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#louisa madrigal
udim-art · 2 years
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I am the eldest of three. I never meant to hurt you. well there definitely were times i meant to hurt you but not in this way.
i was the eldest, i had to set a good example. I had to be good at school, at family events, at hobbies. i had to be talented and charming and be a shining example of how to behave. i had to look after you. i didnt want to. i wanted to run about and be annoying and be bad at things. but i had to be good. and then i liked being good at things. i became better, i became the best. then we grew up. they asked you why you werent as good as me. why arent you going to university like your sister, your sister got a job why havent you? your sister is far away where we cant reach her so we have to focus all of our attention on you two. and when i come home they love me so much more. i'm so sorry. i don't mean to be an event.
you don't blame me. thank you. i'm sorry for how they treat you, i'm sorry you can't come with me. i love sitting in the car when you drive and we talk about all the shit we endured, reminding each other of the traumas we forgot. you are me. you are what i could've been, and i the same for you. we get it. you will understand me more than anyone else. you are everything to me. come home. i miss you.
and there's the youngest, no one knows what to make of him. we love him, we try to help him, we don't know how. he hasn't been here as long as we have, but someday we will get it. you're ready to give up on him, i remember being there with you.
i watched Encanto and i saw us. Our mother the healer, our dad the idiot, myself the perfect bitch, you the strongest woman on earth, and Mirabel the one who doesn't fit quite right. i hope we repair our cracks someday
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xkittieravenx · 2 years
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Who swears the most in the madrigal house
Isabella- probably says damn and little swear words unless she gets super pissed
Pepa- she swears alot, not in front of Antonio tho
Bruno- just shit and damn, thats it
Louisa- nope
Camillo- ALL THE TIME
Dolores- probably replaces them with family friendly versions
Agustin- yeah, every so often
Julieta- naw
Mirabel- secretly
Felix- yes, just yes
Antonio- not at all
Alma- naw, she doesnt like swearing at all
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miramilocamimira · 1 year
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Meet the Diaz Family p2
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Previous
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This… new life, essentially, had become so dear, possibly way to fast.
But how could it not? No visions, no pressure from his mother, no hate or distrust and fear from the villagers? A niece that loves him? How could Bruno ever dislike it.
With Mirabel quickly gaining traction as a seamstress and Bruno’s own plays gathering attention, they decided they couldn’t stay at the inn forever.
It had taken them a couple months but eventually Mirabel and Bruno had saved up enough that they could afford an actual place to live. So they went looking and found a small, affordable, little house.
Bruno won’t lie, going from living in Casita to a normal place is a huge change- but one he couldn’t be happier to have made. The house was small sure, but it was perfect.
“And most importantly, Tío! It’s ours!” His niece had told him when they moved in. And now, looking at the walls filled with trinkets and covers for his plays or the photos and fabric messes that had yet to be cleaned from his nieces most recent creative spike. It was. It was their home, his home.
He hummed happily as he worked on his next play. The little old ladies that originally were the only ones who saw them asked about a new ratnovela.
Sure nowadays he has actual actors as he got hired by the theatre but during the monthly meeting with them he always runs by new ideas. And besides, the rats love to do them.
Not only that but they let him coo about his niece as they all do the same with their children and, in some cases, grandchildren.
Honestly, he loved it. And Sophie’s apple pie is a bonus.
So it’s not surprising that when he went to the meeting and they were talking about how a person was going around looking for someone named Madrigal, he nearly choked.
Bruno excused himself from the group far earlier, saying he wanted to get his niece something for working so hard. They all nodded and as he left he tried to ignore the knowing look in Widowed Delores, who he knew was older than even his own mother.
He had to tell Mirabel and warn her.
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Louisa couldn’t handle it. Everything was so different and everyone was staring at her. When she helped a man up and fixed his cart they all looked at her different and she couldn’t understand why.
But she had a job to do. She was gonna find her little sister.
“Please, her name’s Mirabel Madrigal, have you seen her?” She had asked and asked and asked with no luck.
Her hermanita had disappeared and no one knew where she went. They hadn’t even noticed for days! That was when Louisa realized that her family might not be as great as everyone in Encanto had said.
For it to have driven not one but two of their own out, they couldn’t be great- hardly even good in her opinion.
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Louisa had been traveling for a while now when she stumbled into a village that boasted about their theatre and seamsters. She helped out an inn owner and he said she could stay for a night free. She had thanked him.
She went up and delicately moved around before sitting on the bed to eat some of the food her mother packed her.
Soon after she fell asleep.
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When morning came, Louisa ate and immediately set out to work- after she thanked the owner again.
“Again, I would not have been able to get my cart back without a horse. Thank you.” And those words made her feel fuzzy.
None of the villagers in Encanto has thanked her as sincerely in years. She wants to cry.
She doesn’t.
But she does ask around.
It’s near midday when she spots a boutique. Maybe it’s the fact that Mirabel loved- loves- sewing, but she walked in.
Her heart stops.
“Hello! Welcome to Cloth Dreams how may I- LOUISA?”
“Mirabel.” She breathed out. Louisa’s done it. She found her baby sis-
“MIRABEL THEY’RE LOOKING FOR US!” Louisa turns to the voice instinctively- and oh. She’s found Uncle Bruno too.
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the-maddened-hatter · 2 years
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Characters in Encanto I found uncomfortably relatable
Bruno: predicted upcoming calamities and behavior, vilified and considered dangerous because of poor communication skills, prone to retreating, tries to repair the cracks only he can see until doing so becomes completely untenable
Mirabel: Disabled ("lacks an ability") considered to be in the way all the time, easily forgotten, glasses, wants to help, aware of fuckery from early on
Louisa: Pressure to manage more tasks than reasonable, protector of everyone, bundle of nerves, anxiety about other's well being & safety, self-worth tied to usefulness, stressed all the time, aware of danger & problems but (correctly) feels like others won't acknowlage them so she'll have to be the one to handle it, deeply aware of how she's the one to handle everything but feels like she has to be
Dolores: Picked up on things way earlier on than the others, lives in constant discomfort because of sensory problems, learned to be extra quiet to avoid being seen as weird/intrusive, weirdness pops out anyway sometimes, doesn't sleep much
Isabella: Pressure to be perfect, not really listened to, creations only valued when they meet a perfectionist's standards, "so much hides behind my smile" "What could I do if I just knew it didn't need to be perfect?" OOF BIG MOOD alert, held up on a pedestal (though only when it's convenient and she does what they want)
Pepa: A whirlwind of emotions, constantly told to make "clear blue skies" no matter what her actual feelings, told off for showing her real emotions, concerns not taken seriously because she's "so emotional"
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7thcirclebaker · 1 year
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Has anyone done any fluffy one shots or art of like the cousins when they're really young and like helping to mind the babies Camilo and Mirabel? Like Delores can just about help but their wails are still loud and she's only had her powers for two years by then but she sings them nursery rhymes when they're calm. Isabella using them as practice for more flower crowns then her older family members would sit still for with Louisa and using her flowers and hedging to keep them in place or catch them when they go awry and how Abuela would be commenting on how good she is with kids already. Louisa talking about how she can help hold them and keep them safe but being told she needs to be careful because she's not strong enough to hold them for too long yet and how when she gets her power and they're starting to toddle around she's still not allowed to play with them too much but now it's because she's too strong and even when she's learned how to use her powers somewhat suddenly too busy doing work but even when she's gotten a chance to play she's a little too rough and they get hurt and she feels so bad and is told she should know better so she feels really bad but internalizes it. Maybe with helpful Uncle Bruno theoretically minding them but trying to be careful to not get visions of them.
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Omg Louisa is so pretty help me
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rosegirl6140 · 2 years
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Encanto
I wish there had been a scene like this in Encanto: 
After Mirabel runs away Julieta is upset and then hears her mother’s voice and her fists tighten before turning to her mom.
“Isabela almost married someone she didn’t love, Louisa thinks that her only worth comes from her gift, and now Mirabel...Mirabel. I tried for so many years to make things as easy as I could for everyone else because of what you went through and because I didn’t want to lose anyone else like how I lost my father or my brother but...but,” she stops to take a breath. “I love you and I appreciate what you did for us but I don’t want to be around you right now. I need to find Mirabel and then...and then I don’t know what we’re going to do next.” 
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americano-psycho · 2 years
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Just saying, Mirabel is a much better woman than I am. Like, if I were her after the movie ended no one would be able to tell me shit. "Oh, you wanna tell me to clean my room?? Which one?!?! This is MY HOUSE! I'M THE REASON IT EXISTS, PUT SOME RESPECT ON MY NAME!"
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udim-art · 2 years
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Overworked Blorbo Battle Round 2 Poll: 12
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miramilocamimira · 1 year
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Hiding Spots
(Sorry it’s kinda Mirabel & fam instead of just Mira and Tonito)
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Another 5 + 1
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Closet
Mirabel knew she was supposed to go to bed but she couldn’t. Not yet. Isabela had gotten scolded for making the wrong bouquet.
She wanted to make sure her sister was okay.
She gasps and whispers to casita. She knows something that always makes her feel better!
Once Mirabel found the perfect gift for her sister, she went up to the elder’s room. She opened the door to see nothing.
Well, slightly untrue as there were tons of flowers but no sister in sight. Mirabel walked around and called out for Isabela when she heard some soft sobs. Looking around she saw a bunch of plants and vines wrapped around a portion of the room.
“Isabela?” She called again. “I… I have a gift for you.”
“Go away!”
“Please? Isa?”
Mirabel hears some rustling and sees the vines move and her sisters angry, tear streaked face.
“I SAID-!” Mirabel holds up the gift.
Isabela blinks as she notices the pin and a couple of flowers in her sister’s hands.
“They’re inter- inner… they switch!” Mirabel says.
Afterwards her sister starts crying again, pin in hand and Mirabel hugs her. She tells her sister that she thought it was amazing and that mistakes happen. Mirabel knows. After Abuela says Mirabel makes lots of mistakes.
Isabela looks like she wants to say something but Mirabel hugs her again and tells her to sleep well.
As the years pass, Mirabel notices how even though it’s the pink one, Isabela still wears the hairpin.
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Windowsill
Camilo, despite everything was her best friend. She know him better than she knows herself. That’s why when she sees he doesn’t eat the arepas at dinner, his favorite, she knows something is wrong.
They may not be four and spend everyday together anymore but she goes to where he’s hiding.
Camilo loves the sky. His mom makes it change and he adores it. Loves all weather.
When she gets there he clings. He talks about how his body changes and it feels wrong and how it’s not him. How nobody needs him anymore.
She tells him he’s wrong. How she needs him, how no matter what he looks like she will always need him.
Later she makes him a ruana with chameleons embroidered on it. She leaves a note at his door.
‘Even though a chameleon can shift and hide, it’s still a chameleon.’
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Woods
Dolores had run off into the woods. Mirabel doesn’t know what she heard but knows it wasn’t good. She follows and they sit in silence.
Sometimes it’s good to be quiet.
She leaves some earmuffs she made at her cousin’s door that night.
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Kitchen
Luisa was harder to find but at least one spot Mirabel could reliably find her at is the kitchen. Where she’ll see her mom already comforting her sister.
Once she knows it’ll be fine she goes to make another outfit to fit her sister whose so strong and beautiful that she doesn’t understand why others don’t see it too.
She hand it to her sister with a big hug and tells her she’s beautiful.
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Bed
Antonio had long since made a habit of hiding under her bed. It’s why when she hears people can’t find him she goes to her room. She opens her drawer.
“This present will self destruct in three…”
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Roof
Mirabel sits where no one in the house could see her. Always hidden and safe.
She failed to make them proud today. And that’s okay. She’ll cry tonight and stare at the stars she wishes so desperately to shine like. Eventually Casita will urge her to go to bed and she will.
Tomorrow is a new day. A new chance to make her family proud.
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yssa3002 · 21 days
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Roundtable Presentation: Painting With All The Colors: Encanto (2021)
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Encanto (2021) is the story of the Madrigal family. The Madrigal family was bestowed a miracle that gifted each member of the family a special ability when they came of age, all except for Mirabel that is. Despite not having an ability, Mirabel must uncover the secret of her family's miracle, and save the Encanto. This story is one of discovery and healing, as the Madrigals navigate the effects of generational trauma on their family dynamics and relationships.
In what ways does the film’s score situate the story with its narrative context? 
The music in the film's opening credits is vallenato, a style of music native to Colombia. Many of the songs within the score are native Colombian music styles such as bambuco, vallenato, and folk. However, the songs are still meant to retain a level of "radio-friendliness", and this is achieved through Lin-Manuel Miranda's poppier Broadway influence.
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The film's first sung score, "The Family Madrigal", is influenced by vallenato, however it was not written by a Columbian, nor was it performed by one. As the opening song, it has the responsibility of introducing the narrative, however, this responsibility is not entirely met as it lacks a Columbian voice.
Now, as the film is one that explores the complexities of family and hardship, the score works to convey that. Though the lyrics do not say much to the Colombian culture itself, they do very efficiently express the tensions the family face alone and together. For example, the song "Surface Pressure" performed by Julieta's eldest daughter and Mirabel's eldest sister, Louisa. In the song she expresses her feelings of inadequacy as the eldest, as someone who is expected to carry much of the weight of her parent's expectations for both herself and her younger sisters.
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The film's most popular song--and to no surprise the least Colombian sounding one--is "We Don't Talk About Bruno". This song is extremely important in communicating the entire family's trauma and refusal to face the past as it is an entire enable number with overlapping lyrics, and a combination of many styles of music. It is meant to bar overwhelming in order to show audiences the depth of the family's pain surrounding Bruno's vision of the future. He foresaw the family's ruin, and instead of changing their ways and accepting their past, they cast him out, attempting to bury the inevitable consequences of their denial.
Now the film's second to last score, "Dos Orugitas" is an extremely important piece. The song is sung solely in Spanish unlike the other scores, and is performed by a Colombian performer. This song comes at a pivotal moment in the film, when Mirabel helps her grandmother face her past. This song plays as we see Mirabel's grandfather sacrifice himself to save his family when the Spanish invaded. This scene paired with the song cuts deep emotionally, as it is responsible for communicating generational trauma to audiences. A scene such as this, which speaks so much to Colombia's past had to be performed in Spanish by a Colombian performer, or it would not have had the same effect.
All these songs work to immerse the viewer into the family's both internal and external battles.
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How do songs use character performance to push cultural authenticity in the film’s diegesis? 
The way in which songs use character performance to push cultural authenticity is relatively weak in this film. Though much of the cast is Columbian, the main character, Mirabel, who sings in most of the songs, is Argentinian.
When we do hear performances by Colombian artists they are non-diegetic, and therefore do not contribute as much as they should to the cultural authenticity in this context. However, it is important to remember that most of the cast is Colombian, and they represent the story even if the music's lyrics are not telling of the culture.
Unfortunately, the songs I feel best push cultural authenticity are both non-diegetic. "Dos Orugitas", by Sebastían Yatra is not a character performance, but it is sung in Spanish by a Colombian artist. The second song "Antonio's Voice". This song was composed by Germaine Franco, and features women vocalizing in Spanish as Antonio receives his ability. The importance of having the music be sung in Spanish for this scene is great, as the concept of the Madrigal's special abilities is what the story itself revolves around. After all, the inclusion of the family's special abilities in the film is deeply inspired by a Latiné born writing style, realismo mágico.
In what ways does the film use musical “framing” to structure the score within familiarized styles?
Despite three crucial musical contributors to the film being Columbian, the songs they perform were not written by them. Each number with sung lyrics was written by Lin-Manuel Miranda, a Puertorriqueño. This way, as Robin Armstrong writes in their essay, "Time to Face the Music: Musical Colonization and Appropriation in Disney’s Moana", "control always stays in the hand of the colonizers" (Armstrong 3). Of course, though Miranda is Latino, he and his music style represent a narrative more tailored to the expectations of Disney, Hollywood, and Broadway.
What I also found quite interesting was how even though three of the major singer contributors to the film's score are Columbian artists--Maluma, Sebastián Yatra, and Carlos Vives--the songs they perform are non-diegetic and written by Miranda. Only Maluma is on the cast, and his role is quite small as he is not even part of the familia Madrigal. So, though this inclusion of Columbian artists does contribute to the film's authenticity, they are only given limited access to the narrative, and virtually no say in what they sing. This is a concept that was greatly discussed in Armstrong's article, about even though native voice are given a space to be heard, they are used only where the colonizers see fit.
Furthermore, the instrumental pieces were also not composed by a Colombian composer, so it is hard to claim authenticity even if the music is reflective of traditional Colombian musical styles. This choice implies that the authenticity of the music did not matter enough to Disney to hire a Columbian composer.
So even though vallenato, folk, and bambuco styles are present, they are still contained within familiar sounds of pop, broadway, and reggaeton. Now, though reggaeton originated from many Latin American music styles including Colombian, it is still a more familiar sound with western audiences.
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winxanity-ii · 1 month
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⌜Tactus Mortis | Chapter 13 Chapter 13 | solo⌟
╰ ⌞🇨‌🇭‌🇦‌🇵‌🇹‌🇪‌🇷‌ 🇮‌🇳‌🇩‌🇪‌🇽‌⌝
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❘ prev. chapter ❘༻✦༺❘ next chapter ❘
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Before the dawn had fully broken, you found yourself in the quiet sanctity of your room, kneeling before the large, ornately framed painting of Santa Muerte. The air was heavy with the scent of marigolds, the flowers traditionally believed to ward off evil spirits. With a deep, steadying breath, you closed your eyes, allowing the serene silence to envelop you, save for the soft whisper of your own voice as you began your morning prayer.
"Hear my prayers, Santa Muerte, mother of death, most Holy of all. May you give me strength to continue your work with your very presence. I ask, oh Holy Mother, that with your scythe you protect me from the dark spirits that wish to weaken my faith. Oh Miraculous Muerte, cleanse my soul for today and the days ahead so that I may continue to be your ever-faithful servant."
The words flowed from you in a reverent cadence, repeated twice more, each iteration accompanied by a bow of deep respect. Upon completing the third recitation, the two candles that flanked the painting flickered out in unison, a sign you took as an affirmation of your prayer being heard. A warmth, comforting and reassuring, washed over you, leaving a gentle smile on your lips as you rose.
Gathering the candles and other ritualistic items, you carefully put them away, knowing they would be called upon again for your nightly prayer. The moment of spiritual communion bolstered your resolve, infusing you with a sense of purpose and protection as you prepared to face the day ahead.
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Despite the spiritual fortitude you had drawn from your morning prayer, you were dead on your feet, your heart heavy with exhaustion as you made your way through the cobblestone streets of Encanto towards the town square. The encounter with Camilo, still fresh and stinging, weighs on your mind, casting a shadow over your already daunting task. Despite this, you muster every ounce of strength to push through, driven by a sense of duty and the fear of letting down the Madrigals, your father, and the spirits counting on you.
The ceremony is set to begin under the fading light of the day, the town square filled with the faces of those you've grown up with, those you've helped, and those you're about to guide in this sacred ritual. As you step onto the stage, your heart beats a frantic rhythm, not just from nervousness but from a deep-seated dread that something, somehow, might go wrong.
Drawing a deep breath, you begin, your voice carrying across the crowd. "I want to start by thanking Doña Alma and the Madrigal family, for not just their unwavering support in preparing for today, but for their constant guidance and love. Without them, and without all of you, none of this would be possible."
You then turn your attention to Isabela. "Isabela, if you would, please bring forth the sacred thistle." As you speak, Isabela steps forward, her hands dancing in the air, coaxing the earth to yield its treasure. A single thistle rises from the ground, its petals glowing with an ethereal light, a symbol of resilience and protection. It's not just a plant; it's a beacon, guiding spirits back to the world of the living.
"Louisa," you continue, your gaze shifting to where she stands, ready at the large cauldron. "Please place the thistle within." Louisa moves with purpose, her actions resonating with the significance of the moment. The thistle drops into the cauldron, its essence merging with the flames, sending plumes of fragrant smoke into the air.
Inhaling deeply, the smoke's mystical properties begin their work, easing the tension in your mind, opening the pathways to the spiritual realm. You feel the veil between worlds thinning, the presence of spirits drawing near, their whispers like the rustle of leaves in a gentle breeze.
Your eyes sweep across the crowd, landing momentarily on Camilo. A pang of unresolved pain tightens your chest at the sight of him, the echoes of his words still haunting you. You tear your gaze away, the ache in your heart a stark contrast to the purpose that drives you forward. Unbeknownst to you, Camilo watches, confusion and concern etched into his features, unaware of the turmoil that brews within you, believing the day to have been just another moment shared in the continuum of your intertwined lives.
With the stage set and your spirit attuned to the task at hand, you begin your speech, a call to the spirits to join in this sacred assembly. "Tonight, we stand at the threshold between worlds, not as strangers but as kin. We invite you, our ancestors, our loved ones, to share in this moment, to feel the warmth of our fires, and to know that you are remembered, cherished—AHH!"
But the words are abruptly severed, a lance of pain stabbing through your skull, so sharp, so sudden, it steals your breath away. Your speech fractures into a cry, the sound torn from the depths of your soul. The world tilts, darkness nibbling at the edges of your vision, and you collapse, knees buckling beneath you, the stage rising up to meet you with a jarring thud.
A collective gasp ripples through the crowd, a wave of shock that mirrors the confusion and fear that grips your heart. In the fleeting moment before darkness claims you, you catch a glimpse of Camilo, his expression a mix of alarm and desperation, moving toward you even as you succumb to the void, the ceremony forgotten in the wake of an unforeseen crisis that threatens to engulf you whole.
Above, the sky turned ominously dark, thick thunderclouds unfurling with an intensity that seemed to match the turmoil within, icy rain began to pour down in sheets. Camilo, his curls plastered to his face by the deluge, wrapped his arms protectively around you, attempting to shield you from the relentless downpour. "Mamá! What are you doing?!" he cried out, looking towards Pepa with a blend of confusion and desperation.
Pepa, standing amidst the gathering, wore a mask of confusion and worry that mirrored the sentiments of everyone around. She fought against the weather, her powers striving to dispel the storm and restore the serene skies. Yet, it was as if an unseen force rebuffed her efforts, each attempt repelled with a force that seemed to cause her physical pain.
Felix, observing the toll it was taking on her, approached with a gentle firmness. "Love, stop," he urged, his voice a soothing balm against the chaos of the storm. Pepa's attempts to combat the weather ceased, though her expression remained fraught with concern.
A collective unease enveloped the crowd, the shock and fear palpable in the air as they witnessed the unexpected turn of events. The ceremony, once a beacon of unity and celebration, had been forgotten, eclipsed by a crisis that seemed to pull you into its depths further away from their reach.
Then, in a moment that feels both like an eternity and an instant, your eyes snap open. But they're no longer the brown eyes familiar to your friends and family; they blaze with a glowing red light, fierce and otherworldly, a stark contrast to the person they know.
The town square falls into a hushed silence, a collective breath held in anticipation, fear, and awe. The manifestation of your power, now intertwined with a mysterious and dark force, sets the stage for a confrontation that no one, not even you, could have anticipated.
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***Bear with me ppl, just a few more chapters, promise i won't leave y'all hanging lol. sorry for not updating friday 💔and not me having an exam tomorrow 💀 finna cram study so hard then have an existential crisis with the realization that the professor gave me weeks in advance to learn the materials for a reason🥴
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Louisa x Jolene (OC)
Sapphic romance between Louisa and an Appalachain young woman.
It took a while for the Encanto to be discovered by outsiders.
Even when outside people were aware of the little village's existence, it was still hard to find through the dense jungle outside, much less finding the one crack in the one mountain that allowed passage.
Dolores heard someone struggling just beyond their little haven. Antonio's friends were able to flush out a small spindley young woman with a black and white dog. They had gotten tangled up in the vines, and she was in the process of cutting herself free with a sizable machete.
When she arrived in the Encanto, she wore denim overalls over a button-up floral pattern cotton shirt and boots. Her long mousey brown hair had been braided, and there was a splattering of freckles all over her face and arms. She also wore a straw hat to keep the sun off.
The border collie, her loyal companion, was named Bama (bAm Uh).
She spoke with a peculiar accent that no one in the Encanto had ever had to contend with. The twang that was characteristic of the southeastern United States. Worse yet - Appalachian. Between the twang and old-timey folksy sayings, there was a bit of a learning curve.
"Abuela, I'm sure she's speaking English, but I don't understand a word," Dolores was nearly on the verge of tears.
"Aw, that's awl right, darlin', we got plenty o' time to urn out dem details."
"Urn??"
"You know! Yah heat it on a stove, spritz some water on fabric and get it nice and crisp fir Sunday."
"... IRON?"
"Bless your hart, we'll git it soon enough."
Then there were the Appalachian SE USA phrases that phased them.
Once, Bruno and the grandkids had gathered around to watch one of his telenovelas. In this particular scene, two characters were eloping only having just met.
"Mah gammaw always said, "Weddin' without courtin' is like vittles without salt.""
She sat there nodding her head as if what she said made perfect sense to everyone else.
In another 'episode' of the rat telenovelas, the female lead had been proposed to by 5 suitors and accepted 3, 2 of which were brothers and was pregnant.
Chuckling and shaking her head, Jo said in that ol' southern twang, "Never git your horse in a place where you cain't turn around."
On more than one occasion, they crossed themselves before trying to talk to her.
Once they were past the language barrier, they discovered she was a sweetheart. A hard-working sweetheart at that. She often helped out Louisa, even if she was just around for moral support. She had a surprising amount of strength for someone shorter than Bruno but still taller than Mirabel.
Even Bama helped out Louisa by herding the donkeys. To everyone's surprise, even to Jo's surprise, the donkeys obeyed the active dog.
She loved helping Julieta with cooking, even if she would've preferred grits, jambalaya (though that was simple enough, rice and beans and all asortment of spices), and USA southern buttermilk biscuits. She also introduced them to sweet iced tea. For the most part, she was the only one who ever drank it, though Louisa took to it after particularly physically demanding days.
She entertained Louisa while they worked with tales of her childhood growing up along the riverbanks of rural Appalachia. Copperheads, catfish, and crawdads. Blackberries, blueberries, and honeysuckle.
When Louisa asked why she left, she shrugged her shoulders.
"Jist wanted' see what all was further south is all," she'd say.
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sammyam12345678 · 3 months
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Descendants OC Part 2
Good morning, afternoon, or evening to anyone reading this.
A few weeks ago, I made a post about two of me and my boyfriend's Descendants OCs, Angelo Madrigal and Isaac of Arendelle. In this post, I will be explaining about another of me and my boyfriend's OCs: Heidi Madrigal.
Heidi Madrigal is the daughter of Louisa Madrigal. She was born in November of 2014. Her gift is superhuman agility/stealth. She ends up attending Auradon Prep in the new '30s. She and James Rogers are high school sweethearts then.
Thank you for reading my post, and have a good day or night!
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