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beanieman · 1 year

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Traffic cone lore post when /hj

(Before I Wrote Anything: The more I thought about making a twenty-paragraph post about the traffic cone Sara sits on, the funnier the idea got, so this happened, and I have no regrets. Later me: I actually have a lot of regrets and only managed to write fifteen paragraphs which is still way to many.)

The traffic cone Sara sits on has some plot relevance and is a good addition to the game. Not only does it help establish the bond between Sara and Joe, but the symbolism of a traffic cone also serves as foreshadowing.

It's an important story because it establishes that Joe and Sara spend time together outside school hours. They aren't just two acquittances who only hang out because they're in the same building. They're friends who make the active choice to spend time together. It's vital that the audience understands this so Sara's grief for Joe hits harder.

Thirteen More Paragraphs Undercut

It also shows that Joe feels comfortable enough around Sara to tease her. He's not careful to bring up an embarrassing story. Instead, he tells it with a smile because he knows it won't actually bother Sara that badly.

We know this because Joe never does anything to hurt her. All he wants is to see her smile, so it would be out of character for him to bring up a humiliating topic for the sake of it. Instead, his motives seemed to be cheering her up after what happened with Mishima by reminding her of carefree days. It worked as Sara responded with playful anger.

For a brief moment her mind is taken somewhere far away from the death game, and that's why their friendship is important. While the other participants need Sara to keep her head in the game for their survival, Joe doesn't need that from her. He allows her to be a teenage girl who sometimes does embarrassing things that wouldn't usually be expected of a leader.

It's good for characterization to hear that Sara sat on a traffic cone as well. It's so short sighted and dumb that it reminds you how goofy of a girl Sara can be. She's not always pointing fingers and heroically yelling "This is it!" Sometimes she's just a person who makes decisions that aren't well thought out. Much like the logic route choice.

The danger seems clear if you keep Shin alive, but much like the traffic cone, Sara doesn't consider the consequences of her action properly. She sees an easy solution to her problem on paper: keeping Shin alive equals survival, and a traffic cone could be a good chair. Yet both of those things could so easily backfire on her, as she learned when the cone tipped over and as she's yet to learn with Shin but no doubt will.

The symbolism of a traffic cone itself could be tied into the death game. Much like anything if you tried hard enough, which is definitely not what I'm doing in this post. Nor am I using this paragraph to help fill the twenty paragraph criteria. We both know I'm lying, but I doubt anyone has read a post about a traffic cone this far anyway, so y'know.

Traffic cones encourage people to proceed with caution and be aware of their surroundings. Something the participants should have been as they were being watched by ASU-NARO their entire lives. Of course they could never fully understand the danger they were in, but if they had known they likely would have kept their eyes more open.

The fact that Joe was with Sara during this incident symbolizes how Sara should be cautious and aware even with other people. They won't always register the danger for her, even when it's right in front of their face. It's up to her to be aware or else she'll face consequences.

Then we have the colors and shape to consider! While the shape of a cone itself has no symbolism, a pine cone carries the interesting meaning of human enlightenment, resurrection, eternal life and regeneration. Since a pine cone is close enough to a cone shape this is clearly a reference to the dolls and how they're able to be resurrected and granted eternal life .

Orange symbolizes energy and optimism. A color filled with irony considering Sara's exhaustion lead to her sitting on the cone and me writing this post for some reason. It's a strange butterfly effect that no one could have predicted.

The butterfly effect is sensitive dependence on initial conditions in which a small change in one state of a deterministic nonlinear system can result in large differences in a later state according to Wikipedia. A great example of this would be Sara walking home on a route with a traffic cone. If she had walked a different road that way things would be different and Joe wouldn't have a story to embarrass her with.

Back to the color symbolism though, white symbolizes purity, simplicity, and cleanliness. It's a good color that correlates to Sara living simple days when she sat on the traffic cone, each of her hours spent with her best friend without a care in the world.

I can't believe I managed to write fifteen paragraphs about a traffic cone. I didn't think I'd be able to make it through five much less ten more than that. I over complicated things so so much for a funny Tumblr post that isn't even that funny. Though I appreciate how much of a leap of logic I was able to make with the pine cone thing. Anyway post finally over.

#asks #YTTD #Your Turn To Die #sara chidouin #The Traffic Cone

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mytalemyworld · 4 days

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A little ranting and some of my thoughts about Yabani Episode 31...

Since finally I have time, I'm going to get some things off my chest. It'll be a long post, so here we go.

After having seen the writing of episode 28, I said to myself I shouldn't expect anything from this show, especially with the rating pressure it wouldn't get any better. Because the writers show they aren't competent enough to deal with that. I also said as long as it didn't affect my couple, I could ignore the rest and skip the other parts.

However I learned my lesson, if the show is going downhill, probably your couple is not safe either.

In some parts of ep 31 I rolled my eyes, in some parts I didn't understand the motives of some characters. They were trying so hard but it was neither logical nor touching. Especially some lines and some scenes didn't make any sense.

A conflict was needed between Alaz and Yaman, I can see that and of course it would be delicious if it was written well. So no problem for me. But what's this nonsense, excuse me? Serhan may be cruel, evil and a bastard, (and that's why Alaz still doesn't talk to him or expect anything from him and he's okay with going like this) however wanting your father out of your life is one thing, being okay with him dying is another thing.

Alaz: He's my dad, unfortunately and I can't change that, Mom. But is this what he should get in return? Did he deserve this? What are we supposed to do? Should we be happy? What do you want to hear from us?

I mean, if we're talking about the worst traumas, then Elif should get her punishment too, because the girl literally tortured Yaman & Asi and Alaz even though it was for "the greater good".

And these people who went to the hospital to be by their side, to give them comfort and support acted like Soysalan siblings shouldn't get angry because their father was a bad person. Then Yaman got involed in their argument and asked Alaz what his problem was.

I mean, what? How did all of these make sense? This was just plain stupid.

Poor girl found herself in the middle of their conflict.

I knew he wouldn't listen to reason. Not even Asi could calm him down, I was expecting this and wrote it before. He already fought his mom and his brother so when he came to the worst conclusion I didn't think it was out of character.

Alaz: So you're on his (Yaman's) side.

I could have understood this as well. Because even back then, while they were waiting for any good news about Çağla, Asi's first instinct was to prevent him from blaming himself although he was a bad brother to his twin sister. So I guessed he waited to see an unconditional support again, like her getting angry like himself and stopping the other people, not the other way around.

She actually wasn't on Yaman's side but he misunderstood her words.

So, yeah, even though he was acting irrational, I could understand that.

However this…was truly unacceptable.

I think there's a line that shouldn't be crossed while trying to prove you're right about something, especially the other party is someone you deeply care about.

To me, no matter how much angry he was, he would never say that line. Especially after Zafer plot. This guy was ready to die and kill for her, cared about her traumas and pain. You may say he was also behaving like this towards his twin at the beginning of the series, so he can do anything but I beg to differ. First of all I hated him for that matter as well and that happened at the beginning, a very long time ago. He's been through a lot. If he continues acting like he has no empathy, why are we watching this show?

And I know Asi didn't have bad intentions but in order to make him to say those words, they wrote illogical lines for her too.

So why did they write it anyway? Maybe it was for this scene to happen:

To show that she is compassionate and loves him so much despite how much he's fucked up.

Was it worth it? No. Because we already know that.

I think the director couldn't get rid of that line because of the messaging scene, however he could have shown Alaz regretted it later. But he did not.

So some directing and writing choices were really unnecessesary and disappointing.

You can especially tell this is true because after the hospital scene, Yaman said to Alaz how he wished he could have changed everything. I mean, from the beginning he could have seen what Alaz needed but no, he waited for an hour because the show should last 120 minutes.

What did the show benefit from this? Nothing. I mean, if it happened after he had learnt the truth, we could have said he did it because he tried to make her break up with him. But they didn't choose that way.

There were many good scenes but the rooftop scene literally killed my desire to talk about them.

Like this is probably one of my favorite scenes in the whole series.

Alaz: I hate being your son. You're like a nightmare. One can't get rid of you. No matter what I do, you somehow ruin my life again. I'm tired of listening you, your making up excuses, blaming others. I went crazy thinking that something would happen to you today. I forgot all of your crap. I said he was my father no matter what. I forgot everything you did. Don't worry, I will keep silent, I will stomach it again, because I have to. I have to because of your health state, because of your daughter who is scared that something may happen to you, because of Ece. I have to because I have no choice. But you know what the most painful thing is? I will never be able to look at Yaman's face again. I know you won't like hearing this but I really loved being Yaman's brother. But as usual you forcefully took away another thing I love from me. How can I look at my mom's face now? How can I look at Asi's face now? Serhan: If you keep talking like this to me, it will be my face you can never look at. Son- Alaz: Son…Yes, I am your son. This is what's the worst. I am the devil's son. This is my curse. You took away my last hope that I could be a good person. Endless thanks to you.

And this was good too.

Because you can literally pinpoint the moment he started dying inside. For the first time he wanted her to let him go and she said she couldn't do that.

He was always the one who couldn't let her go but this time she said his trademark lines. *fml*

The whole scene was written just like how I imagined. This was not ooc either. But it could have been more impactful if the rooftop scene hadn't happened.

I don't have any expectations right now, if they give me more beautiful scenes that make it look like they were in a delirious state while writing that scene I can try to forget it. However the first 30 episodes will always have a different place in my heart.

#yabani #asi x alaz #alaz soysalan

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atsushishelteredinmoonlitjasmine · 7 months

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The things I'm reading about the commentary for RW/BY Vol. 9 have made me want to write this post. It's just something I want to say, regardless of how it most likely retreads old ground or shares sentiment with other posts like it. At least it'll be more concise and filled with less angry ramblings than if I decided to write this last night, when I was first reading everything.

(Just to avoid confusion, I'll be referring to the characters/writers via their initials as a way of censoring them from people who don't wish to see this post. This makes it easier for me and is less annoying than having to put slashes everywhere)

I mainly wanted to focus on two things. One was the hacker crew (as I will "affectionately" dub the writers) deciding to off-screen W telling the rest of RBY of what happened to P and J killing her. The other was of ER saying on Twitter that he (and the rest of the hackers) didn't think R would find issue with J killing P. Anything else from the commentary may or may not have a separate post, it just depends on what is said and if it upsets me enough.

Let's address the second point first because I have something to say. I don't understand ER's logic here. Why did he, and by extension everyone else, think R wouldn't be upset/angry at J for killing P? She has every abso-fucking-lute right to feel that way! I mean, one of her closest friends KILLED another of her closest friends! Disregarding how it was P's choice (which I hate, btw), you mean to say R wouldn't lash out at J, berating him for not trying to find another way or doing more to save P? Even if R understood that the situation was complicated or everything was just going a million miles a second, I can't see her not being incensed at him. Shit like that needs time to process and I can't imagine R to be super calm after hearing that bombshell.

Which leads me to the first point. Why in the fuck did the scene of W telling RBY of said bombshell happen off-screen? Why do the hacker crew INSIST on off-screening important scenes like this? Even if fans want to say they didn't want to reiterate information the audience already knows, they could've made it to where W starts the conversation, fade to black or cut away, and come back to RBY's reactions afterwards. It's not that hard! Do they think scenes that are character-oriented are filler? I just can't understand their reasoning for doing this.

It's at this point I'm saying the writers are downright lazy. I've known for years now that they're not good but I know for sure now they're just lazy. ER can Tweet all he wants that he and the team should've been more clear on certain aspects of the story or they should've thought more on other aspects but the truth is, they didn't WANT to put in the work. It's too much effort for them to put in care for decency's sake so they might as well half-ass it or better yet, just shoot the first idea that comes out of their minds, write it into the story without any revising or editing, and call it a day. Let the fans who actually do more for the story than the writers do put in the work to explaining the plot because clearly, they care about the material and aren't thinking they're hot shit for writing nonsensical bullshit.

It must be nice, getting paid to sit on your ass all day while the animators you overwork and exploit the services of do all the work that you underpay them for. Wish I and the other people who create art, fanfics, videos, etc. could get money for all the promo we give you, whether that's our intention or not. But then again, the harassment we may receive for any fuckups on your end wouldn't be worth the blood money.

#rwde #rwby critical

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yellowocaballero · 1 year

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Character Work

Got an ask the other day that asked me how I developed a character, and there was no room to go into it on that ask at all, but I did want to note something. As a fic writer I feel pretty unqualified to write on how to create a character, but I do have something specific I want to say that I've been thinking for a while. I'll keep it just to that. I'll also say that I'm talking exclusively about writing, and not how you engage with fandom. It is, in fact, extremely fun to make an endless series of meaningless headcanons for random dudes. I'm just talking about in terms of how you approach the character from a writing perspective. Which is...

Your OC makes a bad character.

I mean your Dungeons and Dragons character. I mean the character you have a character sheet for, the character you've thought about for years, the one that you are extremely fond of and who feels like a real person to you. The character that is the character, and to change them would feel like changing a person.

Characters should feel like real people to the reader, but as the writer you cannot think of them as people. They are plot devices and a function of the story. They don't need to be fleshed out before you start writing. The actual creation of the character should take place in the outlining and drafting process.

I'm not saying you aren't allowed to stop and think about their favorite grilled cheeses or their sign. There's a few lists of good questions to ask yourself about your characters before you start writing them, such as their desires and their home lives, but the list of actual questions you need to answer are short. And you should try to stop there, because otherwise you're going to over-develop your character and it's going to get in the way of the story.

Assuming you're writing a character focused story, the character's journey is the plot's journey. But the character and the plot exist in relationship to each other. I think of them as two interlocking gears - some things in the plot just can't happen because Character A wouldn't do that, but some things need to happen for the plot to work, so Character A needs to be the kind of person who would do that. Both the character and the plot are in service of what the story is about (Theme, moral, message, etc). These three things have to line up, and they can't overpower each other. You shouldn't try and make round pegs fit in square holes. If a character doesn't fit in with what you want the story to be about (if the story's about vanity and your character doesn't care about vanity) then you need to change one of those things. You can bend the entire plot and meaning of the story around the character, but damn you better have a character who makes a really fantastic story.

You need a character that makes a good story. Some characters don't make good stories, and you need to work super hard to create a story that fits them. That's fine - that can create a unique and great story. Your character has to be consistent and work along their own internal logic. That is shit you absolutely have to stop and work out in the outlining process. Your character needs to make decisions that feel right to the reader - really good stories have the character making the worst possible decision, but in a way that makes the reader understand that they couldn't have done anything else and still been that character. And, like, obviously, give your characters faults and have them make mistakes. A character who does not do that cannot carry a plot.

Fic writers struggle with this. Of course you...shouldn't...be me and completely disregard every characterization, but I do think you can run into the same problem with your blorbo as your D&D character.

Your blorbos aren't actual guys.

This feels kind of obvious, but sometimes I think people don't feel that way. We write fanfic because we like the characters, and we'd rather use these characters and this setting than use our own. I see people projecting on these characters a lot. Like, a lot a lot. It gets to the point where an attack on the character feels like a personal attack - where people defend the character as if they're a real person because they ID so much w/the character. We all know this is dumb, but it also makes for some really shitty fic. The writer becomes completely unwilling to bend the character at all. And they don't try to make the character good for a story, because that kind of involves a lot of faults and mistakes that they don't like seeing their blorbos make. I sound dismissive but it's pervasive. The character becomes a character who makes them feel good instead of a well-written function of the story. The story suffers. Which is alright for some stories, but if you're writing a heavily character focused story like a lot of fic, then nothing is really propping up this story or making it engaging.

None of that is how I develop a character but that is what I wanted to say about characters lol (fwiw, how an OC is created for me is: "I need a character in this spot or representing this thing. Yoink!"). Of course I spoke hyperbolically and took a hard stance on all of that, haha, and of course all of this is rule of thumb. I'm sure your OC is wonderful. Just don't get caught up in them, okay? Go write. The best possible OC is an OC who is born from a good story. That's how you get rich and real characters.

#this is also true for worldbuilding.#my writing #my asks #writing #writing advice #kinda obvious if u follow me that I can go ON and ON and ON about what the fuck is up with some of my characters #and I can kinda promise that for every single one none of that was decided ahead of time #long time readers can see my understanding of the character grow and develop and change the more i write them #so you end up with someone super fleshed out and rich #and sometimes you keep on making so many swerves fifteen degrees to the left that you end up with f101 jon #that being said keep the silly HC coming i fucking love that shit #if no chip sw was an Actual Thing at this point i would go back and rewrite all of it #with what i now know of cody #and thats how the story would be decent lol #but I had to write ALLA THAT to actually get cody you know?#and I could NOT have figured that out just by thinking about him #i promise the advice was solicited this time jalksdf

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wariocompany · 2 years

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Do you have a strong opinion on the Uderzo comics?

Thank you for asking! I've actually had a few thoughts flying around my head for a while about this so I'm appreciative of someone giving me a chance to ramble about them.

I honestly like them. They're nothing to write home about, but I genuinely enjoy quite a few: Le Grand Fossé, L'Odyssée d'Astérix, and La Galère d'Obélix isn't too bad either... and I actually genuinely enjoyed La Rose et Le Glaive and can respect him trying something new.

But I feel like a lot of context is lost when discussing them. "The writing isn't as good/isn't the same". Uhm, duh? Uderzo was the illustrator. I don't think anyone would be nearly as offended by this fact if it were Goscinny who had to do the drawings himself, with people crying "why doesn't it look as good!". Uderzo hadn't spent nearly 20 years up to that point writing the books. Even the writing in the collaborative days took several years to grow into its greatest stuff, if you ask me. To expect Uderzo to perfectly replicate a style that had been developed over years and years by someone whose craft was not that of Uderzo is just... silly.

The fact that entries like Le Grand Fossé and L'Odyssée are (for the most part) so in line with the tone from the first 24 is in and of itself quite the feat. To be sure, it's not perfect. The resolution of the Le Grand Fossé plot feels a bit wrong, because it sort of just happens: the Romans are defeated not because of any cunning but because of unforeseen side effects to the magic potion nobody mentionned until later, Ségregationix and Tournedix stop fighting because they just so happened to be the same in strength. Compare this to, say, Jeux Olympiques, where it's Astérix and Panoramix's plotting that actively brings about the Romans' loss all the while making a point about their dishonesty. But things like "le village, c'est moi", neutral families splitting their house and falling into the rift, Obélix crying at love stories, etc etc; that feels right, that feels Astérix.

Other stories like Le Fils d'Astérix are fun on their own, but you can't help but wonder what exactly the point was; other stories involving raising children within the stories are closely related to how it actually feels to raise children. Sure, it certainly implies raising a newborn is not easy, but it feels less like a caricature of that fact and rather a hypothetical story where it's even harder. It isn't exactly a satire of anything in particular that the entire Roman army is trying to kidnap a baby.

I think the best way to summarise it is that the original 24 books were a "it's just like", whereas Uderzo era was a "what if". What if life was like this? Not "the humour is in that these ancient people are acting just like we do".

And, I hate to bring it up, but... the emotional implications, you might say, of continuing Astérix at all likely contributed to the descent into cynicism the series took under Uderzo's watch. Around about Latraviata, it starts to feel like Uderzo doesn't really care; the characters act strangely, gags aren't repurposed but rather recycled, the story does nothing of note except, I suppose, the reference to the Oscars at the end. Nothing feels logically connected, either; ideas are sort of just thrown in, in any order.

And to that I say: of course? Goscinny was one of Astérix's fathers. The process was collaborative not only because they worked efficiently together but because they were best friends. The series is a representation and product of their friendship. Yes, you can take that out of the equation at some stage, and yes, it would still keep going, but it loses the love behind it. It's hard to have a good natured laugh by yourself. Especially when coupled with that it's not just as though Goscinny quit, he died, and somewhat young as well; I don't think it's fair to be mad at Uderzo for eventually becoming cynical and uninterested in the series that represents the time he was alive. That's grief, son!

So I guess my main thoughts are that it's important to maintain sympathy for Uderzo throughout all this. Sure, good writing is nice, and it's why we love Astérix, but it's not really reasonable to expect it to be the same after Goscinny's passing.

#hi de ho #Parlons peu et bien. Le temps c'est des sesterces.

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ordinaryschmuck · 3 years

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What I Thought About "Knock Knock Knockin' on Hooty's Door" from The Owl House

Wow. They are really pushing it for that secret message, huh?

Anywho--Salutations, random people on the internet who certainly won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons!

I think it goes without saying at this point that Season Two of The Owl House is setting itself up as a season without filler. Now, filler episodes aren't always bad. Yes, it hurts when a series turns away from the main plot for a week. But at best, they're utilized as a chance for the writers to play around with the characters and developing said characters without it relating to the overarching story. So, some people who see that consider it a bad thing that a series doesn't have that many filler episodes.

I like to call those people: F**king morons.

Don't get me wrong, I see where some of you are coming from. And I'd be willing to agree...if The Owl House was a plot-driven series. Which it's not. It is a character-driven series. Because for every plot thread and narrative that the show presents, they always relate to the characters and develop them further each time these threads get brought up. For example, look at "Knock Knock Knockin’ on Hooty's Door" (It pains me just to write that). Several narratives move forward, and it’s all done to make the characters grow. And to explain how requires going into spoilers. So keep that in mind as you continue reading.

Now, let's review, shall we?

WHAT I LIKED

Hooty: Might as well start with the character that this episode is about.

To tell you the truth, I wasn't a huge fan when I found out we're getting a Hooty-centered episode. I've grown to love him over time, but he is a comedic character that's best used in small doses. Primarily due to how his voice is grating to me (My ears are still bleeding...). With that said, I do really love his contributions in "Knock Knock Knockin' on Hooty's Door" (Seriously, there couldn't have been a less awkward title?). Hooty's antics when trying to help everyone are as hilarious as they are heartwarming. He deeply cares for his friends but just doesn't understand how his plans could do some unintended harm, which is pretty lovable if you ask me. We also get some surprisingly great insight into his character, as he feels insecure about basically being the comic relief who doesn't really do that much other than being funny. Rarely do you get that level of dimension from a comedic character, and it's even more uncommon for that to work out as well as it does here. It once again proves just how competent the writing is in this series to the point where we get an episode about Hooty, and it's funny and heartwarming instead of being annoying. And whoever is responsible for that, you're the best.

Lilith’s Letter to Hooty: I mean it when I say that I love how Lilith kept her word about her and Hooty becoming penpals. Their friendship was something I would have never expected to love, and I'm still shocked that it works so well, so seeing it continue like this just warms me to the bone. Plus, it is pretty sweet that Lilith's kind words are what inspired Hooty to do what he's done in this episode...meaning it's Lilith we should thank here--SON OF A WITCH! Even when she's gone, she's still working her way into my heart!

King going through Puberty: What?! KING IS EVOLVING!

(There, I made a Pokemon reference. Do I get my cookie now?)

Eda Keeping Herself Awake to Train Herself: I'm willing to bet a large sum of money that this has everything to with Raine getting captured last week. If Eda was still the most powerful witch in the Isles, she might have actually saved them. But she isn't, and now the love of her life is in the clutches of a tyrant planning something that could potentially be the end of everything. So I can understand Eda pushing herself to her limit to get back on top again, as I would probably do the same. It's not healthy in any way, and Eda would be doing more harm than good. But when it comes to the people you love, logic doesn't always win out in the end.

Luz Wanting to Make her Way into Amity’s Heart by Making the Echo Mouse Happy: ...That's it. I Just...I just love everything about it, ok?

This was also when I knew that I was wrong to doubt that there would be zero Lumity in this episode. I realize my follies now, and I humbly apologize.

Hooty Teaching King About Demons: This was so funny. So, so funny. Probably doesn't come as a surprise, especially since The Owl House proves itself as a comedy before, but the jokes have never hit as frequently and as hard as they did here. From Hooty getting offended by King's dance to him and Dana's insert wanting a "DNA sample," everything managed to successfully make me lose my s**t. It does come at the expense of King suffering, but I can stomach that much more than if it were Eda or Luz. And, as a bonus, we get lore about how demons work, added with another great joke of King getting in trouble with Hooty for saying he already knows this stuff. Humor isn't always the show's strong suit, but when it works, it f**king works.

King Wanting to Know What he Is: But despite how funny King's vignette was, we still get to see more of his character grow. We learn that he's frustrated now that there's this big question mark over his life now, feeling extra angry that his father "abandoned" him to leave such a present mystery. It shows the hidden resentment he has that Lilith inadvertently brought out, made even worse when King's father hasn't responded to the video yet. King hasn't really gotten that much development until "Echoes of the Past," so it's pretty cool that the writers haven't really slowed down on it. Especially when it leads to these great moments of King venting his frustrations.

King’s Shouting Powers: KING learned FUS RO DAH!

(And now that's a Pokemon reference AND a Skyrim reference. WHERE'S MY GOSH DANG COOKIE!?)

Eda’s Nightmare: If King's vignette hits you hard with the laughs, Eda's will absolutely hit you harder with the feels (never make me say "feels" unironically again). Knowing that Eda's life got thoroughly screwed over by the curse is something we could figure out on her own. But seeing just how much the curse ruined her life and tore apart relationships that mean the world to her really does a swell job at ripping apart the soul. What's even more tragic is, technically speaking, it's all sort of Eda's fault too. She kept hiding the curse, refusing to be a burden to others who would do all they could to help. If she had only been open and honest, things probably wouldn't have changed much, but they most likely would have been better than they are now.

Eda Attacked her Father as the Owl Beast: ...I don't know what I was expecting when "Keeping Up A-Fear-Ances" hinted that there was some possible tension between Eda and her father...but it definitely wasn't this.

The fact that we see blood where his eye used to be doesn't make things any happier, either.

Raine Broke Up with Eda: Before we get into anything else, let's celebrate the fact that it's now confirmed that Eda and Raine really did use to date in the past. Because this show is just f**king phenomenal with its LGBTQA+ representation!

But, seriously, this is a fantastic reveal that goes far beyond just shipping...well, sort of. It shines a new light on Eda and Raine's interactions from last week, revealing that while they're not a couple anymore, they still very much love each other. It helps make their last interaction especially tragic, as they were both on the same page now and could very well be together again. Only for them to be forced apart for the second time in a way that's much worse than the first. And I frickin' adore that this series changes the impact of one episode one week later. Again, it shows just how competent these writers are, and kudos to them for making something so...perfect.

The Moon Person: WHO THE FU--Nope. Nope! We have more than enough mystery bulls**t to deal with through CreepyLuz and Philip Wittebane, so I am PUTTING YOU ON THE BACKBURNER FOR NOW!

(They're probably nothing more than a one-off character, anyway)

The Owl Beast and Eda are Connected: Through visuals alone, we, the audience, can clue into what the curse really means. The Owl Beast doesn't want to be a part of Eda as much as she doesn't want it to be a part of her. Whether they like it or not, and they very much don't, they're stuck together. The thing is, and this is what I love the most, they still decide to make the best of their situation rather than let it ruin their lives even more. This might be the best possible turn Eda's curse could have made. It'll still affect her, and there are probably more negatives than positives, but at least now, it's not the worst thing in the world. And I feel like that's all anyone can ask when in a position like her own.

Eda's “Pretty Dream”: I don't know what emotions are toiling inside me more with this moment. Awe and wonder over how beautiful Eda's dream is, or heartbreak over the implication that she has only had nightmares since getting cursed...I'm gonna say both. Yeah, it's definitely both.

Eda’s Harpie Form: Well, fan artists are gonna have a field day with this...especially the freaks.

(You know who you are. And you're weird!)

Luz Calling Amity a “Cotton-Candy Haired Goddess”: ...Have I ever mentioned how much I love this show?

Hooty Kidnapped Amity: ...Hooty, if your stupidity wasn't charming, I would be more than willing to call the authorities over how you kidnapped a girl in your version of a knapsack and locked her in the basement. For that is going to ring SO MANY alarm bells in people's heads.

Amity and Luz Stuck in a Tunnel of Love: *Smacks lips* Mmm. The adorable awkwardness of this moment is just *chef's kiss* magnifique!

Luz being afraid of getting made fun of:

Amity’s look of hope: I mean...just...f**king--LOOK AT HER:

That is the look of a girl who, while embarrassed as hell, still is ecstatic to learn for a brief moment, everything that she is hoping for has a high chance of being real. Who, in their right mind, wouldn't go "Aw!" at something so pure and innocent?!

Luz Destroying the Tunnel of Love: This is how to effectively utilize dramatic irony. The audience can understand why Luz is tearing the place apart because she explicitly states that she's afraid of Amity rejecting her in the end. They also know that's bogus, thus making it extra painful to watch Amity's heart break more and more with each second (which is perfectly represented through Amity's expressions). You feel bad for both of them, and even worse when you know that it can easily be prevented by the simple art of communication. That's what makes it great dramatic irony. Knowing the point of view of each character results in a scene that evokes emotions in two different ways.

Hooty’s Breakdown: This was...genuinely hard to watch. Not that it was badly written, far from it. It just...hurt seeing how destroyed Hooty was when he realized he failed the people he has such an admiration for. On the upside, a wholesome moment follows soon after as the Owl House gang tries to reassure Hooty that he's done a lot of good that night. It's a pure action that shows even though Hooty gets on their nerves all the time, they still care about him...damn it. I think I'm gonna cry.

Eda’s Advice for Luz: ...Eda...You're the best.

You found out that your surrogate daughter wants to ask a girl out, and not only were you quick to deliver the best possible advice ("Just go for it!"), but you also quickly reassure her that it doesn't need to be perfect.

And you know what? That's it. Eda is the best cartoon mom! She might not technically be Luz's mom, but I don't give a s**t because she is the best!

Luz and Amity Ask Each Other Out: Shh-sh-sh-sh...

Do you hear that?

...

...It's the sound of dozens of Lumity fans collectively losing their s**t...and I'm one of them.

WAAAAAAAAAAAAAH!

HOO-HOO-HOO-HOO!

IT!

IS!

CANON!

AH-HAHAHAHAHA!

HOLY S**T! Holy s**t! Holy s**t...might just be the best way I could possibly describe this! Finally, after all the waiting, speculating, and praying, THESE TWO IDIOTS FINALLY GOT TOGETHER! AND IT WAS PERFECT! I mean, it was awkward as s**t, but that's what makes it perfect! You know why? You wanna--Hey! *snaps fingers*. You want to know why? It's because they're teenagers. Of f**king course, it's going to be awkward! This is their first relationship, so there will be a lot of missteps along the way. And that, in itself, brings me to the best (second best part?) thing about it happening in episode eight of the new seasons. Most endgame couples get together in the climax or even at the end of the series. But to have them get together this early on, means there will be quite a few episodes dedicated to showing them grow as a couple.

And better than that--EVEN F**KING BETTER THAN THAT--dozens of kids are going to see these two, a realistic depiction of young love that just so happens to involve two girls, and are going to learn once and for all that there is nothing wrong with being who they are. That fact alone is f**king incredible. Yes, it sucks that season three got cut short, and we'll have even less time with Luz and Amity, but knowing how many kids have felt seen today almost makes it worth it in the end.

And if I see one mother f**ker saying this was poorly paced, I might just hunt them down for SPORT...Sorry if that was an overreaction. I'M JUST SO HAPPY! Because they're happy! Look at them. Listen to them! It's so...GAH-HAHAHA!

“They’re adorable! And deserve all the happiness!”: You're darn right, Hooty! You're darn right.

King’s Father(?) Shows Up: What the--WHAT?! They're doing this now?! Here?! After everything else?

Oh, man. What could this mean? What dynamic changes will this cause in the main cast? How could the writers fit this in during the next two episodes? And what--

Hooty Eats the Letter: ...Pfffft--HAHAHAHA!

Oh, man...I should be mad, and I wouldn't blame others if they are...but that is too much of a brilliant f**k you that I can't help but appreciate it. Bravo writers. Bravo.

WHAT I DISLIKED

...Dislikes? Dislikes? You would honestly believe that after everything I witnessed in this episode, that I would have the gull to list anything wrong with it?!

HOW DARE YOU ASSUME THAT I WOULD BE SO CALLUS TO--Actually, I do kind of have an issue with the episode's title. It's just too much of an awkward mouthful for me to get behind. I understand that the writers wanted to sneak the K into the secret message, but were there really no other titles starting with K that they couldn't come up with?

But that's just a personal issue, and in no way do I think anybody else would feel the same way. Especially with how well-written everything else is anyway.

IN CONCLUSION

"Knock Knock Knockin' on Hooty's Door" (title aside) is another A+ episode. It was hilarious, heart-wrenching, and downright adorable while keeping me entertained with every minute. I'm sure there are some issues I was willing to ignore due to how expertly written everything else was, but why bother looking for the chinks in the armor when I could just enjoy a perfect episode for being so...perfect! Some of you might be willing to disagree with me, but to that, I say: Don't knock it till you've tried it.

(Now, if you don't excuse me, I'm going to go lie down. It's...It's been a day.)

#the owl house #the owl house season 2 #the owl house reviews #the owl house spoilers #toh spoilers #toh hooty #king clawthorne #eda clawthorne #raeda #luz noceda #amity blight #lumity #lumity is canon #what i thought about

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innuendostudios · 3 years

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Thoughts on... some funny games

[no spoilers to speak of]

Thoughts on Lair of the Clockwork God

The wisdom of the gaming cognoscenti insists that comedy is hard to do in video games. Having grown up with Monkey Island and Zork, I've never found this convincing. But one true thing is this: it's hard to write about comedic games. The ineffability of humor is hard enough to describe in less-interactive media; I can't even explain to my partner why Gretchen saying "I met January Jones once!" on You're the Worst busted me up, and they were sitting right next to me when she said it. Throw in the "you had to be there" nature of the player's active participation and I lose myself in a cornfield. The thing I found hilarious might come a beat to early for you, or not at all, or not be funny in text like it is in gameplay.

Why did I like Lair of the Clockwork God? It made me laugh.

The premise and particulars are a lot of "that could go either way." Ben and Dan - stars of Ben There, Dan That and Time Gentleman, Please! - have returned. Ben is still an adventure game star, but Dan has adopted platforming mechanics in an attempt to get with the times. So playing the game involves switching back and forth between a character who can leap across canyons but can't pick up items or talk to people, and one who can combine inventory but can't climb over a 3-pixel rock.

Does that sound potentially funny? Potentially grating? Yes to both!

The plot centers around our heroes trying to save the world from several simultaneous apocalypses and having to teach human emotions to a supercomputer in order to do so. (Don't ask.) These means, rather like Ben There, Dan That, traipsing through a number of fantasy worlds (read: computer simulations) until the correct emotion is provoked. This requires cross-genre cooperation: finding ways to get Ben to areas only Dan can access, getting Dan new power ups by combining objects in Ben's inventory (an act Dan insists on calling "crafting").

The best bits are at these intersections, when Dan's platforming is the puzzliest and Ben's puzzles take advantage of Dan's skills. Periodically the game gives you a Dan-centric platforming gauntlet the controls are NOT precise nor pleasant enough for, or a Ben-only moon logic puzzle that leaves you googling the walkthrough.

But I liked it! A lot. The genre-hopping seems to have invigorated the developers, Ben Ward and Dan Marshall. I discussed my favorite joke in Ben There, Dan That (in what is probably the least popular video I've ever made that wasn't asking for money), but was also dismayed that the game was never that clever again. But this one is, several times over! Progression here involves cheating your way to a better respawn zone, goofing around in game menus, exploiting "glitches," exiting out and loading up entirely other games. There is a lot of poking and prodding at what a game of this nature can or should be.

But, honestly? The only real selling point is... it was funny. The humor is as anarchic and metatextual as in previous titles, but it feels good-natured in a way BT,DT didn't. And there are, here and there, little bits of meat on its bones - the characters wondering if, as a couple thirtysomething white guys, the world hasn't left them behind, no longer comfortable with the juvenile humor of their youth but not really understanding the youth of today, but having not yet fully escaped the mentalities they used to hold. (There's an unspoken humor to Dan's idea of "modern" gameplay being 2D platforming mechanics, especially at a time when adventure games are significantly more popular than on his last outing; this is a good joke whether or not it's intentional.)

Also: this game contains the most poignant urinating-on-a-grave puzzle in gaming history, and you may quote me on that.

Having finished it months ago, I can't even remember what all the gags were that tickled me at the time. Comedy fades from memory faster than drama or frustration. Mostly I just remember having a good time.

Thoughts on The Darkside Detective

Here's a hook: sometime after the mayhem ends in Ghostbusters, The Exorcist, Evil Dead 2, or some other paranormal blockbuster that you watched over and over in the 90's until the VHS wore out, some overworked detective has to come into your town and piece together what the hell happened.

This is his story.

It's a good gag, and the devs wring every drop from it. Existing in a world where these things are commonplace and you have to fit them into some notion of "police procedure" is just funny. Like, it's one thing to have a running gag where you keep observing the moon in outdoor scenes, commenting, with increasing hostility, that its behavior is suspicious (it has been present at multiple crime scenes); it's a slightly different thing when, given the things you've encountered, the moon being the Big Bad is actually somewhat possible.

The game is divided into six main cases and three bonus DLC missions (which come included in the base game now, and the third of which is the proper ending/setup for the sequel). You are the cop tasked to deal with The Other Side - and, when The Other Side bleeds into our own world, its cops have to deal with you. You have a sidekick with a mental maturity of about 6, which I guess makes you the straight man. (You have to grade on a curve to find a straight man in this game.) And you solve tasks like rounding up escaped gremlins or finding an AWOL lake monster all juxtaposed with mundane problems like inter-office squabbles and having not bought your Christmas presents early enough. It's (pleasantly) lo-res and sparsely isolated, so the dialogue and premise do most of the work, but they are ably up to the task.

The gameplay... not so much. I'm an adventure game lifer, so I can put up with a lot of nonsense. It's mostly straightforward inventory puzzles and occasional minigames. Most of the puzzles are fine enough. As the cases progress, things get more involved, and the DLCs especially involve some awful moon logic. And the minigames are not above using that same jumping peg puzzle you've solved in a dozen other games already. So gameplay ranges from serviceable to irritating, but it mostly exists to string together funny lines and silly images. (Christmas mall elves being secretly in service to Krampus - that's the kind of thing we're talking about here.) You won't feel much guilt for opening up a walkthrough; the puzzles aren't why you're here.

The sequel has just been released, and both games are cheap, so check them out if you feel like smiling.

Thoughts on The Procession to Calvary

It's rare for a game to be hilarious to look at.

The Procession to Calvary takes its name from the Bruegel painting. It also takes all it's graphics from Renaissance oil paintings, and the designer delights in making famously rendered heroes and religious icons steal, stab, fart, and swear.

A strong Terry-Gilliam-with-After-Effects vibe is what we're describing.

You play as a lady knight from a war that's just ended, which sucks for you because, in this age of peace, you're no longer authorized to kill. And killing's, like, you're whole thing. But the one person your new, pacifist king wouldn't stop you from killing is the warlord you just deposed, who fled to the South. So you embark on a nonsensical journey to seek out the one human on Earth you are authorized to kill, because killing is just The. Best. Ever.

Of the three games we're discussing, this is the most overtly cheeky, and, at times, the most scatological. I could've done with a bit less scatology, if I'm being honest, but the cheekiness is very winning. As with Lair of the Clockwork God, a lot of jokes could go either way - a field of people being tortured and a woman on a blanket selling commemorative torture merch could be painfully try-hard. But something about the victims being seemingly everyone ever crucified or broken on the wheel in a famous painting, and having them writhe on their crosses in a way that is both gruesome and goofy, and having a cacophonous soundtrack of their screams and moans that you will now imagine every time you look at one of those elegantly elegiac paintings from now on... it works. That the music score is being played by an extremely jaunty piper who dances behind you just out of sword's reach as you traverse the field pushes it over the top.

Oh, and the puzzles, while never hair-pullingly obtuse, will leave you stumped at times. Push past that to get the proper ending, but, if you're sick of trying, you can, at any point, just start stabbing your way through problems. Which, again: it takes a very deft touch to make "protagonist resorts to violence" actually funny rather than lazy and obvious. And maybe, in another game, the perfect timing of every animation, the clever quips, the careful contrast of cathedrals and high-society music halls with gleeful sword-swinging wouldn't be enough. But something about it being frickin' Renaissance paintings carries it the last mile.

This is probably the basest game of the three, but it's also the one that made me giggle the most. Having a BFA that required several art history classes may have something to do with it. But check this thing out.

#capsule review #darkside detective #lair of the clockwork god #procession to calvary

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alison-anonymous · 3 years

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I Want to Write a Mikayuu Series

Okay.

So um.

If you're reading this, HELLO. All of you long time ONS fans probably don't know me, but I'm Alison and I'm a hardcore Mikayuu, Mitsunoa, Gureshin, etc shipper. I've been in the ONS fandom for almost a year and dear god. The amount of people telling me that Mikayuu is queerbait is just making me really sad 😅 I'm a writer, and I'm the type of person who honestly feels like the author of a series should have the ability to choose how a story ends without influence of their readers. I mean, if it's their story, then it should be their ending, right? However, I also do have some qualms when it comes to how this "love triangle" between Yu, Mika, and Shinoa is being portrayed. This is entirely my personal opinion, but I feel like Shinoa seems to be forcing herself to love Yu. I honestly don't think she cares for him in a romantic way, but more of a very deep-rooted admiration or even envy that she's trying to convince herself to be romantic love. And Yu has said multiple times that he values Mika's life above his own, that he doesn't know what he would do without him if he were to die again (I mean the fact that he suffered seeing his best friend and potential lover die a first time was definitely scarring enough, PLEASE STOP TORTURING OUR POOR BABIES). And it's basically confirmed by now that when Mika said I love you in the manga, it was in the romantic sense. Even though I wish, I hope, I dream, and I pray that Mikayuu will become canon, I honestly can't say for certain what I think will happen. I think it could sway any way, with Mikayuu becoming canon, Yu and Shinoa becoming canon, or it being one of those ambiguous endings where it's heavily implied but nothing actually happens. And in order to make myself feel better when stuff like this happens, I tend to rewrite the entire story with the ending that I would have liked to see ;)

You're probably wondering where the hell this stranger is going with this. Well, I want to write a book. A series, actually.

One that's inspired by Seraph of the End.

Now, if you're interested in hearing me out, then feel free to keep reading. But if not, continue on with your scrolling, no hard feelings. But if you do, and I really hope that you do, give me a chance to explain.

I want to write a series inspired by Seraph of the End called Bloodsucker (working title, obviously). And this series is going to be a reimagination of ONS with an ending that I would have loved to see in the anime and manga. I plan to have three main characters (please keep in mind that I'm going to have name changes): Yuichiro, Mikaela, and a brand new character, Epic.

Now, I would begin this series a bit before the anime and I'm assuming the manga begins. I'd start with introducing our main three characters as they meet in the orphanage (yes, Epic would be a part of this orphanage as well) and how Epic and Yu try to make moves to run away only to be stopped by Mika and Akane.

I plan to include a scene between Epic and Akane where Epic tries to run out in the middle of the night only to be stopped by Akane, and this is what caused Epic to develop a crush on her (Epic is a girl btw). Then I would begin the whole shit with the vampires and how they set the world on fire and shit, but instead of the apocolypse, I'd make it so that most of the adults died in the fire while the kids were taken alive (because young blood is better and whatnot). This includes our little Hyakuya family. The directors would have tried to trade the kids lives for their own, and due to their selfishness, the vamps killed them and took the kids anyway.

This would begin my first story arc: the prewar.

Epic, Akane, Mika, and Yu would all be living under the vampires at this point along with the rest of the kids in their orphanage. I plan to include lots of moments of bonding that heavily imply Epic loves Akane even though she doesn't know it yet and Mika loves Yu, but Yu is fucking oblivious. The four begin to plot their escape, but while Mika and Akane (yes Akane too) are making deals with the vampires to help out with their family, Epic is constantly finding herself getting dragged along to visit Queen Krul. The pink haired vamp has a soft spot for her for some reason and often tells her that Epic and her family are "special" or sum shit. And she's super confused and semi grossed out. But none of the vamps ever dare to hurt her so she thinks it's fine. Then one day they all plot their escape and it's much more planned out and lengthy and less rushed than it is in the anime. Things almost seem to work out until the vampires stop them

And Mika and Akane DIE.

I know. I'm horrid.

Epic is standing here in shock as she watches the love of her life die before her and Mika BEGS for Yu to take Epic and run while they can. So while in the series only Yu survives, he obeys Mika and both him and Epic survive this. They're found by Guren (a new character I haven't come up with yet lol) and Yu is super protective over Epic, not wanting anyone to take the only piece of his family he has left (he's a fucking mess without Mika let's just be honest) and Guren ends up taking them under his wing.

Now we hit the second arc. Still with me?

The War.

Hold onto your hats everyone because this is where shit is about to get complicated. So I do plan to have a bit of a time skip into the current spot where Yu and Epic are attending school with Guren as their father figure and they've become very close. So close that Yu refuses to work with anyone else but her. They end up getting onto Shinoa Squad (obviously going to be completely different in my version) and they get put onto the battlefield. But here's the catch. Well, two catches.

Yu and Epic do have demon weapons. I do plan to try to incorporate that into this. BUT the backstory is different. I plan to make it so that the vampires obviously see the humans as fies. Insignificant things that are more playthings than threats. And they didn't want to have to deal with killing all of them, so they sent demons in their place to handle it. But the humans were able to form deals or "contracts" with the demons and therefore turned the vampires' own secret weapon against them.

Now, catch no. 2

So, Epic, Mika, and Yu aren't seraphs in this. But they are something else. I'm going to try to explain this as simply as I can, but each of them (besides Mika since he doesn't have a demon) have 3 souls inside their body:

Soul 1 is their current soul, the one that identifies as Mika or Epic or Yu.

Soul 2 is their demon soul, like what Asuramaru is to Yu.

And soul 3 is their archangel soul (I might change that name later on).

So I'm just going to come right out and say it. In this series, Epic is the villain.

Yes.

You read that right.

Epic is the villain. But she doesn't know that she is. These Soul 3s were reincarnated into the current bodies of Mika, Epic, and Ari (and I know that's not exactly how it works but screw logic this is just a fucking concept) from their lives centuries ago.

These souls existed way before vampires existed and Epic (or Essie) was very close friends with Yu (or Aytigin). Aytigin was in love with Haru (Mika) but for one reason or another, they couldn't be together. Essie wanted to do something, willing to do anything to make the two of them happy. So she made a deal that brought the vampires into creation so that Haru and Aytigin could be happy. She was willing to sacrifice everything that they stood for so that the two of them could be in love together.

She had good intentions, but of course Haru and Aytigin were furious because now the vampires were turning against the humans and they all basically died. Until they were reborn respectively, but unknowingly.

Now picking back up in the present, Yu and Epic are fighting in one of the main battles and the two are very confused when the vampires make a very deliberate attempt not to hurt Epic. They're unsure as to why, but Guren tells them not to worry about it.

Suspicious bastard.

Anyway, it's revealed finally that MIKA IS ALIVE

BUT HE'S ALSO DEAD

Yes he is a vampire. And Yu falls in love all over again upon seeing him, and after a bunch of struggling, Epic gets kidnapped. At first she gets strangled by Lacus and then she gets kidnapped by Ferid who doesn't kill her surprisingly.

Oh and uh... Ferid is nice in this. He's still a fucking creep, but he's a lot nicer than he is in the series. I plan to make Queen Krul or whoever I turn her into be the villain.

Anyway, they take Epic back to the vampire palace or whatever and Queen Krul and Epic are reunited! And Krul is the one who reveals to Epic exactly who she, Mika, and Yu are and this is what sparks Epic's fall to insanity.

I mean, she's the killer. She's the one who brought them into this world. She's responsible for every death the vampires cause.

I would go crazy too.

So, she manages to escape (partially thanks to Mika) and the two join Yu and the others again and it's revealed a second time exactly what is going on. And while no one actually blames Epic on the Shinoa Squad, that doesn't stop people like Kureto and even herself from blaming.

And this causes her demon to go haywire.

She begins losing her marbles, almost killing her teammates and trying to kill herself, all while the three begin to experience dreams or visions of their Soul 3s.

While all this shit is going on, there's heavy romance between Mika and Yu because these two lovers just got reunited and FUCK did they have glow ups but yes -

Oh. And there is another spark for Epic, even though she doesn't think she's worthy of love.

Okay. I'm just gonna say it.

Lacus falls in love with Epic. Yes. You read that correctly too.

I plan to make the two of them get trapped together at some point and they have to work together to escape. It's during this time that Epic realizes he's not all that bad and has some form of self control and he realizes that she's the most interesting thing he's ever met in this disgusting and boring life and damn do her eyes look pretty-

But yes. She forms a permanent alliance with him that he jokes about as marriage and they meet on other occassions too, but lol yes.

Anyway, blah blah blah, more fall to insanity, the Soul 3s take over their bodies on multiple occasions and there's a lot of bonding and fighting and Epic and Mika somehow manage to get some of the vampires on the human side.

And in the end, Epic and Yu basically sacifice themselves to save the human race and kill Queen Krul. It's a very rough ending I haven't quite perfected yet, but Yu has a moment like he did with the King of Salt. But though he inflicted a lot of damage, it's not enough. So while the team is worried about him, Epic takes this opportunity to fix her and Essie's mistakes.

She allows both Essie and her demon to take control of her body and dies on the battlefield. Queen Krul is eliminated. Most of the vampires are gone. The humans won.

Horray.

Epic is dead.

Kinda. Yu and Mika take her back home and this is the preview to the last arc where everyone's in the hospital and Epic's in a coma. Mika and Yu barely ever leave her side and it's only when Lacus of all people comes to visit that she fucking wakes up.

Okay. Are you still with me? Now come with me to the final arc.

The Post-War.

No my friend. It doesn't end there. Because Mika and Lacus are still vamps and life still sucks and I drank too much coffee this morning.

No it's not over yet.

So flash forward a couple years and Kureto and Crew are working as the heads of this city. Stuff is being rebuilt, people are settling down in homes, Lacus and some of the other "good" vampires find jobs, and Mika, Yu, and Epic get a house together (in case I didn't mention before, Epic is pansexual. She loved Akane dearly and I plan to include scenes where she sees her in her mind and dreams like Mikayuu so she's never truly gone, but she falls for Lacus too when he's not being a sadistic asshole). Things are going strangely when

BAM. Epic and Yu come up with a cure for vampirism.

How, you may ask? I don't fucking know, I haven't read about it in the manga yet but before we come up with an idea for it, imma say they came up with it through a spell. They share their findings with Guren and soon all vampires are being cured, most notably Mika, Lacus, and even Rene.

BUT and there's always a but, Kureto passes a new law claiming all vampires to be property. That any vampire or previous vampire or even vampire supporter/owner that tries to disobey these new laws is to be killed immediately. Now Epic and Yu are in jeopardy because their ex-vampires are in danger (Epic and Lacus have been hanging out a lot more and he's proven himself to be a decent guy. Contrary to popular belief, I headcanon him as not really knowing what to do when he actually cares about someone since he's been a heartless vamp for so long. So when he turns to Mika and begrudgingly asks him for LOVE ADVICE of all fucking things, Mika is ready to die). So basically, Mika and Lacus end up getting locked up along with the other ex-vamps (including Ferid which was a pain in the ass) and did I forget to mention that there's a proposal?

Oh yeah, Yu proposes to Mika and the blond still has yet to give him an actual answer because poor baby is still having a hard time accepting that Yu can love a "monster" like him.

But anyways, now Epic and Yu are furious and SHINOA SQUAD IS BACK IN BUSINESS. With the help of Guren and Shinya and everyone, they form a sort of rebellion and blah blah blah they manage to get Mika and Lacus and everyone out and blah blah blah they all get separated and Lacus begins to get INSANELY protective of Epic and ends up confessing his feelings to her before he nearly dies and blah blah blah did I forget to mention that I'm making Mitsunnoa and Kimizuki x Yoichi canon and blah blah blah.

Epic kisses Lacus as an instinct. Lacus kisses her again. Mika accepts Yu's proposal then almost dies AGAIN. I kill off some characters for emotional tugs and after a ton of more fighting and revenge and psychological breakings later, Kureto is killed. And Guren (or someone else haven't decided yet) is the new head of their city.

Epic, Mika, and Yu finally let Akane and the kids go. There's a lot of Shinoa Squad bonding but this is a summary so I haven't included much besides the main three. Epic and Lacus becomes canon. Mika and Yu get married. Guren and Shinya get married. Shinoa gets pregnant.

And everyone gets the FUCKING HAPPY ENDING THAT THEY ALL FUCKING DESERVE BECAUSE FUCK

I do plan to be slightly ruthless like the creator and include a lot of heartbreaking scenes, but it's going to be much different than ONS but I still want it to hold on to some core relationships.

I just want them to be happy. And I just want to make other people happy because fuck I JUST WANT TO BE HAPPY

So. Yeah.

That's Bloodsucker...

So my question to you is... if I wrote this shit.

If I sat down and typed about 30 books roughly inspired by Seraph of the End and Mikayuu and Mitsunnoa and shit...

Would anyone read it?

♡ a.a.

#mikayuu #yuumika #mika x yuu #yuu x mika #owari no seraph #owari no straights #owari no serafu #seraph of the end #seraph of the gay #Mitsunnoa #i wanna write a book #reimagination #fml #send halp #lacus #new character #akane #what am i doing with my life

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