#(( he honestly has no idea what to say ))

[ilynpilled]

jaime turning women down constantly more bc he is very monogamous and in love with someone else right now for the first time and is also kinda scared of actually having sex with someone other than cersei is sm better to me than “i respect the kg vows of chastity so intensely rn actually because i changed into a good and serious person” or whatever lol

[epickiya722]

It's still something to me that Sukuna knew Yuji was his nephew for like a month and didn't tell Yuji that.

Why he didn't, I don't know. But I guess it's because he didn't care to, at the end of the day. There would have been no point to it.

Even still, Sukuna wanted to so badly break Yuji's spirit and he didn't figure that may have done it, revealing they're technically family? Because had Yuji known, I'm sure it would have upset him.

Then again, maybe Sukuna figured "the brat wouldn't believe me anyways". In 248, he mentions no matter what he did, Yuji isn't breaking.

A part of me also feels like Sukuna just didn't want to be reminded that he still had family. The more you don't think and mention something and ignore it, the more nonexistent it becomes.

Maybe he acted dismissive while revealing that information to Uraume, who was more surprised and curious, to kind of cut off that connection. Extinguish that feeling of what it's like to have family that could care for you.

He was there to witness how Yuji's relationship with Choso changed and maybe it reminded him of what could have been had he and his twin survived in the womb. (I still think Sukuna just had it out for Choso and maybe part of the reason could be because Choso was so devoted to be being a big brother while Sukuna didn't get to experience having a sibling.)

We see how he acts just from Yuji showing any bit of sympathy and pity for him.

Maybe he is disgusted by the idea of human connections and emotions genuinely. That his own "me, myself and I" mentality is so strong that he convinced himself that even having family is absurd to him? And what if a part of him, deep, deep down just feels he doesn't deserve that love?

I'm just rambling and pondering right now.

[tacagen]

one of the things that fascinate me about thawne: yes, he CAN be normal with kids! surprisingly normal!

((not at all times, though. his mental illness still spills through and as usual he, in trying to manipulate or hurt others, spits out at them the exact stuff that would hurt him (or have in his childhood/barry's rejection interpretation) the most in the first place lmao))

but at the same time. his like second instinct when doing his bullshit is FUCK THEM (as) KIDS

(and, well. whatever this classifies as)

[twentyfivemiceinatrenchcoat]

childhood friend!sugu vs childhood friend!toru

YOU’VE COME TO THE RIGHT PLACE .

thank you for saying this anon i’ve been thinking of it a lot actually. i’m morally and legally binded to choose childhood friend!sugu no matter what because he’s literally……. my favorite Ever. and i think the inherent devotion of the childhood friend trope blends soooo well with his natural devotion. his protective urges. etcetc. i have wayyyy too many thoughts about childhood friend!sugu 😭 but it mostly boils down to him wanting to be by your side forever. he wants to make you happy and he wants to protect you and he knows you so well that he doesn’t trust anyone else to love you like he can. he’s selfish and he wants you to lean on him more than he wants anything for himself.

childhood friend!toru though….. i feel like he would be your estranged childhood friend. that makes most sense to me :3 like, you met when you were really really young, and ended up playing together in an empty park. he was a brat, kind of quiet, and you were just sweet, y’know? you were the closest thing to a friend he had as a child. then you ended up moving away, he never got to say goodbye… and you meet again as adults. you don’t remember him — it was just so, so long ago — but he remembers you. he remembers you a little too well.

so now you just kinda have to deal with this tall, handsome, cheery man who keeps talking to you like you’re best friends even though you literally don’t remember him…. he’s sweet though. a little annoying, but sweet. he has a soft spot for you. i think having anything remotely close to a childhood friend makes him feel human in a way he can’t help but crave.

sooooo. overall!!! both are good :3 i will always be a childhood friend!sugu truther before anything else but childhood friend!toru has sm potential..

[moeblob]

Every single time I draw for an anime I think to myself "never again will I draw for an anime" and then I am proven wrong. So here, take my daughter Lulu.

[solfinite]

yeah

[puke-ur-gutz]

i will cashapp $10 to the first person who can name 3 real life harmful things bob bryar did without accusing him of thought crime

[muninnhuginn]

Thinking about "your weakness is how you always want to be the hero" and how the series returns to this at the end

Li Lianhua hated how he acted as Li Xiangyi and spent years trying to distance himself from it, but ultimately he still fell back into the similar patterns, for all his added experience

His main priority was always to "do the right thing" regardless of how that would impact on those around him. And it *did* impact those around him. From Qiao Wanmian and Shan Gudao as Li Xiangyi to Fang Duobing and Di Feisheng as Li Lianhua

Giving the Styx flower to the emperor so he could use it as leverage to guarantee Fang Duobing and his family's safety. Using the last of his power to save Yun Biqiu. Constantly putting others above himself whilst actively refusing to recognise that his self-sacrificial nature would hurt those he cared about most

And sure, he thinks he's going to die anyway. They're going to be hurt regardless and he can't do anything about that. His odds are low of the Styx flower even working. But ultimately, he refuses to even consider trying. Li Xiangyi has been dead a long time and Li Lianhua is just there to tide things over. What value is the life of a ghost

To the end, he lives and dies a hero. To the end, he refuses to live for himself.

[iwasbored777]

"But why did Gwen push Miles away like that if she loves him so much?" You ask as if in the same movie we didn't watch her father, the person she loves more than anything and the person that she thought that loves her more than anything, disown her right away because he learned one thing about her that he didn't like.

[suttttton]

Oh gosh, so i just read your jonelias fic, the soulmate name one where Jon has Jonah magnus on his arm and he's all lonely. Boy did this entirely rewrite my brain actually. So i thought i'd ask, do you pretty please have some crumbs of how you think the story could wrap up? Like would elias try to woo jon? Would jon refuse him because, jonah magnus? Do you think the gang would find out about the whole body hopping thing at the same time as in canon or before, because jonah just drops the ball?

Also, maybe i just have piss poor reading comprehension (i kind of do tbh) but why did jon stop talking to the portraits after leitner's death? Did he just go like, oh that's creepy elias might be watching actually. Also i'm wondering what the tim&jon argument was about... Oh, them being trapped here because of jonah magnus himself? I guess that would explain it. Generally any tidbits of information you'll be willing to share, i want to hear it all i love this fic so much it's so good.

Would Elias in this au be more gentle and less willing to throw jon at every horror ever? Or is it sad toxic yaoi?

Sorry for rambling uwu ahah

(For anyone who doesn't know, this is the fic in question.)

I'm so sorry it's taken me 60+ business days to respond to you! This ask inspired me to write a little bit past the ending, which took some time, and then I got my job at puppy kindergarten and completely forgot about until.

UNTIL just now when I found it in my drafts, SO part of that is at the end of this answer under the cut.

To answer your other questions: Jon stops talking to the portraits because he finds out that Jonah Magnus was a Bad Person. Jon has been imagining Jonah as a character something like Gerry, burning the Leitner books and protecting people. After he talks to Leitner, he knows that Jonah was,,,,,,,,,,,, not that.

As for Tim and Jon's argument, I think during that s3 era of canon, they get into a lot of fights that basically boil down to "Tim is very angry that they're trapped here and Sasha is dead and Danny is dead, and Jon is his only available target." And in this world they have the added twist that Jon has been metaphysically assigned to The Evil Guy Who Started It All, which,,,,, does not help.

Thanks for your ask! I really like this story and it's been really fun thinking about it further.

EPILOGUISH:

The moment hangs suspended, Jon's eyes on the floor, Elias' locked on his own name scribed on Jon's skinny wrist like an accusation. His head spins with a rush of emotion, nothing he is prepared for, nothing he ever expected to feel again.

Then Jon's gaze flickers to his wrist, registers the alien colour, and his eyes widen and he jerks his hand away, shattering the silence. Jon cradles his wrist like it hurts, staring at it with his mouth slightly open.

Elias braces himself for Jon's gaze to come back to him, to look into his grey eyes and realize that they are far too old for his face, for him to make the connection. A moment passes, then another, and Jon just stares at his wrist, one of the immutable columns of his life suddenly upended.

Elias skims his mind, curious, and he has to stifle the urge to laugh.

Jon is thinking, with a racing mania that borders on panic, about ghosts.

Elias feels an enormous rush of tenderness towards him.

"I don't understand," Jon says finally, quietly. More to himself than to Elias. "This--this can't--"

Elias decides to twist the knife. "Perhaps our founder is pleased that you've aligned yourself with his god."

That gets Jon's attention, and he looks at Elias with fear in his eyes. Yes, yes, this is what has so thoroughly captured Elias' attentions these pasts few months. The way Jon's mind stutters and slips, trying to find purchase on his panic-smoothed thoughts. The way his eyes widen, showing off the lovely darkness of his eyes. The way he trembles and hates himself for it, his tight grip holding his control close.

Jon goes, and Elias' eyes follow him. He sits down behind his desk and smiles.

***

Jon doesn't register what Elias says to dismiss him. He simply rolls his sleeves down and returns to the Archives, avoiding his assistants like a man hunted. He sits down at his desk and his sleeve rides up his arm, revealing the accusingly black edges of his soul mark.

So he gets up and puts on his coat, the thicker sleeves making him feel more thoroughly covered, more protected from prying eyes. He sits down again and tries to relax, tries to turn his mind back to the research that so desperately needs to be done, the end of the world at stake--

His mind keeps wandering, imagining one of the others coming in and demanding to inspect his soul mark.

Never mind that no one has ever done that, that no one would ever do that. He can too clearly imagine what the reaction would be, if any of the others found out what has happened. Bad enough to have the name scrawled on his wrist; to have the bond suddenly, impossibly accepted? What ideas would the others draw from that? What conclusions could they possibly come to?

What if Tim saw it?

What if Daisy saw it?

What does it mean?

He gets up again and leaves the Archives, not sure where he's going, just sure that he needs to move. His mind is racing, and he clutches at his wrist like it hurts. Nothing makes sense, anymore, not that it was making much sense to begin with.

Nevertheless, the shock is familiar. All of it is a plunging from stability into cold loneliness, all of it terrifying. He doesn't want Jonah Magnus to accept the bond. He doesn't want Jonah Magnus to be a willing servant of evil. He doesn't want his soulmark to be grey and unnerving. He doesn't want any of this.

His wandering takes him past a portrait of Jonah because it's his Institute, and they are unavoidable. Jon has been trying to avoid their gaze since he returned from his Elias-caused exile, but now he stops. He studies the face that he knows so well, that is as familiar to him as any of his flesh-and-blood acquaintances.

He shivers.

[fromtheseventhhell]

Interesting how the Trident incident is the only moment where people question Joffrey's capacity for cruelty. He is almost universally considered one of the worst asoiaf characters, with no redeemable qualities. No one ever attempts to justify his actions when he abuses Sansa, orders Ned's executions, or any of his other many acts of violence. It's only this moment, a moment meant to introduce us to his cruel nature, that people seem to believe him to be a rational character with limits. It's honestly laughable. It's evident that the people who think like this are just biased against Arya; the majority of these arguments are centered not around Joffrey's violence, but Arya's actions to defend Mycah. People seem to truly believe that the better option would have been to let Joffrey "have his fun" and torment Mycah.

Debating how badly Joffrey would've hurt Mycah misses the entire point of the moment. Joffrey attacks Mycah because he's lowborn, he finds amusement in tormenting others, and he knows he can get away with it. He was quick to pull his sword and draw blood and, from what we know of his character, he undoubtedly would've taken it further. Arya stands up to him because she thinks that Mycah is worth defending which is significant considering she is the only one to do so. She is also the only character who mourns him and is affected by his senseless death, even books later (Ned is affected by his death but I wouldn't say he mourns him, although it is a moment that influences his feelings towards the Lannisters and Robert). Even if, which is a very big if, Joffery hadn't intended to go any further he had already crossed a line by attacking Mycah. The only alternative would be that Arya simply sits by and watches Joffrey further injure Mycah...and that's somehow the "better" option?

The people coming to the conclusion that Arya was the one who escalated the situation (and that it's somehow not Joffrey pulling his sword on an innocent boy) are coming from the perspective of the classist society that they live in. Joffrey attacking a lowborn boy wasn't an issue worth action, but harming a prince is "wrong". Mycah being attacked, and later murdered, is seen as inconsequential to the other characters (and readers) because he is lowborn. That's the thing though. You aren't supposed to look at this situation where a young boy is murdered for no reason and think that the only one who defended should've behaved differently. This moment is a criticism of the classist society these characters live in. It is significant that Arya is markedly less classist than a majority of other characters and cares when no one else does.

Further, if Arya were truly in the wrong for her actions then Joffrey wouldn't have needed to lie about what happened. From the very existence of the "trial" and Arya being given the chance to tell her version of events, we know that there wouldn't be any punishment if the truth of the situation had been told from the very beginning. The only reason there was an issue is because Joffrey decided to attack Mycah, and then later lie about what happened. Arya is not responsible for Joffrey's cruelty, Cersei's enabling, or Robert's subsequent apathy. The fact that people can't seem to comprehend this is maddening. I've never seen people have the same attitude towards Sansa for speaking up for Dontos, even though it incurred Joffrey's wrath and would've escalated had Sandor not spoken up. Why are Sansa's actions brave and kind, but Arya's are seen as stupid and reckless? What happened to not blaming young characters for the actions of others?

This is one of those things where the fandom decides for themselves that they know the story being told, without actually looking at how it's written. They would rather debate on (baseless) hypotheticals than look at why George presented the story to us the way he did. It takes an insane amount of misinterpretation to decide that Arya's actions are the reason for Mycah's death and misses a, rather large, point being made by the author. Notably, none of these people can ever provide evidence from the book to support their insistence that Joffrey would've simply left Mycah alone. You would think that since that's the basis of their argument and they're so adamant that their analysis is correct, they would be able to support their reasoning. It's almost as though the books don't support their interpretations...

[sysig]

Promises promises (Patreon)

[rosemaryreality]

I hope we get more of this two next season

(For context in case you don't remember he says friend with like, disdain almost, or maybe just scepticism)

[moeblob]

Pen doodles from yesterday and then digital for today

Katale and Rudyard but as little crime babies. Since he's known her for a while and just thought she looked like a little street thug despite being higher ranking than him in the crime organization at first, the cat-ear hairstyle was just A Thing for her. And it spawned the nickname he would use in private of "Kitty" and even when she grows her hair out and he grays even more he still calls her Kitty in private. They're literally just bffs who do crime and what more can you want of them??

[yellowocaballero]

At this point you've written at least four different roleswap AUs, so I was wondering if you had any thoughts or takes about how a roleswap AU should be? - someone who's planning on making a roleswap AU

Please don't remind me. I'm embarrassed about this. I know I need to write other things. I don't know why the AU concept is so incredibly fun to write. I can't explain it. Roleswaps are very easy to write and a lot of fun and involve being a freak about everything. Who wouldn't write 10 of those bitches.

But yes, as someone whose roleswap AUs are like 9 out of her 51 fics, I feel qualified to talk about this. These are just my own opinions and takes, and other people might do it differently - if you write roleswaps too, feel free to add in your two cents!!

Before sitting down to write literally anything I always figure out the rules of the story. Writing is little more than a nonstop series of decisions, and if you abide by the rules of your story or characters then your decisions will be coherent and cohesive. By rules I don't mean worldbuilding - I mean the internal logic of the story and the characters. "X character will never explicitly say how he's feeling" or "the leads have to both win and lose every encounter".

I find establishing writing rules for roleswaps especially important - it's figuring out exactly how the roleswap works. Here are the ones that I find important, and kind of the process:

Decide what is swapped. Is it more of a universal swap, personality swap, backstory swap, chronology swap, or alignment swap? No matter which one you choose, all of these things are probably going to change anyway, but there has to be one central point for each character that guides your decisions. Are you actually swapping the narrative role in the story, or are you just changing it? You have to be really precise and have a very good idea of what exactly is swapped, and it has to be consistent throughout the story. It can't just (just) work on what you'd like to see, it has to be exactly the same between characters.

Decide the point of divergence. Sometimes that point is pretty abstract (She's a teenager in the 90s instead of the 20s). Sometimes it's much more specific, just one moment (He developed his superpowers at this moment instead of that). The point doesn't have to be immediately obvious, but you should know it - I did a backstory swap ages ago, and it seemed like a complete change, but like 150k in I dropped that a character dropped out of the police academy instead of completing it and that her entire life changed from there. If the swap is more abstract, then maybe it's just a series of smaller decisions - character A has these seminal points in his story, and I'm swapping him with character B, so here's what character B did during these seminal points instead, and how it changed him and his narrative.

Decide who the character is. This might be more personal, but for me, I think of the character as...there is a central tenet of them, of who they are as a person, that does not change no matter what. That's three or four traits of who they are, that you will not change, and that's what makes their swapped life their own instead of the OG dude's. But there's a lot of traits and behaviors around that core personality that's the result of their environment, backstory, and experiences. That's what should change. It's about figuring out how these essential traits + what is swapped + the point of divergence = an entirely different character and story. The roleswap you'll end up with will be a combination of all of these things: how the essential aspects of a character mix with what's swapped to create an entirely new environment and set of behaviors, which cause a chain reaction to create something new. As a writer, you sit down and say, "I'm keeping these parts of the character, I'm swapping out those parts, this new mix changes these points in their backstory, this results in this new person".

This is more of a guideline, but it's the most important to me: your characters have to be recognizable as the character. The reader shouldn't go, "this OC is making some weird choices". The reader should go, "I don't know how, because he's the exact opposite of his canon self in every possible way, but somehow he still feels like my favorite character". This is why you isolate those basic traits before changing the rest - so long as your character is still who they are deep inside, then they still feel like that character. And that's the fun of the story. You're selling something insane, and the reader is buying it.

It's a lot of really heavy character work. You have to really understand the characters you're writing - the less I get the original character, the more issues I'm perpetually having. I tend to fly fast and loose with characterizations, but when writing roleswaps I have to refer back to canon and the source material a lot ("In canon he did X thing, with his newly different backstory how would that decision change?"). The more you're rooted in canon, then the funkier and more divergent you can get.

Personally, I like to play a fun little game I call: how exactly opposite can I make this character until he stops feeling like this character? I Sometimes my goal in writing is "how deeply can I ruin this story". This is not a good game and people should not play it. I find that the lazier I get about getting in touch with the canon character, about keeping track of the canon decisions, and about following these guidelines, then the more difficult a story is to write. If you structure a story well then it's easy to write, and roleswaps are pretty easy. Thanks for the question!

[p1harmonie]

I JUST REWATCHED PIWON MOVIE AND I HAVE THINGS TO SAY