) is prevalent across plenty of narratives, from the house of atreus to king lear to succession.

my personal favorite example of this trope as it is employed is in palace walk by naguib mahfouz, because al-sayyid does function as sovereign of his house, but he is also grappling with the consequences of being a colonized subject, and that colonial shame and humiliation both complicates his relationship to power but also reifies his patriarchal role within his family, his very real pain and disempowerment leading him to exacerbate his domestic abuse and tighten his control over his wife and children. al-sayyid is also, notably, not strict and controlling beyond the purview of his family, but within his own house, he very deliberately positions himself as an inviolable patriarchal authority.

however, unlike al-sayyid, ozai is a sovereign in every sense of the world, and even positions himself as akin to a god. but, as we can infer from “zuko alone,” ozai is not impervious to patriarchal abuse (or he wasn’t before ascending the throne), and thus has suffered his own shame and humiliation fostering his god complex due to compensation (and through the internalization of the logic of patriarchal abuse). ozai perpetuates the cycle of abuse as he, too, once suffered it (much like logan roy, to name another excellent example of this archetype). so while ozai is no longer a victim in any sense of the term, it is important to understand the psychology underlying his belief that he is ontologically deserving of the undivided respect and submission of the entire world due to his position of power.

ozai genuinely believes that he was teaching zuko respect, because respecting his authority is one of the values ozai holds most dear. because, of course, to speak out against ozai as an individual is to speak treasonously of the fire nation, and vice versa. and he expects his children to display their unquestioning loyalty to the Father(land) above all. the second they question him or confuse that priority in any way, they have irrevocably forsaken him and thus must be discarded. that is the logic of (to quote utena) a man who has made himself “end of the world.”

moreover, the other most crucial aspect of ozai’s character is how he is framed. until book 3, we never actually see his entire face. he is always a goatee, a spaulder, a disembodied smirk, a voice echoing through the flames, a crown. ozai as metonym goes both ways. and it serves to emphasize his ominous nature, as someone who is so powerful that we cannot truly view him head on. he’s framed in an almost godlike way.

and then, in “the awakening,” we see him without reservation. he is a tall, imposing man, but he is also, fundamentally, just a man. in “the headband” we see his face through a fire nation propaganda poster, as if to imply that his face is not more sacred than any other face. his poster is immediately followed up with aang’s recreation of his portrait with noodles. before book 3, holding ozai’s gaze is impossible, as he is merely a looming spectre. but book 3 immediately and ruthlessly undermines the notion they have been building up for two seasons, and through comedy, no less. ozai may be uniquely powerful and uniquely evil, but he is still just a man, and by the time he crowns himself phoenix king, destroyer of worlds, we are well-aware that he is not innately, divinely superior in any way, and his fascistic performance simply looks ridiculous.

unlike azula’s claim that “the divine right to rule is something you’re born with,” there is nothing unique or ontological about the role of the emperor. there is nothing ontologically superior about the colonizer’s relationship to the colonized besides the material dynamics of power informing their relationship. the father as head of his family is not ontologically necessitated any more than the structure of the nuclear family is predicated on innate anthropological roles rather than being socially constructed and maintained through systemic violence. ozai is not ontologically special, and his claim that he is seems even sillier as he goes up against the avatar, who actually truly is.

when ozai faces aang in the final battle, it is a significant fight because it represents the culmination of all the ideals aang has constantly fought for and asserted within ozai’s imperialist paradigm. and by refusing to submit to ozai’s logic of domination, aang disempowers ozai wholly. not because lack of firebending makes one totally powerless, but because lack of bending makes one powerless within ozai’s logic. aang renders ozai victim to his own ideology, playing his own imperialist dogma against him. instead of killing ozai in combat, as ozai expects, aang humiliates him by asserting his cultural values and their continued relevance over ozai’s values. the culminating battle against ozai, with the spiritual light that threatens to overtake aang, is a battle of one ideology winning out over another. it is the culmination of a century of genocide and colonialism by an imperialist power. it is the undermining of ozai’s entire worldview.

ultimately, we don’t need to see a lot of ozai to understand him. we can understand ozai perfectly through zuko and azula, because he positioned them as extensions of himself and thus their respective embodiments are simply their ways of performing him (azula is obviously a better actor). his complex psychology is beside the point, because his narrative function is to represent the imperialist forces that aang must battle. and they do this by establishing him as an ominous and terrible deified man, and then undermining him as little kore than a human being with an incorrect worldview. so he is interesting, not because he’s “complicated,” but because he reflects the central tension of the show in a satisfying way, and that’s what matters.

#lilith-91 #asks #analysis #ozai #synthesis #azula&ozai #ozai&zuko #azula #zuko #putting this under a readmore even tho it’s only 10 paragraphs….. for shame #im on mobile rn but if u go thru my ozai tag you’ll also find a lot of other posts and more in depth analyses of the things i cover here #im sick of linking to other posts tho #at this point everyone should just be wholly familiar with my oeuvre #(im lazy)

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coralinnii · 1 year

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❋ If you are a villain, then let me be your accomplice ❋ feat: Jamil genre: mild hurt/comfort, budding romance note: sequel to reincarnated into a new world as the bad guy AU Jamil ver, not gender specific reader, no pronouns used, villainess!reader gets sulky, 1.7k word count

I liivvveee! For now, anyway. I still have my job projects and midterms are upon me but I finally found some time to myself so I hope you enjoy another addition to the Villain/ess!series. Jamil is such an intriguing character with such complex emotions.

series index

Be it luck or the universe finally giving you a break but you noticed that Jamil is starting to like you…or at least tolerates you a bit more than before.

Since that fateful incident, the competent boy was more willing to be on your side and a lot more comfortable with you, even if it’s mostly reprimanding you.

“You shouldn’t run in the hallways, you could trip and get hurt!” “Don’t touch those flowers, they have thorns! If you wanted some, just ask me”

Jamil’s tone was harsh, but he always offered his hand to you to help you walk with your heavy garbs on and would give you the most beautiful bouquet of flowers that you keep in your personal guest room, one that the Asim family provided considering how often you come over.

Because of your frequent visits, you have the blessing to see the hidden sides of Jamil that you never considered even with your knowledge of this fictional world.

Like how his voice gets higher when he gets frustrated or surprised, or how animated he gets with his arms whenever Kalim does something spontaneous (which is pretty much all of the time). You especially like how he tries to hide his face whenever he gets embarrassed, especially after finding out how weak he actually was to sincere compliments.

“Will you teach me to dance, Jamil? You look so cool when I see you”

“I’m sure you can find someone much more capable than me”

“Please? You’re so beautiful when you do it”

“…If I have the time, then”

“Yay!~”

In your bliss, you’ve forgotten all about your previous plans to leave this kingdom if not for your father asking you about your thoughts on some academies that were recommended to him by the Asim head.

You wondered about that now. You wanted to leave this land in hopes of avoiding your bad ending with Jamil but with your growing friendship with both Jamil and Kalim, you feel more reluctant to leave them. You asked your father to give you some time and postpone your applications, just so you can rearrange your thoughts.

Despite your predestined future, you were reincarnated into a luxurious life. Being a second-born in an established and rich family, you were not bound by responsibilities or expectations aside from noble standards. Your only job was apparently to marry well which could be stifling to some but you choose to ignore that in favor of enjoying your youth. Marriage talk is still far for you to consider and you have better things to worry about.

Like wondering why Jamil is avoiding you again!

“Kalim, tell me the truth. Does Jamil hate me?” You asked your fair-haired friend who had a sudden feeling of deja vu.

“There’s no way! Jamil really cares about you, I can tell” Kalim reassured you, pressing a fist to his chest in honesty. He had seen how much you matter to his dear friend.

Kalim saw how meticulous Jamil was when arranging the bouquet with your favorite flowers, just because you wanted a singular one from the garden, and he was there when Jamil was trying to hide his smile when you were adamant to learn how to dance from him because you love how he looked when he danced.

Jamil hating you? That’s crazy.

“He won’t even be in the same room as me anymore” you rebutted, pouting as you were sure Jamil didn’t want it to be obvious that he was avoiding you, but you definitely noticed with how much you miss his company.

“Then we’ll just make sure he will be!” Kalim yelled out, his expression screaming ‘I have a great idea!’. This worries you.

Jamil was huffing, running through the hallways with as much caution as he could. A servant told him that Kalim requested him to come over to his room as soon as he could. Even if he knew the Kalim wouldn’t care if he was a little slow, as a servant of the esteemed Asim family he can’t ignore the supposed urgency for his assistance.

Finally reaching Kalim’s room, Jamil took a few seconds to adjust his appearance before knocking on the door, announcing his presence. But Kalim did not respond from the other side of the door.

“Young master Kalim, it’s Jamil” Jamil announced his presence again. Still no answer.

Jamil let out a small sigh. Kalim must have fallen asleep while waiting, he assumed. Used to this situation, Jamil slowly opened the door and inspected the room. The room was quiet with no sign of the Asim heir. He looked over to the large bed that had its canopy curtains loose, covering the bed.

“So I was right, Kalim did fall asleep” Jamil suppressed his exasperation as he walked towards the bed, pulling the curtains aside.

“Young master Kalim, what did you need from me that was-“

To Jamil’s surprise, it was not Kalim but you sitting on his master’s bed, looking somewhat angry. The dark-haired servant started looking around the room presumably in search of Kalim and for him to explain this situation. But since he wasn’t here, you volunteer to explain yourself.

“Kalim is currently in the village partaking in the weekly market,” you raised your hand when you saw the look of panic on Jamil’s face “He didn’t go alone, he has someone with him. That newly assigned tutor of his, I believe”

Jamil looked visibly calmer but you could tell that he still had some questions swirling in his head. It’s strange but you don’t feel surprised by how much you could tell about Jamil, that’s just how close you felt to him. But apparently, that isn’t mutual.

“I asked Kalim to call you on my behalf since you seem to be avoiding me.”

“I assure you, I could never be so rude as to avoid you-“

“But it feels like it! You don’t talk to me anymore, and I haven’t been able to see you as often as we used to” you knew that you sounded very childish, in fact this whole conversation is childish but you didn’t want whatever was going on between you and Jamil to continue and maybe even someday break apart this new bond.

“I just don’t want to drift apart from you” you whispered to yourself but Jamil with how keen he was, overheard your thoughts.

The truth was, he was avoiding you. Some time ago, he overheard the conversation between your father and Kalim’s father about recommendations for oversea studies and found out that you wanted to leave this kingdom. Jamil felt a pain in his chest he didn’t expect. To his surprise, he found himself feeling sad over the idea that he may not see you again for a long time, maybe even forever. Unlike him, you were free to travel with nobody to chain you down or obligations to come back. You could walk out of his life and never return.

Jamil didn’t like that feeling, so he decided he should nip this new friendship in the bud before it hurts even more.

But there he was, second-guessing his choice as he watches the look of sadness on your face, confessing that the mere few days without him left you upset. But still, he crushed that doubt (and hidden glee in the shared sadness) and chose to put on a face of professional indifference.

“I apologize for upsetting you but I’m sure there are more capable companions than I for you” Jamil spoke to you so formally, just like the days of your first meeting. “When you start your oversea studies, there will be a great diversity of people that will be worthy of your time”

“Wait, when did you hear about my plans to go overseas?”

Jamil's face paled as he realized his mistake. That was apparently not common knowledge amongst the servants and he just admitted that he knows because he heard something he had no right to as a worker of the esteemed Asim family.

Quickly, Jamil fell to his knees and dropped his gaze to the floor. This shocked you and quickly rushed to the floor to pull Jamil to his feet when he spoke again.

“I committed a crime. I overheard something that was not meant for my ears, therefore I will accept any punishment.” Jamil's tone was unwavering which scared you. A young teen like him speaking about punishment over a mere accident was a terrifying sight. What's more, he treated you less like a friend and more like an authoritative figure of his, which broke your heart.

“Jamil, I’m not going to punish you. And I never will!” You assured your friend, glancing to the door to make sure no one heard the two of you. “And Jamil, I haven’t decided if I want to study overseas”

You just kept on surprising Jamil.

“I thought about traveling to study but now…I don’t think I want to travel when I’m just going to miss you too much” you confessed your reasons before panicking slightly “and Kalim, of course! And my family!”

To anyone else, they’d think you were being foolish. Who wouldn’t want to travel and experience the world? Even Jamil dreamt about it, where he wasn’t bound by his obligations and was free to go wherever he pleases, maybe make a name for himself rather than simply Kalim’s shadow. If he was honest, he envied you for being someone unbounded or shadowed by anything or anyone.

Even with your embarrassing confession, you can tell that Jamil was unconvinced which left you exasperated before continuing on. “You and I finally got closer and I didn’t want to just suddenly leave like that. I know I’m being childish but that’s how I feel.”

You were being childish, Jamil thought. There you go again being foolish and nonsensical as Kalim with your emotions controlling your thoughts instead of being level-headed. To refuse a chance to see the world just to keep a superficial friendship with a mere servant like him is crazy, ridiculous, absolutely stupid…

But why does he feel so warm inside? This bubbly feeling of happiness growing in his chest?

“How irrational can you be? To forgo an opportunity like this for a mere servant like me…”

“But you’re not some ‘mere servant’,” you puff out your cheeks over that self-deprecating comment, grabbing your friend’s hands and encasing them tightly in yours. “You are the one and only Jamil Viper, someone very important to me.”

Without any way to hide his face, you got a glimpse of something rare. An embarrassed Jamil.

Bonus

"Hey Jamil..."

"Yes?"

"If I do think about traveling, would you like to come with me?"

"What would you need me for?"

"Just be there with me, enjoy the world together with me...like equals"

"...If I have the time, then...I would like that"

"Yay!~"

#twisted wonderland #twst #twst x reader #twst imagines #twisted wonderland x reader #disney twisted wonderland #twst scenarios #twisted wonderland imagines #twst jamil #jamil viper #jamil x reader #villainess au

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cloudcountry · 1 year

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breaking the mold

Genre/Tropes: Mutual Pining if you squint very hard.

Summary: Vil has always been cast as the villain. With a new writer working with his club, he learns that not every director will see him that way.

Author's Comments: I wrote something similar to this for another character that was normally portrayed as a villain (2p!America cough cough) so it was kinda funny writing something like this again but I really enjoyed it!! Also, in Epel's SSR vignettes this club apparently doesn't have auditions? Vil just picks someone and is like "you're good" so I put Reader in that same role.

~~~~~

“For our next play, I’ve opted to let our newest member write it. They’ve proven themselves efficient at directing the stage crew and have shown me various samples of their writing.” Vil announced, locking eyes with you from in front of the small crowd of club members, “Come to the front, director!”

Murmurs swept through the crowd as you jumped up, rushing towards his side with a huge smile on your face. Vil looked upon your smiling face with pride, confident that he’d made the right choice. It only made you more motivated to please him.

“A new member? Writing for us?” someone muttered from the group, “That’s unheard of.”

“You must push boundaries to progress.” Vil responded, “I’ve made my choice. I only hope the rest of you are willing to give them a chance.”

“I won’t let you down!” you proclaimed, standing even straighter in hopes that the club would accept you.

“Let’s try it out. What’s the worst that could happen?” someone else said, “Besides, Vil will still be overseeing everything, Nothing will go wrong!”

Another murmur swept through the crowd as people started to nod. Vil turned to you with a small nod, and you knew exactly what he was trying to say.

They don’t believe you can do it by yourself. Prove them wrong.

👑

The next day, Vil walked into the small room the club had set aside for you. The table was cluttered with papers and pencils, and in the middle of it was you, writing down one last note before you looked up at him and beamed.

“So, how’s the cast list coming along?” he asked, trying to make sense of the messy writing scrawled over the papers nearest to him.

“I’m so glad you asked! I’m planning on casting you as the main character, of course.” you hummed, pouring over the script on the table, “I want to start off my first play with a bang, but you’re also the safest option because of your experience.”

Vil watched you work, scribbling down notes for the plot and little details you wanted added to the set. The passion and personalization you were giving to this production was admirable. Vil often had to remind his fellow club members to do exactly what you were doing when directing productions and designing sets. All of the actors and crew should be represented in their own special ways when on stage.

“Just so you know, I refuse to play a villain role. If you opted to play me in that role, perish the thought. I refuse.” he declared, pulling out the chair opposite of you and sitting down.

He was prepared for a barrage of complaints and reassurance. He was prepared for ‘but you’d do so well!’ and ‘it’s a great opportunity!’ and ‘what do you mean? Do it for the play!’ His agent’s voice echoed in his ears as he waited for your response, and he shook her away.

“Don’t worry, you’re not the villain. Not every hero is warm and soft, you know?” you laughed, shaking your head, “Heroes can be cool and tough too. If I wanted to write something with a wimpy hero I wouldn’t be casting you in the first place.”

You passed him the list of characters from across the table, pointing to the bright HERO title with stars doodled around it. His name was written in your all too familiar handwriting, a little smile stretching across the bottom of his name that used the two i’s as eyes.

“If this is your verdict, I’ll respect it.” he nodded, passing back to list.

“Oh, but you wouldn’t have if you were the villain?’ you snorted playfully, “I’m just kidding. I’m not here to write something cliche and stupid. I’m here to explore a side to heroes that the productions we’ve seen so far don’t want us to see.”

“Elaborate.” he said, lacing his fingers together on top of the table.

“All of the productions I’ve seen in Twisted Wonderland portray heroes as happy and soft and sweet. But heroes need to be smart and strong and resilient, you know? I don’t understand why people think those attributes are more villain-like. It’s like they want their heroes to be joyful and handsome instead of genuinely strong.” you met his gaze and beamed, “Not that you aren’t handsome. Obviously. You know how good looking you are.”

“Flattery will get you nowhere.” Vil rolled his eyes, gesturing for you to continue.

“Right, right. I’ll keep talking, Your Highness.” you snickered, scribbling a few more notes down on the character page, “I actually cast Rook as the villain this time around. I’m sure he’d be thrilled to share the stage with you. Also, doesn’t he have that dramatic villain vibe about him? I figured he’d be able to play the tyrannical king role pretty well.”

“You’re definitely right about that.” Vil nodded, lifting up the set design from your pile of papers, “Is there a particular reason why you chose the mirror to be here, in the corner?”

“Ooooh, I’m so glad you asked!” you nearly leapt across the table to look at the diagram with him, your hand resting on his arm for support, “You see, the tyrannical king ends up trapped in the mirror at the end of the play. I wanted to pay homage to the Evil Queen and her magic mirror while also giving the impression that the king’s punishment is a result of finally being cornered. He spends so much of the play in the middle of the stage, but once the hero and his allies find him he gets backed into that corner with no escape! He’s hidden away from the audience’s view and then the lights go out and boom! He’s trapped in the mirror for all eternity!”

“It’s very hard to come up with an original story, so I don’t blame you for referencing the Evil Queen.” Vil hummed thoughtfully, “However, are you sure the mirror design is your best work? If it’s truly a symbol to pay homage to the Evil Queen, will the audience get that message from this design?”

He handed the design back to you, watching as you poured over it. Your pursed lips slowly lifted into a smile as you jolted back into your chair, scribbling away at the paper once again.

“I got it now! This next one will be the one that knocks your socks off!” you proclaimed, waggling your pencil at him.

“I look forward to it.” he chuckled, leaning over to pat your head before leaving the room with a swish of his cloak.

You shot up in your chair, brushing a hand over where he had touched your hair. He really did know exactly how to motivate people, didn’t he?

👑

“Why did you cast Vil as the hero?” Epel asked, tilting his head as he read through the cast list.

“He’d be a lovely hero. That’s why.” you replied, waiting for the rest of the cast and crew to read over the list.

“That’s…an odd choice.” someone else piped up, “I mean, Vil is more suited to be a villain, you know?”

The group mumbled in agreement, nodding their heads. You furrowed your brow, holding back the twinge of annoyance in your chest.

“Do you want to have a play with a hero that’s soft and gentle? Or do you want a hero that’s tough and reliable? Do you want someone who only focuses on the princess, or a hero that rallies people together? Do you want a hero that nobody cares much about because they’re so vapid and uninteresting, or do you want a hero that everyone will remember because he’s the one that sent chills down their spine?!” you narrowed your eyes as the club listened, allowing you to explain yourself, “Vil is perfect for a hero role. It’s a disgrace that nobody has cast him in that role before.”

The room was silent for a moment before Epel sighed, shrugging his shoulders.

“If that’s what our director thinks, then I agree. They’re pretty convincing too, when they want to be.”

“Thank you, Epel.” your gaze softened as you relaxed, making sure to make eye contact with as many people as you could, “I’m willing to hear your input on this, but I’m not going to put Vil in a role that I think would be ill-suited for him.”

“I think Rook as the villain is a good casting choice.” Someone offered, “We’ve never seen him in a role like that before, but seeing you make that decision has made me curious.”

“Yeah! I know he’s in the science club, but there’s no way he’d pass up a chance to perform with Vil.” you nodded enthusiastically.

“He has no qualms about getting people not in his club to participate.” Epel mumbled, “I miss Spelldrive practice for one of his plays once…if I missed the play he would’ve killed me.”

“You were our main role, Epel. Our leading star. The play would have been ruined if you didn’t show up.” Vil replied, stepping into the room with grandeur.

“Housewarden!” Epel yelped, “How long were you there?”

“Don’t yell. I’ve been here the whole time.” his eyes flickered to yours, gratitude in his eyes, “I heard your discussion about the roles. I’m glad we’re all in agreement.”

“I’ll run them by Rook later.” you shot up out of your seat, gathering your papers quickly, “I still have to finalize that mirror design, and then I’ll show you that too. Let me know what you think!”

“Wait.” he placed a gentle hand on your shoulder, eyes only for you as everyone else filed out, “I want you to stay back for a moment.”

“Hmm? What for?” you asked.

“I want to talk to you. That’s all. Do I need a reason?” he replied, a challenge clear in his tone.

“Of course not, handsome.” you laughed, sitting back down, “What did you want to talk about?”

“I wanted to show you my gratitude.” he began, sitting in the chair beside you, “You have been the only person that has bothered to take my thoughts into consideration. It’s such a simple thing, but since you are the first to show me such thoughtfulness, I feel the need to let you know the impression you’ve made on me.”

“It’s no big deal at all! I just did what I thought would fit you best.” you stumbled over your words, face warming at the praise.

Since when did Vil praise you for silly things like that?!

Amused by your reaction, he laughed. How was one man so pretty? His hair fell into his eyes before he brushed it away, meeting your gaze again. You swallowed thickly, nerves twisting in your stomach.

“I trust you will do your best.” he said, hands clasped in his lap, “I believe in you.”

With that said, he left, leaving your mouth hanging open in shock.

If Vil Schoenheit wanted you to focus, he’d need to stop praising you like that.

👑

The day of the play was fast approaching as you watched over the rehearsals. The costumes had come together a while ago and the set had been built completely. The paint crew was still touching up on little details of the castle and mirror, each golden swirl and apple motif painted with extra care. Some of the club members that had worked on the set even picked up a paintbrush for the production. It warmed your heart to see everyone try so hard for the sake of you and your production. Even Epel came in to work hard when he didn’t have Spelldrive practice, his painted apples shining more radiantly than anyone else’s. Before you knew it, the show was being performed for any NRC students that wanted to attend. You extended personal invitations to all of your friends, making sure Malleus in particular had the date memorized so he could see your vision come to life. Cater had spammed his Magicam feed with promotional posters for the show, and Vil had also done some advertising to a lesser extent. The nerves were starting to settle in as you watched the people file into the theater, the low rumbling of conversation making your stomach do flips. Pacing around, you took deep breaths as your heart pounded. Today was the day of your debut as a director for Vil Schoenheit and the entire Film research Club. You only hoped you could do him and the rest of his club justice.

“You’re up.” Vil said from behind you, resting a hand on your shoulder, “I know you’re nervous, but you’re ready for this. I would not let you walk out on that stage if I didn’t think you were one hundred percent ready.”

“Thank you, Vil.” you smiled, hands shaking as they took the mic from the nearby stand, “I’ll…I’ll go break a leg out there.”

His eyes shone with affection as he offered you a smile, gently pushing you into the bright lights of the stage.

You blinked as your eyes adjusted to the new lighting, a chorus of cheers and whoops erupting from the crowd. Your stomach twisted itself into an even bigger knot as the darkened blurs wriggled and twitched with movement, but you reminded yourself of Vil’s words and breathed deeply.

“Thank you all for coming out tonight!” you said, putting the biggest smile you could on your face.

The sentiment was met with another round of applause and a loud yell of “THAT'S MY BEST FRIEND,” which you could only assume came from Ace.

“Thank you, thank you! Um…” you clutched the microphone tightly as the applause died down, taking in another deep breath, “This is my first time producing a play with the film research club. Being a director has been hectic, but it has also been very rewarding. As you all know, I got to work with the amazing Vil Schoenheit on this project-”

An even bigger applause erupted from the crowd at the mention of his name, to which you responded by looking backstage for him. He was standing just behind the curtain, a smile on his face as he listened.

“I know, I adore him too. He spent hours and hours with me, pushing me to do my best on set design and costumes and storytelling. He wanted me to make this play personal, and because of that, there are bits of him in the story, too.” you stopped to take a breath, the audience silent as you continued, “Thank you all for coming out tonight to support the work we do. Without further ado, I present to you, Poison’s Heir!”

The audience burst into applause again as you rushed off stage, waving to everyone that had come to watch your show.

“You did so well.” Vil whispered as the lights dimmed, “Now go take a breather. I’ll handle the rest.”

“Break a leg.” you whispered back, beaming at him.

👑

The second the auditorium doors were opened after everyone had taken their final bow, you were jumped on by Ace, Deuce, and Grim. A strangled yelp escaped your throat as you begged them to let you go, but they refused.

“You never told me you wrote in your spare time!” Ace yelled, pointing an accusatory finger at you, “I can’t believe you wrote something like that and didn’t tell us! What is wrong with you?!”

“It was really good, Prefect.” Deuce said, looking at you with stars in his eyes, “I’m so impressed, it must have taken so much work to build everything.”

“That’s why you kept sneaking off! That’s why you had all those late nights! Why didn’t you tell me?!” Grim grabbed your leg and shook it vigorously.

“I wanted it to be a surprise!” you yelped, shaking them off, “I’m surprised you guys even came!”

“Of course we did! You always come to my basketball games and I know you go to Deuce’s track meets too! Don’t act like it’s a burden for us to show up!” Ace crossed his arms over his chest and glared, pouting like a child.

“Hello, Child of Man.” Malleus interrupted, appearing behind you unexpectedly, “That was a lovely production.”

“Hornton!” you jumped, placing a hand over your heart, “You scared me! Don’t just teleport behind people like that!”

“But I didn’t.” he mumbled, a confused look on his face, “I just walked up to you.”

“Ah. My bad. I was occupied.” you sighed, smiling at him, “I’m glad you liked it!”

“I brought you this.” he hummed, presenting you with a bundle of orange roses, “I was told by Lilia that directors and cast members of plays often receive flowers after a play as a show of appreciation. He stressed that I should not give them to you before the play, since I would be bestowing bad luck upon you.”

“Dude, we so got one upped!” Ace quipped, but you ignored him.

“Aww, thank you so much.” you gasped, gratefully accepting the flowers from his arms, “They’re beautiful. I’ll be sure to treasure them for as long as they live.”

“Don’t worry, Child of Man. I’ve enchanted them so that they will not die.” he smirked, “You don't even have to water them. Those flowers will remain stationary, halted in time, just like the memory of your first production in my mind.”

You almost cried with how moved you were, but settled for giving him a huge hug. He returned it, holding your gently before he gave you a final smile and moved on.

The next person to throw themselves on you was none other than Cater.

“Hon!” Cater screeched, throwing his arms around you dramatically, “Oh, that was a gorgeous production! I wish I could have recorded it!”

“Thank you so much!” you laughed, wrapping your free arm around him to hug him back.

“Would you mind taking a picture with me? I’d absolutely love a photo of the director themself!” he begged, hands itching to grab his phone and take as many pictures as possible.

“Of course you can.” you pulled away, putting on another one of your director smiles.

Cater whipped out his phone and took a bunch of quick pictures, trying out a few different angles. You felt your crowd pleasing smile grow into a genuine one as your face warmed, feeling all the love all of your friends were sending to you.

“You don’t mind if I post these to Magicam, right?” he asked.

“You ask every time Cater. My answer is always no. I don’t mind at all!” you laughed, thankful he’d go through the effort of checking every time.

“I just want to be sure! I’ll send you the ones I want to post just so you can go through them.” he said, pulling you in for one last hug, “Great job, hon. I’m so proud of you.”

The crowds slowly died down as time went on, and the club was finally allowed the step back into the auditorium. That’s where you found Vil, standing by the doorway in his costume.

“I was waiting for you.” he said, hooking his arm through yours and pulling you away from the group, “Come with me.”

You allowed him to lead you outside into the cool night air. He sat down on a nearby bench and gestured for you to do the same.

“So how many flowers did you get?” you asked, still clutching the orange roses to your chest.

“I received many flowers from adoring fans.” he said matter of factly, “But that’s not what I wanted to talk about.”

“What is it?” you asked, scooting closer.

“Magicam. The production is blowing up.” he murmured, unlocking his phone and pulling up his Magicam feed.

You watched as he scrolled through post after post of happy, celebratory photos, all tagged with #Poison’sHeir. Your heart warmed at the display and the fact that Vil had taken the time to show it to you.

“I dare say your first show was a success. I’m looking forward to the next one you direct.” he chuckled, expression soft and caring, “I’d love to work with you again.”

Pride welled up in your chest at his words, the knowledge that this would not be your last show and that you’d impressed him enough to earn his praise forcing a wobbly smile to bloom across your face.

“Wait…Vil, is that Neige?” you gasped, the laughter catching in your throat as the moment was shattered.

His nose wrinkled in displeasure as he rapidly scrolled away from the post.

“Don’t pay attention to him-”

“Noooo, Vil! I wanted to see his post!”

“Stop trying to take my phone-!”

#auburn's fics <3 #twisted wonderland x reader #twst x reader #disney twst x reader #disney twisted wonderland #vil schoenheit x reader #vil x reader #vil schoenheit fluff #neige leblanche on his way to steal vil's love interest #thats a joke #maybe #depends on who you like more ig

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kelpermoosee · 5 months

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You: And the shy little plumber fell in the love with the big scary ghost Me: Oh my god the shy little plumber fell in love with the big scary ghost. Follow.

Yes!! I enjoy a lot of Luigi ships, but Booigi definitely has to be my favorite! :D

Lengthy Booigi ramble under the cut because I can’t stop myself:

I’ve mentioned this before, but to me there’s just something inherently hilarious about viewing their relationship through a romantic lens. Maybe that’s because of how unconventional their “rivalry” is in canon?

Generally, in enemies to lovers, both characters have a shared animosity towards one another. However, in the Luigi’s Mansion games, it’s clear that this is very one-sided (LOL). King Boo never intended to see Luigi as anything more than some simple hurdle in his evil plans. So it’s funny to see his newfound hatred transform into something more akin to obsession (which he definitely needs to work on).

For Luigi, I don’t think he’s ever hated King Boo? He more or less just sees the ghost as a scary inconvenience. Although, (going into headcanon territory here) I feel like Luigi can’t help but notice how much King Boo seems to subconsciously respect him.

Like sure, the king might be dramatically ranting about how much he hates Luigi, but at least King Boo is taking the time to remember his name and other things about him. Not many other villains (or even allies) tend to offer Luigi that same type of treatment, so to see his supposed “biggest hater” do it is…weird.

Overall, the thing about Booigi is that compared to a lot of other Luigi x (insert villain) ships, their dynamic is a lot more balanced imo. As afraid as Luigi may seem in the games, he is always shown to be completely capable and brave. When fighting King Boo, they’re generally on equal footing with one another as well.

This balance really helps amplify their weird dynamic, because if both of them just calmed down a second, I’m pretty sure they would get along great! Their personalities bounce off each other well, and allow them to really enhance their strengths. They can bond over being constantly overshadowed by others or smth :)

Plus, I think their designs go nicely together! Booigi has this pretty green and purple color scheme going on!! 💚💜

#kelperambles #luigi #king boo #king boo x luigi #luigi x king boo #booigi #boouigi #smb #super mario #super mario bros #anon #anonymous #sorry for rambling about their entire dynamic…AGAIN.#anyways. BOOIGI PROPAGANDA‼️‼️‼️#big fan of drawing ships that make others go ‘wait. people ship this?’#but not in like a weird way. just a silly one :)

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onesidedradiostatic · 17 days

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Honestly a part of me thinks that Alastor and Vox WERE really good friends and Alastor is in denial about how important Vox had been to him. Maybe that partially factors into him playing down how much Vox irritates him. And a part of me feels like his love of attention outweighs his annoyance at Vox, even now, since Vox is ALWAYS willing to give Alastor his undivided attention.

(prev post)

ACTUALLY ACTUALLY this connects back to this rb. like about alastor's need to sever emotional attachments, "Ah, an enjoyable collective to be around. I admit one could get accustomed." to ""Great Alastor, altruist, died for his friends"? Sorry to disappoint... That is not where this ends!" pipeline.

the juxtaposition of the vees' verse and alastor's verse being back to back. they're both villain verses, but one is a secure team (maybe a bit messy toxic and unhinged but. they're tight okay) whose members have one another to rely on, the other is a solo mental breakdown about having attachments, yet they both end about the need to eventually be in control and with evil laughter.

like I've seen this mentioned before but also alastor's part in stayed gone where he says "he'd be powerless without the other vees", he's making fun of vox for relying on others but at the same time it does speak volumes about his own view on seeing attachments as "relying on others", because in THIS department, vox has the fact that he's fine and secure having allies he can trust compared to alastor seeing it as a weakness.

we have like sooooo little information right now that anything goes, but I like the idea of alastor having thought of vox as a legitimate friend at least a little. made a post on that once even.

I also kind of like comparing it to like how alastor currently is with charlie/the hotel, like he started out spending time with him for entertainment but then he saw a semblance of sentiment and had to cut that out.

but at the same time I also like alastor stepping away because he started noticing things about vox he disliked (because like I've mentioned before, his insults in stayed gone seem to be legitimate jabs at vox's character/practices).

OR we could have it so that the initial falling out happened because alastor felt the need to cut out any risk of emotional attachments (and I want to STRESS that I see both of them being at fault in this situation, regardless of alastor's motives, vox couldn't take no for an answer and got pissy), but later on after they were split, he started to see parts of vox's attitude that he disliked, how much of a sellout he'd become and he thought in his mind that this only proved him right to cut him off, and so he learnt nothing, after all he was right to cut vox off so surely his idea of attachments being a weakness is completely and utterly correct right?

anyways idk if I got a bit off track here, but about alastor being in denial, I think to some level he would be simply because of him seeing attachments as a weakness. but at the same time he's the one who called vox "old pal" (albeit condescendingly) and vox was the one who got ultra super embarrassed about "he asked me to join his team" (of course this is framed in a mocking way, similarly to "he'd be powerless without the other vees", like "can you BELIEVE he wanted me to join him and start RELYING on him like how he relies on the other vees? HA! as if." but he's also not hiding the fact that they were at least on good enough terms for vox to want to ask him that, but then again he doesn't speak of sentiment on his own side, so it could easily just not count as a point against him downplaying it). but yeah um. I do think him downplaying shit is related to him hiding weaknesses, similarly to how he's always smiling. he downplays how much vox bothers him because showing so would be a weakness. which could also go into how he let that mask slip with lucifer but this post is getting LONG and others have pointed that out before.

and the other part, about alastor's love for attention outweighing his annoyance at vox? I mean I think both can be true, I do think he enjoys the attention he gets from vox's obsession but I do also think he does legitimately hate vox.

anyways this post got LONG sorry I ended up rambling about shit. tried to address contradictions with my past posts (which can happen a bit, cause sometimes my opinions change or there's multiple possibilities of something and I can see multiple of those possibilities even if they contradict one another). this is a long post so my brain is too lazy to read it over and proofread so sorry if it ends up being a mess ✌️

#ask #osrs.txt #tagging when I talk about alastor's side of the relationship is so impossible for me #it's like I didn't bring up one-sided radiostatic at all so I can't even use the one-sided tag #this is about their GENERAL relationship okay #radiostatic #staticradio #completely platonic on alastor's side okay #hazbin alastor #hazbin hotel alastor #alastor #hazbin vox #hazbin hotel vox #vox

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unabashedly-so · 4 months

Text

📚 SDV Elliott HC 🎭

Being alone with your thoughts for so many hours a day can make one a little... eccentric.

Content warning: none ☺️ just the silliest little HC.

(also if you consider yourself a writer and have never done something like this, you're lying.)

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

It takes, like, YEARS after marriage for this one to come to fruition.

Then, one day, it happens. You bust into the house from the summer heat to grab a drink of water because, fuck, it's hot and--

Elliott didn't expect you back for another couple hours. It's summer! It's the busiest season! He thought he had the house to himself for at least another--

--there's Elliott. Just, uhh... well to be honest you're just not quite sure at first what he's doing.

--he doesn't notice you come in then stand stock-still in the doorway for several confused, dumbstruck, delighted seconds.

Meanwhile: his hair is in a ratty knot on top of his head, he has a very round potato in his hand that he holds aloft like an offering to the gods (the ceiling fan, perhaps?) while he stands barefoot, pajamaed, on top of his desk.

and you don't know what you like more--the voice(s) he uses when he's in-character, or how he so often interrupts himself, out of character, with little nitpicking comments.

"--and with every ounce of my power--ounce? don't they measure in metrics? and is the nature of power fluid or, *gasp* gaseous? ...No, has to be fluid--holdable, shapeable. But fluidity of power," he kneels, scribbling something on the one paper left on the desk. "definitely include that somewhere else, yes..." He stands up, clears his throat and resumes, "--and with all the power now within my reach--nope, already holding it--grasp, I can finally--"

His eyes meet yours with a tiny yelp and he freezes.

Neither of you speak. A bead of sweat falls from your face and plips on the floor. He continues to hold the potato aloft.

Finally, "You're home early, dear."

"Just, uh... need some water," you manage. A few seconds pass by, so you helpfully add, "It's hot."

"Indeed."

Another pause.

Your turn. "Sooo... whatcha doin' up there, dear?"

He slowly lowers the potato. "I... was having trouble figuring out the blocking, you see. Frederick just obtained the orb of power and he's quite conflicted about it. So..."

"...so you stand on your desk and offer it to the ceiling fan?"

"No," he pouts, but you know that's a sign that he's incredibly relieved--you're playing along so he plays along. "No, you go stand on a cliff," he motions to the desk, "and seek communion with the Great Omnipotence," he gestures to the ceiling fan.

"Yes, that's... yup. That's what that is."

He clicks his tongue, non-potatoed hand on his hip. "...this might surprise you, but I have a very vivid imagination. Now, can you help me down?--I accidentally kicked my chair away during the villain's soliloquy."

You walk over, despite: "I'm very sure you're more than capable of getting down safely on your own."

He holds out his hand. "And miss the chance to hold your hand and jump into your arms?"

(depending on the stature of the farmer, he very well may! But only if there's not a single ounce of doubt he wouldn't overwhelm the farmer.)

From there, it's gradual, but he little by little lets his guard down. He talks to himself in low muttrances at first, like quiet bickering when he's particularly focused. Then he takes to dramatic readings while he's cooking or cleaning, trying to strike the right cadence and rhythm. Months later he's pushing furniture aside and pacing out choreographed scenes in the living room. In the winter, you're roped into them with him and... he loves it, and he loves you all the more for it.

He uses your help for scenes he's stuck on, gives you a page or two to work with, then tells you to just say and do what feels right! He doesn't always use exactly what you riff up, but it helps point him in the right direction.

He'll do any kind of scene you're comfortable with, but he especially seems fond of putting you in romantic scenes. 😘

even though half of them never show up in his novels or poetry collections??????? and yet???????

He still maintains his composed facade outside of the house, but inside your little house by the pond, all bets are off. You routinely come home with Elliott pacing, muttering, giving a grandiose speech, nitpicking--he stops, but only a pause, to acknowledge you with a peck on the cheek before he whisks himself away again--prophesizing, arguing, nitpicking, etc....

Your home has never been so full of life, laughter, and love.

#sdv #sdv elliott #stardew valley #sdv hcs #stardew elliott #stardew headcanon #unabashedly posting #you'll never ever guess where the inspiration for this came from 😂😂🙈#edit: god fucking dammit i live laugh loved myself #>(

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ilynpilled · 8 months

Text

GRRM on morality, heroism, villainy, and parallax in ASOIAF:

Time magazine wrote of you, “What really distinguishes Martin and what marks him as a major force for evolution in fantasy is his refusal to embrace a vision of the world as a struggle between good and evil.” Do you agree?

I think the struggle between good and evil is central to fantasy and, indeed, in some ways, central to most fiction. It's certainly a worthy subject for fiction. But I regard the struggle between good and evil as being waged within the individual human heart. […] You know, the greatest monsters of history, as we look back on them, thought they were the heroes of the story. You know, the villain is the hero of the other side, as sometimes said. That doesn't mean that it's all morally relative. That doesn't mean that all things are equally good and evil. I think there is good and there is evil in the world. But you know, it's sometimes a struggle to tell one from the other and to make the right choices. I've always been attracted to great characters, maybe because that's what I see when I look around the real world, whether I read about it in history books or the news or just people I meet. I mean, all of us have it within ourselves to be heroes. All of us have it within ourselves to be villains. We've all done good things in our lives, and most of us have also done selfish things, cowardly things, things that we're ashamed of in later years. And to my mind, that's, I don't know, the glory of the human race. We're such wonderfully contradictory, mixed-up creatures that we're endlessly fascinating to write about and read about.

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In your work, you have essentially captured Mikhail Bakhtin's concept of polyphonic fiction, where the characters are equal, and the reader can root for any of them. This has been impossible to convey on the TV series.

I wouldn't say all the characters are equal, but they have (hopefully) human traits, especially the viewpoint characters. I have seven viewpoint characters in the first book, and each book has a few more. So, by now, we're probably up to 12 or 13 viewpoint characters, and those are the ones where I go actually inside their skin, so you're seeing the world through their eyes. You're hearing their thoughts. You're feeling their emotions. And I try to paint over those viewpoint characters, and some of them are noble and just, and some of them are kind of selfish, and some of them are very intelligent, and some of them are less intelligent and even stupid. But they're all human, and I want to portray their humanity. […] I think the battle between good and evil is fought all over the world, every day, in the individual human heart, as we all struggle with the choices that define us and define our lives. And we have to choose what we are going to do, and sometimes the choice is not easy; it's not this absolute juxtaposition of the good guys and the bad guys. And I wanted to get to that with my characters, and show some of the difficulties that they face.

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Another element I liked about the series was the moral relativism of many of the characters. Too many Fantasies rely on the shorthand of truly evil villains in the absolute moral sense, but your characters, while they might commit terrible acts, generally do so either from short-sighted self-interest or because they truly believe they are acting for the best. Was this a deliberate decision, or is it just more interesting to write this way?

Both. I have always found grey characters more interesting than those who are pure black and white. I have no qualms with the way that Tolkien handled Sauron, but in some ways The Lord of the Rings set an unfortunate example for the writers who were to follow. […] Before you can fight the war between good and evil, you need to determine which is which, and that's not always as easy as some Fantasists would have you believe.

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Do you purposely start a character as bad so you can later kill them?

No. What is bad? Bad is a label. We are human beings with heroism and self-interest and avarice in us and any human is capable of great good or great wrong. In Poland a couple of weeks ago I was reading about the history of Auschwitz - there were startling interviews with the people there. The guards had done unthinkable atrocities, but these were ordinary people. What allowed them to do this kind of evil? Then you read accounts of acts of outrageous heroism, yet the people are criminals or swindlers, one crime or another, but when forced to make a choice they make a heroic choice. This is what fascinated me about the human animal.

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Martin's realm is not one of unambiguous heroes and villains. His characters, from royals to peasants, tend to be ethically mutable. So-called good people, like the noblemen Ned Stark, his son Robb Stark or the indomitable Daenerys Targaryen ("the Mother of Dragons"), make terrible mistakes - out of weakness, pride or an overly rigid sense of right and wrong. And horrible people, like Jaime Lannister, known as "the Kingslayer," do terrible things and then, over the course of several books, reveal themselves to be capable of heroism and sacrifice.

As we're discussing this in the theater, Martin quotes Shakespeare's "Julius Caesar" from memory: “The evil that men do lives after them ;/ The good is oft interred with their bones.” Then he adds his own version: “We shouldn't forget about the evil that good men do. But we shouldn't forget about the good either,” he says. “I do think a society needs heroes. They don't have to be flawless.”

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Your books have a very strong storyline associated with the atonement of sins. For example, the way of Jaime Lannister, do you yourself believe in karma?

I don’t believe in karma per se, although sometimes I have my doubts because sometimes I think I see things that could be explained by karma. But no, I don’t really have any beliefs in the supernatural. I do believe in the possibility of redemption. And I believe that human beings, all human beings, are grey. And I try to remember that when I write my characters. We are all heroes, we are all villains, we all have the capacity for great good and we all have the capacity to do things that are selfish and evil and wrong. Sometimes it’s hard to tell the difference. In your lifetime, you can be both. And it’s making choices that defines us as human beings. There’s this sensation of compartmentalism. This eagerness to judge everybody based on the worst thing they ever did, not the best thing they ever did. And you know, I think Shakespeare in "Julius Caesar" wrote “The evil that men do lives after them ;/ The good is oft interred with their bones.” And sadly that’s true. And I think it should be the reverse. We should remember the good things and the noble things that people did, and forgive them for their failures and moments of selfishness or wrongdoing because we all have them. When we forgive them, we are essentially forgiving ourselves. Redemption should be possible.

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Are there any characters that you've kind of fallen out of love with, that you just don't, you know, get excited about any more?

I still love all the characters. Even some of them who aren't very lovable. At least the viewpoint characters. When I'm writing in the viewpoint of one of these characters, I'm really inside their skin. So, you trying to see the world through their eyes to understand why they do the things they do. And we all have, even characters who are thought of to be bad guys, who are bad guys, in some objective sense, don't think of themselves as bad guys. […] “What evil can I do today?” Real people don't think that way. We all think we're heroes, we all think we're good guys. We have our rationalizations when we do bad things. “Well, I had no choice,” or “It's the best of several bad alternatives,” or “No it was actually good because God told me so,” or “I had to do it for my family.” We all have rationalizations for why we do shitty things or selfish things or cruel things. So when I'm writing from the viewpoint of one of my characters who has done these things, I try to have that in my head. And I do, so there's an empathy there that makes me love even people like Victarion Greyjoy, who is basically a dullard and a brute. But, he feels aggrieved and sees the world a certain way. And Jaime Lannister and Theon Greyjoy, they all have their own viewpoints. I love them all. Some I love more than others, I guess.

Who do you think to be the most important characters?

They're all important. I don't favor them, or I don't think of them in terms of importance. The viewpoint characters in the first book I have are Bran, Tyrion, Catelyn, Ned, Jon Snow, the two girls Arya and Sansa. There is the core of the Stark family plus Tyrion to represent the Lannister family. Then I have Dany on the other side of the sea, Daenerys Targaryen, whose story runs parallel and some ways doesn't connect to the others, but some day I'll eventually bring those two stories together. In each subsequent volume I drop some of my viewpoint characters and add new ones. Although the same core still dominates, the cast changes somewhat, and I like to do that. In the third volume which you haven't gotten to yet (he refers to me) I have a new viewpoint character. He's been a major character, but now you see things for the first time through his eyes. Which I think changes your perception of things somewhat. I like to play that kind of game, because we all have our own way of looking at the world. Something occurs and two people witness it. They might have very different versions of what happened, and very different explanations. I like to play with parallax in my fiction, and get different versions of the same thing.

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A Song of Ice and Fire has much of the complex texture of authentic history, both generally and in its specific echoes of actual historical episodes. What laws and principles (if any) in your view govern human history, and how has your understanding of historical processes shaped the series?

Historical processes have never much interested me, but history is full of stories, full of triumph and tragedy and battles won and lost. It is the people who speak to me, the men and women who once lived and loved and dreamed and grieved, just as we do. Though some may have had crowns on their heads or blood on their hands, in the end they were not so different from you and me, and therein lies their fascination. I suppose I am still a believer in the now unfashionable "heroic" school, which says that history is shaped by individual men and women and the choices that they make, by deeds glorious and terrible. That is certainly the approach I have taken in A Song of Ice and Fire.

A Song of Ice and Fire undergoes a very interesting progression over its first three volumes, from a relatively clear scenario of Good (the Starks) fighting Evil (the Lannisters) to a much more ambiguous one, in which the Lannisters are much better understood, and moral certainties are less easily attainable. Are you deliberately defying the conventions and assumptions of neo-Tolkienian Fantasy here?

Guilty as charged. The battle between good and evil is a legitimate theme for a Fantasy (or for any work of fiction, for that matter), but in real life that battle is fought chiefly in the individual human heart. Too many contemporary Fantasies take the easy way out by externalizing the struggle, so the heroic protagonists need only smite the evil minions of the dark power to win the day. And you can tell the evil minions, because they're inevitably ugly and they all wear black. I wanted to stand much of that on its head. In real life, the hardest aspect of the battle between good and evil is determining which is which.

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When you are writing the different conflicts in Westeros, do you personally pick a side? Or feel that one side fights for a more just cause than the other?

Yes, certainly. I mean, I’ve often said that I believe in grey characters, I don’t believe in black and white characters. But that’s not to say that all characters are equally grey. You know, some are very dark grey, and some are mostly white but they still have occasional flaws. I’ve always been fascinated by human beings and all of their complexity— even human beings that do appalling things, you know, the question is ‘Why?’ And it’s interesting to get inside their head and see why. Some of my viewpoint characters have done some incredibly reprehensible things: Theon, for example, or Victarion Greyjoy. Why? Were they born a monster? Weren’t they born like a cute little kid wanting to be loved and all that? We all start out that way, right? But things happen to us on the way that lead to junctures in our lives where we make decisions, and those decisions and the consequences of them color everything that comes after. You look at [historical figures] and what’s the verdict on these men? Are they heroes, are they villains? Are they great people, or people we should despise? I mean, they are fascinating characters because of their complexity.

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“I don't concern myself over whether my characters are “likeable” or “sympathetic.” (I had my fill of that in television). My interest is in trying to make them real and human. If I can create a fully-fleshed three-dimensional character, some of my readers will like him/her, or some won't, and that's fine with me. That's the way real people react to real people in the real world, after all. Look at the range of opinions we get on politicans and movie stars. If EVERYONE likes a certain character, or hates him, that probably means he's made of cardboard. So I will let my readers decide who they like, admire, hate, pity, sympathize with, etc. The fact that characters like Sansa, Catelyn, Jaime, and Theon provoke such a wide range of reactions suggests to me that I have achieved my goal in making them human.”

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“You want the reader to care about your characters — if they don’t, then there’s no emotional involvement. But at the same time, I want my characters to be nuanced, to be gray, to be human beings. I think human beings are all nuanced. There’s this tendency to want to make people into heroes and villains. And I think there are villains in real life and there are heroes in real life. But even the greatest heroes have flaws and do bad things, and even the greatest villains are capable of love and pain and occasionally have moments where you can feel sympathetic for them. As much as I love science fiction and fantasy and imaginative stuff, you always have to go back to real life as your touchstone and say, ‘What is the truth?’”

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narklos · 2 months

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Half-Lore #2: The G-Man Theories

This topic was the second-most voted in the poll! If there's any others you'd like me to cover, just let me know. Without further ado, here's all we know about the G-Man's identity! Take a peek below the cut:

Let me start by saying that not even Valve really knows what the G-Man is. His identity, which has been hinted at throughout the series, has changed significantly throughout the 25 years that Half-Life itself has existed. To get a full grasp of what each theory means, I'm going to give you a rundown of his history in the game's development. I'd say a quick rundown, but I'd be lying to your face. Here we go!

Half-Life The name 'G-Man' actually comes from this game as it's what his model was called. This is a shorthand for 'government man', a shady figure who works within the USA's top-secret projects. Earlier models of G-Man actually featured the Department of Defence logo on his briefcase, indicating that the G-Man was tied to them somehow (or at least pretending to be tied to the government).

It was also heavily implied that the G-Man was the administrator of Black Mesa, as another one of his models from the Goldsource era features the Black Mesa logo on the briefcase. The administrator's role in the game was primarily conveyed through letters, signed with the name L.M. Here's one of the letters, which is welcoming Gordon to the facility (and also confirms that Gordon can speak?):

The G-Man was said to have 'gone to great lengths' to get the Xen crystal sample that caused the Resonance Cascade, which was our first clue that he was responsible for the Xenian invasion from the beginning. Hints from the Nihilanth also tell us that quite a few others are aware of the G-Man's meddling- as well as try to warn Gordon that the G-Man's not human, and that he's not an ally.

You can see the shift away from the administrator identity in Opposing Force, when Adrian Shepard's diary talks of a strange man that showed up a few days ago, and was talking with his superiors. This gives us the sense that the G-Man wasn't a force working from inside of Black Mesa, but rather without it. The veracity of this sighting is a bit up in the air though, as most of Opposing Force has been retconned.

It's safe to say that the G-Man's identity wasn't solid, even from the beginning. So where the hell does that leave us?

Half-Life 2 During development of HL2, the G-Man was still going to be the former administrator of Black Mesa; Breen and the G-Man's characters have always been quite tied up due to their dual development. The face model for G-Man, a therapist named Frank Sheldon, was actually slated to be for Breen's character instead. However, after a Valve employee did a quick edit to the facial captures for Breen, it was decided to give Frank Sheldon's face to the G-Man instead.

At this point, the administrator L.M was retconned, being replaced as the administrator of Black Mesa by Dr. Wallace Breen. L.M essentially underwent a weird sort of meiosis and two characters spawned from one.

We know for a fact that Gordon's 'contract' with the G-Man was something passed around by important players in the G-Man's plan, and bidded on. Breen is aware of Gordon, and believed that he has bought Gordon out, therefore preventing him from futhering the rebellion against the Combine. However, the G-Man was double-crossing him, and Breen died in the final battle when Mossman betrayed Breen and set Gordon free. Though, I wonder what Breen bid for the contract?

Although this means that we got an incredibly well-written and tragic villain, it also means that we're back to square one in terms of G-Man's identity. No more L.M, no more government ties, no more Black Mesa. So what does Half-Life 2 give us instead?

As I mentioned earlier, it was always implied that G-Man wasn't human. The alien identity is played more strongly in HL2, where the link between the G-Man and the shu'ulathoi (Combine advisors) is established. The Vortigaunts are able to hide away from the psychic powers of the shu'ulathoi, as their connection to the Vortessence allows them to take actions the shu'u cannot see or prevent. They also refer to the advisors as shu'ulathoi, as it's a language the shu'u can't comprehend.

The Vorts are the only force shown to be capable of preventing the G-Man from reaching Gordon. During Episode 1, the Vorts save Gordon from stasis, and for the duration of the episode (and for the first part of episode 2, when Gordon is still under the protection of the Vorts), we don't see G-Man at all. Any actions that Gordon takes is completely free of any G-related meddling. It's implied, therefore, that the G-Man's true origin is a shu'ulathoi.

Breengrub The G-Man - shu'ulathoi ties are made even stronger in Marc Laidlaw's Breengrub account. There, Breen, whose conscience has been transferred to a shu'ulathoi host body (the one he mentioned in a conversation with another combine advisor at the end of HL2), recounts the world of the shu'ulathoi.

Powerfully psychic, they could hatch into any form they wished when they left the larval phase. They are referred to as dreamers and philosphers, a society where ideas are currency. At some point, they fell ill to a parasite, making them weaker and easier to conquer. The Combine did so, and kept the shu'u in their grub phases in order to better exploit their powers and prevent them from fighting back. It's implied that the Combine planted this parasite in the first place. It caused the shu'ulathoi to destroy their own minds and culture.

Breengrub explains that a few shu'ulathoi remain on the home planet, hidden and slumbering. A few were even able to escape the Combine invasion. It's heavily implied that G-Man was one of these grubs to escape the invasion. He hatched into the form of a human, and made his way to Earth, orchestrating the Resonance Cascade in order to bring about the ultimate downfall of the Combine at the hands of Gordon Freeman. His 'employers' are implied to be the slumbering shu'ulathoi that remain on his home planet.

So, that's it, right? He's a shu'ulathoi!

Well, not really. This is a rough draft of what Episode 3 could've touched upon, and this isn't anywhere close to canon, as Marc no longer works for Valve (so stop pestering him with emails!). It's safe to say that whatever they were planning back in 2007 isn't anywhere close to their intentions with the G-Man nearly over two decades later, when they released Half-Life: Alyx. Speaking of which!

Half-Life: Alyx I'd like you to keep in mind that HLA was considered a 'soft reboot' of the Half-Life franchise. Rectons were made, new characters introduced, and Eli got a sick new jacket. We can't exactly apply the old canon to this fresher chapter, but we can make inferences. As you all know, the G-Man was captured by the Combine, five years before Gordon was released from statis. His power was so great that they had to literally heft up an entire apartment block to contain him. We don't see him in person for the majority of the game, but we do see him in the Vortigaunt murals, which depict their enslavement at the hands of the Nihilanth, and the G-Man's meddling in Gordon's fate.

(Fun fact! He was originally meant to be there against his own will. Here's some of the concept art that explored this idea!)

Vortigaunts are used to contain his power, and their own Vortessence is sapped in substations to ensure that he can't escape. Whether this is still referring to the shu'ulathoi theory or just tapping into Episode 1's revelations is still unknown.

Something interesting to note is that Eli mentions that "...whatever's in the Vault really hates the Combine". We've therefore established that this soft reboot of the franchise is more clearly establishing the G-Man's vendetta against the Combine. His hatred for Vortigaunts can also be connected to his imprisonment- it's implied he was tortured with their energy!

Hahn, labelled in the files as 'Contractor', is adamant that they "...move the [Vault]" when it's clear that Alyx is going to set him free. She's also implied to be higher on the Combine pecking order than Breen. Her role in the franchise is, as of yet, unknown, but Erik Wolpaw has told us that they've got 'plans' for her. She's clearly aware of the G-Man's role in the rescas, as well as what he's capable of. Maybe she was present at Black Mesa? Maybe the two have made a deal in the past? Maybe she's simply been told that he's dangerous? We still don't know.

"This is great and all, Narklos." I hear you say, rather loudly, at your computer screen. "But what in the Nine Hells does this mean for his identity?"

Truth be told, my inquisitive reader, this reboot has completely thrown any and all theories we may have up into the air. The nature of a reboot is that anything we may know isn't something we can take for granted anymore. Alyx is now under the G-Man's employ, Eli's still alive, and for all we know, Russell could be the next villain. It's an exciting time for theorycrafters who want to unravel gaming's biggest mystery, but for lore sticklers, it's a bit of a dead end.

With the history of the G-Man's various identities in mind, let's go through some of the most famous (and infamous) G-Man theories from the past 25 years.

G-Man is Gordon from the future This is an earlier theory. Obviously the link can be made between Gordon Freeman and the G-Man's names. A funny theory made by players in the noughties, with not much value behind it.

G-Man is Alyx's grandfather This was more of a joke theory talked about by some Valve developers. It was brought about, most likely, when the players discussed how familial G-Man seemed to Alyx, having saved her as a baby. He also seems to really care for her wellbeing, and implores Gordon to get Alyx safely to White Forest. G-Man also calls Alyx "my dear". While it isn't entirely impossible, considering all we know, this theory is definitely false. Still though, it's a nice little analysis of how the G-Man is capable of expression emotions other than smug superiority and quiet rage.

G-Man is a Shu'ulathoi This one's still the most prevalent theory we have today. It's the one most subscribe to due to the amount of evidence, both from the games and from other sources, that we have to draw from. G-Man was a shu'ulathoi that escaped his home planet after the Combine invaded. His employers are the slumbering shu'ulathoi that remain, safe from Combine meddling. He's orchestrated the events of the series and beyond to get revenge for the destruction of his homeworld and kin. G-Man hatched into the form of a human to fool others, and his psychic powers can be attributed to the psychic nature of the shu'u. His strange breathing patterns are due to the shu'ulathoi being unable to breathe in Earth's atmosphere, hence why they all wear breathing apperatus (and at one point in development, the Combine were meant to be replacing the atmosphere with toxic fumes that allowed the shu'u to breathe). Though we've got the most evidence for this one, considering the direction the series has taken, I wouldn't fully subscribe to this anymore, as there's still so much that we could find out.

G-Man is Valve Again, another early/joke theory. G-Man is the embodiment of the Valve developers, following the player around and putting them into 'statis' (i.e: ending the game) when they reach the end of the campaign.

G-Man runs the Combine Another weird one. This probably came about from the confusion behind G-Man's motives in the second game, and how he never seems to fully help the rebels.

G-Man is a Nihilanth This is one of the earlier theories that I can remember, at least. Because the Nihilanth is such a powerful alien, many speculated that the G-Man was also a Nihilanth in another form. However, this theory fell apart when it was revealed that the Nihilanth was actually the last of its species.

And really, that's all we know. The G-Man has been, and will most likely remain, one of the most famous figures in gaming. Ironic, considering how little we truly know about him. We don't even know his name- the one we refer to him by now is simply what his model is called!

Who's to say what we'll find out in the future? Will we ever get what we're searching for? Do we really need to know? Isn't the beauty of a character like the G-Man that we know enough to guess, but we don't know enough to understand? I'll leave that up to you.

If you've read to the bottom, thank you! Here's a video of the G-Man and Kleiner beating the shit out of each other.

#half life #hl2 #gman #half life alyx #wallace breen #dr breen #text post #gordon freeman #half lore

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redd956 · 6 months

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(@urlocalwhumper)

hey dawg thanks for feeding us living weapon whumpee enjoyers

i know that generally the vibe for living weapon whumpees is like the stoic "unfeeling" supersoldier type, but how are we feelin about living weapon whumpees that are like. off the shits feral.

more of an attack dog than a super soldier, weapons of mass destruction built into them cybernetically, because their masters aren't looking for efficiency, they're looking to send a message. for everyone around to know that if you don't bow to their rule, they'll send their monster to destroy you and everything you hold dear.

(and ofc the "monster" themself is kept in a constant state of suffering so they're always agitated and the pain clouds their mind too much to question what they're doing and why)

I love the way you think!

I never really thought of that character trope as a living weapon, but you aren't lying, it would count. (My brother and I's ocs would count then Ig) Also ties into monster whumpees :D

Here's some ideas I bounced off of this

Guard Dog Whumpee

CW: Pet Whump Sorta, Classic, the whump community should bring these up more

Whumper having more than one, forcing them to compete with one another. The most brutal earns their medical treatment.

Dangerous whumpees who have to be muzzled and mitted because whumper doesn't have them under control fully. Gentle carewhumpers being able to coerce whumpee into muzzles.

Non-guard dog whumpees equally trapped under whumper's boot being terrified of the guard dog. Sharing space with one is like sleeping on the shore of alligator infested rivers.

Scarred whumpees with dangerous animalistic features bared, backed into a corner with a tail in between their legs. Caretaker is trying their best to appear nonthreatening.

A guard dog whumpee failing its job. It showed no fear to its enemies, but the same cannot be said as they returned home.

Monster Living Weapon Whumpee

Say that three times fast

While rampaging after whumper's enemies whumpee broke the device keeping them confined to whumper. Quickly a symbol of destruction becomes a confused, hurt, and whimpering creature.

Whumpee always thought they were uniquely a monster. Whumper told them so everyday, rewarding them for their monstrousness, telling them they're alone as a creature of evil. Whumpee always thought this until they met caretaker.

Monster whumpees that despite being living weapons show rage in their failures, and pride in their kills. They don't see that whumper's treatment of them is subpar, because they're "partners in crime" of course. Caretaker would never treat whumpee that way if they were their weapon.

Killing Machine

They know what they're capable of, and they don't want to be that

Maybe they wanna do things their way, maybe they're ashamed of being a killing machine. Whumper could care less.

Killing machine in disguise has been living the everyday life, perhaps even an extravagant one. Whumper found them out, and no one has seen whumpee since, until the destruction started.

Killer Machine Villain -> Supervillain meets Villain with the promise to make them more powerful -> Extra Murderous Killer Machine Villain (Unstable)

Robotic whumpee that is just doing what they're told. Whumper was great, whumper was life. Robotic whumpee who sees whumper returning home with the newest model. Whumper who won't stop boasting about how much more efficient and deadly the new one is.

#whump #whump drabble #living weapon whump #living weapon whumpee #living weapon trope #guard dog whumpee #guard dog whump #villain whumpee #carewhumper #whump prompts #whump ideas #whumper

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creation-help · 1 year

Text

Advice and tips on how to make your character feel more genuine/real

- Pettiness and shallowness. Obviously it can manifest in different ways, but IRL everyone has at least one or two little things that they're a bit surface level and "Just because!" about. Be it clothes, how they do certain rituals, what color m&ms they prefer ect ect. It can be little details or even major characteristics, and depending on which (and what) they are, it can be really telling about the character! Plus, it just adds a little extra depth and fun. Some examples including but not limited to: Being fussy over getting their clothes wet or dirty, only preferring some items because they look good, insisting on doing some action or tradition exactly a certain way, disliking an aspect of a thing or a person because they just don't like it, and so on. Obviously the big worldview points like morality and beliefs are very important, but when you've figured those out, take a moment to think about the smaller, everyday things your character feels about the world around them. No matter how good or wise a person is, they'll still always have some little thing that they can't give some profound noble answer to. Use this to your advantage to explore your character's shortcomings or flaws!

(In the same vein, Pet peeves is another detail that can flesh out a character!)

- How does your character perceive things? What do they notice about people first? How would they talk about, or describe another person to someone, if asked? How would they describe themself? And why? Just some things to consider. If your character maps out all the little details and deeply analyzes everything they see, it'll show in their interactions very differently than, for example, if they have the perception of a cabbage and are more oblivious than the love interest in a teen drama that the writers are stretching out for five seasons for no reason. Ykno.

- Additionally: what's their opinion of the people around them? Or if you've already mapped that out, what's their opinion of people they've never met before, or people who aren't in their immediate bubble, friends of friends, relatives of relatives, neighbours, or celebrities, mythical/historical figures and so on. Delve into hypotheticals sometimes, it can help you exercise your knowledge of the character. Even if none of these encounters or situations would happen in Canon.

- I'm sure you've already figured out what your character is most passionate about, ykno, whatever drives the story and impacts their relationships with other characters. But how about stuff they really don't care to think about? Just shrug? Not interesting? Doesn't pay attention to this? What is low on their priorities? It doesn't have to be negative (but can be!), it can just be "Meh", or something your character hasn't even noticed before, simply because it's not in their thoughtscape to think about.

- Does your character have any of those "What? I thought everyone did that/thought that/was like that!" - things? What do they take for granted, or weren't aware isn't a universal experience? Did they have a wildly different experience with something that most other characters hadn't even thought of? And yes I understand this is good for exploring trauma and other angsty things, but besides the obvious, think about maybe something that could be related to your character's species/living environment/abilities/opinions ect. This is great for exploring cultural differences, and anything that takes place in a fantasy setting. Very useful for villains and heroes alike! It's insightful. Everyone has small little perceptive differences or big and small thoughts that for some reason just haven't been properly challenged yet. Or brought up even. For whatever reason. Explore maybe what that reason could be, and figure out why it's been unchallenged for so long.

- Imperfections. Little divergences. It's fully possible to write a compelling and genuine feeling character using just archetypes, if you really explore them deeply. And whether you're doing that or not, think about the lines and molds you've set your character into, and let them spill out of them a little bit. Can be one huge aspect or one teensy detail, but make some diversion. Some crack in the picture. Doesn't have to be a flaw but can be! Just have some little aspects that set them apart and make the character themself. Get weird with it. Getting weird is one huge way you can truly make a character stand out and feel more unique and, oddly enough, genuine and real. Actual people have little oddities or things that don't line up with everything else about their person. And again it doesn't necessarily have to be anything big or shocking, in fact I'd argue it's even better if sometimes it's just a small, very ordinary, humanizing detail. Maybe unexpected, or maybe just something that doesn't factor into the surface image your character has. Think about characters similar to yours that you see often. What traits do they all share, or most usually have? Think about the kinds of people your character is inspired by. What are they often like? Make a diversion from that. Make multiple even? It can be the most random thing but think about it, even if you threw a dart at a wall of sticky notes, really chew out what this little thing says about your character. And focus on little cracks, imperfections, diversions and other odd details of your character. Over time they can grow bigger, or maybe not.

- Keep a clear picture of who your character is. Sounds obvious but I'll elaborate. Your character will obviously change and develop over the time you're working on them and whatever story events take place but I think it's very important to keep in mind who they fundamentally are. Basically I'm saying that try to keep them in character, yes even if you did drastic character development, you can still show that it's the same person in other ways even if one of their core traits was flipped. Be aware of what things will never change about your character no matter what they'd go through. Keep some consistency. Consistency matters alot in making a character seem genuine and, ykno, a good character. Even if that consistent trait is that they're inconsistent! The character can be that, yes, but as their creator, you should still keep sights of what's consistent for this character, you feel? If your character is a glunk of slime that slips out of it's container constantly and subsequently molds into whatever situation it gets put in, that's not really a character, that's.. Idk, plot device..? I know this may sound contradicting to my previous point but I fully think that, and this one can and should coexist.

You need to simultaneously be aware of the ways your character will differ from something and be fluid, and the ways your character will not bend, and cannot become. It's simply a matter of knowing their boundaries and restrictions, knowing which way they can lean and which way not. Obviously this'll be up to you as their creator, bc yeah you're allowed to drastically edit your character if you feel like it's for the better, but try to commit to that change then. Don't let the character slip from your hands, or let the story bend them into whatever shape it needs to make the plot go forward. Your character, and more importantly you, should be in control of that.

I emphasize the point of you controlling your character and not the other way around also. I've seen some character owners slip into "Well it's just what the character would do! I can't help it, it'd be out of character if they didn't do x!" even if the thing is completely awful, doesn't fit, or would ruin an aspect of the story. A smart writer will know how to work with your character's traits in a way that prevents them from running off the tracks and becoming their own little gremlin, while also complying with the story. Respect your character's.. Character, while also respecting yourself and the point of the story. This is even more crucial if it's a roleplay character, by the way..

I'm just saying, find ways to write the story in cooperation with your character. That means knowing what situations to avoid and which ones to steer for, in order to keep your character functioning with the plot and other characters. Sometimes you simply have to prevent some event from happening, or some characters from ever meeting, for the sole reason that it wouldn't make the story work the way it should. Or the way you want it to. You hold the pencil, be aware of what that means

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