PART 8 Everybody’s Alive AU, Where Niko Is A Friend Of Edwin And Charles Is A Friend Of Crystal

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Hello , can you please reblog or publish a post for my campaign? Due to the slow pace of donations, they pass slowly as ice. I hope you can help me. A small amount like $5, $10, or $20 will be more than useful to help me and my family. Thank you for everything💔🙏

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‏Right now, donated money is being used to help us survive this war. Food is very expensive and my family has to pay rent for the land that our tent is on. However, I want to save up enough money to evacuate my family to a safer place where we can rebuild our lives. I dream of returning to university to finish my computer science degree. I want to provide a better life for my family than is possible in Gaza. My family and I have many dreams we would like to fulfill after this war. We are grateful to everyone who donated and helps us during this time of suffering.

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‏https://gofund.me/73d4b003

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Part 1!

This uber-specific AU popped into my head and I wanted to share it!

I’m not sure what to call it. A bakery enemies AU? Suggestions would be appreciated.

Next / All

Details/explanation under cut:

Seguir leyendo

One thing I absolutely adore about Dead Boy Detectives is the immaculate costume design. Specifically, how it perfectly encapsulates who the characters are, both as a whole and who they are in the moment.

From the very first scene of the show, we know immediately that Edwin is a bookish, somewhat stuffy guy from the Edwardian era who attended a boarding school, and Charles is a punk from the 1980's who's most likely the wildcard between the two of them, just going off of the way that they're dressed. Both of them have distinct color schemes and different styles, but the general shape of their outfits is actually relatively similar---both of them have collared shirts (Edwin's dress shirt, Charles's polo), something over those shirts (Edwin's vest, Charles's suspenders), a jacket of some kind (Edwin's suit jacket, Charles's flannel thing), a longer overcoat (Edwin's traveling coat, Charles's peacoat), something around the neck (Edwin's bowtie, Charles's necklace), slacks, and nice shoes. They're distinct, yet matching, two clearly defined separate characters yet part of a set.

Edwin's prim, proper, buttoned-up personality lends itself to the way he dresses throughout the season---in the first episode, he only dresses down when he's in the office with Charles, aka his safe place and his safe person, and he doesn't really dress down like that again for a good long while after getting stuck in Port Townsend (though, if my memory serves me correctly, he does take off the suit jacket while watching TV with Niko). But in episode six, he's changed up his usual look for a cozier, casual-looking sweater and a little bit of collarbone, and in episode seven... well, he's in his nightclothes, and he's about as open, raw, and vulnerable as you can get. Edwin's color scheme is also predominately blue, which lines up nicely with his logical and practical, yet deeply sad and closed off personality, and the only time he really wears anything other than his normal blue-and-brown outfit (willingly, that is) is when he's in that green sweater in episode six. And, uh... all I can say is that it's quite telling how blue and green---or, well, teal---are the main colors of the gay/mlm flag.

Charles, by contrast, dresses down a lot, and that makes a lot of sense when you consider the fact that unlike Edwin, he feels comfortable pretty much anywhere. On any given episode, he goes from wearing his peacoat to just wearing his flannel to ditching the flannel to not even wearing the freaking polo---though, again, the latter is something that only happens when he's in the office with Edwin. Safe space, safe person. And, well, plenty of people have analyzed Charles's polo shirt going from red to burgundy to black over the course of the series, and there being a little bit of red under the collar of his coat that's only visible when Edwin fixes it, and then it goes back to burgundy, and then it's red again when Edwin's out of Hell... for good reason! It's color symbolism at its finest! Not to mention, the red and black not only perfectly contrasts Edwin's color scheme, but it also lines up with Charles's personality---he's a rebel, he's hotheaded, he's bold and brash and loud... and yes, he's angry, but he's also so, so loving.

When we first meet Crystal after she loses her memories, her outfit choices feel very deliberate. They're stylish and vaguely trendy, they're arty and a little bit witchy---pretty fitting for a psychic who's also a showbiz kid, even if she doesn't know that last part. But all of her clothes appear thrifted, or at the very least vintage, and the patterns and the general vibe all feel natural and comforting. Her makeup's always fairly simple, her hair's either down or up in a couple of cute space buns... overall, this Crystal looks like the kind of person who'd make you tea when you're in a bad mood, who'll listen when you just need to vent, and who may not always know the right thing to say but will understand what you're going through. But when we see her in the flashbacks, her clothing's flashy and prioritizes high-end trends over comfort, she's either got her hair up or has it straightened, and she not only has dramatic makeup, but acrylics. This is a girl who talks shit about you behind your back, who's bitter and cynical and wants everyone to feel the same way, who makes up for the lack of love and stability in her life via material things. It's also worth noting that Crystal's color scheme has a lot of purple, which is a color that connects to wealth and luxury, but also creativity and magic---which, yeah, fits her two conflicting sides pretty damn well.

You cannot talk about Niko Sasaki without talking about her outfits, and the meaning behind each of them has already been talked about at length. However, one thing that really stands out to me is that the reason they're so iconic isn't just because of the monochrome color schemes, but because they're out there. They're weird, they're eclectic, they're a little mismatched in style sometimes, and they're so unapologetically her. Niko wears heart-shaped sunglasses, unironically. Everything about the way she dresses speaks to how, even though she's a recovering shut-in who initially doesn't want to be perceived, she's still very sure of who she is.

Jenny's design, like Charles and Edwin's, is a design that gives you the key information you need the minute she first appears onscreen. The dark makeup, the silver jewelry, the leather apron, and the hairstyle all point to a person who's tough, doesn't take anyone's shit, and has long since given up on caring what other people think---in other words, she's a badass. But the butterfly tattoo hints at a softer side, a side that we see time and time again throughout the series as she shows that she cares about Crystal and Niko, and even the boys... eventually. Also, Jenny's design is perhaps one of the most clearly queer-coded in the series, to the point where her being a confirmed lesbian is pretty much a no-brainer.

Esther's design oozes camp, from top to bottom. The fluffy coat, the bustier, the boots and the cane and the everything, speak to a woman who's kept with the times and yet has seen it all. There's really not a lot I can fully say about her design, other than what Charles has already said: "She looks like a witch... like, kind of a sexy witch, who smokes a lot." (Or maybe I'm just tired and running out of steam at this point, idk, I love Esther's design and I can't really put it into words.) It's also pretty fitting that her color scheme has a lot of yellow in it---after all, she's always striving for more, so what better color for her than the color of gold?

Everything about the Night Nurse's design speaks to a woman who follows rules and discipline above all else, from the pantsuit to the pinned-up hairstyles to the tie to the heels. She's also the most muted out of the main cast in terms of color, dressing mostly in browns, dull greens, and duller browns---and while I don't have a lot to go into detail about there, I feel like that's kind of a symbol of her narrow-minded and bureaucratic worldview.

And the animal characters... Jesus Christ, I fully forget that they're all being played by human actors. Tragic Mick dresses like a man who's always spent his life by the sea, layered denim and all, and it's never a stretch to see this sad, bushy-bearded, baggy-clothed fisherman and imagine him as a walrus lounging on a beach. Monty, at first glance, seems to only wear black, which would be perfectly fitting for a crow, but when he's in better lighting, you see that he dresses in layers of red and blue, calling to how he envies Charles and Edwin and clearly longs for something more---and this might just be me, but I think that even though his outfits seem fairly normal at first glance, they feel kind of like a costume for Monty more than anything else, like he's trying to emulate a teenager that he's seen on TV more than someone in real life.

The Cat King fits this just as well, with all of his outfits aligning perfectly with whatever his cat form is at the time---when he's a fluffy ginger, it's always sequins and fur coats and clothing pieces that are specifically designed to take up space and call attention, and when he's a black shorthair, it's sleek styles and shiny leather and pieces that are designed to cut an intimidating yet more subtle figure. And while I could go into detail about all of those, what really stands out to me is how clearly queer everything is---more than Jenny's alt lesbian attire, more than Esther's campy coat and corset. From the very first scene he's in, he's wearing a skirt, and it looks natural. Nothing about the way the Cat King presents himself is exaggerated, nothing about the way he dresses is played for laughs---he's flamboyant and feminine and flirty, and he looks so fucking hot while he does it. It's gorgeous.

So... yeah, uh, all the awards for the Dead Boy Detectives costume designers!

Hello my friends 🫂🇵🇸

After suffering for almost a year 💔

I was able to open a GoFundMe account, to help me meet my children's needs and provide them with a safe place 😭💔

Our circumstances are difficult and harsh. We hope that you will donate if possible and share widely 🙏 🚨😭

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Hello dears👋! I am asking you👈 to support my campaign to help me🙏 reach my goal. I am now in dire need of your support to help me survive👇Gaza is a very dangerous place both in terms of living and lives. I need your financial support to enable me to get the basic needs for my family until the Rafah crossing is reopened to transport my family to safety and peace. Please help a family survive through your donations or through your shares to others. Thank you very much for standing by the oppressed🇵🇸

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Hello, I'm from Gaza

My name is Farah

Can you please help me to study at the university

Me and my family have lost our home, our car, and our dream to study

I hope just to help me to start my education

I was in my first year at university in Gaza but after the war, I lost everything my dream and my education 💔

Hope you really can help with anything

Thank you in advance

https://gofund.me/7417ca2b

https://gofund.me/0974b65e

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Palestinian tiktoker Medo Halimy was martyred yesterday. He was growing a garden and making "a day in the life" tiktoks while in Gaza. He was just 19 years old and now he's gone, but y'all wanna pretend that people wanting hard stances against genocide is some kind of moral superiority issue and not the fact that people are literally dying.

This is his family's gofundme that's still linked to his tiktok. Please send some help their way so they no longer have to lose more of their family.

https://gofund.me/c22e7fed

Monty Rapunzel AU

Esther Finch’s husband was unfaithful. He begged for her mercy before he died, so did the mistress, although she begged differently. Not for herself, but for her baby at home. A bastard, fathered by Esther’s lying husband. By all rights, he should’ve been hers, so she keeps him. A trophy of her descent into magic. Not needing a child, she turns him into a crow and ties his soul to her magic, her new familiar, and she moves deeper into the forest, away from villagers who ask questions.

Once a month, in the few days leading up to the full moon, Esther leaves Monty to do a ritual for her youth. It’s the only time she breaks the spell keeping him in crow form, though she keeps him locked in a tower until she returns, for safety. (he never asks what she does or why she returns smelling faintly of blood)

It’s Monty’s favorite time of the month, when he can stretch, read, and, his favorite, view the stars. Every night he spends staring out his window, taking it in and charting the stars. By the time he’s 15, he’s created full maps and learned to recognize the constellations throughout the year.

Monty understands why Esther keeps him as a crow. She’s his mother, it makes sense she’d want to keep him safe. And that’s why she forces him into crow form. To keep him safe. It’s what she always tells him. It’s to keep him safe.

He always knows before she returns, as her proximity forces his joints to constrict, his body to morph, and his brain to shrink.

He always dreads her coming back.

Until one day a few people around his age come stumbling into the clearing with his tower, not long after Esther’s left for the her trip. They claim to be a detective agency in town, looking for a lost girl, but Monty can’t help.

He wants to. He really wants to. For the missing girl, but also for the incredibly beautiful boy who keeps asking questions. He wants this boy to like him more than anything.

But he’s never left his tower, so how would he know where she is? He wishes he could join them, help them look, but he wouldn’t want his mother to come back to him being gone and worry.

He doesn’t find out what happened to the girl, but Esther returns early, spitting mad and talking about revenge, looking no different than when she left.

But he doesn’t return to crow form this time. Esther has a plan.

They really matched each others freak