#the rambler.

[s0lar-ch3ri]

[op note: dont rb this with a discourse content warning or im going to block you] ik i rbed a lot and basically hid my tags but i do completely stand by them. we all have biases it came with existing and theres just. i dunno like okay lemme put this in perspective

ignoring (and its hard to ignore) the biases that guided the bloodymary ship, i am someone who struggled to watch iron lung. i am extremely bad with horror, and only got through it because my friend told me everything, including when to look away. i dont actively seek out iron lung content- hell, not even following the tag- because it is a horror media and i dont want horror content on my dash.

i follow project hail mary because i liked it a lot. psychologically did something to me, was very well done, and gave me much joy! its an incredible film, and the things ive heard about the book make me like that too, although i havent gotten access to reading it yet.

the most content ive seen of grace not involving simon comes from a mutual who im 99% sure blocked the tag. stratt is rare to appear on my dash, let alone carl. every crossover is tagged with both fandoms, which does make sense, but becomes an issue because most works i see with a media i enjoy has to be put side by side with a horror media i can really only appreciate. if i block the bloodymary tag (which i dont mind the ship, my reason is coming up for my issue), i lose most the grace content on my dash. i also dont mind seeing simon, and i found iron lung very interesting! what i stomached was a good fucking movie! and yet im not seeking to look at simon much because im here for grace. and yet, people will tag both characters by name, because surely everyone going into grace and/or simons tag are a fan of the ship! and i literally am! but im tired! im really tired! im here for grace! add in the fact that this is a character who is, quite frankly, almost explicitly aro-ace, being put together with a guy from a media that happened to release semi close?

if the reason they were together was solely because of their close release date, why not barbenhiemer? or other films released in close proximity?

and of course, the post is supposed to be focused on the biases around ignoring carl and stratt, and i admit, the side tracking to ace erasure is in a way a form of bias (im queer, i focus on queer-based issues, which means that can get in the way of looking at and focusing on other big issues- not an excuse, but a bias!). but it does drive you a little insane at some point. honestly, the big thing i disagreed with op on doing was tagging "cw racism", mainly because its wild how often people equate any amount of criticisms to "fandom issues". calling out things like racism arent just "discourse". asking someone to tag a post with fandom racism for "those who are just here for the joy and find discourse stressful" is a weird statement and gross for a bunch of reasons. if you cant handle the discomfort of being racist subconsciously and equate addressing it to some fandom-based issue and not something bigger, youre being gross.

the most stratt content ive seen is from mutuals who focus on her, and they rarely come in. i see next to nothing on carl. i could follow those tags, and i do want to! its just... maybe i shouldnt have to force my experience to focus on the characters in the media? a ship doesnt make you racist or anti-racist, sure, but lets do a thought experiment: how much do you remember of graces interactions with carl? or stratt? how much of either of their characters can you think of? are they more than tropes and baseline ideas? compare that to how you think of grace and simons relationship. do you think their relationship is deeper than with stratt and/or carl? if you answered yes to the last question, ill hold your hand to remind you: there is nothing in text that can prove their relationship to be deeper, because it does not exist. it doesnt have to, but canon made the characters and influences the way they act, you have to consider canon a little bit, otherwise you just want ocs.

theres a level of insanity here like. for the minimal amount of time we see anybody in project hail mary, its obvious how much story was thought for them, from the bigger parts of the project like stratt and carl, to even those who were before on the hail mary pre-wakeup. its a detail in the movie i really admired, everyone isnt just a named body to be sad over, but real people with families and beliefs. stratt, while needing to be stoic for the mission, has a comedic air to her at times (the two coffees) and is far from a heartless or cold person (if the karaoke scene didnt establish enough). she needs to be that kind of person, the serious and in-charge leader, because in a poetic sense she has to act inhumane to save humanity, lose her own to give humanity more of theirs. she doesnt act with any pure malice, just as someone who is rightfully taking the steps needed, ethics be damned, to save earth from dying. carl is in a similar position, but we see it differently. carl is mostly in charge of (correct me if im wrong, i only have been able to see this movie once) making sure grace has what he needs as the scientist behind this situation. that doesnt mean he doesnt know a joke, and has a lot of care for grace. they spend a lot of time together and connections are made between them! both are characters who spent a lot of time with grace, are complex regardless of their connection to him, and are so interesting to look at with him! so why is it that i see nothing! why is it mostly the guy from another universe! not even platonic, although at some point you accept that people just dont want to think of a dynamic not kissing unless theyre family (parental or sibling, "coded" or not). i feel like i know why people dont want to focus on grace with stratt or him with carl, and when theres such a strong idea of the closeness that the power of friendship provides? im unsure how to feel anymore. i dont know how people stand it.

above all else, just think: isnt it a little weird how when you saw a character content and happy when being single, you crossed universes to fix that? why does it have to be "let people have fun" if your escapism has to include ignoring rep?

[s0lar-ch3ri]

hey cheri so i’ve noticed that a character i play in a ttrpg game could probably be plural coded if i wanted to go that route and i was wondering if you have any tips for that or something, like tips for making plural characters. no pressure if not you can just ignore this, ill do my own research and shit, you just seem like you might have opinions on this or have fun stuff you’d like to see in plural characters i could add so i thought i’d ask ^-^

HIIIIIIIIII HELLO I DO HAVE TIPS FOR SURE!!!!!! [important note for others who see this I AM NOT ACCEPTING SYSTEM-DISCOURSE. DEAL WITH IT OR BLOCK]

first off: what kind of system would you interpret it to be? i feel like many when wanting to think up making system characters focus on traumagenic (a very fair approach), but making endogenic (non-trauma formed), willogenic (self-made), spiritually-based (like religious reasons or smth, i have not researched much into it), something other, or mixed sources is going to be a bit different! its also important to note- portraying Any kind of system is going to be a sensitive topic and what not, esp if not a traumagenic bc yk controversies around their existances! technically endogenic includes willogenic and spiritual-based systems, but i mentioned them specifically to provide ideas of specific non-trauma bases systems

now, for the headmates: theres a lot of different ways to write an alter. some questions i can suggest thinking of:

how much difference do they have to the "host" if theyd have one? (ill get into system terms later, but presume for now this is the one in control most times) (if no host, then the body)

do they mask themselves/pretend to be a singlet or even just another headmate?

how often do they front?

hows their memory?

do they know other headmates?

how do they feel about being a system (some people hate being a system, and thats a valid experience!)?

how did they form and does that impact their personality at all?

if they have a headspace with a form in there, how different is it from the body?

these are far from an extensive list of things to ask yourself ofc, but these are the system specific! headmates can be formed like their own people, or fragments with little to show, and both are fine to portray! if anything, something i havent seen often (or at all honestly) is a system in media with fictives from in-the-media sources, which could be so cool!!!! not something you have to do, but its a thing to think about!

to define semi-common system terms by the way (ones that you may have heard and might not know):

what is a host?

a "host" is, in typical system set ups, an alter who is in ways in charge. many systems define hosts differently, but a common way is the most common fronter. they tend to be in "charge" and what not, but again it changes with who you ask. systems can have no hosts, one host, multiple hosts, or people who sometimes host and sometimes dont

what is a fictive?

a fictive is someone who has a "source", or a thing theyre based on, typically fiction media. fictives can be very attached and similar to sources, or uncaring and different from their sources. where they are from can influence morals, appearances, identities, relationships to others and headmates- but does not necessarily dictate them

how does fronting work?

fronting i believe is probably a term you know, or at least youd find it in your research! its basically a way of saying who controls the body at that time. some systems log their front activity, others dont, its personal preference. if they are to log it, it may be worthwhile to consider front switches, or when someone enters or exits front, and also memory issues+general behaviors to logging it. in addition, different headmates front in different ways for different reasons. some may only front alone, some may co-front (fronting with other people), some are a response to a trigger, some come by when they see their interest, some front whenever, some may be "front-stuck" (unable to stop fronting) for long periods of time if they can stop at all, some may be completely unable to front! it depends on the headmate! different fronters can also have different memories, shared ones, or just not know anything- ive had someone take front for me when i needed to go somewhere and have to work off of pure instinct! its a complex thing and again works differently for each system

what does blurring mean?

blurring, or blurred fronts, can be caused by an assortment of things. too many front switches, someone entered front too quickly, someone left front too quickly, too many people in front- anything really. it becomes very disorienting, can be very scary, and feels very hard to think (since you dont really know who you are when its blurry lol). theres ways to get out of blurring, such as figuring out whos in front, but generally someone who is blurring and not aware of it being that is going to have a ROUGH time

and thats whats big: does the character know theyre a system? granted, if theyre something endogenic, its quite hard to Not know theyre a system, so a lot of this assumes theyre traumagenic

i will always find it an interesting route to watch someone who disassociates, who has memory issues and personality switch ups, even if subtle (ESPECIALLY IF SUBTLE) and still take time to realize theyre plural. whether it be a different when triggered by panic, or an uncomfortable situation, or just having nothing worrisome to do, plurality is so complicated and confusing and it is something so incredibly fun to play

i do recommend looking at other systems (theres multiple of the "[type]genic-system-is]", which give me much insight into other kinds of plurality! i do like both [apologizes for the pinging, ask me to untag if wanted!] @mildly-inconvenient-plur-is and @mundane-plurality-is for giving good insight into plurality that isnt even just the big stuff! a lot of the culture blogs are very helpful in looking at it! [INTERACT WITH OTHER SYSTEMS TOO! BE CHILL ABOUT IT OF COURSE BUT HAVING PLURAL FRIENDS IS INCREDIBLE!!!!!]

as for terms and such, i recommend pluralpedia which is an encyclopedia basically of many system-based words and phrases!

at the end of the day, i am one singular system whos had one experience, but id say its not hard to make a system and be respectful. just know what youre trying to portray, see where stereotypes are exaggerated or lied about, and if you play into them then make them the complicatedness they are (ie: the "evil alter" trope, some systems have those, how does yours work?)! still, do the research, and have some fun with it

[s0lar-ch3ri]

pacing back and forth Okay i think in look outside right a big thing that gets me is chance. like theres a chance you dont make it to joel in time and you find him as an enemy. theres a chance the woman looking for her child will make it certain that this is the last time you see her. theres a chance with each turn around the corner, youll face someone who you dont know if theyre beyond saving or with a little help is almost out of that dark place. theres a chance each fred you take down, youve lost the real fred. theres a chance that those you let into your walls, shared a meal with at your table, they one day will wake up and you wont be looking at a friend anymore. i dont care if some of these arent how the game works, dont you see it?!?! you cant know everything! theres a chance you will never run into certain people, that youll never be able to help anybody! theres a chance youll be next! that youll give up!

i can talk all about it in term of mechanics and encounters, but looking at chance from inside the game- its not just possibility, its choice. you can choose to defeat joel, or if you go get him his teddy bear, you can help him. you can take that chance.

you can choose to play with benjamin one last time, to pick answers to his game that may make it confusing, or make him feel strange when you hug him. even sam may be able to tell that this is his last play time. you dont know if hell get up and start biting you. you can take that chance.

you can choose to open your door to a stranger in need, someone who you wont know until its too late how far gone they are. you dont know if this is where you lose it all. you can take that chance.

you can choose to keep the rat baby alive, to sacrifice an arm for it. you dont know if itll mean anything in the long run, and parts of the game will treat it as the wrong choice. you dont know how well you can even keep this child alive. you can take that chance.

you dont know what questions to ask at the end, when everythings down to you. you may never get to understand how to defeat them. you dont need to be focused on that. you have the option to ask: how are you doing? you dont know if using a question for this will cost you, but maybe combat isnt the only thing you should focus on. you can choose to keep those around you close, to extend arms to any in need no matter how bad it can turn. you can be kind to those who may, and some do, hurt you. in the end, you have no exact idea whos your neighbor and whos another monster. you dont know any of the answers the combined 4 in front of you will bring. you dont know what happens when you go to meet the visitor up in the sky, if it fears or despises or cares or feels nothing towards you. you dont know who youll become, someone of kindness or malice, to survive. you dont know if the next step you take, the next laugh you share, if thats what ends it all.

but the chance of helping someone- is it one worth something?

[s0lar-ch3ri]

you are radio doe. you are a teenager. you love your family to death. you cannot let them go. your mother is dead*. you have three siblings: two younger- cici and pol- and an older brother- jax. you grasp for the remainders of your mother. you can find her in the tone their voice can take on or in the way they gaze at you. you cannot let them go.

you become something bigger than you are. you become responsible, mature. you single-handedly take care of all of them, helping with homework and driving to practices. you make breakfast for them all, each sibling and your dad. things feel okay when you have this control. your dad tells you hes worried, that maybe you should have a break, you let him know youre fine and ask him what he wants for dinner. you cannot let this go.

you fall into routine. this is all you wanted, perfection. you help everyone, and you dont think about much more. you dont think ahead for you, you are a teenager, you have no time. you even have time for fencing. you hold the part of the world that matters in your hand. you control it all, you are useful. you have power here. you cannot let this go.

the apocalypse, end of it all. crystals fall from the sky, crushing your way back to your dad and other siblings. riley moore, a family friend that is close to you and jax especially, is slashed in front of you. you are chosen to leave behind all you know, to complete some prophecy with a blade as if you were part of that show you and your mom would watch. your friend peck is going along. he is the wizard, a larper like him may as well be living his dream. you have to leave behind the world you once held in your hands. you cannot let them go.

you are not the only two on this trip. a failed rockstar, max, and a magical guitar. he is the bard. he left college to become a musician, trying to write a future for himself that the light towards is a pinprick. you will not realize, but you are just like him. you both will sacrifice all of your being for those you care about, you put yourself last. you do not call it self hatred, you call it being useful, meaning something. you look away. you have to find a use of yourself. you cannot let this go.

as the adventure goes on, you do what you do best: you keep everyone together. you are more responsible than the adult. you have a semblance of control. you have visions whenever you touch the crystals, you can keep whatever you remember, whatever that who pulls your strings writes down. play it right and this could be power. you cannot let this go.

suddenly the wizard is dead. your friend has fallen again. the only reason you have stayed is dead. the guitarist looks at you, almost an understanding in his eyes that you dont realize it is. you believe he hates you. you are not fun. you are stern and focused. you do not need him to like you. you are angry. the feeling is natural, as if you have never stopped being angry. you do not know when you started. you are angry, for once with a direction to point it to, even if youre unsure where that is. you resent him. dolly parton is on the radio by your choice and you are behind the wheel. with effort he convinces you to stay with your conditions: finish the adventure to washington, and nothing more. he agrees. you have some power again. you cannot let this go.

you make it to the crystal, which you cant reach yet due to the strange lady who insists on experimenting on you both. the bard agrees, and impatiently you wait. you are angry, you want to go home. youre starting to forget how to make cicis favorite breakfast, you will have to relearn. the lady has a big dog, and looking at it reminds you of yours at home. your most reckless move, you tell it youll take it with you when you leave. you do not know if you can keep this promise, you probably wont. the prospect is enough, so you are impatient and you wait. you cannot let this go.

she is done, and you prepare yourself for the expected visions. your first mistake is to expect it. the world has became set on ruining your routine more. this time, you are in the void. the bard is with you. he looks as confused as you. you are angry. there is a door. there is no clear explanation. you have been away from home for months. you kick at the door, without a clue if you are doing anything or if it will matter. for once, you dont care. you are angry. you dont know when you stopped being angry. maybe never. nothing changes. you talk to the bard, you tell him the perfect life you made. he does not understand you, he says this isnt your job and that you are a kid. he doesnt understand. he tells you its okay to have help, to take breaks. it sounds like your father. something changes, even if you cant tell what. you need to get back home, to your world of perfection. you cannot let this go.

you ask him what are his plans. he holds no hope for himself, he says hell be out of a job and his family wont take him back in. you ask about cher, someone who seemed to be his friend that you met before on one of the side missions. they probably couldnt help. you say your thoughts, that they dont seem so good for him. you cant see it, but the hypocrites mirror faces you. you are talking to yourself, and you cannot hear it. you wouldnt listen either. he tells you its complicated. you change topic, ask him to play one of his songs. he offers a cover of a song he enjoys. you agree. the void is large and silent. you both are alone minus the figures you sensed all around you. his voice fills the silence. his hands work with magic, lights dance around you. you are nothing more than a pinprick at the end of a tunnel. it is enough. you cannot let this go.

you both end up back with the lady of before. the wizard is asleep on the floor. you are teleported home. you face someone the other two have met before. you hear a car driving towards you. to your horror, it is your older brother jax. he has a new scar from the crystals, he blasts the radio with some pop song. he is driving with his control on the car. theres too much to worry about, but you dont have time. juice is in the passenger seat. theres a new tension between the two boys, you can brush past it. your brother is different now. you have been gone for months. you cannot let this go.

he is different. you have been gone for months. he looks at you and in his eyes you find maybe your mother, your gaze, or just the look of an older brother. you cannot let this go. jax is smiling. he is better. he is not perfect by any means, but he is better. he is happy. he has control. he does not need you. where pride should be a vast pit of anger lays. you do not tell him. you could never. you have to care for him. you cannot let this go. you cannot lose it all again. your world that once fit in your hands is now just the spect of dust that is your older brother, and he is trying to slip too. if he is gone, you lose all your control. you must be someone more than the caretaker. you must think of yourself first, to acknowledge that if you are not helpful you are still worthy. you must see that you are a person, a child. you cannot let this go.

you know how to solve this. he must be pulling an act. this is the worlds cruel trick. you refuse to fall for it. he may as well be worse. no, you will help him. you will remain useful. there is no other purpose of yours. you are mature and responsible. you can rebuild this world. it may look twisted and sickening, but it is the only way to help. you keep replaying the directions to his next game. you will drive him there. you cannot let this go.

as you exit the car he grabs you in a hug. it is tight, it is familiar. the love feels routine, and you taste the perfection. he tells you he missed you, you may have caught a voice crack. you hug him back.

you cannot let him go.

[s0lar-ch3ri]

another dandys world analysis for the freaks of my phone /affe

been a bit since ive titled my rambles! anyways, while my main focus is will be shrimpo, i will be including mini analysis on other toons (and will even do some by request)! lets talk about the ichor.

if you dont want a long ramble? *tdlr*: the twisteds are not the opposites of themselves, but who they truly are. the reason shrimpo isnt changed personality wise is due to the fact that shrimpos very nature isnt detailed enough to have desires beyond his anger, no matter if he wants it or not.

want the full ramble? look on below! (i will be referencing dialogues without screenshots, be aware)

at first glance its understandable how the twisted forms are opposites to their toon counterparts. finn becomes slow and inflicts slowness when machines are completed while his toon is fast and gains speed from machines, glisten turns from confidence and self reliance to insecure and requiring the physical support of others, even dandy turns from an elevator aid who doesnt mess with the events outside the elevator and easy to ignore to a harmful and lethal twisted who is very involved (when you finish machines he goes to them) and very hard to ignore (his music box plays the entire time youre on the floor, his massive size causes him to be hard to not notice, etc).

however, i doubt this to be the case, for theres a couple details that dont line up.

take finn for example. yes, his twisted ability does directly parallel his passive ability, however this isnt seen in personality. finn is a happy guy, making jokes and having fun even in the face of danger. if the ichor twists toons to their opposite selves, itd be expected that hed change personality to, being less friendly and cheerful. he *isnt* though! both twisted and toon finn are smiling!

thus, the idea that theyre being their true selves came to mind.

finn is, while violent as a twisted, a happy guy, eager to follow the player around, even as his lower half is completely gone, as if ripped off. while in terms of skills he has completely swapped, under all the ichor is the same fishbowl. this isnt the opposite of who finn is, but rather who he truly is. a happy guy who cares for his friends deeply and loves to have good times with them. he doesnt feel fear or anger when looking at them as he finds a friend in anybody, even if they dont want to be his friend. of course, he holds no true desire to hurt any of them. their "twisting" can twist their desires and views, turning their eyes red and distorting their bodies. while it is, in my mind, their true selves, it is the ease it takes to twist their wishes that turns them violent, as their ideas are stretched and thinned to their bare bones and their wishes warp to their unbelievable worst ends.

this idea can apply to those who even seemed to have became their opposite selves, as many of the toons, on closer inspection, are not truthful on who they are. lets use again from our example dandy. on the outside, dandy is as i described, an elevator aid who tries his best to provide helpful supplies and doesnt get involved with the outside affairs of the elevator. however, as he is twisted, he is cruel and very violent, investigating machines when he hears their finish and making his presence known when he isnt in line of sight. this however, is a front, as twisted dandy is truly who dandy wants to be, who he is. as you attempt a dandys run, where you are able to get dandys twisted by not buying items from his shop (its not a guarantee at first, but by around floor 16 he will be almost bound to show up), you see the petals peel away to show the more sincere sinister pollen inside (yes, flower puns, my show so i do what i want /lh). he becomes more angry, more demanding of attention, even shaking with anger at a certain level. dandy isnt truly doing this shop out of the kindness of his heart. dandy wants the attention, to be validated as the hero, and being "helpful" (to sell items you can more often than not find on the ground for items he believes he owns) while calling you ungrateful if you turn it down. as he twists, he no longer hides who he is as his truth becomes violent, a flower who wants to outshine the sun and believe hes better for it.

glisten isnt free from this either! while glisten from the outside appears to be a confident toon who knows his worth and isnt afraid to flaunt it, this isnt the truth. by looking at his dialogue, he seems to prioritize how others see him, which is especially noticed in one of his dialogues with rodger. rodger expresses concern about glisten, to which he tells him something along the lines of "you can see i know how to care for myself", rodger says he watched glisten walk into a wall the other day, which glisten denies. there is, of course, a bit more in depth of what was actually said, but the main point is there: glisten is more of a wreck than he is willing to let on. his self confidence can only come in when it first is made by someone else. one compliment he can allow to spiral into a whole mood boost. however, as glisten becomes in some scenario isolated and left for the ichor to take over him (important wording to me, on glistens twisted description it uses the phrase "it is not advised to leave him to succumb to his affliction"), he is left without a way to properly cover up who he truly is, how the confidence he uses is reflected by those who look into his eyes. he doesnt become the opposite of himself, but rather who he truly is, slowly corrupting until the fear of loneliness consumes him and he turns to the desperate fear-holding toon hes always been.

lets even take a toon i didnt mention at first, toodles. toodles is very happy-go-lucky (more or less literal with her ability), just a small girl who wants to prove her worth. she wants to be braver than life and prove she provides as much worth as anybody else here. as monsters of her friends appear, she tries to seem as though the darkness is the least of her concerns. however, as her twisted, while she still skips around and has her fun, she holds much more childish behavior. she crawls towards the player, she has a low attention span, she skips around (this one is seen with regular toodles, i am aware, theres a reason i pointed it out). while both her regular toon self and her twisted form are both children, toodles tries to pretend shes more than that in a sense, being a kid only by age but working as well as an adult would. however, in truth, she is just that: a kid. even if her attempts to seem more mature than she truly is arent exactly successful, she still is hiding who she is, and as such, her twisted self (while very similar) acts like the young girl she is.

i can connect this back to basically any toon and twisted (which i will upon request), but there is, among all of my connections, an outlier: shrimpo. i have rambled to friends as well as in my last post, i do not think shrimpo is truly the hateful bully he pretends to be. however, by my logic here, would shrimpo not be kinder? would he not be more passive, such as connie or razzle and dazzle? i think not, for one crucial reason:

even if shrimpo is not a bully, he doesnt know how to not be one.

it is safe to assume the toons act similarly to how they did in the show, or at the very least were designed to be these characters. however, to translate a character to human becomes an issue once their regular setting is taken from them and they are no longer simply a character, but more. their ideals are not their own, but their creators vision of them. each gardenview character, from dandy to eggson, all express complexity. they have multiple kinds of bonds, have their interests and dislikes, speech patterns vary, even their own styles and color schemes (which, while can be similar to some, are not complete copies of anyone elses).

this complexity, strangely, is not seen in shrimpo, a character designed only to hate and be cruel. if he is given complexity, it allows him to grow away from being hateful, which is undesired, as (to quote his poster) nobody likes a bully, and finding something beyond bullying makes him not a complete bully. shrimpo, from how i see it, holds variations of hate, some maybe more genuine than others. but on the most part? i dont think shrimpo truly hates everything (which, it is apparently canon, since one of the creators confirmed that shrimpo likes one thing, but i can talk about this someday else). however, as a bully, shrimpo lacks the complexity to know how to express anything but hate. screaming and yelling, this is his specialty. to be kind? to be caring? shrimpo is unaware of how to. shrimpos nature, by design, is ever so flat, so his lack of personality change comes from how he lacks the ability to be anything else. there is nothing to be "twisted" into because, whether or not shrimpo wants, he is nothing more than a bully. and you know the thing about those?

nobody likes them. whether the bully likes it or not.

[s0lar-ch3ri]

Ever think about how shrimpos ichor is mainly around his mouth and neck, almost like someone Really wanted him to shut up

GUESSING THIS IS EV. HI STILL AND YEAH I CAN YAP ON THIS SHIT

the thing is shrimpo, while being a mean twisted, acts relatively like his regular self. how can we tell? each of the twisteds (the ones ive seen and remembered at the very least) have an animation for losing the player. poppy grabs her head and shakes it, looey stomps once, even dandy does what i and my friend describe as a "singular hop of disappointment".

but shrimpo? he jumps up and down in anger. despite everything, shrimpos personality doesnt exactly change, because hes always been cruel and slightly violent. or, maybe, because shrimpo, the weakest of toons, has such a strong spirit, he doesnt lose himself so easily.

we know toons can resist the ichor, seen with glisten, and very specifically theres a convo they have that i think about a lot. image below has both, id attached to it

i think shrimpos haterisms so to speak have always been a defense, or a cry for help even. shrimpo does insults hes certain wont hurt, or he knows they can take. he commits to being a hater, as silly as it sounds, even in what is a state of no control, of almost death.

added, the twisted are *twisting* into worse versions of themselves, but shrimpo cant get worse, hes already as terrible as he pretends he is. the build ups of ichor, mayhaps, symbolically, could show the sins of his corrupt nature. its as if all the blood hes gotten on his hands has manifested to physical form, all the mean words built up in his throat, where he holds no control, no voice, but the masquerade of cruelty stands strong. so long as he clings to that, he is alive. as long as he is cruel, he survives. while his anger is not of his control, has it ever been? has shrimpo ever not known corruption?

or maybe, just maybe, it was not anybody but shrimpo who wished to be shut up.

[s0lar-ch3ri]

thought about wakfu. do you think yugo wants to help everyone they come across because something inside him even if he thinks just adonai is enough wants to find the family hes been missing in every crack of sunlight that he can. he wants to save people from losing all they may never known they had because thats what families do for each other, connected by blood or crossing rivers of water.

[s0lar-ch3ri]

when cheri has ocs

its time to go silly mode.

LETS TALK ABOUT MY OCS FOR ONCE IN FOREVER :D

OKAY SO LIKE. paige (he/xey). 16 year old paige. he got multiple arms and shit, can grow up to 20 extra, and uses sign mainly to communicate as hes slowly losing his hearing (hes like at 40 as of rn, would be more but Events happened and it went down a LOT quicker)! he is a pd oc and has a nephew named collins (who ill talk about more either later or in a diff post, depends how i feel) and like. lets get into his silly lil thigns (putting a read more cause long rambles tee hee)

(OH AND NELF IK YOU FOLLOW ME. NO NO READING FOR YOU. or actually any of my friends in the rp sighs)

POWER INFO:

the arms can pop out basically anywhere on the back and sides of the torso (this does include the shoulders)! they can all be given different tasks to do, but paige prefers to have them all do the same things. the arms function like regular arms, and can be hidden on command. the arms arent really stored, they just appear. xeir skin though does has a faster scar-making process as to handle the arms that pierce out.

DRAWBACKS/DOWNSIDES/WEAKNESSES:

the arms do pierce the skin each time, and while xeir skin is able to form back at much quicker speeds, it still aches a bit when their first pulled out. the pain can last for longer and hurt more dependent on how many arms are pulled out. from this, everything becomes strange sensory wise and attempting tasks (like restraining someone or even picking something up) becomes a lot harder.

to command the arms to do different things requires a lot of focus on the arms. the more complicated, or the more arms doing all different things, the commands to the arms are, the less outside information is to taken in as to keep a focus over all the arms.

if an odd amount of arms is in use, it can cause an unbalance. its similar to phantom limb in a way, being incomplete in its set.

the arms can randomly pop out unexpectedly. whether its because of a fear response or he just had the misfortune of having them, it always hurts like hell (more then normal, and because of their wild nature, it doesnt really go away) and takes a bit to put away. he also becames basically unaware of his surroundings as all his focus goes into controlling these arms.

with the wild arms and shit, they also can damage paige. they are not under paiges control (unless, ofc, the focus thing) and as such squirm around. however, things can escalate and the arms seem to have a mind of their own, able to aimlessly grab and rip at things. this includes paige.

BACKSTORY:

paige had started noticably going deaf at the age of 8. for a couple years, they (xeir parents) tried to have paige speak, but eventually (when he was like 9 or 10) they just had him learn sign. also around the age of 8, paige had noticed the arm thing, but managed to hide them easy. hes a lil transgender guy and uses binding tape (he/xey btw should have said that sooner)! he ended up telling his nephew his secret (moreso because he caught him once and paige just decided to explain it all). as of current, paige is in highschool (where he gets picked on i mean hes a disabled kid hello??), able to balance both being a hero and a student pretty well (he may be failing a couple classes but like. surely he can fix it).

THE SECRET:

paige doesnt actually have "xeir" own powers. its a parasite, implanted into his brain. whether by accident or not (still havent decided), it was implanted around the birth of paige and is slowly eating away. its why the arms can be very wild and shit, theyre not really belonging to his control or him at all. it wasnt really identifiable and it isnt noticed by paige. so uh yeah