Hi lemme introduce myself properly now ik what I'm doing on here lmao.
My names sunny, my pronouns are they/them/he/any neos rlly but I just say they/them because it's easier and they're my favs.
I am disabled (audhd, ocd, bpd and me/cfs baybee), mixed black/white, and queer (tmasc lesbian).
I post edits (mostly made with my sister @a-peaceful-explosion) and reblog gofundmes (and other stuff sometimes) here. Also thoughts on things I'm interested in now. Don't look through my blog if you find images or descriptions of injuries, distress and destruction triggering, pls look after yourself. All my edits will be tagged #my edit if you just wanna see those. Who knows maybe one day I'll post some of our art/fics. Don't count on it tho lol.
Fandoms I'm in: idolish7, milgram, yellowjackets, the magnus archives, the post traumatic manifesto, arcane and others but these are ones I'm currently active in? Sort of. That's rambly. But oh well. I may edit this post if this changes.
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"oh! new queer trans comic/show/media whatever that's so cool- why are there no black queer characters? and when there are black people why are they always not trans and side pieces for the white characters?"
i noticed that from indie queer projects that gain traction there lacks a heavy cast of people of color and in this case black characters that are shown an ounce of love. it's very rare to find black trans characters in these projects unless it's specifically made by a black person. it's just jarring to see considering that black/Hispanic trans women are big pioneers of the American lgbt movement.
i just... notice a lot of these queer indie creators always lack black casts members or when they do exist it's only a tokenized character that's most likely not even queer. it sucks cuz I met so many black trans people/trans people of color who vent about the same thing: feeling invisible in a lot of these arts. and when we make art of our own it's often overlooked (although I'm lucky in my case)
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Ok kind of embarrassing but idk how to quote my first post to make a part two. Trying to do that I accidentally deleted the original post. SO IM POSTING IT ALL AGAIN HORAY!!
I’m really happy people enjoyed my wearing it ironically piece. I hope you guys enjoy this too! Part 2 coming REAL soon (at least as soon as I figure out how to post it lol) ty!!
do you have any predictions for where witch hat atelier is going? I used to but it feels like there's so many moving pieces now...
i am a terrible person to ask for ideas about where an ongoing work is headed because its just not something i usualy spend pretty much any time thinking about at all. I am not any kind of theorycrafter. i don't even try to solve murder mysteries when i read them. whenever i experience a narrative for the first time i experience i try and allow it to blindly lead me down whatever dark alleys it may be inclined to, as i think having specific expectations for how a narrative should resolve is oftentimes a recipe for disappointment and is slightly contradictory to my ethos of meeting a work where it is at.
but that said there are some open plot threads with tidbits that have caught my eye so what i'll do right now is just point at those and be like "wow i bet this will resolve somehow and be interesting 💯🔥"
for starters: coco definitely has some kind of tree in her right. like she just has to. i feel like that's essentially a given with the information that's been presented so far. the way iguin primarily talks about her is as a Seed of Hope.
per restys, this is also very much Iguin's Thing specifically.
another place we see Seeds and Hope being talked about together in this same way is when qifrey is telling olruggio about the experimentation that was done on him as a trial run for something New
the silverwood branches there paired as imagery with "the great cost which hope declares"... in this same scene we have this really fun eye embedded in roots frame while qifrey talks about getting his eye back
its interesting that he wants to reclaim the eye to destroy it, not to restore his failing vision, because it seems the eye itself is a key component in whatever plan they're actually trying to bring about.
(sidenote: the brimhat lurking in the background of qifrey seems like it could be this one from silver's eve, but qifrey also refers to the witch who took his eye as 'he' several times. might be an instance of references to people needing to be gendered when brought into english, might be just two separate characters.)
but the other place where we we see eye-in-tree imagery along these lines is in coco's brimhat design
the outfit has these very eyelike segments coming together for the belt on the waist and hat, and there's the tree with eyes in the background on the left. the right one gives the dress a pattern that resembles both wood grain and an eye motif as well.
so imo it stands to reason that coco is the final iteration of the experiment they were performing on qifrey. which is awesome. but what exactly Is that? it seems that hosting silverwoods in people is not any sort of endgame but rather a step in the process. so now ill get into Openly Speculating a little bit.
i don't have the screenshot of this line of dialogue on hand and cant' find it in my brief search so forgive me, but there's a moment where qifrey says something approximate to "My right eye was the only thing to sprout during the experiment." we know silverwood is dormant until its host is injured, and then sprouts to restore missing function to the creature.
so i think it's not too huge of a leap to say that removing qifrey's eye was in the service of sprouting some sort of fucked up silverwood eye, and then using that for as the Seed for for whatever they're doing with coco. it would be cool and fucked up and awesome if what became of qifrey's eyeball was actually, like, Implanted in coco somewhere but idk if that's actually feasible or just something i really really want to see. because like. when would that have happened.
BUT but. something i do think we have to consider is that the place where the brimhats are cooking all this shit up not only has Always been the site of experimental forbidden magic research, but specifically a place borne of experimentation with necromancy.
aynway man what the fuck were they doing putting qifrey in that coffin. what was that for. if you're just trying to get rid of a body you don't bury it alive in a coffin. surely this has a specific purpose and is not just because of their child torture hobby.
the silverwood trees of thristas don't seem to be dead in the traditional sense, but they have been blackened. and we know that when silverwood turns black thats a sign that it's able to be reduced into woodcruor, which is the source of witches' ability to do magic. so one thought i have is: what if the brimhats want to grow one of these silverwood inside of somebody?
we also know that ink seems to be significantly more volatile and powerful when mixed with human blood. so what if they want to cultivate a variant of silverwood that is more symbiotic with its host than parasitic to it? with ink mixing with blood within the body, you could basically have people who actually do have innate access to magic without needing a medium to do spellcasting, who would likely produce far more powerful spells than traditional witches by default.
maybe one is lying dormant in coco right now and the brimhats think coercing her into performing forbidden magic will in some way awaken it.
a couple of other less directly related things:
i think this bit from the serpentback caves is noteworthy.
because this line implies that the brimhat qifrey is looking for looks like him, and its the first and only time that even comes up at all, if memory serves. here's a little translation note for this panel from the wiki:
While interrogating Sasaran in Chapter 27, Qifrey reveals that he is on the hunt for a brimhat with "visage like mine" (with "visage" generally interpreted to mean "face"). However, in Japanese, the line is 「僕と同じ目を持つ」 (literally, "with eyes like mine"). Thus, there is some debate over the accuracy of the English translation. However, it should be noted that 同じ目 can also refer to someone who has had similar experiences or hardships (as in 同じ目に遭う). Likewise, "visage" can refer to both literal facial features or a person's general character (born from experience), and its deliberate use in the English translation may be intended to preserve such ambiguity. As such, it's unclear if Qifrey is on the hunt for someone with the same face, the same eyes, or simply a shared history.
"With eyes like mine" is certainly a loaded way to think of this one. One possible read of that is that the witch who took his eye out is now, uh, using it i guess? i could see things going there.
but in general there is also a characteristic quality in the eyes of people who are silverwood hosts, as qifrey explaints at one point.
So he could just have reason to believe one of the brimhats is another silverwood host.
We also know from custas's transformation that white hair comes reaching a certain stage of the transformation process and then being pulled back before it can complete. So that's definitely why Qifrey looks the way he does too.
This is definitely something that could contribute to "a visage like mine" being a way to find people involved with his whole situation.
and one last thing ill point to that has been weighing on my mind:
ohhhhhh boy. spell that removes any trace of a given person. that's certainly the only kind of memory erasing magic the text has mentioned but not explicitly shown yet... we're going to have fun with that surprise tool later on won't we.
can't even begin to guess what this is going to pay off with narratively. but i think it'd be really fun if this is less one that gets Used later on, and more something that gets revealed to have already been used. i want there to be a major character who has just been essentially erased from reality. it would be so jdatecore.
ummm yeah thats it i guess. i hope she keeps making qifrey and coco's fates even more grimly entangled with each other basically. please. please. for me. i love them so much.
When artists do illustrations of their work with a certain theme, I tend to like to read into them. I especially like to examine art where characters are holding hearts, because it tends to show a little bit of how that character experiences, presents, or otherwise feels about love (not solely the romantic kind!). With these, I got the sense that they're specifically about how these characters express love. So, without further ado, I would like to read into the Valentine's art from 2019 (which would have been drawn during or shortly after the Second Test).
All images are official art by Kamome Shirahama, posted to her Twitter here. I've obtained them from the Independent Wiki.
Coco: Coco has the most hearts by far, and that's because Coco has a whole lot of love to give! She wants to help people, and she's quick to consider those she's met only recently as her friends. What's interesting about this illustration is that all the hearts are tucked into her hat: Coco strongly believes that magic is what allows her to find kind, comforting, and ingenious solutions to all manner of people's problems, and the way she primarily shows her love is through her own creativity; her ability to circumvent issues and find a path through. She's also holding that cap close to her chest: Coco's first love has, and always will be, magic, but the love she feels for her friends is something she is constantly cherishing and learning from. There is no extracting Coco's love for her friends from her love for magic, because both fuel each other in a cycle. But also, Coco has some difficulties with the limitations of what she can and can't do, either due to her lack of experience or from societal restrictions. She often laments that she can't do more, because her concept of love (helping others and taking accountability) and magic (used for helping others and taking accountability) are one and the same for her.
Tartah: I do think I have the least to say about Tartah, unfortunately. His gaze is averted, he looks shy. Tartah likes to feel like he is capable of helping himself and others, but he's not exactly used to feeling this way, so notably in the prologue to Silver Eve, he tends to get flustered when, say, Coco or Custas show their appreciation for his help. I do notice that him and Coco seem to be mirror images of each other in a way: Coco with her hearts tucked in her hat, and Tartah, who has foregone his hat in favour of holding only his heart - very indicative of the kinds of decisions he will make later on.
Qifrey: Oh Qifrey... this is from 2019, by the way. From all the foreshadowing in early manga to the extra illustrations like this, she had this all planned out from the beginning, I just know it. It's fascinating, because the connotation changes depending on how much you know or don't know about him. When you don't know, the placement of the heart looks as though it is hiding Qifrey's dark side - the gentle persona he wears to mask his desperation and his secrets. But when you do know, the context completely changes here. There is only so much he can offer. His love isn't a front, it's being shackled. Qifrey can't ever fully express nor accept love in the way he wants to. He lives his life as a balancing act, carefully split between the side he can let others see, and the side that he can't. In this way, both the mask interpretation and the shackle interpretation are valid - Qifrey's love and kindness is a convenient mask, and it is also entirely genuine. It's also always wrapped up in the guilt of his "selfish" motives for offering love - how love is always entangled in guilt for him, always filtered through the lens of something that was stolen a long time ago, rendering him unable to see a clear path forward. He's the only one of the group without a flush on his cheeks as well - missing that depth of emotion he must restrain.
Tetia: Look at her with her big smile and big heart! Tetia is facing directly forward and doesn't bother hiding her affection - she loves to be thanked and thank people in turn, and she has no qualms about saying so. I think the massive heart (which is the largest of any of the characters here) looks a bit like a big pillow or something. Tetia offers comfort primarily. She's not the one with the pragmatic solutions, but what she offers is no less important. She offers support and a smile when spirits are failing, she offers a nice comfy bed for comfort and security, she offers her compassion when she notices people are not being treated as people with the respect they deserve. Not only does she do this openly, but it makes her happy to do so. Having said that, her big open heart has me more than a bit worried for her in the upcoming arcs. A big heart like that is easy to guilt...
Olruggio: The attempted nonchalance here kills me, just like it does whenever he tries this: you are fooling no one. Interestingly, even though he's turned to the side, his eye looks directly out at the center, and the heart is not hidden at all. Both direct in intention and avoidant in execution simultaneously; very him. The heart tapping his forehead is good too - he largely expresses himself through magic and contraptions, which are a product of his inventive mind. His love is primarily shown through little things to make life easier based on his observations, or experiential advice he can give. However, if you've seen my other post about this illustration, you'll know that I am also deeply side-eying the heart being tapped directly against his forehead - exactly where one would need to apply a memory-erasing spell, for instance? It was, after all, originally his idea, and undoubtedly also an extreme expression of love. In this way, we can also read into the positioning of his heart as indicative of Olruggio's tendency to sacrifice (his memories, his constant overworking, etc.).
Richeh: What Richeh says is only a fraction of what she's actually feeling and thinking. There is a lot going on in Richeh's head - she's very introspective, and notably, even though on the surface, her desire to remain true to herself at all costs meant that others like Agott interpreted her as selfish, she actually cares a great deal for those who she considers her friends and family. Even her stubborn refusal to change wasn't something solely done for her own sake or out of fear; it was for Riliphin too. The heart over her mouth indicates to me that while she doesn't hide her feelings necessarily, there is a whole lot she doesn't quite say. She's very confident in herself, but perhaps less so in expressing her love to others, especially when at the beginning, she still has issues with trust. Nevertheless, Richeh's heart is positioned over her mouth, and when she decides to express her feelings, she tends to make direct declarations: of support, of protection, of promises, of appreciation. She holds that heart close to her, because that is the way Richeh loves - she wants to keep her people close (the rings!).
Euini: Shy little wolf boy. I love that Euini's heart is the second largest after Tetia. Euini smiles this sort of wobbly smile; he's a little nervous, as always, but it's not a closed off expression, even though his eyes are hidden. His heart is somewhat obscured but it's held tight to his chest and it doesn't exactly look like he's fully trying to hide it per se. Euini just feels more comfortable when he is at least partially hidden, that's all. He holds his heart tightly, because it is big and a bit fragile from having been beaten up too many times before, but it's still big. The very first thing he does all himself is stop Richeh from falling off the path at Romonon. Euini cares a lot, he just has no faith in himself, and even though he's probably still a bit scared of getting hurt, it doesn't actually stop him from trying to be supportive. The little wolf tail in the background standing up straight is cute too - he is excited and paying attention (we all know he's looking at Richeh <3)
Agott: Agott you are hurting me. Look at how small she's made her heart. Look how tightly she clings to it and how much of it she hides. If Euini's heart stayed large, Agott has compressed hers until she can concentrate without being distracted by the pain its been put through. She has to hide it, because just loving magic was never seen as enough. She's avoidant, her heart is clutched tightly to her chest. She has a true love of magic, and a true love for the people of the atelier, but it is so hard for her to show it. The centrality of her heart also reminds me of the "selfish" nature of her love, and how that actually turns out to be a good thing. Agott loves cute things, she loves animals, she loves the triumph of her own successes, and it takes her a long time to break down her walls enough for her to feel comfortable sharing any of that. But once she does, it is through her own self-oriented love that she is able to remind Coco, particularly, of how important it is to do things for yourself. "Agaffection" isn't something she shares readily, but it's all the more meaningful when she does.
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I do like how purposeful shirahama-sensei has been so far with the queer stuff like. I’m rereading vol9-12 for Reasons and it’s reminded me that. due to The Specific Way The Japanese Legal System Is, one of the ways gay men are able to approximate the legal rights of marriage is by adopting their spouse. and to me this makes the choice to have Atwert (canonically Galga’s lover) take him as an apprentice even more meaningful. Without this context it’s a bit of an odd writing choice but with this context they’re not only grounded as a political allegory (a LOT of witch hat is sociopolitical commentary) but also experiencing something that would be familiar to the japanese queer audience. Anyways idk I just think it’s interesting. Also wanted to share this with non-japanese fans to. preempt some fandom weird.
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They yearn for dew on mushroom caps;
for butterflies with laboured flaps;
for the ooze of mud between their toes;
for nights of stars and firefly glows;
for dappled light upon their logs;
for rain that fills their cozy bogs,
to make them happy little frogs.