#the villains are all kinda simple but that's not necessarily a bad thing. for the kind of story that sm2099 is it's easier to grant leeway

[spider-man-2o99]

After seeing your Xina post I am reminded that Spider-Man 2099 (especially the 90's run) is a case study on how a strong side cast is often a underestimate aspect of a strong comic run. Miguel's entourage is more memorable than his rogue gallery and gave him tons of stand out moments when he was out of the spider-man suit.

YEAHH YOU GET IT

Spider-Man 2099 (1992) may be set 100 years after the modern* day, but, at the crux of it, all the people in the book still act and talk like people. Even characters like Xina, who didn’t show up until about ~20 issues in, feel just as distinct and memorable as characters who were around from the start.

Hell, George O’Hara is dead before the book even starts, and yet his character still influences Miguel to a certain level just for having raised him-- the Young Miguel O’Hara side-stories aside, we see this guy in like... maybe one or two scenes in the whole main run. But. Those two scenes were all it took to establish everything we needed to know about him and who he was.

Everyone plays off each other so well that you could imagine any and all of these characters interacting with that fluid, tongue-in-cheek easy-breeziness. Not every person in the side cast is a home run, but a lot of them--enough of them--are that, even having reread the ‘90s run as many times as I have over the years, I still find it an honestly just entertaining comic book to sit down and read if you like its style.

#anon #ask #spider-man 2099 #spiderman 2099 #miguel o'hara #meta #talking tag #as per usual. taps the sign that says ''i am talking from a biased perspective of someone for whom this is a special interest'' etc etc #this is My takeaway and it is okay if it does not line up with yours you silly little strawman you #but. anywho! there's the paranoia indulged. Commentary time #i really like the character work in sm2099 everybody just feels so distinct and human and i dig that. even the people who are Freaks- #-because it gives off a strong feeling almost of like. Yeah The Freaks Now. They're Owning This. This Is Just An Aesthetic In The Future #it's chill y/k #the villains are all kinda simple but that's not necessarily a bad thing. for the kind of story that sm2099 is it's easier to grant leeway #spider-man 2099 is a Dramedy. most of the people in its world are very funny and communicate well with others-- #--and right from the jump being able to consistently communicate clearly AND be funny on top of it requires a certain level of emotional-- #--intelligence that really helps sell the idea of these characters as complex #thinking individuals

[ewingstan]

any strong opinions on amy dallon

Feel like answering this is the equivalent of inviting a vampire into my home.

If this is just asking how I personally feel about Amy Dallon the character: I'd say she's among the strongest characters wildbow has written. She was used exceptionally well throughout Worm; in her initial interactions with Taylor, her smugness and petty insults help convince the reader to doubt the use of hero/villain as absolute markers of moral standing. As it goes on, and we see more of Amy's home situation, it becomes more clear how much Amy's haughtiness towards the villains comes from her insecurity; a desperate attempt to differentiate herself from them so that she can feel more like she belongs with the Dallons. It humanizes the heroes—stopping Ward from becoming a simple palette swap story where all the heroes are ontologically evil and the villains are brave noble freedom fighters—while making the hero/villain conceptual framework seem all the more ridiculous and destructive.

Later, around the same time Taylor is talking to Sabah and Lily about how "hero" and "villain" are just labels that don't determine one's morality, Amy is having the same realization—and panicking about it, because it means that being a hero doesn't mean she can't be the horrible person she fears she is. Because while she's figure out that hero/villain doesn't necessarily have any metaphysical weight, she's still sure that good person/bad person are clear ontological categories. And if being a hero doesn't just mean you're a good person, then she might really be the person her parent's treatment of her implies she is. She might actually be in danger of acting on those troubling thoughts that surely no good person would have.

In terms of her Ward stuff, I haven't gotten to the big things people had problems with so I can't comment too much. I think Ward Amy is effective as a villain in Victoria's story, but all the plot points of her allying with Goddess and taking command of the prisoners make sense only for a character whose the villain of Victoria's story, and don't make sense for Amy as we saw her in Worm. These plot points are working off the "person who thinks in terms of good and evil and is convinced she's evil" thing without addressing how by the end stage of worm, we'd seen her attitude had changed and that she'd started to move towards seeing people as not being inherently anything. Moreover, the writing kind of reaffirms the belief that some people are just bad people. I might not have that critique if there was more framing like "Amy is behaving this way because she's been told by everyone that she's villainous and so is falling into the expected role," but that's not really a thing in Ward. Hell, its less of a thing than it was in Worm.

There are shitty things Ward Amy does that I can get behind and say "yeah Worm Amy would do that," like going along with Carol's reconciliation plan and then running after Victoria when she leaves. Sure, she wants to resolve that, that's consistent with the original motivation of the wretchening incident. But most of the Amy writing after that, nah. I'm sympathetic to the "That's a different character" claims for everything past arc nine or so. That's her Noelle clone or something palling around with Goddess. Have Amy step out of the plot after the Dot interlude and ride off into the sunset, and let WB do a compelling pathetic-yet-very hatable villain with some other character.

If this is about recent intra-fandom stuff:

You can point out how a character is described in kinda racist language, both to criticize the text and to analyze what the story is doing with that character. Don't see how that's controversial, not sure how that got turned into "you're saying she's black". Authors making a white character read as bad or degenerate by describing them as sharing traits with black/brown stereotypes is a pretty common trope historically, its worth noting it when it happens.

And while I can see why people could get inspired by some aspect of how Amy is made to feel like a degenerate, and run with it by depicting her as literally dirty/pest-ridden or writing her with more taboo kinks, I don't think such depictions are beyond criticism. I might defend some of them on the basis of alternate readings of the character. If you're doing something with it, using Amy to explore something you're really interested in—there's at least a discussion to be had, and maybe something interesting would come if it. But you can't meet an honest critique of the ideas in your work, or a claim that they make already bad parts of her original depiction worse, by saying "its just a joke." Its art about Amy, there's gonna be ideas and messaging that goes along with it, even without you meaning to put them in. Don't fight that, embrace it! We'll all be better shitposters if we consider our shitposts worthy of critique.

#amy dallon #wildbow #parahumans #wardblr #wormblr #leo reads worm #leo reads ward #leo says

[prismuffin]

I don't know why this is so funny to me, but how do you think the rest of the male Justice league members, would react to a Gotham rouge Reader moving out of Gotham and setting up base in their City instead.

The biggest complaint the reader has is that it's cramped in Gotham and he can't do his petty schemes in peace. (Ex: Stealing a broken street sign, so the city is forced to replace it with a brand new sign.)

- Crow

A/n: SO sorry this took a minute Crow! I just got off of work not too long ago and my computer was acting up! I kinda turned this into you being kinda a "villain", (but not really but you do commit crimes) and attempting to make them go back to being a hero after they leave. But anyway, I think-

Wally would probably think you did it on purpose, (you totally did, don't lie to me). He'd be annoyed but amused? Like he's curious as to why you left Gotham, and after hearing that getting beaten to a pulp for something as simple as littering wasn't ideal for you he'd just laugh and agreed. He told you not to get into too much trouble but that'd be very boring. Wally tried to ignore your growing threatening presence in his town but it was as if you were testing his patience specifically, and you were but still. If you actually did enough to make him go back to being kid flash he'd probably resent you for a while but would quickly find the little cat and mouse game you guys have going on fun.

Bruce immediately knew you did it on purpose, of course you would try and make him become Batman again. He probably wouldn't necessarily care as to why you left Gotham because he thinks he knows the whole reason. But after explaining that it's not all about him and that Gotham was just a shithole in general then he'd just be annoyed. Like out of all the places to move to you moved to the one place where he was?? He left Gotham because of the crime rate and yet here you were dragging that crime with you. He wouldn't try and stop you even if you taunted him specifically but he'd definitely keep up with any news about you and if you were close to being caught.

Superman would probably just think it was a coincidence, finding you in the same city as him. He would probably be the quickest to return to his mantle, though not officially. He'd stop you from your petty crimes and ask what you were really doing in his city. When you explain that you just wanted to leave Gotham because you can't do your crimes in peace he'd probably reply with something cheesy like "Well it seems you won't be able to do them at all, not with me here." He'd probably turn you in to the police then get annoyed when you break out and taunt him. To you, it's a bit of a joke especially since you already completed your mission of making him because Superman again. To him however, it's a lot more serious. He's gonna take you down and keep you down. You find it so funny cause you really aren't doing anything too bad.

Flash would initially be a bit like Bruce. He knows why your here and no he's not gonna let you get to him. However he finds himself drawn to things like newspapers addressing your recent crimes for small rewards or warnings that come on TV about your vandalism and such. Seeing you taunt him practically every day while not getting caught is almost angering him. Yeahhhh he definitely let you get to him. He literally doesn't care why you left Gotham honestly. He kinda goes from Bruce to Wally in a way, at first he was very annoyed but after catching you a couple of times, he ends up getting back into the groove of being the Flash pretty quickly.

( i'm so tired i'm sorry if this is short!! )

———

Directory

#dc universe #dc universe x reader #kid flash x reader #wally west x reader #kid flash #wally west #bruce wayne x reader #bruce wayne #batman x reader #batman #superman x reader #superman #clark kent x reader #clark kent #flash x reader #the flash x reader #the flash #flash #barry allen x reader #barry allen #prismuffin #dc fanfiction #prisask

[snapewife-divorce-lawyer]

when i originally made my equestria civil war au as a an edgy teen, one of the primary things that defined the north wind as being evil was their use of animal products. i do think it’s enough that they are militant fascists. that simple fact makes it worthwhile to oppose them. i don’t mind them being evil in other ways, but i want to acknowledge before i continue that they certainly don’t need more evil traits as far as narrative goes. i left the alicorn experiments in because they are cool lol, but the animal products thing i don’t know about. their use of animal products was pervasive, much like our real world, but it was really bad because ponies are herbivores (don’t come at me on this. not interested in arguing the fact that ponies are herbivores) and further at no point in history were ponies reliant on animal products for any reason. so the habitual use of animal products was obviously evil to any observer. purely exploitation for nothing but convince. but further than that, their animal products extended to animals that aren’t exactly animals. i kinda hinted at this with the alicorn experiments, and the implied complete disposability of their pony test subjects for a flimsy misguided cause. they actually see anyone who isn’t a pegasus as an inferior being, and this belief informs actions.

here are some of the things from the original au that i am considering dropping, along with the use of animal products all together. i warn you that they are pretty bad:

the first practice of theirs that i am reconsidering in my remake of this au is that they used dragon hyde as armor. i had decided that it deflected magic and they made armor out of it, and also wrappped their ships in it. in the og story this is actually the thing that deradicalized mistletoe. he had a gradual change from indoctrinated child to aware and remorseful young adult, but the second he found out that the armor he was wearing came from a creature that could talk is when he completely flipped. i’m not sure how much i like that story anymore. also as a not edgy not teen im not sure that that level of depravity is necessary to show.

the somehow worse thing i am also reconsidering, and i have to warn you again if you are going to go forward that this is pretty bad, is that in the original they would take unicorn horns and use them to make weapons out of. sometimes via grave robbing, but sometimes from living unicorns. the unicorns that they would take these from would then often be made to work in factories and stuff. the hornless unicorns were all discolored and sad like when starlight took those ponies’ cutiemarks.

i’ve been open about how star wars was an influencing factor in my pony au being a story about fighting fascism. it bugged me watching star wars that you don’t see the empire being bad. they blow up a planet in the beginning, and then continue based almost solely on that. using aesthetics and exposition to show the evil of their villains. star wars feels less like a galaxy full of people rising up against an empire that is oppressing them, and more like a conflict between a handful of people. the citizens of the galaxy are only props in the story. i don’t think star wars is uniquely guilty of this by any means, and i don’t even necessarily think this is a bad thing about the story, but i think it’s not a coincidence that recent star wars stories have been focusing on the actual material harm of the empire instead of a conflict between a handful of wizards who it turns out are literally related to eachother. that would be the reason to leave things like this in. here is some of the real material harm that the north wind is doing. here are some of their real victims. a reason to oppose them that is more personable than narratively broad concepts like government takeover.

love to her thoughts if you have them

#equestria civil war

[rutadales]

Do you not think cDream is the villain? Sorry this is not at all meant to be agressive or anything, I just have trouble understanding that interpretation. I’m genuinely interested in what you think bc I’m not as well versed in lore as many dsmp fans but from what I’ve seen, cDream is a pretty unequivocally bad person. I think few of the characters aren’t to be fair, but though cDream is more complex than the common interpretations, he doesnt necessarily seem to be morally better? Again, don’t mean to sound rude or anything!! Just kinda trying to understand :)

So this question kinda expands into several branching off points for me, but I'll try to keep it simple and break it down into sections as best I can. this is going to get long

So do I think c!Dream is a villain? Depends on what definition you're using first of all but also in what context, in which storyline, and from whose perspective you're consuming the story from. A strength of SMPs as storytelling devices is that the concrete plot and hard facts of the story are often pretty fluid; what happened when, who was there, who saw what, and who is a villain or a hero is all dependent on which stream you chose to tune into at the time. But as much as this is a strength, it's also a detriment. Entire character beats and motivations can be missed or obfuscated by simply not tuning into a creators stream. A big example of this is how many people missed the Staged Finale reveal, anyone who didn't watch Punz stream will still be operating under the belief that everything Dream did in the disc finale was his true nature, and not an act. Completely changes how to interpret those characters and the entire finale as a scene.

The nature of stream based storytelling is audiences are consuming completely different stories, simultaneously, and there's no hard copy of this story. It's not a book you can go pick up at Barnes and Noble or a movie you can stream on Netflix. To get caught up and engage with the fiction you either have to go back and rewatch hundreds of hours of live content (with dead space and parts that have been completely ret-conned), watch recaps edited by third parties who are at liberty to cut out anything they deem irrelevant to the story, or get it exclusively word of mouth by the audience. A character being more loved by the audience now means that character's narration is given higher value in contrast to other characters. Even supposedly non-biased sources, like the fan wiki, meant to lay out bare bone facts of the story are riddled with un-sourced fan interpretations of the media. Look here

Now, reading a characters unreliable narration as reliable isn't a failing as it is more just engaging with the media as intended. The intent of utilizing unreliable narrators is often to "trick" the audience or to showcase how that character sees the world. Its fine and is used is a lot of different mediums, I'm actually a huge fan. Love me some bitches who just lie. The thing is, due to everything I've laid out above, having a character who is unreliable, like c!Tommy often is, in this medium means fans who only consume the content via world of mouth are getting an unreliable narration without the context that its unreliable. This completely changes entire swaths of the fiction and more, to our point, who is the villain.

A really, kind of neat phenomena in the fandom is how fans bought into c!Wilbur's lies about L'manberg the same way the characters he was manipulating did. Fans became part of the narrative in a strange way. Which is actually a perfect example for how other characters shape the narrative around Dream, both within the fiction and within the fans trying to engage with it.

With that in mind, I don't even read the dsmp as a story with "villains" or "heros", its a story with a lot of different perspectives that clash with each other. Those terms don't really lend themselves to the kind of questions I'm asking about the story.

I think the question you're really asking is "Do you think c!Dream is a good person". You bring up being "unequivocally bad" and moral a couple different times, which to me flags as a question about fictional morality. Because the question of who is a villain in the dream smp is completely dependent on who you watch, which streams you've watched, and whosever narration you decided to subscribe to-- and is why I find the label villain in dsmp analysis fairly mute. It's kinda a pointless exercise to try and determine who earns that label and who doesn't. Not the kind of analysis I'm interested in.

But to answer the question I think you imply here, no I don't think c!Dream is a good person. I don't think anyone on the smp is. Maybe Michael? Well he tried to break into a prison for information, so by some moral standards, absolutely not! I'd certainly agree with you that Dream is more complex than common interpretation would lead us to believe, but that complexity does lend itself to morality in some cases.

Is Dream wrong to want to prevent his home from being split up into countries and thus filled with conflict? Is it worse to threaten, torment, and assault someone because you're pathologically obsessed with them or because you have a larger goal in mind and find those actions beneficial to the goal at hand?

To me, that's it's just pointless hole to get sucked into. I am personally uninterested in ideas of a character possessing or gaining moral purity and much more interested in characters learning to move on from the harm they've caused. C!Dream is interesting to me, not because he's a good person, but because hes a complex one. TL;DR: I am uninterested in using villain as a term within the context of dsmp and find the discussions of the moral goodness of characters reductive.

If you have any other questions feel free to shoot me an ask! I actually quite enjoy breaking down how I think about characters and media and am always open to (friendly) discussions on the matter. <3

#root talks #dreblr #c!dream #hopefully this helps you understand #i tend to be long winded but i really did try to keep myself on track here #dreblr moots feel free to chime in here as well if u want #ask #anon

[sepublic]

            I seem to have lost this ask (at least I think it was an ask) where someone pointed something out to me about Matthew Rhys’ statement on Belos being ‘misunderstood’, way back from summer 2020…

         So, I’ll just paraphrase it here. But in response to my questioning how this made sense when Belos proved himself to be utterly genocidal and prejudiced, the ask pointed out that… Belos doesn’t want power. He thinks he’s doing the right thing and just wants to go back to a humble life, and be back with his brother.

         And!!! As I think about it, it really does fit. Belos had the most powerful magic, taught to him by the Collector. He was Emperor of an entire world and beloved. He had authority AND power, and yet… He chose to give it all up, walk away, and settle for a quiet life back home. He wanted, CRAVED to go back to being just a regular, humble human.

         Part of this is because he was NEVER a regular human, not according to Gravesfield’s arbitrary definitions anyway. He was a freak and an outcast, him and Caleb. Philip doesn’t want to seize power for himself, he finds the power of magic evil. In the end, all he desired was to go back to this sense of home, or at least gain it; All he wanted was this sense of acceptance for having done a good job from his peers back in the human world, with proof that he finally lived up to their idea of ‘success’.

         There is zero pragmatic reason to resurrect Caleb, over and over. There is no bigger ‘plan’ to the Grimwalkers. He just misses his brother. He wants him back, it’s that simple, and there’s no function to the draining spell or anything else that a Grimwalker needs to justify itself with. If Belos wanted fame and adulation or any other typical villain motivation, he had it all in the demon realm and then gave it up. All he wants is a sense of belonging and to be told he did the right thing. Philip is crippled by a horrible nostalgia and loneliness, and he’s too scarred from Gravesfield’s trauma, and his own stubbornness, to move on.

         He thinks he’s saving Luz, he thinks he’s an Eda to her, a jaded mentor who can save this kid from the tragedy he suffered alone. Belos legit thinks he’s the hero of his own story, saving humanity, and he’s engaging in this idyllic childhood dream of being a witch hunter, murder IS his fantasy, because that’s how the Puritans were.

         As his voice actor, Matthew Rhys obviously has to truly get into the head and mindset, the unhealthy perspective, of Belos. So if there are plenty of angles to view Belos as sympathetic and kind of misunderstood as MORE than just power-hungry villain, then. Yeah, as the one who has to BE Belos, I think I finally understand what Rhys meant when he said, all the way back in 2020, that he viewed Belos as ‘misunderstood’. He’s not an intimidating Emperor who believes in domination or conformity, so much as he is a lonely little child. An AWFUL child, but a child nonetheless, one with deep and disturbing parallels to Luz and Camila.

         Back in 2020, I kinda joked/speculated about Belos having a Senator Armstrong moment, in which he reveals his actual motivations, and just how utterly deluded he is, how convinced he is that he’s right. And he’s so eager to believe our protagonist agrees, projecting a kinship onto them… Only for the ‘acceptance’ to just be bait, as the protagonist denounces them not as the typical, generic evil as they’d assumed, but batshit insane. To the utter shock of our hopeless villain. Betrayal, transforming into monstrous rage. But even after it all he still appeals to that ‘connection’ they have, and eventually the protagonist must admit it exists.

        Lo and behold, that’s what happened in King’s Tide. So I’m VERY happy to say it happened, after all. This all reminds me of a post about how a character having nuance doesn’t necessarily mean they’re morally gray or even feel bad about what they’ve done, and boy howdy does Belos illustrate that perfectly. He’s utterly awful but there’s a genuine sense of motivation, personality, and background to him, you can see how his mind works and how parts of his past informed the person he’s become. You can see how it functions and how all of the inner mechanisms of his mind come together; There IS a twisted rhyme to his madness, things make sense to him. Barring the blatant denial and cognitive dissonance, of course, but he’s rationalized it.

#the owl house #emperor belos #philip wittebane #matthew rhys #character analysis #meta

[fuzzyhologramdetective]

Ok, let's talk about the bastard son & the devil himself

First of all, the soundtrack, i really like it: I think it has that urban feeling to it and also kind of a fresh, new interpretation of magic and mysteriousness which I really like.

You see the places the characters are in: for example you see they're in London, cause there are shots of the city, not in a *flashy* way, but somehow just making it feel more grounded. I think showing those places (also Paris, even though they didn't film there I think they did a good job with it; or the woods which look like real woods and not some fantasy place) makes you realise that yes, this takes place in our world, which makes it feel more real.

What i think is really important though is that the people are allowed to have feelings. They're allowed to be selfish, or angry. They're also allowed to be loving: Nathan never has a moment where he questions if he can be in love with both Annalise and Nathan at the same time, he just is.

I also love how everyone is allowed to not be good all the time: Nathan getting angry at Annalise's brother or being kind of shitty to her when he's all "fuck fairborns" etc.; Ceelia being pretty rough at the beginning of the show but while it continues, you get to know her better and actually like her a lot; Annalise killing the guard or being a bit selfish and unfriendly to Gabrielle when they first meet him; those french bloodwiches you sympathise with and then they literally torture and kill people.

Like, a lot of the characters are so nuanced and you get to see a lot of different perspectives, which makes you question people or things you didn't necessarily think of before. What you think about who's good or bad gets challenged a lot: at first the fairborns always talk about how evil the bloodwitches are, and even though you realise it's probably not that simple and early on Nathan's grandma and Annalise kind of criticize those presumptions, you later get to see that both sides are actually kind of bad and it's not about what you were born as but who you choose to be.

For example, Ceelia and Bjorn both choose to go against Soul once they realise how much he's changed and that what they're doing can't be justified; Keiran's arc is similar but with Jessica as the opponent; Soul on the other hand also chooses to be a bad person. At the beginning, before he kills his brother I was actually beginning to sympathize with him and thought he was just a normal dude, but when he's starting to really get scared of being killed, he chooses to go down that evil road to save his own skin. Then of course, Nathan, Annalise and Gabriel all choose to be on their own side, choose to leave behind all the stuff people in their past told them. Gabriel chooses to come back and help Nathan and Annalise after finding out who they are. He also chooses to stop working for Mercury and romises to help that little boy.

And one thing I find really interesting is, that the one person you're supposed to believe is the most dangerous and evil witch there is, the devil himself, is actually kinda chill the one time you really see him on screen.

And another thing I really like is that they didn't to this thing where people are *defined* by their powers (which I feel like a lot of other fantasy media does): Soul, the ruthless villain, has the power to grow plants; Annalise, who is a good person and is loving etc. has the power to destroy. Like, I just love it. It's not about what their powers make them, but what they make of their powers. Annalise uses hers to protect the ones she loves and Soul uses the means he has to try to become as powerful as he believes he needs to be to defeat Marcus.

#the bastard son & the devil himself #tbsatdh

[curedeity]

For the bingo: kyoko and/or mami?

While i may have surprisingly few boxes for kyoko colored in, its not from a lack of love. Kyoko, imo, is the best redeemed villain character ive ever seen. Its not about her apologizing to sayaka or whatever, its about her slowly understanding sayakas worldview and growing closer to her, how their differing philosophies intertwine as the world slowly beats them down. Kyokos redemption arc is just her choosing to change and try to help sayaka, such a simple thing and yet masterfully executed. Its even more impressive when kyoko really only had 4 episodes in the show to execute all that. Saying she didnt have enough screentime is a bit tough, especially considering what a short and tightly plotted show pmmm is, but i really think kyoko couldve used a few more scenes to show what she does when shes alone, shes normally only with another character.

She does work very well off of whatever character shes paired with though. She and sayaka have (imo) the best dynamic in the entire show, what with how much they impact each other and how their dynamic builds up over time. Kyoko also has great chemistry with madoka despite having only one episode together. I know theres a manga of her and mami somewhere which i really want to read. (Rebellion spoilers for the rest of the paragraph) I also love how she and homura get to grow close in rebellion. I just wish rebellion had given time to kyoko and madoka, and kyoko and mami, but it isnt a huge problem.

Basically, i love kyoko a lot and what she means in the series. Her arc is incredible and she works well off of anyone she comes in contact with. The only problem is that i think the show doesnt give her a chance to show off what she can be like solo.

Mami. Gosh, this feels lkke payback for me giving you her. Shes such a hard character to describe.

First off minor point not everyone is wrong about mami im mostly joking bc i really hc her as aroace. Shes got so many aroace vibes. Shes the character through which i truly understood what relationship envy was. But i dunno if i wanna say all her ships are bad or anything yknow. They just dont work for me. So mostly that point is kinda a joke.

Also ghsjfnnsks so hard to choose whether shes wasted potential and not enough screentime. To say those things would i think imply something in the writing wasted her, and i dont think so. She is a character with very little of an arc, very little time, but she dows a lot in that time and is incredibly important to how the rest of the show plays out. Plotwise, i think shes used perfectly. I think what redeems her short tome is that they strongly characterize her in short moments. That scene in episode 10 reveals so much about how mami views the world, and makes so much sense. Not to mention how much they let mami do in rebellion. Its clear they have a strong characterization of mami and show it off whenever possible.

She did get done dirty by the creators though, she did not need to be fanserviced in rebellion. Shes a middle schooler.

Other than that i find her very interesting to think about but i will admit she is my lest favorite magical girl in pmmm. Which means shes still an incredible character, but the weakest in her cast.

EDIT: i forgot to mention i love her dynamic with madoka but idk if thats necessarily where she works best. Its just fun.

#puella magi madoka magica #pmmm #madoka magica #i love pmmm characters so much they have so much going on and then you realize they were only around for three episodes

[eri-blogs-life]

So I’ve been playing Paper Mario: The Thousand Year Door again (it’s one of my favorite games, and this is probs like my fifth playthrough in my life). I was talking about it with a friend who hadn’t played the series and he asked me, basically, what is it that makes the paper mario games so special? People never seem to compare them to other RPGs, only to other Paper Mario games. And so that got me thinking.

I have a few points on this front, and some other random thoughts. This is effectively a sort of wrap-up to my current playthrough, tying together some thoughts of mine. For short, I’m gonna refer to the first two Paper Mario games, Paper Mario and Paper Mario: The Thousand-Year Door, as PM/TTYD for short. And like, I’m no professional critic and don’t really have the language to speak on things critically proper, this is just a lot of random thoughts off the top of my head.

Combat

In a sense, I think PM/TTYD is to RPGs what Mario Party is to board games. Now, mind you, board games is a pretty general category and this doesn’t apply to all board games but it’s a broad strokes description.

Basically, what I mean by that is this - when we play Mario Party, the overall board game part of it is interesting, but there’s not necessarily a ton of choices you can actually make, a lot of it is based on the roll of a die. But the really engaging part is usually the mini games, where you have a lot of control for these short bursts of time and might be able to tip the next turn or two of the game in your favor.

PM/TTYD kind of does that to turn-based RPGs. For most actions you can take in game, there’s effectively a little microgame built into the attack (press A right before hitting an enemy to get extra damage on a jump, press the buttons as they appear on screen, etc). This gives a small bit of engagement in an active way that a lot of other turn-based RPGs just don’t have.

But just because PM/TTYD has this extra element of the microgames doesn’t mean that it has any less of what other RPGs have. There is still a good amount of strategy on a slightly larger, turn-to-turn scale, of which actions you choose to take so you can maximize damage to your opponent and minimize damage to yourself.

But then there’s another, larger scale that PM/TTYD and other rpgs have, the scale of game where you’re managing resources like health and items to get you from one save or heal spot to the next.

PM/TTYD adds that third layer, the microgame layer, that really sets it apart mechanically from basically any other RPG I can think of (except one, we’ll talk about that one in a bit).

Add on to all those some light platforming and puzzle solving mechanics in the overworld and you have a really great mix of different mechanical systems that blend together extremely smooth.

Aesthetic

But, PM/TTYD might not be the only games out there that have some kind of bonus system built in that adds in extra mechanical enjoyment.

PM/TTYD also set themselves apart from other RPGs by their cutesy, approachable aesthetic, super fun and funny characters, and simple but engaging plotlines.

The papercraft style that the Paper Mario games are known for evokes storybooks or kids playing with simple toys. It’s cutesy, it’s adorable, and it makes the games feel approachable at multiple ages. Mario isn’t gritty and wields a sword like a lot of RPG heroes, he’s a goofy plumber guy who jumps on things and has a big cartoony hammer.

PM/TTYD also have absolutely wonderful characters. Mario may be a silent protagonist, other than some fun “wa-hoo”s here and there, but the cast of secondary supporting characters that he’s joined by in his adventure each have this great flair that sets them apart not just from enemies in other RPGs, but even from the types of characters you might find in other Mario games too. There’s something really special about the partner characters in PM/TTYD.

But hell, even the villains are great! The big bads of each game might be kinda serious at times, but the bosses of each individual chapter can often have really fun, unique personalities that make each one memorable in their own right.

The Legacy

So why is it that other Paper Mario games aren’t compared to other RPGs, but are only ever compared to the first two Paper Mario games?

I think it’s just cause PM/TTYD did something so unique. Their combination of a genre we all know and love with a unique additional microgame aspect and the cutesy aesthetic and engaging writing... PM/TTYD was a combination of some absolutely fantastic individual elements, and they all worked together to create a wonderful final package.

And other Paper Mario games kind of squandared what we had. They left a lot of those unique aspects behind and created something new, rather than innovating on the franchise as it had been established by that point. Super Paper Mario was more of just a platformer game than it was an RPG, for example.

Some of that legacy, with the microgames within turn-based combats, still lives on in the Mario & Luigi series as I understand (though, the developer for those went bankrupt, didn’t they? could be wrong about that, take that with a grain of salt). But even then, the Mario & Luigi series doesn’t quite have the same aesthetic appeal.

The best Legacy of PM/TTYD can really be seen in Bug Fables: The Everlasting Sapling. Bug Fables is a near perfect game, and if you liked PM/TTYD at all, you absolutely should go play Bug Fables. It took the basic formula that PM/TTYD set out and innovated on it in a way that we can only wish Super Paper Mario had done.

I’m not gonna go into too much detail on Bug Fables right now, I think I did that on my blog after I finished the game, but it is a fucking great game and you should play it.

Conclusion

I love The Thousand-Year Door. It’s one of my favorite games of all time. It’s tied up there with, like, Tales of Symphonia, Pokemon Gold, and Dark Souls 2, for the most important games to me, with each of those games getting a slightly different reason for being on my favorite games list. DS2 I love because of the time I spent playing it with a friend in college (not to say it’s not a good game, though - it’s fantastic!). Pokemon Gold is one of the first games I really learned to love. Tales of Symphonia hit me emotionally in great ways.

But Thousand Year Door is on that list for being one of the best overall packages. Its story, mechanics, and overall presentation are one of the best in gaming.

#and if anyone has any suggestions for other games that do something similar to Paper Mario / Thousand Year Door in terms of game mechanics #please let me know i'd love to check them out #eri blogs games #paper mario #paper mario the thousand year door

[limayde]

68. Fae Tactics

Imagine if Pokémon was like FF Tactics...wait- Pokémon Conquest already exists.

That comparison still works tho, it is a combination that works very well. Collecting creatures that you can swap around for different combat scenarios is very engaging. They just really nailed the core gameplay on every level. All the different buffs, positioning, spells, elements, chaining attacks together, it just works really really well. I never felt lost, or confused about why a thing happened. Normally there's a pretty simple reason for each situation that can occur, and that makes gameplay glide along smoothly.

Hell, it took me five months of playing this game off and on before I beat it—something that I never do. If I stop playing a game for whatever reason, it usually goes unfinished. Not this one though. I kept coming back, because it's just so damn fun. And every time I did, the core mechanics were never lost on me. It was like I had never even stopped playing. I think that goes to show how well-crafted this game's mechanics are.

I really enjoy the smaller, shorter maps—compared to something like Fire Emblem, you can play through several chapters without feeling tired or burnt-out. I don't think it's necessarily better than how FE does it, it's just different, but I like that approach. I will say I wasn't exactly engaged with the story. It wasn't bad, but because of the game's nature, every plotline feels like a sidequest. Which is...very strange? Although I'm not against the idea, I kinda like it. You're constantly jumping between different plot points at your discretion and skill level—it was like I was trying to piece together a puzzle that was slowly deconstructing itself as I built it. There were some standout moments I really enjoyed, like Payachin's storyline, or that moment with Peony and Claudia near the end. Although I will mention there was a surprising amount of burying gays, or queer people just flat-out being villains. Definitely a strike against the game for sure.

Anyway yeah, Fae tactics was pretty good. Give it a shot if you're in the mood for a tactics game with monster taming.

#maydia thread #media thread 2023 #fae tactics #tactical rpg #turn based #indie game

[themarcspector-hasmovedblogs]

🌙💥 for the ask game! xx

using some of my oc fandom bbs. thanks for sending ash 🙌💕

🌙 MOON - what is your oc's greatest wish? how far are they willing to go for it?

sidney ahmed - in her m*rvel verse - her greatest wish is to stop ghost writing adventure novels and to go on an actual adventure. she's read and written enough about traveling and meeting new people, and now she needs to do that or she feels like she’ll lose her chance. she's waiting for life to give her the opportunity to use her knowledge for something useful. but who knows if and when that will happen. i mean, it will, because she is willing to go far for it and she is the type to take chances in her area. she just wants more, you know? but when she gets it she’ll a bit in over her head.

claudia daviau - in both her m*rvel & dc verses - claudia's greatest wish, other than for her children to be safe, is just to finally fucking rest. She's always on the move. Always looking for a chance to get some revenge for her past. But, in general, when she gets that revenge, she's dissatisfied because she misses the rush from having purpose, and may have just been addicted to the concept of getting revenge in the first place. This goes for anything I write her in. It's like a continued pattern for her. But the thing is, I let her get that revenge because even though her greatest wish is to rest, it's also to make sure people don't get hurt, and if she has to hurt others to make sure other people don't get hurt, she'll do it. end of, she says she’s not gonna just sit. and to be honest, that’s why delphine gets her to do the wildest stuff for her in her assassin verses. but yeah, her dream is just to keep traveling, take a few naps, or to live somewhere where she can study and showcase art because she loves art and is passionate about it. loves it to bits and can go and on and on about it. cloud’s fairly simple at barebones. she’d just get bored with the resting so she’d bury herself in art or would find trouble herself 🤷🏾‍♀️

💥 COLLISON - what emotions do they have trouble dealing with?

ophelia knight - dc verses - oh god, ophelia's biggest flaw is that she wears all of her emotions on her face. which is, uh, really bad, when you consider the fact that she lives in gotham city and keeping your cards to yourself is the best way to play your way through the city. but the thing with fee is, like, she doesn't necessarily play to win. she plays to survive and just to observe. she's a journalist because she's curious. so, too, i guess you could say she has trouble dealing with empathy, because sometimes she isn't empathetic to people's problems. but i kinda blame the whole 'living in gotham' thing.

layla alveres - dc verses - let’s just say that constanti.ne and lali are a resting bitchface duo. lali is awful at expressing herself period, because she knows that’s how people get you. she’s at ease with those she cares about and loves, and is incredibly smiley. and even with the resting bitch face, she does have feelings though and they’re not tuned to the bottom. but when she feels them on high, sometimes she makes a fool of herself and cannot hide it at all.

lunanera rosano - m*rvel - this is a new au but luna isn’t new. but in general, luna selling her soul to “the devil” is wild to me. like sometimes I’ll be like “who would their person be?” But with luna? I just feel like a ghost rider’s whole concept parallels her whole thing as a “maiden” in her main story and I just think that’s just a neat au idea. But anyways. I think Luna’s biggest emotional issue she has, is that she has trouble dealing with is the fact that she feels …not herself and doesn’t know how to respond to that. She’s not the type to use aggression as a response but like? She does still react with, I suppose, confusion, and that is not very helpful in the long run. Also she’s more villain leaning than not, but not for the reasons she’d believe.

#I have so many little things i simply do not post 🙈 for character vibes I love #but I love my little fun side pieces I do funsies! #noswrittenworks #nosresponses #writing: claudia daviau #writing: ophelia knight #writing: layla alveres

[lord-of-christmas-lights]

I swear I have normal Narnia headcanons. However, none of them are featured in this post.

So! If you've been following my series of posts about my Inhuman Narnia AU and the couple of oneshots I posted on ao3 under ASkyOfKai, you've probably noticed that in this little universe I've created, Narnia is sort of...sentient. And I've just realized that I've only actually gone into depth about this on Discord with my friends who are probably very tired of hearing about it. So I'm making y'all suffer through it instead. Welcome to Inhuman Narnia 101, please take your seats because this is going to take a while.

Warning for religious themes, theological discussion, and some dark fantasy/inhuman/body horror concepts that involve blood and physical changes.

BEFORE I SAY ANYTHING: Please keep in mind that an AU is meant to be an alternate universe that may not follow canon information. If anything in this post contradicts canon on the creation of Narnia (it undoubtedly will), pay it no mind, this is an AU. It doesn't have to follow canon.

First off, a little explanation of the Inhuman Narnia AU in general. Basically I came up with this AU after seeing some other people on tumblr post about the Pevensies being not quite human after their time in Narnia. Just eerie, cryptid, a bit of dark fantasy kinda stuff. And I was like, "I'm in love, sign me up, I have ideas." I did not sit down and develop this all at once. The worldbuilding I've done for it has come slowly over the past few weeks through posts, fanfics, and discord rambles. The idea of Narnia being a sentient earth deity of sorts is a recent one and there is already so much to it. (Also I call her Narnia because it's convenient, she has other names but I haven't bothered to like, actually make any up so Narnia is what she's called.)

The most important thing to note starting off is that Narnia is not supposed to be a replacement for Aslan, nor is she necessarily "the hero to his villain". Aslan and I have an interesting relationship, as he is literally God/Jesus/The Holy Spirit/etc and I no longer really identify as Christian. While there are times that Aslan definitely takes a more antagonistic route in my writings, I don't actually see him as a bad guy, nor as a good guy. As God, he literally removed from our concepts of good and evil (in my opinion). The same goes for Narnia being an earth deity. I am a Christian-raised pagan, and I definitely subscribe to the idea that gods and deities are not subject to humanity and our rules. Narnia is not a good goddess, she is not a bad goddess, she simply is a goddess. Plain and simple. The dichotomy that exists between Narnia and Aslan in my writing is generally that of opposing deities, but this isn't a hard and fast rule. There were and still are times when they're friends, working towards the same goals. There are times when Narnia's power is stronger than Aslan's and times when Aslan's power is stronger than hers. There is no simple 1:1 comparison between them.

So, getting into motivations and why Narnia as a deity even exists. Essentially, I asked the question, "How do the Pevensies become inhuman?" and voila earth deity Narnia was born. Now, the basic in-universe mythology I've worked out is that Narnia and Aslan are two deities from separate dimensions that came together to create a new world, the world of Narnia. Aslan is the one who oversees things, he's the one who comes up with the ideas, and he's a little less attached to the world as a whole because he's a Creator, not an earth deity. Narnia is, however, and she literally makes up the world, she sort of runs the entire thing on a physical level, and she is much more attached to it. So she's always kinda taken on this role of making the things in her world the way she wants them. For the most part, she and Aslan designed everything together and they're both happy with it blah blah blah. Well, Aslan then decides to bring a few humans from this other world he's created to Narnia. And she affects them a bit (I've got headcanons about Digory and Polly that I haven't posted anywhere yet but I might soon), but it isn't until Aslan brings the Pevensies over that she really gets to experiment. See, there are other deities in the world that kinda rule over the various lands on a surface level (patron gods for Telmar, the Archenlands, etc, they just have less power than Narnia and Aslan) so she has a little less power over the people in those places, but the country of Narnia is both her land and her so when the Pevensies become the Kings and Queens and live there for 15 years, she's very connected to them. And it's through this connection that she starts to affect them. Honestly, I'm not sure if Narnia even knows what she's doing when she starts stripping away their humanity. I think it's that she can feel they're not from her world and she doesn't like that. She wants them to be a part of her, she wants them to belong in her world just the same as everyone else. (Side note—I know Telmar and some other lands in canon are based on people finding portals and coming through and I'd like to say that she does affect them a bit, takes away a bit of their humanity, but it's not to the same extent as the Kings and Queens of her lands).

"So Kai," you might say, "You keep empathizing that she is literally the land and the land is her. What the hell do you mean by that?" Well, essentially, she is...the...land. Basically if you've read Percy Jackson Heroes of Olympus, there's this idea that Gaia and Tartarus are both physically their domains and able to take on a smaller, human shaped physical form because they're gods and not restricted by human ideas of only having one body. Narnia is the same. Her physical form is both the entire world and whatever smaller shape she might appear in to people. However, we have to acknowledge that their world is differently structurally from ours. There's magic, there's talking animals, and in my Inhuman AU, there is a literal Heart of Narnia at the center. Like a physical, beating, human-shaped heart. Except it's a lot bigger than a regular human heart. Also it's golden. And many many many miles underground. So anyways this is where she's centered. It's basically where her soul is. Probably under Cair Paravel because I just came up with that idea and I love it. And radiating out from it are veins of magic and blood, and these stretch all across the world. Now here is where we get into blood magic and some of those fun terrifying concepts I've come up with.

Narnia has her own blood, of course, but also whenever one of her Kings or Queens bleeds in battle, she kinda pulls it down through the earth into her own heart and veins. It doesn't really do anything to her or them in particular, it's just a fun side effect of them having a patron pagan god. Yes this includes Caspian after he becomes King. Also Peter's blood turns golden because he's the High King, and then later Caspian's does too because I just really like imagery of Ben Barnes bleeding gold. (Side note—when Peter returns to England, his blood goes back to red, but it does remain a brighter red than blood generally is).

Diverting for half a second here. Now, in both my regular Narnia writings and my Inhuman AU, Lucy is very very connected to magic. In my regular Narnia fanfic, she studies with the druids, who are sort of like BBC Merlin's druids. They're just like, chill dudes who run around in camps doing magic and making prophecies and shit. However, in the Inhuman AU, they are a lot darker. One of my favorite ideas with the Inhuman druids and Lucy is that they are so connected to Narnia's magic and her Heart that their hands become stained with blood. Is it their blood, is it Narnia's blood, is it someone else's blood? Idk, don't ask questions. But yea, their hands are permanently stained reddish-brown to almost black. In my regular Narnia stuff, I still like the idea of Lucy's hands being stained and go with just earth magic, dirt stuff for the reason why. But yea no, in the Inhuman AU her hands are stained with blood because of blood magic.

So getting a bit more into how Narnia affects the Pevensies now because I love talking about this lol. She doesn't consciously chose how to change them, though she does call them her creations. Generally the way her magic affects them is by connecting them to to the land in some way and bringing out certain traits they have. So for Peter it's his eyes flickering between regular blue and the amber of a lion's, feathers appearing on his back that grow into wings, having a strength greater than that of a giant's. His blood is golden and on clear nights, the Aurora Borealis in the sky is reflected across his skin. For Susan, her skin glints like glass in the sun and she can briefly glimpse the future. Her wounds are sewn shut with golden rays of light, her eyes are cracked but clear, and she seems to glow faintly in the night, a bit of the sun's radiance shining through her. Edmund has a bit of a star's power lodged in his throat, and can manipulate words, uses them to influence people and their actions. His skin is frostbitten in places, a side effect of ruling the Woods where the White Witch once held so much power, and in some spots his bones shine under the ice that spreads across his skin. Lucy has the stained skin from her stronger connection to magic, and when she speaks words from the Old Language (the one Aslan and Narnia used to shape the world itself), her voice echoes and rasps. Her teeth are too sharp, her smile too wide, and when she disappears underwater, she can stay for hours without surfacing. I want to get into Eustace and Caspian now too but this post is already extremely long and I've still got a bit to cover, so we're just sticking with the Pevensies for now. So yea, Narnia doesn't pick what she does to the Pevensies, she just connects herself to them and through that connection, they change. The magic that she is made of, that Narnia the world operates on, that's what changes them. However, as I stated already, she does call them her creations and feels extremely responsible for them.

Wrapping back around up to the beginning, this is the biggest source of conflict between her and Aslan as of the canon timeline. I like to believe that the lamppost incident was an accident, that Aslan didn't actually mean to send them back at the end of LWW and it was pure coincidence, wrong place wrong time stuff. That being said, it did happen and Narnia really didn't like it happening. The Pevensies did return to their (mostly) human selves in this AU in England, so when they came back in Prince Caspian, she felt disconnected from them again. She reacted to this by digging into them even harder on a spiritual level and essentially speedran them back to being inhuman throughout the timeline of PC, which generally takes place over a few months in my mind. I don't remember how long it was in the book, it's been quite a while since I read them, but it's only like a week in the movie and like eff that, overthrowing a kingdom takes a bit longer in my opinion. Now there are a few divergences here. 1. They all stay at the end of PC and yea that's it, they go back to being Kings and Queens and it's like a second Golden Age but with Caspian there as well. 2. Susan and Peter stay, Lucy and Edmund go back and it's a repeat of the human/inhumanity cycle for them + Eustace in VOTDT and then they stay. 3. Everything happens exactly as it does in canon and it's a constant cycle of humanity/inhumanity with the character's various trips and finally ends at The Last Battle. I like all versions and I tend to leave things a little open to the reader on what exactly happens, or I would if I could actually finish some of my drafts and post them. As you can imagine, Narnia likes 1 the best and 3 the least. She really wants her Kings and Queens to stay and rule her lands and like be awesome and stuff. However, Aslan prefers 3 the best and 1 the least. So again, neither of them is really good nor evil, they just have differing opinions on how the world should be run and what the Pevensie's fates should be. I do tend to side with Narnia, I really like exploring these concepts of inhumanity, but I also really like the concept of a cycle. That's very common in mythology.

So anyways, that's a bit of an overview on earth deity Narnia and her role in my Inhuman AU. If you made it this far, congratulations, and I give you explicit permission to use any of my ideas in your own writing/fanart/whatever, as long as you tag either my tumblr or my ao3 (lord-of-christmas-lights and ASkyOfKai) because I need more Narnia+Inhumanity content in my life. Thanks for reading all this and I'll probably be back very soon with elaboration on Eustace and Caspian's inhumanity!

- Kai

#inhuman/dark fantasy narnia #the chronicles of narnia #peter pevensie #susan pevensie #edmund pevensie #lucy pevensie #aslan #digory kirke #eustace scrubb #caspian x #narnia headcanons #rambles of a hyperfixating kai

[noxiatoxia]

just finished watching Tje Bad Guys. I really liked it! Here's my thoughts:

snake and wolf totally have a thing goin on

ms fox was a bit of a mary sue but she looked hot doing it so all is forgiven

speaking of, i really enjoy her dynamic with mr wolf. at first i didnt care much for it, but when it was revealed she was also an ex-criminal, i began to dig it. that scene where wolf geeks over her equipment like a fanboy hit me so good. and their cute dialogue over it "i actually prefer the older model" "agree to disagree" i can relate to that level of autism when you talk to somebody who is equally passionate on a subject.

the computer joke got me to laugh tbh. when webs was having technique difficulties and they were throwing suggestions "maybe it needs system permissions?" "update a driver!" it was so funny bc that's exactly what troubleshooting feels like. literally whenever i have a computer issue i cant instantly figure the cause of im like "update a driver. its gotta be one of them."

the Twist that marmalade was #evil i saw coming, but i do like how they pulled it off. i didnt think he was the grandma tbh. also the breakdown scene had so much (unintentional) death note imagery. i literally was like "HES HAVING HIS KIRA BREAKDOWN"

i also saw the twist coming that Snake set him up, but again, it was satisfying and made sense why he couldnt or didnt tell the others of it, so i forgive it

the animation style was a lot of fun. kind of into the spiderverse esque with the 3d animation that feels very 2d

mr wolf has a praise kink

another story that focuses with the whole "dont judge a book by its cover!" and "people can change!" but its not a bad moral, it's simple and important regardless

that line where maramalade said to mr. wolf smth like "Looks like the big bag wolf has been outsmarted yet again by a little piggy" was clever. also when he kicked the door open just as Wolf had his angry outburst to paint him in a bad light. saw that coming but made me have that instinctive cringe reaction all the same bc man wolf was boned

to the hacker of the group: "Where'd you learn to do that?" "oh, you know, i'm a born natural, it just comes to me......... *sighs* YouTube, mostly."

also, im very pleased that characters in this movie dont speak perfectly. as in, they stutter and redo their sentences in the middle of them, especially when frustrated. This is something that has always bothered me in many forms of media. People don't speak perfectly most of the time and tend to stumble and stutter. I'm really glad that characters do it several times over, it feels more real. And the voice acting was great

i liked that when everyone thought the guys had stolen smth they actually didnt, they turned on them. This obviously made them feel betrayed, but they didnt give up. i like that the general public wasnt portrayed as perfect obviously, and the guys took offense to it but still pushed forward

also i kinda like the subtle notion that, ironically spoken by marmalade, that there's good in everyone. despite the fact he turned out to be the true villain, if it wasn't for him, the bad guys wouldn't have become the good guys in the first place

some things i didnt necessarily like:

the character of the shark feels exactly the same as the shark character in the harley quinn show. not that it's a bad thing, it's just odd such a specific archetype is prevalent (comic relief goofy villain shark with black man voice who's main trait in heists is to play the part of a disguise but the joke is you can tell it's obviously a shark)

especially when in her bad guy outfit, ms fox's body is so... curvy and ""female"". this isn't a problem with this movie specifically, pretty much any other female character furry movie or otherwise has this issue

not a fart joke fan sorry :( well sometimes but not here

not necessarily a good or bad thing, but this movie has many parallels to zootopia, but if zootopia was told from nick's perspective and he was a wolf, and judy was a fox. both movies have similar themes while zootopia also deals with racism. i like both movies for different reasons. however, zootopia did mildly criticize the police industry by portraying them as uncooperative, caring more about reputation than getting the job done, and being guilty of racism as well. Of course it's to be expect that a movie about a new cop would critique the police more than a movie about bad guys who don't work with the force. except that maybe you can see it as them being too trigger happy with arresting people.

Anyway, good movie! Enjoyed it. the wolf was hot as hell.

edit: forgot to ask, what WAS the point of marmalade dressing up like an old lady? all this only happened bc wolf tried to steal her purse, but she tripped, so he was forced to help her to not cause a scene, and she praised him. Assuming the tripping was on purpose, how did he know wolf would even try to rob her in the first place? How did he predict Wolf would come here - that he had good in him to even trick him with?????? it just seems super coincidental and he assumed a lot of things for this "him dressing up as an old lady" trick to work. idk

#;noxiatalksia #posts the prosecution will pull up next time i say ''im not a furry''

[azucanela]

chapter iii

pairing: bakugou katsuki x fem!reader

warnings: cursing. mentions of violence. mild violence. 

word count: 2k

summary: the internet is enamored with the idea of y/n l/n and bakugou katsuki, two renowned pro heroes, dating. the first issue? the pair rarely interacts. the second issue? apparently, they hate each other, not that anyone knows about that bit. of course, after one night of many mistakes, the whole world knows.

series masterlist

MAYBE SHE WAS OVERCOMPENSATING, but at least overall productivity of the agency was up. If Y/N was honest, throwing herself into her work probably wasn’t her best idea, in fact one might consider it self destructive. But.. she was frustrated. And the pent of emotions of not only herself but those around her had to go somewhere. 

And what better place to put that energy than her work?

Of course, as she slams a villain into the wall of concrete before bringing their hands together and handcuffing them, all Y/N feels is boredom. Dissatisfied, unfulfilled. Although it had taken her a while to separate her own emotions from that of others when she was younger, it doesn’t take much effort to determine that those feelings are entirely her own. 

In a job like hers, boredom was something to be grateful for, something to welcome with open arms all things considered. And busy season would be coming up for heroes, so Y/N probably should be grateful for the lack of activity. And yet… The calm before the storm was always rather unnerving. 

Y/N can hear the sirens of the police, brows furrowing as she sighs. Dragging the man she had just apprehended along with her despite his grunts of protest. Y/N watches as a police car pulls around by the entrance of the alley she’d cornered him in.

He was just a petty thief, but Y/N had been trying to keep out of the spotlight for the time being, unless her assistance was warranted. And thus far, it hadn’t been.

Inhaling deeply, Y/N watches as an officer exits the car, a smile coming across their face as they see her. “Hey Empatha!” They wave, and Y/N can’t help but offer a small smile and wave of her own back as she hands the criminal over to them.

“Hi, everything alright at the precinct?” It’s meant to be a polite, simple question, but Y/N can practically— literally— feel the way the officer lights up at the question. As though they’d been meaning to bring it up. Y/N had interacted with most of the Police Department briefly, so they weren’t entirely unfamiliar but… that didn’t mean Y/N wanted to stick around for long.

They shrug, pushing the thief into the back of the car despite his protests and shutting the door on him. “We had some plumbing troubles earlier— or something like that I don’t know… but yeah. Everything has been good. Kinda.” 

Unsureness is bleeding into their tone, so Y/N raises a brow as she finds herself asking, “something on your mind?” 

The officer offers Y/N a sheepish smile, “we could really use your help on one of our cases, the Stain Copycat, I assume you’ve heard?” 

Nodding slowly, Y/N finds herself wanting to exit this conversation, and soon, “I can look into sending someone from the Agency but it’s Hawks’ choice.” She looks around with a frown, “I have a feeling the press will be here soon so I should get going, but I’ll be in contact.” She says with a smile, taking a step back before disappearing into the shadows.

Telen’s ability. Y/N borrowed it frequently, and from the soreness of her body, Y/N had a feeling that they’d had quite the day as well. He was capable of teleporting through shadows, light was a major inhibitor but it was an incredibly useful ability and had saved her life a countless number of times. Whether that was literally or from… conversations like that one. 

Y/N had been avoiding Endeavor’s agency since far too many of her old classmates were sidekicks there. As much as she wanted to help, her presence wasn’t necessary. And she had heard about the Stain Copycat case, the one who had yet to be caught, the exception. Hawks had mentioned it during one of their calls recently, so technically she wasn’t lying when she said someone would be sent over to help. 

Just not her. Anyone but her. 

With a sigh, Y/N finally appears in the locker room of the agency. Welcoming the smell of blood, sweat, and probably tears.

It had been a long day, and Y/N quickly decided there was no better way to amend that than with coffee. She’s changing into her civilian clothes— having ended her shift at the agency for the day— inside the locker room dedicated to such things. Patrol had been mostly quiet today, which she was grateful for, but that didn’t make her any less suspicious as to why things had been so quiet. 

Y/N makes her way out of the locker room once she’s changed, and through the agency, offering a smile to Telen as she finally steps out of the agency doors. “You alright today? I can feel the soreness.” She says, walking backwards as she speaks to him, while he holds the door open for the both of them. 

Telen offers her a smile, “yes. It appears I took quite the hit.” He brings a hand to the back of his neck, “not the best day.”

Y/N raises a brow, “wanna come with me? I’m gonna get a drink, maybe something to eat at the café a few blocks from here.” She’d always enjoyed Telen’s presence, he was calm, quiet, but good company nonetheless. Someone who listened, but could certainly maintain a conversation. They’d been working together for a few years now and Y/N had grown to like him. That and she would be returning later regardless seeing as Lorelai had requested a coffee herself. 

Telen shakes his head, “I still have one more patrol, but if I happen to come around there, I might stop by.”

She nods, raising her hand to wave to him as one final goodbye before turning on her heel, and almost instantly a rush of wind is hitting her, though she finds it refreshing as she stares to the sky, a grey color, clouds shielding the sun from view. 

It’s a nice day, she decides, looking to her left. Hawks had placed his agency rather strategically, and by strategically, that meant nearby a café she had been going to for longer than she could remember. Y/N was close friends with the owner now, and many of the employees there. So her presence wasn’t anything astonishing, though Y/N had offered time and time again to advertise their business, they’d always declined. The owner had insisted it was nice being a small business, rather than one swarming with customers. 

Y/N had made the shop her safe space, most of the time, those who recognized her seemed to understand her desire to be left alone. And it was relieving, to be normal for a moment. Not to say that she was special or anything, but life as a hero was… an overwhelming one. She’d been lucky to evade the press earlier.

It doesn’t take long to arrive, a short walk is all it takes before Y/N is opening the door to enter the small shop. Almost instantly, she’s greeted with a bag of chips to the face, having been thrown by a grinning Lily, one of the longtime employees that Y/N had known for years now. “Hey superstar.” 

In response Y/N groans, moving to cover her face in the scarf she’d worn and bury her face inside it, cheeks warming in embarrassment. “Shut up, Lily.” Her eyes drift around, “where’s everyone else?”

Lily shrugs, already moving to make Y/N’s usual as she replies, “we’re a bit short staffed today.” She looks to Y/N, “we haven’t seen you in a while. Been too busy for us, have you?” Her words are teasing, but Y/N finds herself feeling bad for not visiting more often. Her schedules become more busy as the time for announcing the top heroes draws near, more meetings, more events, more press conferences. And with her little scandal with Bakugou, she would likely have to give up even more of her time.

“Never.” Y/N finally replies, moving to stand at the counter and placing her bag of chips there. Y/N pulls out her wallet.

Lily waves her off, “on the house.” 

Y/N rolls her eyes, “I make a ridiculous amount of money, let me spend it.” She says, pulling out a few $20 bills, though Lily simply looks to her pointedly. This only encourages Y/N, causing her to keep eye contact with her as she drops all of the bills into the tip jar. “Split it with the rest of the staff.” 

It's true, Y/N’s salary was… more than enough. Hawks had never been frugal with his money, his employees were well off and she was grateful for it but at this point she had more money than she knew what to do with. She was no Number 2 Hero but her bank account spoke for itself. 

Despite this, Lily glares in response, before sliding a drink over to Y/N. “Regardless, how have you been, aside from getting black out drunk at a very important Gala and then proceeding to talk shit about—”

“I doubt she wants to talk about that Lily,” The bell by the door rings, signaling that someone has arrived, and of course, there stands Rosalyn, another one of the employees. Her hair is greying now, but she still bares the same smile and calming persona that she did when Y/N first met her. “Sorry I’m late, traffic was bad.” 

Y/N is grinning as she walks over to Rosalyn, throwing her arms around her as the pair hugs, “good to see you Ros.” Lily pretends to roll her eyes at the sigh of physical affection, though she smiles at the sight of the reunion, before heading through the door behind the counter.

When they pull away, Rosalyn pats Y/N’s head with a smile, “and you! It’s been a while, look how you’ve grown.”

Y/N’s brows furrow as a small laugh escapes her, “I doubt I’ve grown any.” If she’s honest, Rosalyn and Lily hadn’t changed at all. Y/N wondered if they viewed her the same as they used to after all these years as well. And maybe she was scared of the answer, and that’s why she never asked. She could see it, Y/N doesn’t necessarily know or remember when, but she can recall the first time she noticed that they looked at her differently. 

Things had changed at one point, and maybe Y/N’s visit to the coffee shop was just her attempt at holding onto the past. A past where she was happier, where things were simpler. 

Moving to remove her jacket, Rosalyn shrugs, “perhaps I’ve shrunk. Happens with old age I suppose.” The woman heads over to the small entrance that leads to behind the counter, which also happens to have a door to the backroom. “I’ll be back shortly,” she says. Offering Y/N a smile that she quickly returns before heading into the backroom. 

Y/N nods, taking the chips and her drink to one of many tables by the window and placing them down there to save her spot— though the shop is currently empty, she has no doubt that the busier hours will start soon. Regardless, Y/N comes to a stand to move to the display window filled with different pastries. Their new selection is certainly interesting, the sight makes her miss baking. Not that she has the time nowadays.

With a sigh, Y/N straightens her posture, when the bell rings, indicating that someone has entered. Turning Around. Y/N’s eyes widen as her mouth gapes open due to the sight of the one and only Bakugou Katsuki.

note: shorter chapter but i hope it was worth it hehehehehehe

#bakugou x reader #bakugo x reader #bakugou katsuki x reader #bakugo katsuki x reader #katsuki x reader #katsuki bakugo x reader #katsuki bakugou x reade #bakugo x you #bakugou x you #bakugou katsuki x you #bakugo katsuki x you #katsuki x you #katsuki bakugo x y/n #katsuki bakugo x you #katsuki bakugou x you #bnha x reader #mha x reader #bnha x you #mha x you #this is not the end series

[redjaybathood]

Okay so the issue 6 has good and bad. But tumblr didn't let me save a post with good stuff included so here is it, only bad

[Jason: "I'm giving up the guns. Yeah, I've been using Rubber bullets lately, but... none of it feels okay now." Bruce: "Jason... I'm glad. It's the right..." Jason: "I actually don't want to hear it, Bruce. This isn't me doing it for you. I think some people should die. And those people... I still want to hurt them, Bruce. I just don't want to hurt anyone else. And death has a way of rippling out to others. That's all. I'm just figuring out some new ways."] If Zdarsky made Jason say something like "you were right, Bruce" I would have flipped the table. All in all, this makes sense in a story where he shoots a guy and also knows his kid - and is faced with the need to actually tell that kid that his father isn't coming back. And that's where we go to the bad stuff: - First 4 issues nerfed Jason and made him OOC: getting erratic, aggressive towards drug users instead of drug dealers; being completely unable to the track drug manufacturer in Gotham without Bruce's help (that's why I loved issue 5 so much, it gave us the regular Jason back); killing by accident and not by intention. It's all makes sense in the end, because this whole story supports one simple idea: "Killing people takes a toll on the victim's family (Tyler) and on the killer (Jason)". On Tyler, he was made an orphan not unlike Jason himself was. That's an obvious consequence, even if Jason killed his dad intentionally, it would be still the same. On Jason, him being used to killing in the past + getting triggered/dissociating under the stress lead to him accidentally killing the guy he wanted but didn't plan to kill. But the thing is, it kinda... not true? It's plausible but not supported by the previously established canon. He never killed anyone he didn't intend to kill before, he never had the same reaction to drug deals that was shown in Cheer. Even at his most villainous, he has never killed by accident. Whereas plenty of people in Batfam who didn't intend to kill, and never did that before, had done so. Or Batman, for example, he is very against killing and yet the only thing that stood between him killing Cheer was Jason. He was on drugs, yes, but that's the thing; there's plenty of reasons you could be driven to kill someone and that's not necessarily past experience with murder. Look, I get what Chip Zdarsky was trying to do. Doesn't mean I like it. It would have been a more effective story, and more true to Jason's previously established character, if he killed Tyler's dad intentionally, and still realized that consequences he disregarded before (Tyler) are not worth it to him anymore. But he just wanted to tell another story, bring some focus to Jason's mental state? Which, if it was a story from before New52, alright, sure. It doesn't ring true anymore though. I also really don't like his "bad Robin" flashbacks and him saying "I still want to hurt them" - like, the point of Red Hood was never about hurting, it was about stopping. It's similar but different. - Jason leaving guns behind. Doesn't make sense, even if Zdarsky addresses it by Jason saying: I used rubber bullets for a while, but still it doesn't feel right. Well, what doesn't? If he used rubber bullets for a while, what's the difference? Is it supposed to signify that Jason is traumatized by killing someone? Jason? Ok, whatever, they want him to use All-Caste's Soul Swords I guess. It's cool but there doesn't have to be a deep reason for it. He can just change to swords because the challenges he faces in the future are better handled with them: like a horde of zombies. - Fan reaction to the conclusion of the story. All the Batfamily feels, all the "he stopped using the guns, it's a win!". First, Jason isn't back with Batfam. Them having his back? I'm pretty sure they're there for Bruce. And Bruce? Whose drug-induced happiness is him killing the Joker and accepting Jason back into the fold? Very bullshit. If he wanted to, he would have already invited Jason to a fucking family dinner. And he has no right to give or take away Jason's uniform with a red bat. Excuse me, did he

copyrighted that logo? I don't think so. It's not his fucking city, god. Why don't you go ban Joker from Gotham, Bruce! Yeah, didn't think so. In short: batfam feels, what fucking batfam feels? wake the fuck up, guys. Second. Leaving the guns behind? He's not doing it because he's healed, or whatever you guys are excited about. He just realized he has a problem. The issue with this is, the problem was specifically created so he could leave the guns behind. Get me? - Symbolism. Jason realizing he can't save Bruce without a Batsuit, him finding the suit too heavy and thus failing to save Bruce anyway, and ofc not actually being able to save Bruce without the rest of the gang showing up. That's just no. Tl;dr: Cheer would be a good story outside of continuity. Especially if Jason's detective skills weren't nerfed, and his aggressiveness wasn't exaggerated in the first issues.

#batman urban legends #jason todd #reading comics

[sugary-sheep]

An Analysis of How Deltarune Chapter 2′s Soundtrack Made Me Feel, Copied From My Discord Thread

Girl Next Door - a very good track for the beginning of the game. It serves to strongly establish noelle as a familiar, friendly character, since you might not have bothered learning too much about her in chapter which makes sense considering the later revealed fact that kris and noelle are chidlhood friendsIt doesn't have any strong hints of bittersweet, it's just a plain happy melody. You're just starting the game after all.

My Castle Town - this is where the first twinges of bittersweet/nostalgia come in.It's meant to bring back memories of your adventure three years ago, chapter 1. You're back "home," at least from the player's point of view, and the player is the one that all the music panders to. (which wouldn't be a thing to note if the game wasn't so meta). It isn't very strongly bittersweet though. It's a calming melody, meant to ease you into the world, and doesn't draw too much attention to itself. If Girl Next Door is a warm breeze, then My Castle Town is the pleasant chill of fall.

Queen - this song is a wacky and fun melody, borrowing both carnival rhythm and instrumentation. It has twinges of deeper emotion and all that but it's mainly just a funny clown theme for everyone's favorite clown: Queen.

A CYBER’S WORLD? - it starts off with the main melody outlined on a chiptune low-res synth, which drops into a rich collage of higher-res synths. It evokes emotions of adventure and energy and anticipation, while also being neutral enough to act as a backdrop for all the silly things you do in the cyber fields. it's a really damn good song. it doesn't tug on the heartstrings necessarily but it just. it's so nice to listen to.

A Simple Diversion - it’s. a simple diversion. chip tune rendition of the queen motif. it's good. nothing much to analyze.

Almost To The Guys , Cyber Battle , When I Get Happy I Dance Like This - (combined since basically the same instrumentation and the same motifs) god I fucking love these songs so much. they are so happy and sensitive and soft and warm. They are like the auditory version of a hug. idk what drugs toby fox put into these songs but it fucking. they fit these funny guys so perfectly. it's just a silly fun theme about these fun little dudes. it's energetic and happy and makes you wanna dance. It doesn't take itself too seriously and it's just. It solidifies that this is a Silly game with Silly things that happen and fun people that you can be friends with.

Cool Beat - too short to analyze.

When I Get Mad I Dance Like This - same as Cool Beat

Berdly’s Theme - bringing back the CLOWNS, this time without a harpsicord though. it's a synthesizer melody and emphasizes the silly gamer antagonism that berdly provides, while not painting him as a bad person. just an antagonist.

Smart Race - this is a particularly tense battle theme, playing off of the semi-betrayal and kind if indignation you feel towards berdly since like. He's a lightner like you! and he's working for queen! what the FRICK.

Faint Courage - an uplifting melody that (tries) to soothe the pain of getting a game over. The crunched nature of the synths is notable though, compared to other soothing songs on the soundtrack.

Welcome To The City - This is the first song that really starts to dip into the nostalgia. It's still an upbeat and adventurous melody, but like. Your friends just left you, and you're exploring the city alone. It has a lot of flourishes and flair that reminds you that you're in a cool exciting city, and slowly becomes more uplifting as it goes on, but still keeps the distinctly minor sound. (if it's in a major key shut up I don't care). It's also the theme for the time you spend with noelle, and like. in that context, it feels more like a friendly nostalgic melody than a bittersweet feeling. the familiarity of Girl Next Door is back, and honestly it borrows a lot of emotional cues from Girl Next Door. They are double edged and the feelings they evoke are very context sensitive. it can be a friendly warmth, or a wishing for better, older days. 

Mini Studio - a return of the resistance motif. noticably lower res synthesizers but like. your funny little dudes are here :] 

cool mixtape - Clown to the MAXIMUM. not in that it's the most carnival inspired but like. it's really bombastic and fun while also being built around queen's clowny and wacky motifs. The instrumentation also adds to the non-serious quality, making it sound like. well, a shittily recorded mixtape. Lol. It’s great.

Hey Every ! - This song evokes all the emotions of as corrupted seen on tv advertisements with a dash of clown. Very distinctly wacky upbeat song.

Spamton - This is where the creepy factor of spamton starts to kick in. It brings on the menacing atmosphere of being in this alleyway with an unstable puppet salesman who jumped out of the dumpster, however the silly vocals do take a LOT of the edge off the creepiness. Which is fitting for spamton. because he would more intimidating if his dialogue wasn't so ridiculous and silly, and if he wasn’t such a silly little guy.

Now's Your Chance to Be A - a very groovy and slightly menacing battle theme that makes you wanna get out of this situation, but it's not like. scary. it's just a little bit creepy. Like a haunted house. it's a really fun song though. the edge mostly serves to accentuate the wacky and fun qualities of the song, like salt enhancing the sweetness of a dessert.

Elegant Entrance - This has the same menacing/eerie quality as spamton’s battle theme, but much more genuine. it takes the formerly clowny harpsicord used with Queen’s themes, and makes it sound much more regal. It's not bittersweet though. just intimidating.

Bluebird of Misfortune - a VERY strongly minor sounding song, and while it's not a super deeply resonant sadness, it does minimize the wacky/funny factor.

Pandora Palace - the first majorly bombastic song. It's the buildup to the climax, and has a very unique blend of regal, groovy, and energetic sounds with a small sprinkle of bittersweet, mostly to build tension.

KEYGEN - really cool and gives an appropriate feeling for unlocking the door into the SECRET BOSS.

Acid Tunnel of Love - very relaxing, very happy melody. it almost dips into bittersweet at times, but is a solidly uplifting and soothing melody. It's a rest for the soul.

It's Pronounced "Rules" - Rgal in a way very different from Elegant Entrance and Pandora Palace. It's a kind of pretentious regalness, and is a big return to clowniness. Because Roulxs is a pretentious clown man.

Lost Girl - It’s. very bittersweet and nostalgic. It has solid uplifting moments to balance it out, but it's. not a super happy song. it's not a super sad one either. it's just. contemplative. emotional. it'd be a good song to cry to.

Ferris Wheel - A combination of Lost Girl and Girl Next Door, both in mood and actual motifs. It's got a lot more warmth than lost girl, and the chiptune main melody gives it the silliness it needs to take the edge off it’s bitersweetness. The upbeat and kinda whimsical harmonization helps with this too. It's a theme for two girls having an awkward but really nice and fun gay moment.

Attack of the Killer Queen  - oh man.oh MAN.Such a good song. It's absolutely bombastic, fulfilling all the promises of epic finality and regal power that have been set up throughout the mansion section. It makes queen feel like a POWERFUL and intimidating villain for honestly like. the first time in the game. It also has the emotional quality, the feeling of un-rightness, once again driven by berdly being an antagonist, but the context is stronger, since you had just had the emotional connection with him and bringing him to your side.

Giga Size - this song does not let down any of the pressure from killer queen. it has all the menacing strength that you would expect from it, and takes the regal intimidation up to another level. it's supposed to make you feel like you've lost, and as far as the player knows, they have. Also it's a lot longer than you would expect??? the soundtrack is honestly filled with really short songs. but Giga Size is one of the longer ones, despite the short amount of time it actually plays. I don't remember ever being in that portion of the cutscene long enough to hear the full thing. it's worth a listen to if you haven't already.

Powers Combined - the uplifting counterbalance to Giga Size. It gets you pumped, and it has an air of finality stronger than attack of the killer queen. This is the final push. you're on the precipice of victory.

Knock You Down - This theme continues everything from Powers combined. It's less bombastic than Attack of the Killer queen, though bviously it's still very energetic and cool. It's serious in a more uplifting sense, but also quite tense. there is a lot on the line. This is the do or die moment. It both hypes you up and calms you down, and evokes a very particular emotion, especially given the context. Really good for getting in the zone.

The Dark Truth - another song that, while more emotional, doesn't hit super deep. Imo it feels like it’s going for an "exaggerated" sense of danger and sadness. Which makes sense if it's meant to instill some doubt in ralsei's credibility. it's still a very serious song, but it feels like it's trying a little too hard. (not necessarily in a bad way)

Digital Roots - a very menacing song, and probably the most truly menacing song in the soundtrack. Sets the atmosphere for the basement perfectly.

Deal Gone Wrong - This is the climax of Digital Roots and the whole process of getting the secret boss. You're in real danger now. The puppet man wants to make a deal, and he wants your soul.

BIG SHOT - woooh boy. This song carries a lot of this menace, but brings in a ton of bombastic energy and a little bit of clown as well. it's like Now's Your Chance To Be A, but more intense. The vocal editing really adds so much to this track. The motifs are very well used, and it's just an incredibly fun and dramatic song. it's groovy! it's wacky! it's intimidating! It gets you pumped! it's a very good song

A Real Boy - This one is a really nice song. it's got a very nice uplifting quality and there's a very subtle and like. almost angelic sharp pad in the background of it that you wouldn't immediately notice adds a lot to the texture of it, combined with the crunched and low res main synth. the background of that scene fits it perfectly. Childishly painted sun and sky and all that. He’s a real boy now. You freed him :). He can escape his strings now :) 

dialtone - It’s like if you took one of the more emotional songs in the soundtrack and made it a little silly. Which makes sense. You're supposed to feel kinda bad for him, but he's still a weird wacky guy who just tried to kill you.

sans. - what do I need to say. it's sans's theme. it's wacky in an extremely chill way. it contrasts with basically all of deltarune's wacky characters, and that's perfectly cool. sans is a chill guy, especially in this game.

Chill Jailbreak Alarm To Study And Relax To - this one is just toby having fun. It's napstablook's theme with an alarm in the background. it's funny, it serves it's purpose as a gag. it's great.

You Can Always Come Home - this one has the nostalgic quality that I've been talking about very strongly, but the melody is just. It's so soothing and uplifting that you can't help but feel warm inside. it might be cold and snowing outside, but for now, you're home. you're with your family, you're sipping hot cocoa. Everything is right with the world, if only for a moment. You can always come home.

Until Next Time - another soothing melody, being a corrupted version of Don't Forget, and it evokes a lot of the same emotions, if a bit less strongly. It plays into the mystery of the ending, and would probably suit the snowgrave route pretty well. It's a good ending song in general though. It doesn't drown you in emotion. It lets you feel how you felt about what you just experienced.

Before the Story - really strong song. It's hard to fully analyze it given like. there isn't a lot of gameplay context. but it is a very dark and rich song. it's really good.

Berdly (Rejected Concept) - This song sucks ASS. it's like. pretentious. but also so cringe fail at the same.

#deltarune #deltarune chapter 2