❤️ + enruiinas
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♪ never gonna give you up! never gonna let you doown! ♪
this is me, hanging onto dear life and clinging to saro whether she likes it or not! she is my ride or die, my brain twin, a fellow member of the AAA ( aro ace audhd ) club! i have so many things to say about her and how much she means to me, it hurts my brain trying to figure out where to start! but knowing me, it will be long, so buckle up buttercup~
i will never forget our first interaction: i filled out her interest tracker, she came to my discord dms, and i swear we barely stopped talking with each other for the next 24 hours. when i had only known her for a day, it felt like we had been friends for years!! i still don't know what to make of that, but i don't think i've ever clicked with someone that fast. but the rest is history, and now we have so many threads in various verses together!
seriously, saro has such a massive brain with so many interests and thoughts and a desire to consume knowledge like i inhale a bucket of popcorn. she is one of the easiest people to talk to and bounce ideas off of. a good chunk of my character and story development for luffy ( and others ) are thanks to her picking my brain and asking the difficult character questions! she's excited to talk new ideas and what-ifs, and LOVES enabling me to write new muses. it is because of her that i ever started writing rosinante, robin, and penguin over on my multi~
outside of writing though, she always makes me feel more excited to share and talk about my interests, including OP trading cards and my science-y rambles. SPEAKING OF! she loves me SO MUCH that today, despite hating making phone calls, she called her local card shop to see if they had a set of cards that i wanted!! as someone who also hates making phone calls, that is true fucking friend behavior right there ♡
she really is quick to think about her friends. it could be the little things, like when she saves manga panels of unique luffy faces for me that i might not have yet, sends art of our muses, shares writing resources, or even just suggests reading the same science articles or listening to the same ologies episode together. she's also an excellent listener who gives meaningful words of encouragement, who refers back to things in conversation that i maybe said months ago, and who is a huge help when it comes to getting my brain unstuck on threads.
i haven't even touched on her writing and her Law portrayal though! when i say she puts SO MUCH work into doing him justice, i absolutely mean it. she analyzes even the smallest details, and her brain worms when she talks about him and his relationships are infectious. she got me so invested that she is the sole reason lawbin is now one of my favorite ships. she is the reason i put so much time and effort into a side character like penguin. and she is why i put so much stock into law and luffy's friendship. i. am. hooked.
and i know she gets a little worried about the length of her writing sometimes, but the waiting period is worth it. the quality of saro's writing is so organic and it flows like reading a good novel. i'm convinced at this point that i could come to her with any sort of thread or verse idea and she could weave it into a beautiful story. god i'm so stupidly eager to write with her always!!
anyway, i wrote so much, but such is the nature of anything we write for each other. there's a lot that i didn't even get around to talking about, but in summary, saro is incredibly kind, fun, and so brilliant it makes me want to SCREAM! i love her a lot, she is one of my best friends ( if she disagrees then too bad ), and i'm incredibly happy that i get to be her friend :)
sent by: @mingos
for: @enruiinas
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I used to be one of those guys when I first joined the Kirby fandom, but everytime I hear a discussion of the series writing that starts with "So the Lore is InSaNe-" and not like, "Kirby has a fun writing style that takes advantage of its cute exterior to tell cool stories that reward player's curiosity and leave lots of room for imagination-" I cringe so goddamn hard.
I kinda just hate that people approach things that encourage investment when they don't expect it as inherently absurd. Like it is fun to joke about how absurd Kirby lore can be, but it really often comes with an air of disrespect or exhaustion rather than like, appreciation that these games are made by people who want to tell interesting stories when they could easily make as much money just making polished enough fluffy kiddy platformers. And when it's not met with exhaustion, it's met with - like I said before - that tone that it's stupid for a series like this TO have devs who care about writing stuff for it. Which is a whole other thing about people not respecting things made to appeal to kiddie aesthetic or tone.
Maybe the state of low-stakes YouTube video essays just blows cause people play up ignorance and disbelief for engagement, but like I STG I hear people use this tone for like actual narrative based games sometimes. Some people don't like... appreciate when a game is made by people who care a shitton in ways that aren't direct gameplay feedback. And they especially don't appreciate it when it comes from something with any sense of tonal dissonance intentional or not.
Anyways, I love games made by insane people. I love games made by teams who feel like they wanna make something work or say something so bad. I love that energy, especially when invested into something that could easily rest on its laurels or which obviously won't be taken seriously. I love this in a lot of classic campy 2000s games, I love this in insanely niche yet passionate fanworks, and I love it in the Kirby series and its writing. Can we please stop talking about it like it's an annoyance or complete joke?
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ok sure i'll talk about farleigh start. i'll talk about his tragedy of never being enough as it were and then having to deal with fucking oliver. sure. disclaimer: it's about class (and race) and the horrible reality of the rich. the horrible reality of living as farleigh.
another disclaimer: i'm white! and poc definitely pick up on everything i'm talking about here as it is, and better. i was and am specifically interested in farleigh vs. oliver but it's impossible to examine without considering race. definitely let me know if anything abt this sucks!
farleigh and oliver are similar. it's annoying because every intruder that is not himself is annoying, partly because felix's attention swaying from farleigh is dangerous; there is always a threat of being discarded, even if no precedent existed. the potential is terrifying.
but you'd think he's seen this before, every summer (if venetia is telling the truth) or at least often enough to learn to recognize it fast, so he should know this will pass. part of it is i think still the deep anxiety, and i think he hated every boy that was there before, and it is sort of routine.
but definitely a huge factor in farleigh's annoyance is the fact that he's a biracial (black for cattons, that's all they see) man in a white rich household. he's alert and exhausted all the time. of course he's angry at oliver, regardless of whether he's the first to crash at saltburn for the summer or the fifty-first.
but the important thing is this.
farleigh is very jealous of and angry and pissed at oliver because farleigh sees all the similarities between them. outsider, in financial trouble, whatever it is, in need of cattons; and yet oliver is preferred. and farleigh seems to be the only one to really consider it. felix does not pick up on the hint when farleigh brings up the birthday party vs. his mother. felix's clumsy "different or... anything like that" is as much about race as it is about class, of course. the "we've done all that we can" bit is felix absolving himself of guilt because surely they had, surely the mysterious collective cattons that he's not really part of had tried all they could do. to him, farleigh is different from oliver, because farleigh has been helped. felix is rich and white and twofold uncomfortable with farleigh, even if he's nice about it, even if he genuinely enjoys his company; he doesn't look too close at farleigh because he feels too guilty to come too close. and farleigh can't do anything about it. he can't nice himself into it. the fucking tragedy of him is that he's never enough in the world of the ultra-rich white, even if (especially because!) he's born into it.
farleigh is very pissed at oliver because farleigh also sees all the differences between them. you know who can be nice poor white enough to fit in? fucking oliver. felix says "just be yourself, they'll love you" when oliver first moves in. farleigh was also probably told the same thing, and felix also probably believed that farleigh could just be himself, but even if the cattons were magically not racist at all (impossible), it wouldn't make a difference to farleigh. he would still self-censor, keep in check, be in dangerous waters (because racism is not just about the individual, but about the system). we see that he'd won himself leeway by years of trial and error by the way he speaks to the family, but it's still within the boundaries of acceptable, built by the cattons. he's part of them because they allow it, and farleigh is very, very aware.
the annoying thing is oliver can be himself. like, truly, genuinely, he can just be. and farleigh can't help but envy that.
as a side note, oliver is obviously jealous of farleigh in the beginning as well, because regardless of the reality of farleigh's situation, he was born into it, and hence, at least in oliver's mind, has his position solidified. oliver's whole thing is unquenchable thirst and hunger for whatever and everything the cattons have (including themselves!). he wishes to have been a catton from birth. to oliver, at first, there's nothing farleigh can really do to lose it. and until he figures out the cattons completely, he can't help but envy that.
but i think farleigh senses something different about oliver early on. at least on the level of the text, we have "you're almost passing [for] a real, human boy", which is so important because farleigh is the first to point out oliver's weirdness. the next to do so is venetia in the bath scene calling him a freak, but it's too late. farleigh is too early.
and i like to think he clocks oliver too early because he sees the jagged edges that he recognizes in himself. i think that one other thing that farleigh envies is oliver's freedom to let go. freedom to let go is very similar to freedom to be, but not quite the same.
to be is about perception: farleigh knows he cannot fall out of line, but would like to, and oliver does not have to worry about it at all (i mean, he does, because oliver also performs for felix, but farleigh doesn't know that).
to let go is about the self: farleigh is too scared to even want what oliver eventually does, to even consider the possibility. oliver can let himself want. oliver can let himself act. oliver just can do things and want things. i'm not sure farleigh can.
and so in this scene, when oliver's wants and actions have landed him nowhere with farleigh, felix, venetia, the cattons, of course farleigh gloats. he can let himself do that, because if the cattons are slowly discarding him, farleigh can allow himself this one small victory. he's relieved because despite the dangerous similarities, oliver is, thankfully, not really the same as farleigh, right?
but like. this movie is a love letter to all things gothic. oliver is a white man. he prevails. the brief performance that oliver put on did eventually end up more effective than farleigh's lifetime of constraint. my heart fucking breaks for him to be honest.
the issue that remains is the fact of farleigh's survival. i like to think that oliver came to respect him. oliver is smart, but farleigh is clever. he picks up on everything oliver does (to refer back to the karaoke scene, farleigh immediately retaliates in the cleverest way, in the moment), and he's the only one to do so consistently (venetia, again, for example, comes close, but too late; oliver doesn't like that, there's nothing to work with). hence, stay with me for a little longer, the paradox: farleigh survives because he was never enough for the cattons, but he is very worthy of oliver's attention. in his own freaky way, oliver wants him. look at that.
so. farleigh. farleigh might come back. he always comes back. and i think oliver wants to try harder next time.
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for the millionth fucking time, the difference between the princesses and the party is so obvious unless you're being pedantic
"We're not so different, you and I," is such a bullshit trope when one side is trying to wipe out existence itself
like yes the party are still main characters and inherently selfish but you know what the real difference is? the reason why the party can't be the same as the princesses?
because they love people who aren't.
thats the whole point. ylfa would never want to erase her grandmother. pinocchio would never want to erase his father. rosamund is the only character who doesn't have another character of her story that she would do anything for, but her whole story is about wanting and searching for that kind of love.
the princesses have people they loved, sure, but they don't care about trying to save them. for all cinderella is upset about her mother, she'd rather erase her from existence than try to save her, because her nihilism has overwhelmed her love. snow white is alone. rapunzel is alone. la bête is alone. they may have loved, once, but now all they care about is erasing their pain.
and thats understandable, and I think everyone who has dealt with trauma and abuse has a phase where they have to grapple with that kind of numbness, but I think the whole point of the story is that eventually you have to move past that
I believe, ultimately, love will be what inspires mira and hopefully elody to turn away from the daughters of the crown. because they have people they love in these worlds, and even their memories are worth preserving.
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