#(( i just have to get motivated enough to start that revival ))

[just-bendy]

will we get to see clone 65 at some point? i do get curious on what his personality's like

speaking of clones are their any Alice clones? we know theirs's at least two boris

No, yer not gonna see 65 anytime soon because he's dead like the rest of 'em. Not sure why ya wanna meet him though, I remember him bein' a real creep. He wouldn't stop starin' at us with those freaky eyes!

And yes there's other Alice and Boris clones like I've said before. All Alice and Boris clones have their own names, like how Barry is called Barry and not Boris #115. Why our Alice is called Alice and why our Boris is called Boris was decided by us and Henry. I took the name and role of "Bendy" because I was the only one left, and Alice and Boris got their role because they were chosen ta be them.

(( thinking of giving the alice role to another alice tho and changing this one's name to something else.... i'm most likely not gonna do it but it's a thought ))

[utilitycaster]

The thing that gets me abt the framework of downfall and the way Ludinus(and some ppl in the tags who seemingly are trying really hard to roleplay Ludinus) read it is that they're like "look at how the gods meddled and laid low to destroy this bastion of human achievement, they had no right and should have let themselves be systematically exterminated/have the world burn instead" when. Setting aside the revelation that the gods who struck down Aeor made themselves mortal to do it-- as in, they were on the exact playing fields of humans when they made their move and it wasn't some huge peacocking of power against upstart humans to strike them out of the sky-- the Divergence is going to happen. We KNOW the Divergence is going to happen. The gods are going to create the divine gate and remove any chance that they can ever do something like this again. "Blaugh, look at them meddle and plot-" and? Whatever they do, we know that the sun will shine once more. Melora, as brutal as she is as the starved Asha, will plant a tree of hope in the most destroyed wastes of Wildemount. And they will ensure that the suffering they wrought in the calamity, in Aeor, can never ever repeat the same way they had done it. Which is a HELL of a lot more than can be said for Ludinus who is actively reviving every cycle he can

first off "some ppl in the tags who seemingly are trying really hard to roleplay Ludinus" took me OUT so thank you for that.

I just reblogged a post with a quote from Cooldown that I think is really relevant in understanding the whole story of the gods and how we got to this point but like, just to summarize (and debunk a few things, hopefully) from the beginning of the episode to the end re: the life of the gods:

Gods (possibly aspects of the Luxon?) crash-landed on Exandria BECAUSE of what is all but outright said to be Predathos.

As far as I can tell, no deals were made between the gods and the Titans. The only person who has said this from what I can tell is Asmodeus, who I would not consider a reliable source of truth. Or rather: one might have been made but there's no corroboration that I know of.

They created the people of Exandria and sealed away Predathos both prior to the Schism

The Schism occurred when the Titans decided to attack the people (which to be clear - the people had been there for long enough to build that weird ruin on Ruidus with a portal, like, I would love to know what prompted the fight of the Schism since it had pretty clearly been millennia of coexistence).

The Betrayers decided the move was to leave and start over, and the Primes felt that was a dereliction of duty to the people. That's what the quote is about - it's about the fact that Erathis's motivation for being a Prime Deity isn't "mortals are my blorbos!" it's "we have an obligation to our creations" and more generally that the Prime Deities are invested in their domains for the overall good of Exandria but not necessarily the specific good of Aeor. (Taliesin follows it up with (as Melora) "You'd have to tear me from this fucking planet" w/r/t the idea that you cannot, in fact, destroy your bad first draft simply because it would be more convenient to you.)

Betrayers get sealed, unsealed, events of EXU Calamity occur (notably: the titans are all dead. you can fight about whether this was just or right later but they're gone and killing other people won't bring them back; the titans are largely used as a pearl-clutching prop by people with no arguments that are perhaps actually relevant to the current situation), and perhaps 50 or 60 years into the conflict the gods call a truce re: Aeor's Obtenebrator and commit to decades of living as mortals (and therefore limiting themselves considerably)

And so here we are

And I think this really gets to the point. Because ultimately, the argument in favor of leaving Aeor be is "when someone points a gun at you, lay down and die" and the argument in favor of the Betrayers is "when someone tells you to abandon your (living) obligations for them, do so." The former is despairing and nihilistic and the latter selfish and, well, a betrayal.

There is something profoundly nihilistic about Ludinus, for all he talks about freeing people and a better world. He's destroyed a city of innocents. He's indoctrinated hundreds if not thousands of people and many of them have died in his service; he's the architect of an empire and many wars in its name and is actively working with a second one. He's been killing fey and he's even physically given himself over to the cause. There is no crime or sin people attribute to the gods that he has not done himself in measures beyond nearly every other mortal. Like, I really think he's at a point where he just is unwilling to "lose" even though he has a friendless life and a legacy of violence and has destabilized the entire world and the weave of magic itself. I think he has to believe there's something on this Occultus Thalamus for him because if there isn't, he, like the Prime Deities, probably can't just pick up and start over. All he has left is to give in to just letting the world burn in the hopes that at least he gets the satisfaction of what he hates burning with him.

Basically, sounds like a rough time to try to roleplay him in the tags.

Something else you (and others) bring up is that amid all the "history is written by the victors" the story of Aeor and of the gods has actually painted them as far harsher. The story doesn't say that they were first chased to Exandria unwillingly and did not come in conquest; the story, as this post notes, evokes vast divine might striking down a city from the heavens and not like, living in fragile mortal forms during one of the most dangerous times in history and arguing amongst each other over how they can save both themselves and Aeor and if that's even possible. Like, even if you see the gods as the victors of this story rather than simply the survivors, the "unedited" version of the story makes them far more sympathetic.

You also mention the Divine Gate and that's a really interesting thing to me because the existing status quo of Exandria is actually remarkably nascent if you think about it. The Founding had gods, titans, and mortals. Post Schism had the Prime deities and mortals (and it is worth noting this is when the people of Exandria became the most technologically advanced; you want to talk about the Titans and Betrayers, you need to cover that the price of the wonders of the Age of Arcanum was that they were not present). Calamity had all the gods and mortals again, and the current era is the first where the gods are behind the gate. It's kind of a compromise between all the things that have tried to destroy one another - Betrayers and Primes are separated but all are free within their realms and can indirectly contact mortals; technically, so can Predathos. None can directly be on Exandria. Is it ideal? No. It's a compromise, and the sealed can become unsealed (which, consistently, goes very badly) but it's the option that doesn't involve the total annihilation of anyone. Ludinus seeks, by setting off this horrible cycle again, to undo that fragile imperfect compromise with a goal of wholesale slaughter. He provides no option for the gods other than "die by my hand" when even some of the gods were desperately trying to find other options for Aeor as of a day prior to its destruction. He's simply wallowed in his trauma for centuries, becoming colder and more unfeeling and less empathetic and more arrogant than the gods he accuses of the same flaws.

[thewertsearch]

Anonymous asked: You: "Wow Homestuck is my favorite comic ever! Kanaya is the best :)" Hussie: "LOL, LMAO" @morganwick asked: (Try not to think about the idea that the conversation future Jade alluded to where Kanaya got the password was the one with past Jade that immediately followed that conversation, and that Jade is waiting for a password from Kanaya that'll never come…) @bladekindeyewear asked: [...] regarding the password Jade said earlier she had been patiently waiting for… unfortunately, I think we saw Jade give her said password just before the walkaround… and in hindsight, it’s quite a regrettable one. “GG: the password is…………… GG: CROOOOOOOOOOOAK”

I had the same chilling thought over the weekend.

Yes, it's very possible that Kanaya closed her password loop in her very next conversation, which means the timeline doesn't actually require her to be resurrected. This removes the main piece of evidence I had that she's coming back - but even so, I still don't think she's gone for good.

What it boils down to, basically, is that Kanaya still has a lot to do.

First of all, her arc surrounding the survival of her race is still unresolved. Sure, someone like Karkat or fellow Space girl Jade could pick up the baton, but this arc isn't theirs. Jade has no personal investment in it, and Karkat, while obviously motivated to save his species, isn't connected to the Matriorb or Mother Grub the way Kanaya is. This revival plotline is hers, and right now, it's dangling like a loose thread.

If that was the only narrative issue, I could look past it - but it's not.

Guys, this was her last conversation with Rose. And I'm sorry, but I just don't believe that one of the longest-running ships in the comic would end here. Kanaya's romantic arc with Rose is really just getting started, and their last conversation really doesn't scan as a goodbye, even in retrospect.

Like, sure, these last words would be kind of ironic, but is this really how you close the door on one of the most kickass compelling relationships we have? Rosemary deserves a better death than this.

Speaking of which...

This is how we're disposing of Kanaya? With an (admittedly kind of funny) SBaHJ reference?

Bro, a significantly less important character, gets a dramatic death pose, framed by one of Karkat's best lines, and Kanaya - Kanaya Fucking Maryam - gets a sparkly Hope wand and a meme? I'm calling bullshit.

Now, Homestuck is more than happy to give its characters undignified deaths. Tavros certainly got one - but Tavros also died at the end of an intense, dramatic flash animation, and his murder served as the culmination of the Vriska/Tavros arc we've been following since early Hivebent. Tavros died without dignity, but the narrative weight of his death was enormous.

Kanaya died in the middle of multiple character arcs, in a manner that lacked dignity or narrative weight. She was essentially collateral damage to an unrelated feud between Eridan and Feferi. She died like a secondary character, and she's not.

I'm self-aware enough to admit that this is partially wishful thinking. It's not like I'm an unbiased observer - Kanaya is my favorite character, and I dug deep into the comic for evidence that her death doesn't make sense. But, that said - her death doesn't make sense. My narrative instincts are telling me that Kanaya is coming back - I just don't know how.

[gilverrwrites]

Dumping some stagnant WIPs that I’d love to revive in the hopes that some feedback/interaction might reignite my fire for them. Or at least show them the light of day they might never see otherwise.

Ft. (in order) PT!Dick Grayson, Nightwing, The Riddler, Two-Face, Harvey Bullock, Leatherface, and Jason Voorhees.

Colour co-ordinated for ease of navigation. Some of these are really short and sweet, some are whole-ass first chapters to potential series. Comments appreciated!

Untitled, PT!Dick Grayson/civilian reader, undecided

Nobody ever showed to the 2PM class. He’d meant to take it off the schedule since he spent most of them unofficially working on Nightwing business. Then you started showing up.

The first time he’d been in the back, hunched over his computer in nothing but his boots and boxers.

“Hello?” Your melodic voice chimed through the building, and he scrambled to find work out appropriate clothes, hopping his way to the front of house as he tied the laces of his sneakers. “Anyone here?”

As he pushed through the doors, he was mentally juggling how to get rid of you. It would be scammy of him to under or over work you in an attempt to put you off of coming back. Maybe he’d just tell you the class of cancelled due to unforeseen circumstances? But then he saw you.

Blue Bird: Missing, Nightwing/villain reader, multi chapter slow burn

Nightwing had been a part of your life, at least your life of crime, for as long as you could remember. Since you were teens fighting on opposite sides of the law. While he wasn’t your target tonight, he was in the way. He hadn’t been responsible for you latest stint at Blackgate.

It didn’t take a detective to know that the saftest course of action would be to lay low, to hide out until his patrolling took him a safe enough distance away for you to act without his alerting him. The smart part of you knew this, the petty part of you didn’t care.

“Stay still, I promise I wont look.” You instruct, closing your eyes as you paw at his mask until it comes off into your hands. His comms needed to be shut down, ensuring none of his bat or bird friends could come to his rescue and interfere with your plans.

With caution, you turn your back to him and begin to play with the tiny buttons and notches until you’re satisfied that you’ve turned it off. Shutting down his comms. You’re expecting a witty retort, something flirty about you missing out on his good looks, but nothing comes, and you don’t have time to wait.

“See, I kept my promise.” You continue as you turn back to him, eyes shut once more as you secure the mask back to the space over his eyes. When you look at him again, you find yourself struck with more curiosity than expected. You wouldn’t break the unspoken rule, you’d keep to your promise, but being so close to exposing him really has you wondering how he looks uncovered. What colour his eyes are. Blue, dark blue, you bet. He’d be cheesy enough to match his suit to his eyes.

“So, what’s your end game here, sweetheart?” He looks up at you expectantly, smirking in a way that’s far to smug for his position.

“Why? You gonna talk me down? I already told you, power bottom…” A gust of cold wind blows against you, pushing a piece of dark hair against his face and you brush it back, savouring its softness without even thinking. When you realise what you’re doing you tighten your grip and tug his head back against the post, saving face. At least you would be saving face if he didn’t let out an inexplicably lewd moan that made you suck in an audible breath. Theres an awkward pause between you both before you distract by continuing your answer to his question “This isn’t about you, you just got caught in the crosshairs.”

“Crosshairs of what battle?” He asks, and maybe he’s entitled to know, given that he’ll be sat on his ass, and undeniably inconvenienced by all this, but he’d put you in the same situation many times. Yes, his motivations were far more just than yours, but that meant nothing to you.

“It’s need to know bird boy.” You poke his nose, before finally stepping back, reassessing your surroundings, noting your next step before leaving him with a wave and a final shout; “And you don’t need to know.”

That should have been that last time you’d seen him, for that night anyway. But when you’d reached Nygma’s hideout, it was empty. It didn’t make sense. Your sources were reliable, you’d staked it out the night before. He’s been there, his henchmen had been there, boxes full of stupid trophies and half-built robots had been there, and now they were gone. The old mill factory was wiped clean, you were fuming. You’d called your informant to no avail. Reached out to some old contacts, who couldn’t help you. Tracked across the city, checking out his other known safehouses, all of which empty.

Now, just over two hours later you were climbing your way back up to the top the Gotham Bank. Nightwing would probably be gone by now. His radio silence alerting one of his birdbuddies that he’s need a save, and there’d almost certainly be a tracker in his suit. You were just checking in on him. Not because you care. Just because, if he was still where you’d left him, maybe you could set him free and cool him off. He couldn’t, and wouldn’t help with your predicament, but tracking down The Riddler would be a whole lot easier without Nightwing on the war path to put you back behind bars.

Per your suspicions, when you reach the roof, it’s empty. It’s not safe to linger, to return to the crime scene for too long, so you ready yourself to take off again. It’s when you’re stepping onto the ledge that you spot it. Something shiny and green, glinting in the corner of your eye. Upon closer inspection you release it’s a coin, made of some kind of green bottle, with a question mark engraved onto it, sitting right where Nightwing had been just a few hours earlier, and above it, a note, duct tape to the pole which read:

Blue Bird: Missing Want it back? Bring your coins, To the racetrack.

Well fuck.  

Patterns, The Riddler/henchman reader, Multi chapter successor to Stockholm Syndrome

Eat, sleep, repeat. Lather, rinse, repeat. You’d be tracking target number 1 for 9 days, and besides a lonely weekend filled with racking up credit card debt at T.J.Maxx, and failed attempts at home cooking, it had been the SAME THING, every, single, day.

Pursing your lips, you lean back against the driver’s seat and let out a long sigh. You glance back up at the targets window before checking the time again. 10:01PM

You tap your fingers against the wheel before pulling out your phone. Ed is notoriously bad at picking up, (also notoriously bitter, if you don’t answer on the first ring) but you didn’t want to call it a night without checking in with him. He's your boss after all.

Dialling his current burner number and hitting loudspeaker, you sink down in your seat, studiying the cars roof as you wait for it to ring out.

“Hello?” You shoot back up. Startled by his answering on the 4th ring. Guess there’s a first time for anything.

“Oh…. Ed, hey, hi.” You stammer, trying to find your bearings again. “Um, so, riddle for you?”

“A riddle for me?” He scoffs, amused. maybe you're delusional but there seems to be a warmth in his tone. “This should be good.”

“Yeah, um, so…. If you're a child, you know me well, and when you're old I'll be your hell. I'm often felt but rarely shown. I'll drive you mad if you're alone.”

“Is the target sleeping now?”

“You didn’t answer the riddle!”

“Because it was an insult.” He scorns you before repeating. “Is the target sleeping?”

“Yeah. She crashes at about this time most nights.” You state factually. Trying not to let his sharpness get to you.

“Well….” He seems to hesitate. You hear what sounds like the click of this tongue, something rustling on his line. “If you’re bored, come see me.”

“At this time of night?” You begin to tease. “Ed, what will people think?”

Your joking might have been more convincing if it wasn’t punctuated by the sound of your engine starting before you proceed to speed down the road.

“I think a better question might be, ‘what are you thinking’?”

It wasn’t fair that you had started this line of conversation, but he was the one making you flushed. Especially since he wasn’t even there. In his presence you can blame it on his proximity, his scene, the intensity of his gaze when he’s focused solely on you for once, but he wasn’t here, and you had nothing to blame but your big fat crush on him. The silver lining at least was that he couldn’t see what he had done to you.

“I’m thinking….” You hesitated, unsure how to get him back. “I’m thinking, I’ll be there in 10.”

You hang up. He's sure to chew you out for that later, but it was worth it. You could just picture the tantrum he was having right now, leg stamping, and arms crossed. Probably muttering to himself, coming up with a sly comeback for then you arrived.

You’d been working for The Riddler for 6 and a half months now, and while he knew exactly how to use your infatuation with him to keep your moral compass spinning, you were slowly learning how to push his buttons right back.

Later

15 minutes later you lean against his desk, watching intently as he scans through your notes.

You watch greedily as his blue eyes bore into each word, deft fingers flipping through the pages, watch the way he stuck out his soft lower lip, still pouting at your earlier antics.

“So, what do you want with her anyway?” You try so spark a conversation.

“You’ve been monitoring her for almost two weeks.” He replies, refusing to look up at you. “Haven’t you figured it out yet?”

Your brows scrunch together as you think back, racking your brain for anything remotely remarkable about the woman you’d been tailing. She was pretty, sure, but besides that she didn’t really seem to have anything going for her. Dead end job, no real friends, no romantic prospects, just her and her cat.

Not totally unlike yourself 7 months ago.

You briefly study Ed’s fave for any form of a giveaway, but his nose remains buried in your notes. With a shrug you conceded.

“I give up. What is it?”

Almost immediately Ed’s face began to morph. The corners of his lips curving into a coy smile, his eyes sparkle as he finally looks up at you.

“It’s her blood.” He answers, finally closing your notebook and unceremoniously letting it fall onto his desk.

“Her blood?” you quiz, more confused than ever. “What? Is she like a metahuman or something?”

“Oh no.” He says, making no attempt to conceal the amusement in his voice.

His fingers brush against your own as he locks his hands around your wrist. A jolt shoots up your body, but you push it down, steadying yourself to his touch.

You watch as he flips your arm around, baring your wrist to him. Gently he runs his fingers along your veins. “It’s blue. Her blood is blue. A member of the Finnish royal family, attempting to live like common people. Do whatever common people do.”

“Right.” Your voice shakes more than you would have liked. Even the smallest of touches from him are enough to melt your brain. “And what do you want with her? Money? O-“

Your questions were silenced as Ed brings your wrist to his face. Briefly pressing it to his nose and inhaling with a satisfied smile.

“Come now, Dear.” He silences you with the soft brush of his lips against your skin. You suck in a breath, fingers digging into the wood beneath you as you watch. Your concerns were long gone as he looks up at you, his studious gaze locked onto you as he pressed another, firmer kiss inches above the last. “I already gave you my word, did I not?”

In lieu of a response, a breathy moan escape your lips. Ed is clearly pleased with your response to his affection. Standing from his chair, he continued pressing progressively fevered kisses up your arm, over the curve of your shoulder, into the crevice of your collar.

His gloved hands gently cupped the curve of your hips. His fingers traced circles against your body as they dip lower, and lower until they're hooked under your knees. He plants one deep, open-mouthed kiss against your jaw as he pries your legs apart.

“Did I not, give you my word?” He pushes, his breath brushing against your ear. The feel of his lips curving into a smug smile that tickles your skin.

Flustered, but determined not to turn into a total puddle, you stroke your hand up his spine, thread your fingers into his hair, and direct his face to yours. Heads together, noses brushing, you answer; “yes.”

“Yes?” He raises one brow at you. His hands climb back up your thighs until they’re kneading at your asscheeks before pulling you closer. Your legs lock around his waist as you feel the pressure of his tented trousers press against you centre.

“Oh, yes.” Your exclaim again, arching your back to press yourself deeper against him.

You close the gap before he can. You didn’t miss the way his eyes widened before they fluttered closed. You may have initiated but it takes no time at all for Ed to take control. Your jaw grows slack at the pressure building between you legs, and Ed wastes no time taking advantage. His tongue shamelessly diving between your lips, filling your senses with the taste of him.

As soon as it starts, the moment is over. He breaks away to the sound of his phone ringing. Eyes never leaving yours as he brings it to his ear. Trust him to start answering his phone promptly when its least convenient for your.

“Speak.” He orders. His shoulders lean back, one hand resting on his hip as he mindlessly continues grinding against you. Desperate to keep him close you reach out to him, running your fingers up his chest, incidentally untucking his shirt.

“What?!” His outburst makes you jump. Abruptly, he pulls away from you completely. “Are you a complete and utter moron? How could you let this happen?”

With him now out of reach, all you can do is sit and watch patiently. You'd hate to be on the receiving end of it, but you have to admit, Edward can be really sexy when he was angry. Lean muscles taut; jaw clenched. You’d never admit that to him though, his ego is already 3 sizes to large.

So lost in your ill-advised admiration you almost didn’t notice when he gestures to you. Gloved hands waved in you face until you nod to express your attention. He points over at the pitiful stack of junk you call a desk, huddled in the corning of his office.

Hopping off his work bench you make your way over to it, looking over at Edward for further guidance. In response he lifts two fingers. You raise the file for target number 2 and waved it at him. He nods back at you and gives you a thumbs up, before waving you to the door.

“I cannot believe this. I swear if you want a job done….”

Was he dismissing you? What could possibly be going on that he could shrug you off so indifferently?

Some people have all the luck [Part 2], Two-Face, smut CWs: Dubious consent, alcohol

The trip from the bar to wherever this is had been a blur. You vaguely remember complaining about your tired feet getting wet in the dreary Gotham weather. Two-Face laugh at you then, pulled you closer and told you; “Don’t worry about it, Doll.”

Then there had been a car, an old, classy one. The streetlights blurred by the rain on the windows. At some point he’d carried you, bridal style through somewhere old and dusty. You just remember old hanging light fixtures dangling from a high ceiling. There’s been voices, muffled snickering until Harv had barked at them, something loud and authoritative. A little bit sexy.

Now you were here, legs dangling off the edge of a desk. The wallpaper is peeling. Diplomas and newspaper clippings hang on the wall in broken, lopsided frames. Harvey is pouring something amber coloured into a tumbler, whiskey, probably, he seems like a whiskey drinker.

With the imposing thought in mind that this might be your last chance, you ask him for a drink of your own.

“Nah.” He looks smug as he approaches. He downs the two-finger pour in one, faces contorting as it slides down his throat. Then he’s standing before you, guiding your legs open, making space for him to stand between him. You’re not sure which is more unnerving, the ease in which he touches and directs your body, or your willingness to allow it. As he speaks again, you catch a whiff of his breath, definitely whiskey. “You’ve had enough, if you’re gonna pass out tonight, it’s gonna be because of us.”

He probably means torture, but the idea of him fucking you unconscious sends a wave of arousal to your already heated core.

---

Allowing you zero time to get good look at, he sinks the tip between your folds, pumping the wetness along his length before lining himself up with your entrance. You suck in a breath as he penetrates you, bottoming out with one hard thrust, stretching your walls around his noticeably thick girth. The sheer size of him pushing against every inch of your insides stings, makes you throw your head back with an aching moan.

No sooner do you look away before his grabs your face with his scarred hand, nails dig into your skin as he compels you to look into his face. He whistles, short and sweet before ordering; “Eyes on us, hon.”

His scolding has you twitching around him, having allowed you a grace period to adjust to his size.

“Yes.” You nod, not trusting your mouth to coherently say anything else.

“Good girl.”

Untitled, Harvey Bullock, fluff

If you see something, no you didn’t. That’s number one unspoken rule of Gotham.

But after witnessing what happened to the poor boy, you just couldn’t stay quiet. Now the city was punishing you by having your witness statement be taken by the hottest cop the GCPD had to offer. Sure, he was rough around edges, scruffy beard, beer belly and an Irish American accent to die for. He was definitely a drunk, that much was evident from the hint of whisky on his breath but damn if that didn’t add to his bruiser charm.

Untitled, [DBD] Leatherface, Horror & smut – partly inspired by that scene from TCM2 CWs: Mentions of gore

How long would this go on for? Until he was finished? Until he grew bored of you? And then what? He could drive his saw straight into within second, the sound of him revving its engine would serve as your only warning before he mutilated you, before he swung forward and carved your body in two. It's not as if you could just take off right now. He had you completely cornered. Not just geographically, but physically – leather face is 6'3 and jacked. A single flinch in a direction he didn't like and he could have you pinned, sawed, and quartered in second.

(Re-)Learning to swim, Jason Voorhees, Fluff CWs: Captivity, mentions of violence

Taking a deep breath, you creep deeper into the lake, submerging yourself up to your waist. The water looks so peaceful and calm. Before Jason, water had been your one true love. Swimming had given you an escape from the trials of everyday life.

Jason was the opposite, and you completely understood why. You're heart clenched at the thought of it. Even before you'd come to know and love him, you'd felt compassion for his story. Jason didn't deserve what happened to him. Blood hadn't been spilt that day but it stained the hands of the incompetent counsellor that night. Water it seemed had always been his foe. He drowned here in one life, was chained and trapped beneath its waves in another.

You understood why he avoided it. He was always vigilant of it, he had traps and weapons to take down anyone who tried swim to sail away from him without having to venture to deep, but walking beside the Lake, taking a boat out, or simply swimming in it, was never something you could get him to agree to during the small times the two of you had the area to yourselves.

So, you were going to do it alone. You were reclaiming a part of yourself, doing something just for you.

It was late May, a few weeks before police did their final searches, ticking the last few boxes before they let counsellors in to start setting up camp. You waited until Jason left to do his own rounds before slipping out into the darkness. He wouldn't have let you go if you'd told him your plan. He'd have crossed his arms and shaken his head at you. If that failed he's have held you, crushing you in his loving embrace as a way of begging you not to go, not to the Lake, to dangerous, and you would have caved. Listening to his sad hums, looking into his pleading eyes would have swayed you to stay home.

You had to wait until he left. No doubt he'd know, he seems to have some kind of connection to the camp and its goings on. He'll know where you've been and what you've been doing and he'll watch you even closer, but it needed to be done.

[dailynoodlezz24]

Ok, i had the thought (since i love werewolves and vampire stuff, liches, all that-- I blame Skyrim and its unhealthy amount of beautiful mods-- and Dungeon Meshi just seems so perfect about it with its races and stuff) what if Marcille's a dhampir, basically a human vampire crossbreed, who seeks to become fully vampiric in order to be able to sire in lieu of the dungeon lord/universal longevity plot. (Spoilers: she still doesn't get it in the end lmao) Falin is a longtime friend of hers through a backstory I still haven't made up yet, and Marcille's introduced as a new addition to the main cast, who are a party of hikers (or for some sort of venturing activity). Month in, Falin's gone and had herself eaten by some weird dog described in only folklore, which Laios would later excitedly incite as a "lycanthrope". (They tried to call emergencies for a missing person, but they came up with nothing. Everyone thinks Laios is going insane when he concludes that the sight they saw after Falin became officially missing, blood trails and offly wolfish tracks fading off to somewhere, was the work of a wolfman, or a werewolf, and suggested going to search for Falin themselves. Namari and Toshiro leave promptly) Chillchuck and Marcille stay with him, one determined with his navigational skills and the other fully believing in this supernatural theory. They decide it's best they start camping in the forest, deeper and closer to the wilderness, prompting them the idea: hunt for their share. Which may or may not be illegal :shrug They meet Senshi, one hell of a wildchef man. (Marcille's total disgust with the idea of eating out in the wild stems from the fact she doesn't want to survive off of squirrels again. But this food is pretty good, and she's eating other animals than small rodents this time. Chillchuck just doesn't want to hear about the weird ass facts about how skinwalkers might be related to humans and their horrific hunting tendencies while eating.) The deeper they go, the more strange and bizarre this forest becomes. First normal, unassuming, then the ravens start speaking and the rabbits have horns. And if you peer into it close enough, your eyes might just find company in where the campfire doesn't reach. So on and so on, they find Falin's bones in the corpse of the creature, and suddenly there's a little guy with white hair and crazed, purple eyes(thistle), who beats them all off with a stick(not actually lmao). Last they see is Falin's remains being reanimated with the dripping blood of the stranger. (Marcille had tried in desperate attempt to revive Falin with her own blood/bite, but to no avail, revealing herself in the process. The only thing she can note is the awful taste of something doglike, aka the lycanthrope disease circulating in Falin's bones-- since they were chomped before she died RIP.) Now they're against a highly aggressive abomination under the servitude of someone out to get them. And the opps are on them(canaries) Now I'm just thinking abt whether or not to make Marcille also a werepyre? Considering it would make sense for her to also get her human-half infected into something "full-fledged" in the way she hadn't intended, and still come up without the ability to sire(she wants to make a cauldron for company, a cauldron being like a vampire made family, due to the same motives of keeping her loved ones). Thank you for reading my ramblings, I am brimming with ideas for this AU.

[delusinaldreamer19]

After receiving some interaction with this post I made about my feelings on the Undertaker, I wanted to clarify some of the things I said. And give, you know, actual points + evidence for why I don’t like him.

I’ll start by rephrasing that very point. It’s not that I don’t like him as a character, it’s that I think he’s evil. Maybe one of the most evil characters in the series.

@abybweisse left a comment on my post saying how Yana had specified that UT wasn’t the main villain of the story. I agree. But whether or not he’s the main villain of the story doesn’t take away from how evil his actions are.

I’m just going to go ahead and get the main point across, or my main reason for “hating him” ig.

He needed r!Ciel’s body in order to revive him. In order to retrieve his corpse from the sight of the sacrifice, he needed to have known where it was. In order to retrieve r!Ciel’s body before the place fully burned down after being set ablaze by Ciel & Seb, he would have needed to be there when it was happening.

Remember this panel?

There are numourus theory’s abt it, but I personally believe it’s UT.

Case and point, he must have known that the twins where being held captive by the cult. Whether or not he knew about all the ways they were being abused is kind of irrelevant—I feel that seeing them in the cage would be enough to know they were being harmed.

This biggest thing about him that I just can’t get past is why didn’t he intervene?

Your telling me that the same person who said “I can’t bare to lose another Phantomhive” just sat by and watched as one of these Phantomhives he supposedly cares so much about was murdered right before his eyes? It’s just doesn’t sit right with me.

I’m halfway to believing that he specifically waited for r!ciel (and prob o!ciel) to die so that he could do the whole reanimated corpse thing. But I’m not convinced that will be the main payoff of his actions within the series.

Speaking of his actions…yeah I’m not done.

What is the point of him essentially ruining o!Ciel’s life? Seriously. Framing him for the sapphire music hall incidents, kicking him out of his own home, stripping him of everything he has aside from Seb and his servants. Like- why? What does that do to further his goals (whatever they may be)?

I feel like he could have kept the whole reviving r!ciel thing more…idk personal? Privet? Like revealing to only o!ciel that he’d done that.

And why revive Doll if not to specifically torment o!ciel with a ghost of his past? Or at least to have some sort of negative effect on him?

There are so many questions about the UT, and while we don’t have the answers for them yet, the questions themselves paint him in a very bad light.

Yes, he had some sort of relationship to Claudia. Yes, he cried over the picture of Vincent. He may care about the Phantomhives in some manner, but I can’t help but feel that he doesn’t care about o!ciel. He may have had a few lines that suggest otherwise, but is actions have spoken very loudly through this series.

If I had to put it into a theory, I’d say I think his main reason for doing all of this is that he just want to pit a real human (o!ciel) against one of his reanimated creations (r!ciel) to see which will come out on top. His whole thing has always been laughter and entertainment.

But that’s just the impression I’ve gotten from thinking about the Undertaker and trying to piece his actions together. Do I think this is the real motivation that Yana has in store for him? No. But I just can’t seem to get past it.

[tsuki--sora]

helloo i was wondering if u have any tips on how to start learning how to draw?? i’m gonna try it for the nth time and force myself to not give up and since i absolutely LOVE ur art i was hoping you could help me?? thank you in advance and have a happy new year 🥰

omggg i just saw this :O!! i havent been around here so i didnt see :C but anyway!!! im not sure what advice or tips to give tbh so ill just share some things that helped me 🙇

knowing what im drawing (basically...using reference lol ) u might've seen this tip a lot but its true 😆 think of it as like... training wheels on a bike AHSAHSAHHA u use training wheels for some time until u can be good enough to ride a bike without them or something like that.... its the same with using reference. u have to know and get familiar with what an object looks like first before you're able to draw without it and with confidence. tbh i dont always do this bcos sometimes i just wanna mindlessly draw ykno 😔 and thats okay as well!!! just remember that reference is very helpful when u hit a dead end with ur artwork :D also learn from real life!! look around u! sometimes id stare at something and nod in understanding. ----------------------------------

draw what u love <33 honestly, i only got back into drawing when i went down the vtuber hole a few years ago LMAO i would draw vox akuma eveyday 🙂‍↕️ and then my love for one piece got revived so now i draw my favorite characters every chance i can get bcos its all i can think abt!!! its honestly a good motivator. ----------------------------------

accepting and learning from mistakes ive always struggled with perfectionism and that really took my enjoyment and love for creating🥹 and that also stopped me from experimenting and exploring coz id always think that it wont come out as i hoped it would. SOOOO for the past 2-3 years i think?? i make it a habit to STOP ✋ being super critical when i see or make a mistake. the perspective is wrong? noted. the anatomy looks wonky? okay!! i let them exist in my artworks bcos how would i even know where to improve in if i dont know what it is 😅 i also make sure to keep those errors in mind so i know what areas i should be working on. u can always correct them on ur next work!! and the next!! again and again!!! its never-ending! ure always improving, always learning. ---------------------------------

i also have a board of artworks and styles that i really really like and i look at them when i need inspiration hahaha sometimes u just have to scroll thru pinterest for hours and draw nothing lol

personally, i think one doesnt have to draw everyday to be good. i mean, you can if u want to! but u might burn out fast if u force urself to draw everyday. just.. pace yourself. remember to rest and be good to yourself as well :))

thats all i can think of right now. i feel like i could share more but im just not good with words or explaining things. forgive me 😔🙇 our experiences may differ and what helped me may not be of use to u,,, but i hope this can help u even juuuuust a bit :"D be proud of every piece u make. u worked hard on it after all <33

(also sharing my art throughout the years!)

[bettyshoweduptotheparty]

You're Losing Me Analysis

Ok, you got me, enough people messaged me with cute gifs and pretty pleases asking for this analysis to motivate me to finish it. So, here it is, my lyrical analysis of You're Losing Me.

I will stick to my interpretation of this song NOT being about a romantic relationship, the poll I did a while ago showed that most people interpret it to be about a romantic relationship breakdown. I will explain why I don't think that, but if you do, the main lyrical themes will still apply. (Colour coding of main themes at the end)

Before any lyrics, this songs starts with two sounds: A heartbeat and a massive sigh. Like, a really big one, you can even hear the inbreath. Something I've only ever experienced when someone is really, really exhausted and annoyed. I've sometimes made that noise when I'm standing in the pieces of something my children have broken, after I've told them a thousand times not to break it. The non-verbal expression of 'I f*cking told you this would happen'. So, before we even hear any words, I'm able to tell that this is about something that has happened before. We've been round and round this thing a million times. This breakdown has been a long time coming, a death by a thousand cuts if you will ;)

The heartbeat also sets the scene for the main lyrical theme before the first verse starts: A patient in an emergency situation, I envision a hospital room with a heart monitor. Over this heartbeat (and minimal production) we hear Taylor addressing her audience by saying

You say, "I don't understand," and I say, "I know you don't"

The You and the I are having a disagreement, but it's not so much an argument, as a miscommunication. They don't understand what she's saying but Taylor was already expecting that. Immediately, the first line confirms what the sigh was already indicating: This is not a new issue, we've been here many times before so Taylor is well aware that this communication isn't working. Then in the next line

We thought a cure would come through in time, now, I fear it won't

She introduces the medical theme in the lyrics with the word 'cure'. The metaphor is that the relationship that's being described here is the patient that's dying in hospital. This theme is incredibly present throughout the entire song, there is a constant 'brink of death' threat, with mentions of 'gashes', my face was grey' and 'too far gone to bring back to life'. And then, of course, the chorus is the culmination of this with the repetitions of 'Stop, you're losing me' and 'I can't find a pulse, my heart won't start anymore'. This gives me images of an emergency room situation where the patient is flatlining and the doctors are trying to revive them. Or maybe a battlefield, as the last line of the first verse introduces the secondary theme of war or combat with 'You might just have dealt the final blow'. Taylor has of course used the war imagery many times before when talking about conflict, such as in All Too Well ('I'm a soldier who's returning half her weight'), Call it What You Want ('I brought a knife to a gun fight'), The Great War, and the Archer ('I'm ready for combat').

So, despite the initial resignation, Taylor is fighting with the person/people she is addressing here. They are the one that's injuring the patient to the point of near death. And in the chorus she is telling them that, asking them to stop, because the relationship is dying. But we don't yet learn what she is asking them to stop doing. She does, however, show the problem in the relationship when she says:

Remember lookin' at this room, we loved it 'cause of the light Now, I just sit in the dark and wonder if it's time Do I throw out everything we built or keep it?

It's a WE versus I situation: We used to love this room, but now I (and only I) am left sitting alone in the dark. And only I get to make the decision about what to do with all the stuff we built together, because you're not even here to sit in the dark with me. Also, notice the light versus dark comparison. You are only there for the light (easy) parts, and not the dark (hard). In that context, I am inclined to interpret the room in this line as her stages and the light being the spotlight. We loved standing in the light together/You loved seeing me in the light, but now you've left me in the dark. This is why I really think this song is about the relationship with her majority fanbase and not a romantic relationship. Since 1989 she's written about her romantic partner in a way that makes it clear that this person is with her through thick and thin, on reputation we had End Game and New Years Day, the ultimate song about being there after the party when the glitter fades and it's not glamorous anymore, and in CIWYW she literally says her lover's 'starry eyes sparking up my darkest night'. So, I don't think it's her partner who is leaving her in the dark here, it's the fans. And the 'everything we built' is of course the fame/sold out stadiums etc. And that theme continues in the next verse:

Every morning I glared at you with storms in my eyes How can you say that you love someone you can't tell is dyin'?I sent you signals and bit my nails down to the quick My face was gray, but you wouldn't admit that we were sick

Now the picture is becoming clearer as to what the 'you' here is doing that Taylor is asking them to stop, or better what they're NOT doing. She's glaring at them, sending signals and biting her nails, using all forms of non-verbal communication, but they're not being received. Or she's being willfully ignored. The 'I sent you signals' is a screaming parallel to 'I gave so many signs' from Exile and 'sending signals to be double-crossed' from Evermore. And I think in all three cases, it is referring to queer flagging. And just like in High Infidelity (a similar song thematically) she says 'There's many ways that you can kill the one you love/ the slowest way is never loving them enough', here she's saying 'How can you say that you love someone you can't tell is dyin'?. Both boils down to the same thing: Your ignorance is killing me and it's a slow and painful death. She ends the verse on the medical theme which has now slightly shifted to Taylor being the dying patient ('My face was grey' - corpse) and the relationship being sick. Over the chorus we still hear the heartbeat though, so she's dying but she's not dead yet.

Let's talk about the bridge. This is juicy, as Taylor's bridges always are, but this one, of course, had the one line that sent all the swifties into an angry rampage against Joe Alwyn. But we'll get to that. The first line is in fact my favourite:

How long could we be a sad song 'Til we were too far gone to bring back to life?

She calls the relationship a 'sad song'. And that's obviously an interesting thing for a songwriter to say, and I've seen many good interpretations of this line, but mine is this: Taylor is the girl who made her name as the young country singer who writes sad breakup songs about her past relationships. And she owned that for a while, until she openly discussed how much it trivialises her writing and that songs are more than just the person she's writing about (not as simple as a paternity test etc.), but have people stopped making her songs about men? When the Joe breakup hit the news, wasn't the first thing the swifties said 'Oh, the next album is going to be soooo sad...."?? So...for some people she still is, and will always be, just the girl who writes about breakups. And she's saying to those people 'how long can this relationship last if that's all you'll ever see me for?' She also, once again uses the medical theme of 'bringing the relationship back to life' when it has in fact died multiple deaths already. But this time it might just be 'too far gone' to be revived.

I gave you all my best me's, my endless empathy And all I did was bleed as I tried to be the bravest soldier Fighting in only your army, frontlines, don't you ignore me I'm the best thing at this party (You're losing me)

She also continues the war/combat theme with being the 'bravest soldier' who is bleeding whilst on the frontline 'fighting in only your army'. This is also important. Taylor is the soldier but she's not fighting for her own cause, she's fighting in the other person's army. She's making herself bleed, for the other person's sake. Much like a closeted gay person pretending to be straight for the mass appeal. It's making me bleed for your benefit, but you don't even notice, DON'T YOU IGNORE ME!! And then we get to the ultimate bait and switch line:

And I wouldn't marry me either A pathological people pleaser Who only wanted you to see her

Where you will all shout at me 'How can it not be about a romantic relationship, it has the line about marrying!!!'. Relax, I think this is intentional. What an easy way to make the whole song sound like it's about a breakup with just one line when the rest of the song suggest something else (to me at least). I don't see this as being about a literal marriage proposal, more like a 'I wouldn't choose me either'. Very much along the lines of Anti Hero, I'm the problem, why would you choose me, but I'd still love it if you did. And she even says in the next part 'I have nothing to believe, unless you're choosing me.'

And I'm fadin', thinkin'

(POV changes, addresses self:) "Do something, babe, say something" (Say something) "Lose something, babe, risk something" (You're losing me) "Choose something, babe, I got nothing" (I got nothing) "To believe, unless you're choosin' me"

So in the imperatives, the direction of address changes and she's now thinking to/addressing herself with these commands: 'DO something, SAY something, LOSE something, CHOOSE something, RISK something.' Almost like she's trying to jumpstart herself into action. This all screams BE BRAVE to me, especially the 'say something' because in the previous verse she was communicating in all these non-verbal ways (glaring, signals, nail biting) and that wasn't working. She's telling herself to be brave and SAY something, make it unmistakably clear, but that may well mean risking something and losing it. Also, choose something babe, you can't play both sides forever. In the last line she then addresses the audience again by saying 'I have nothing to believe unless you're choosing me.' She wants to be chosen by her audience as her authentic self, not as the 'sad song' girl. Once she's said all those hard hitting truths, what follows is a massive pause, a moment of total silence. Like the moment when you've finally said all you wanted to say and now you're waiting for the reaction. And when you almost think the song has ended, we get the heartbeat again and one more chorus.

SILENCE You're losin' me Stop (Stop, stop), you're losin' me Stop (Stop, stop), you're losin' me I can't find a pulse (HEARTBEAT STOPS) My heart won't start anymore

In this last chorus the Stops are now echoed twice to increase the urgency in this plea, it sounds almost like she's saying 'stop, stop stop! It's really about to be over!'. And it is, as the heartbeats stops on the word 'pulse' and the patient has finally died. She concludes on what we have just witnessed 'My heart won't start anymore' but there is no 'for you' this time, because the relationship is dead now. No more coming back this time.

Thematically, to fit into the concept of midnights, this could be a song set in early 2019 when she was planning her coming out, or it could be more recent, as an internal counter piece to Anti Hero. I hope this lived up to what you hoped for, people who asked so nicely :)

blue - medical theme/imagery

orange - direct address to audience

green - war/combat theme

[deception-united]

hiiii, i'm sorry if this is a bother but can i ask for advice from a fellow writer? it's not about writing a story, but more so just me burning myself out because of it, and i have no idea why.

for a good while, i've been wanting to find the "perfect" first project; i first planned on writing, animating and uploading a movie series online and it's like my "dream project/story", if that made sense? but, lately, i've been getting more and more desperate to have another project before this, for credentials and for me to get a little bit better at everything before working on the movie series.

no matter what i do, i can't seem to find a good enough "first project". i look at the story concepts / universes i scrapped, revive them, work on them for a little bit, before eventually bring unsatisfied and throwing it back in the trash, or at least just "on hold". i tend to work quicker and have more passion for a story if i get very attached to the characters, which i noticed tends to happen over time. but my patience is wearing thin and the fact that i'm stuck is catching up to me.

you don't have to answer this, but i'd appreciate any advice. thank you ^^,

Hi! This is a struggle I think I can safely say every creator goes through—the phases of feeling stuck or unsatisfied with their work, and losing interest in the story as time goes on. I've gone through it myself, and was in that cycle for the longest time: I'd come up with a vague idea for a novel, or a character I wanted to make the protagonist in a new story, and spontaneously start writing it without much planning or thought. And as you can imagine (or as you're experiencing, it seems like), that led to me abandoning all of them at some point or another. One I nearly finished, but I left it and came back a while later and was so immensely disgusted that I deemed it irreparable and turned my back on that, too.

Of course, what worked for me might not be helpful at all for you, but what I think is most important is just to focus on one thing at a time. Easier said than done, I'm aware. But flitting from one project to the next, trying to find the one that you'll have the most passion for, just doesn't work out very well. If what you're planning for your "dream project" that you mentioned is a movie series, and you have that all figured out, you may want to start with a novel that you can then base the movies off of. This could help you get a better idea of the characters, plot, and overall storyline so that the movies you plan to create in the future will have everything worked out already.

But maybe you feel that doing so will then make your passion for the movie series wane—that, after spending so much time and effort into writing that, you won't have the motivation to start over with a narrative you're already so familiar with. You mentioned you work better when you're attached to the characters, so that may be a good place to start. Don't think about the plot or worldbuilding yet—just focus on the characters. Everything else can come after. You know your creative process better than anyone, and this may not work for you at all. It likely wouldn't for me. But sometimes, it can help to start off with that and build upon it with time. Allowing yourself time to play and experiment without any pressure or specific goal in mind can lead to renewed passion and enthusiasm.

Another option is co-writing. Again, doesn't work for everyone, but working with others can provide new perspectives and generally make the process more enjoyable. Writing with someone else may help to increase your motivation and encourage you to hold yourself accountable, and can lead to brainstorming sessions that spark new ideas and solutions to problems you might be facing alone. It allows for the sharing of skills and strengths, making the project potentially stronger and more well-rounded. Collaborating on a project can also lighten the load, making it less overwhelming. Finding a writing partner who shares your vision or complements your style can lead to work that neither of you might have created on your own.

In any case, allow yourself to create something imperfect. I hate to say it, but even if the process of creating is flawed or the end result is despicable, the lessons you learn from it are valuable, and instrumental once you're ready to take up your dream project. Think of this, your first project, as a stepping stone rather than a definitive work.

So sorry for the late reply, and I hope this helped. Best of luck ❤

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[nym-wibbly]

a big, soft, comfortable, comforting, private hug where they have time to get comfy and close their eyes and start to feel self-conscious but hold on tighter until it passes and feel each other's warmth and safety and they're just Home

adksksknft! But ngl I expected more porn?

I do tend to say it with porn, no? ;) These two have a history of gorgeous, meaningful hugs when it matters though. That and the profound-bond eyesex they seem relentlessly unaware of doing from the moment they meet.

As a fanwriter, I'm at a loss with "Destiel", I have to admit - the sheer weight of their backstory is intimidating. I'd love to use my smut toolkit to wrestle my way to understanding Dean and Cas as characters, as a romantic/sexual pairing, hell, as a phenomenon of modern fandom culture, but I doubt there's much left to add to all the Cas/Dean smut that's been written over the past 15 years. I'm way late to the Supernatural party. I'm so late they're talking "revival"! The stats on AO3 are mind-boggling for this pairing alone.

The hug post got me thinking about their finale smut potential and motivations, though!

Would their post-finale reunion go the smut route right away? Depends how smutty/romantic one's interpretation of their backstory is, I think. If I load a headcanon where they've already been lovers in the past, or wished they were but put it on hold, then yep, they'd be straight in there with the cinematic kiss the second they get enough eye-contact to reassure them that everything's okay between them. Don't come knockin' when Heaven's a-rockin'.

I sort of love that if I take the show at face value they're messier than that, though - that the show didn't give them a real-life-isn't-like-that cosy wrapup, just this lifechanging bond played out over 12 long seasons that even they struggle to categorise and rationalise, and probably couldn't explain on paper if their lives depended on it. They've both worked so hard to find their common ground, to accommodate each other's unique ways of being difficult, broken, and beautiful - but they're both pretty obtuse about the implications. I reckon they at least need a good run-up, and some actual, on-topic conversations in a no-stress environment before tearing each other's heavenly garments asunder, post-finale.

Cas loves Dean, and said so with (what he genuinely thought were) his final words, passionate and uncompromising and pure of intent, but what does monogamous love of a human mean to a fallen angel who's shown little sign of carnality or domesticity in his quest to adapt to humanity's ways and get comfortable with human emotions? He wanted something more than the closeness they had already by season 14/15, so bad you could spot him yearning at 300ft, but what? What exactly would his wish-fulfilment look like? Does he even know himself? What's Cas' #destiel headcanon? I'm open to it being happy and fulfilling human life-parter type sex, naturally, but also to it being... something other? Something so alien to humanity that he's sure Dean can't follow him there?

Dean loves Cas, less and less obliquely as the series progresses, but it's not a love he knows how to deal with. He goes with "brother" because that's the tidiest mental compartment he can find for the intensity of this bond, I think, and because blood family is always his frame of reference for everything that matters most to him. He grows more comfortable with it as Cas becomes easier to talk with, more emotionally articulate and outwardly human, but he also seems increasingly mystified by how to respond to it - something too big to ever get dealt with while they're so busy putting out apocalyptic fires and, you know, dying all the time.

I reckon Dean took Cas' love confession at face value, that it devastated and humbled him, that he wasn't anywhere near ready to hear it said aloud; that hearing it as 'goodbye, I'm dying for you' was one of the cruelest personal blows he's ever taken; that he understood Cas didn't need him to do or say anything in return at that moment, but must regret that he didn't speak his mind sooner; that everything else Cas said to him in those few minutes caused such a profound shift in his understanding of himself that he's got a lot of quiet thinking to do before he's back on an even keel and ready to act decisively about his relationship with anyone else. Dean's typically slow at processing things he can't wrap his head around instantly, things that leave him feeling exposed, and... well... he didn't get much time after that.

I keep warily eyeing that weirdly amorphous and dreamlike Heaven they ended up in, too, with its optional passage of time and sense of... emptiness. Especially having seen how antsy Dean looked about the deal in The Winchesters. Can he even play by Jack's hands-off rules up there?

I'd hate for a belatedly vicious plot punchline to sneak up on the happy couple while they were blissed out and off guard from making the nekky love in a heavenly sunny meadow full of bees or whatever, screwing their way towards happily-ever-after, but that's the way my brain seems to be leaning on the finale's picture of Heaven. My guard is up, my suspicion's aroused, so anything I write to consummate their relationship, set post-finale, would get tangled up in that less attractive puzzle.

I felt the fandom's howling wilderness of pain in 2020 and I don't want to make it WORSE by pitching in now with unnecessarily angsty smutfeels, y'know? I'm all about the character-building angst and hope never to change, but even I think these two deserve an uncomplicated, happy sex life - if for no other reason than cosmic compensation for all they've sacrificed and all the times they got hit, stabbed, or dead - by this point in the story.

[alelx2194]

Okay I rarely post anything in general, but the latest 100YQ chap gave me enough of a nascent hope to motivate me.

So we got a new set of Oracion Seis this chap, somewhat obviously based on the OG FT ones. You have Racer, Brain, Cobra and Angel equivalents to the very least.

Now I dunno if the two on the left match anyone in particular. Could be the big guy is Hoteye cause Hoteye is big. Could be he's big cause Midnight had an illusion form. Not really the point of the post though.

(as an aside they could just be the equivalent of the original OS spread, Brain and Cobra fit, while Angel "fits" in the sense she's the girl. Bird guy only really fits the Angel thing cause of the feathers in the first place. Still leaves Hoteye and Midnight vague lol)

The Brain equivalent is a little bit too much of an equivalent. AKA he might actually be the original, revived as a demon.

So that opens up the gates for a very interesting matchup. See, Brain and a certain main character originated from the same arc.

In a way, Brain and Zero's actions are what caused Wendy's guild to vanish, as well as her to start her growth as a person and fighter.

I mean, plenty of other people helped her in that journey in more positive ways. Natsu, Gajeel, Jellal, Erza, and so on. But Brain/Zero is ultimately what forces Wendy to grow up before she should.

And. With him revived. We get a chance for a very interesting matchup.

Give me Wendy vs Zero 2.0 Mashima. You already feed Natsu three fights per arc. Surely Wendy can fight a big boss once per series. I wouldn't mind a team effort. Just let her have this. Will it probably be awfully mismatched? Will it require some little sillyness to be resolved? Is Zero perhaps a bit too old news for anything too exciting even with demonic stuff? Probably. It is that kind of series after all. Natsu ain't no stranger to absolute shenanigans.

Will it be cool to see? Honestly, I don't know. It is however a very interesting idea, at least to me.

Plus I wanna get Wendy's

equivalent of this

Now, one could fairly argue Wendy already got that moment. And that Zero is similar amounts "That bad guy in front of me" as Ezel. Plus she's probably over him by now. Still, I think it could be her best option for something that's not mostly gags. Cause Hiro does seem to have an issue with making her fights mostly gags in 100YQ. >.>

Anyway this is way more than I usually post ever, have a nice day if you actually bothered with my silly little post.

[pikkish]

I'm new to the fandom, just played 2016 and Eternal in quick succession. Eternal's DLC left me really dissatisfied, but I can't really explain why or how. Based on that poll you made, it's clear you've got some Opinions on the writing, so I was hoping you would like to share them? I feel like I need someone to mull over that whole story with. You can message me privately if you wish!!

Hi there! Welcome to the Doom fandom! I hope you enjoy your stay here more than you enjoyed TAG's writing! And you're more than welcome to come yell with me about Doom and its related games any time!

You're more than correct in your assertion that I have some Opinions about modern Doom's writing, in fact, I have quite a few of them. Most of them can be summed up as "the writing is just plain bad," which is probably also the reason you're unsatisfied with it. It's inconsistent, it regularly sacrifices coherence for the sake of something that looks cool for trailer shots, it has a lot of details that very much could be interesting plots but are simply ignored after their first mention, and at least a few more things that I'm forgetting, it's been a little bit since my last playthrough of TAG and these are just the major ones off the top of my head.

Take Hayden, for example. In 2016, he's the classic egotistical, powerful CEO of a major weapons industry, who maybe didn't necessarily intend to get a ton of people killed, but now that he has, he's gonna stick to his guns and insist he's still in the right, this was an unfortunate accident, but what he's doing is necessary, for the good of humanity, can't you see? He's the good guy! He's just trying to make things better! And he's dedicated to this course well enough that he's willing to betray the man who's there to save him, and boot Doomguy back into Hell at the end of 2016.

Then you get to Eternal, and he's inexplicably changed his mind for no good reason? And it's not like he's learned his lesson and has become more humble for it; sure, he got his rear handed to him by demons, and he emphatically states that the creation of Argent Energy is an "unholy union" that "cannot continue," but at the same time, he still acts constantly like he has everything under control and heavily implies that, were he in charge, this situation wouldn't be so bad- as if he weren't in charge when it got this bad. It's like they wanted him to have the exact same attitude (and therefore, ability to deliver dramatic voicelines) as in 2016, but didn't want to commit to him being a villain, so they just went "ok! he doesn't like Argent Energy any more," and went with it, then never felt the need to explain how or why this complete shift in attitude came about. As a result, it feels like Hayden has no clear motive or goals, and falls pretty flat as a character in general.

And then, to take it into TAG, there's the Seraphim, and don't even get me started on how much I hate that that's his name, "seraphim" is the PLURAL form of "seraph," it's like how "Guy" is a real name but then if they decided to name a character "Guys" instead, and it drives me crazy-- whom they go to some lengths to confirm is, in fact, the same person as Hayden, but then, despite the fact that Samur is sick and dying from the moment you revive him, for some reason, Hayden has to turn back into Samur. I suppose there's maybe some indication that Samur and Hayden are actually different people implied by Hayden referring to the Seraphim in the third person through the beginning of the Atlantica level, but there's still never any explanation given for that, whether they are or aren't the same person, or why you need to bring Samur back in Hayden's place.

And then, you beat Samur up, and guess what? He immediately stops being relevant to the plot and is almost completely forgotten. And that's a recurring theme in modern Doom! Olivia Pierce and the Khan Maykr both share the same fate, the moment they're dead, they practically just stop existing. Sure, there's the statue of Olivia in Nekravol, and, like, a single mention of the Khan in one of TAG's codices, if I remember correctly, but personally, to me, both of those feel more like the devs giving you a wink and a nudge and saying "haha hey, remember them?" like it's more of an Easter Egg than them actually having any significance.

And then there's the whole mess that is Davoth. Admittedly, having the Divinity Machine be fueled by his power, and Doomguy being enhanced by that power is thematically appropriate, what with the whole reason Doomguy wins being that he's even angrier than Hell. I also think something like the Divinity Machine and Dooomguy becoming superhuman did have to happen eventually, because how many times can one man singlehandedly beat back the whole of Hell itself before he stops being just some guy? But I don't think it was executed very well.

For one thing, I don't think it was a good move to imply that Doomguy always was some sort of pseudo-god super entity right from the start. Sure, like I said, he did inevitably have to stop being just some guy, but him being just some guy was a good bit of the charm of classic Doom in my opinion. All we knew about him was that he loved his pet rabbit, and was more willing to punch his commanding officer in the face than follow an order to shoot civilians. And yeah, if you take that, and also assume that the story cards are Doomguy's own internal monologue or at least a representation of his attitude, then you can't really say he was ever a blank slate character, but he was still just some guy, and he was relatable for that. And going "well, actually, he was a godling from the very beginning" just doesn't feel very good in my opinion, and feels like a big retcon besides. (And we'll get to more "well, ACTUALLY" stuff in a bit, but first I wanna finish up the tangentially Davoth related stuff first.)

All that aside, if we take it at face value and say sure, Doomguy was always something a little more than human, always destined to become the ultimate warrior, rather than making himself into the Doom Slayer by surviving Hell, then there's still not really any reason for Davoth to have looked exactly like him, beyond going "you-- but EVIL!!" for the drama of it. I think there was maybe one codex entry that says Davoth's whole soul-stealing operation was for the sake of providing his own people with immortality, which is to say, he was fighting to protect his home or something to that effect, so an argument could be made that his looking like Doomguy is an attempt at exploring "this is you, gone too far, this is you if you ever let go of your morals, this is everything you risk becoming," but, again, it's mentioned like... once, in one codex, and never explored or elaborated upon further. If I remember correctly, Davoth himself never even acknowledges this, it's just the codex entry, and he just goes on about how he'll kill Doomguy and destroy everything he ever loved. If they really wanted to make him a sympathetic villain like that, then they should've actually given us the opportunity to feel that sympathy for him. Let me see the people he's trying to protect- is it an idyllic paradise, oblivious to the lengths being gone to to keep them comfortable? A broken, dying people who should have gone extinct long ago, but for this thievery of the lives of others? I know Hell is supposed to be Jekkad, corrupted, and even in theory, that's fine- you could say Davoth's become so ruthless in pursuit of this immortality for his people that he's blinded himself to how it's also destroyed that which he was attempting to save- but you can't really see that. It's still just Hell, not really any sort of remnant of something worth saving.

And speaking of that. Trying to make Davoth a sympathetic villain at all feels like a bad choice to me. Doom is about fighting demons, about carving a bloody war path through the ultimate evil of Hell itself, and about feeling viciously satisfied about doing it. Making it about a desperate man who can't accept that he failed to save what he cared about, and making about killing that man before he does any more damage in attempting to do what he's already failed to do just doesn't feel good the way the rest of Doom does. And beyond that, TAG doesn't even succeed in the emotional gut punch that would come from it, had they managed to make Davoth into an actually sympathetic villain. It's like they're trying to strike a balance between the gratuitously violent and exhiliratingly triumphant feel that Doom is known for, and an emotionally impactful story, and as a result, both end up landing somewhere between mediocre and just plain bad.

I don't have a good segue into this bit except to say it's coming back to the "well, ACTUALLY," thing I mentioned earlier, which is: there are a lot of parts that feel a lot like a six year old kid is just making up the plot on the spot, like, for example, "Doomguy LAUNCHES himself out of a CANNON and he has a MAGIC SWORD and a PET DRAGON that carries him to the MAGIC CRYSTAL in the MIDDLE of the PLANET." Granted, these ones are pretty small and relatively inconsequential in the grand scheme of things, and, yeah, okay, they do look pretty cool. But they don't really... fit? Yeah, it's not like classic Doom didn't have this too, In Doom I alone, Doomguy gets pissed about not getting a reward for beating up the barons, practically just jumps off the side of Deimos, and then finally gets to go home when a secret teleporter just opens beside him after Hell decides he's "too tough" for it. But that all fits in classic Doom, because it's not trying to be a serious, grimdark story. Classic Doom is goofy, and it knows it, and it doesn't try to be anything else. But modern Doom tries so hard to be a very serious, dramatic story and also keep the sillier bits of classic Doom, and- yeah, okay, I already made this point once, but here it is again- it ultimately kinda fails at both as a result.

But then there's the bigger of these, namely VEGA. You spend the majority of both 2016 and Eternal with him as your main companion, and, as far as I can remember, there's never really anything to indicate that he's anything other than what he's introduced as, a sentient AI, created to help manage the Mars base. And then you get to the end of Eternal, and- after basically making you sacrifice him for a second time- with next to no buildup, go, "well actually, he's the god of the bad guys." And I'd complain about that plot thread also being brought up and then dropped with no further elaboration, except they do elaborate on it, and that's basically all that TAG is about. They spend the whole of TAG 1 telling you how VEGA is the god of Literally Everything, and how he made Davoth, then didn't kill him when he started to get out of hand, and aren't you MAD at him, for making all your problems, for being too merciful with his own creation that he loved, and don't you just wanna DESTROY the thing that would give him power again?

And then you get to TAG 2 and they spend the whole time going "WELL ACTUALLY it's DAVOTH who's god and VEGA STILL couldn't kill him and he's been LYING to you this ENTIRE TIME." It almost feels to me like a bad fandom interpretation to justify not liking a character, except worse because they're actually the ones who made the character and wrote the story, and I'm not entirely sure why they intentionally tried to make VEGA a helpful, likeable character, gave him a backstory that arguably makes him more sympathetic than Davoth, and then went "actually we hate him now and are gonna do everything we can to try to make you hate him too."

There are definitely more things I could bring up, like whatever the whole deal with the wraiths and the World Spear is, and probably a handful of other things I'm forgetting, too, but it's getting late and I gotta get up to go to work tomorrow. At any rate, thanks for stopping by and giving me an excuse to finally yell about these things! Feel free to stop by and chat with me about video games whenever you want, I love getting to hear other people's thoughts on these things just as much as I love getting to give my own.

[frownyalfred]

i feel like jason's revival + arrival of soon to be genetic babies will create such a scene in the rich elites of gotham (as well as across the usa bc the waynes arent just gotham rich). like succession type deals, sabotage, and social intrigues will be happening in that stratosphere. meanwhile the wayne pack are living in a completely different genre from whats going on around their social circles.

rich snobby families on the asoh universe talking about how theyre glad bruce's GENETIC CHILDREN are young and therefore their kids have a chance marrying into the wayne family

families with younger pups making fun of families with already presented alphas who will have to "make do" with an impure bloodline (jason). However theyre also super jealous because OBVIOUSLY the alpha that marries in the wayne family now will get more than a decades head start in consolidating capital and power in the wayne fortune

people trying to get in the good graces of clark because he's the pack alpha so obviously hes in charge

people sabotaging each other's chances to look good in front of bruce and jason. casual "oh i donated $50k to a crime alley charity, no big deal. love giving back to the community" in front of jason

lex is Hyper aware of it all happening and is enjoying it. Bruce knows about it but he's too busy getting back into Batmanning to care enough to find out the specifics. Jason died too early to see much of high society and so doesnt really get it until Lex points it out. Clark doesnt understand at all and when Lex tries to teach him about it, derails the conversation by asking questions about the labor and environmental violations of the companies of those families instead.

I love this anon! You’ve really identified some interesting in universe character motivations and potential conflicts.

[rudnitskaia]

Just finished to watch Wish. Have thoughts. A lot of.

Actually, I have a lot of not-so-pleasant thoughts about the modern scriptwriting in general, and for a long while already, but Wish made me sigh so incredibly deeply that I woke up my cat. The concept of Wish is wonderful, brilliant even. But in my opinion, unfortunately, it wasn't developed right. At all.

So, I decided to share my usual mental gymnastics in fixing the script. It's only my personal try, nothing else.

There's a very wordy text under the cut.

I warned you. Very. Wordy.

For the start, in the original script there was no motivation for Magnifico to become a villain. His ability to make EVERY wish come true ANYTIME is a HUGE hole in the plot. Instead, the gaining of this ability must have been Magnifico's main motivation. It immediately sets the conflict with the Star, who has such an ability, but uses it improperly (in Magnifico's opinion).

At the same time, make Magnifico the man who will be extremely dutiful and tired ALREADY in the beginning of the story. A wizard who lost everything once and wants to build a safe haven full of happiness for everyone so desperately that it twisted his nature.

Don't make the main problem in him taking away others' wishes. Set the main problem in Magnifico's twisted rationality and the fact that the weight of responsibility broke him. Remember this passage: this will be important later. For that let me slightly change the concept: instead of Magnifico's rule of taking away the wishes to set the rule of forbidding to tell it aloud to anyone except the King of Rosas himself. It also gives us a wonderful parallel with the “wish upon a star” concept, a wish that you should make silently and not tell anyone after that or it won't come true. Like, if you live in that country and tell the wish to Magnifico, it casts a spell on you that forbids you to talk about the wish. It's explained by the fact that it forms a bond between the wish maker and the wizard, and that bond is the seal for magic to work, since the creative source of the wish itself gives the wizard the power to fulfil it. But Magnifico can fulfil only one wish at a time and it takes a lot of his own magical powers/lifetime/[insert any other difficult ritual], so people must wait in line. Simple. Sets the logical boundaries to his powers and explains why there’s a rule of “one wish per person���. Optionally, maybe there can also be Genie-like rules of “no wishes to make someone to fall in love or to be killed/revived” etc. People can come to the King and change their wish if they want, they can still make attempts to make other wishes come true if they want, but they're just happy with the fact that if they wait in line long enough someday their dream will be fulfilled with a 100% chance without ANY effort. So why bother?

Make Asha Magnifico's dutiful apprentice for a while, a year or two, already at the beginning of the movie. Give her some magical powers and make her struggle with the fact that Magnifico can't fulfil any wish at any time, too, make her desperately wanting to fulfil every wish without waiting for that for a long period of time. She helps people, she's in contact with them, she gives them minor magical things daily, like to help someone with gardening or wiping away dust with magical broom. But she wants more. She wants to be as powerful as Magnifico and to serve people. And her curiosity when she searches for a way to gain powers to fulfil any wish, her desperate desire to make all people in the Kingdom of Rosas happy summons the Star, who can't go back to the sky until he fulfils Asha's wish.

Show us the Star as a carefree eternal being; a trickster because of their lighthearted attitude. I saw the concept arts for Wish where the Star was a “Jack Frost”-type young man, and still think that's a pity they changed it. I get that by such a change scriptwriters eliminated the romantic subplot with Asha, but I guess many would be much more intrigued with the silent young man who's curious to everything around him and isn't attached to the real life on Earth due to his god-like nature. So, further I'll refer to the Star as a young man.

Asha truly believes that fulfilment of her wish can be reached only if the Star fulfils all the wishes of people in the Kingdom of Rosas. And the Star truly carelessly fulfils any wish of anyone he meets on the streets, and so far, we see a good fella in him. But soon enough Asha and the Star see the consequences of their wish-fulfilment raid. In a short while people seem not so happy. The people of the Kingdom of Rosas start to suffer with jealousy to each other, start to become greedy. For example, there were two guys who wanted to become the best bakers of all, and they become ones, which causes them argue and ruins their friendship, since there can't be two "the best of the best". Others start to fight, to be anxious about their own wishes, to constantly ask for more and more in a way of “they have it and I want it, too!”, and so forth. The more wishes are fulfilled without any effort, the more people wish for. And such scenarios are everywhere. Literal chaos on the streets.

Moreover, the “fulfilment” of Asha’s wish seems to not help the Star to return home. That's why Asha goes to Magnifico in search for his wisdom and help and acquaints him and the Star fella. Magnifico convinces Asha and the Star that everything can be fixed.

With the Star’s help he performs his magic and makes people of Rosas to forget their wishes, returning them to their “normal state”. That's when we and Asha will accidentally know that Magnifico's rule not to tell anyone but himself about the wishes was because he didn't fulfil the real wishes: using the power of the wish he fulfilled something that he considered safe instead that won't harm anybody and made those people forget that they wished for something else. Asha is horrified by the revelation, at which Magnifico tells her that this is the necessity and the ruler's duty, since wishes can be dangerous and controversial, just as he does in the real animated movie, but now with the evidence that Asha sees herself on the streets. People fight with each other and wish each other bad things. Some could wish to destroy the country. Some could wish to harm someone. Moreover, wishes can argue with each other, just as it happened with those two bakers before. Someone will inevitably be miserable in the end. And the only way to prevent that chaos, to make everyone truly happy, is to make the fulfilment of the wishes controllable.

Asha is utterly broken, thinking that maybe Magnifico is right. Maybe it is better for people to live in a happy controlled oblivion. She leaves the Star with Magnifico, telling the Star to listen to Magnifico since he knows better how to make everyone happy, and walks away.

Meanwhile Magnifico goes through his final arc. What happened on the streets because of Asha and the Star makes him remember how he lost everything in his childhood because of some intruders, and gets the horrifying idea to make the whole world similar to the Kingdom of Rosas. So, he finally decides to take away the Star’s power. Magnifico convinces the Star that he can arrange a magical ritual: that a spell can create a portal in a magical mirror that reflects the sky on a sunset, and that portal will lead the Star home. The Star asks (in gestures) to invite all the people to see him depart, since he got attached to them. Magnifico agrees to that, since no one will suspect that the Star will vanish and not depart.

That's how we get a villain with a God complex: a villain whose greatest desire is to make everyone happy, but in a way he sees happiness himself. Good intention at the beginning, that was awfully twisted. But it's a real motivation. That's why he wants to take away the Star's power. He wants to make everyone in the world happy. In exchange for their free will.

To make everything what I stated above work properly there must be ONE supporting character who silently works to fulfil their dream themselves during the whole movie. And they become the one who'll tell Asha: “I can make it on my own. I don't need any miracles. What's entertaining in gaining what I wish for so easily? Will it be a wish if I get it so easy? It gives my life the sense, the taste; the goal is good, but the way itself is as much valuable. The small help you and my family gave me, Asha, was enough.”

And for Asha, suddenly, it clicks. She understands that people don't need all of their wishes to be immediately fulfilled. They just need to have some support on the way. To share their wishes. To be together through thick and thin. That’s the happiness. That’s what was wrong with fulfilling her wish and why it didn’t help the Star to return home. She gains information from the supporting character about the ritual on the square and rushes back to Magnifico's castle, since she is Magnifico’s apprentice and she knows that the ritual with the mirror is not what it’s seems. It's the evil magic. The one who charmed the mirror gets all the magical powers of the one reflected in it, and the reflected person will be trapped in the mirror forever until the death of the mirror’s creator.

That sets “the final fight”. Asha runs to the square in front of the castle and stops ritual. She reveals what Magnifico was about to do and what Magnifico did the whole time with controlling their wishes. She tells them a heartfelt speech about her revelation of true happiness and asks people how many times they wanted to share with each other what they wanted the most, but were supposed to stay silent, how many things they could have done together, but didn’t because they simply waited for the wish to come true in complete lonesome instead of making memories on the way to fulfil it themselves. No one believes her, since everyone loves Magnifico, but the Star opens the hearts of the people, making everyone’s wishes visible, and everyone see their own wishes and Magnifico’s cruel wish, too. Frightened with the rebellious crowd, Magnifico quickly sets a magical barrier and tries to finish the spell he started to perform to take away the Star’s powers, but Asha interrupts and turns the mirror to reflect in it Magnifico himself on the last words he says.

Magnifico becomes trapped in the mirror (yeah, yeah, I preserved that reference :D). The Star grants Asha with access to his powers through the magic wand, showing her that he trusts her and believes that she’s the golden middle between careless himself and “the control freak” Magnifico. That she has wisdom “to give people the rod and teach how to use it”. Then the Star can either stay on Earth, because he simply enjoyed the life there, or walk away to the sky. Optionally, with Asha herself. The End.

All of that sets the main idea and the final moral: there are good wishes and bad ones. Not every wish can come true. You must work hard yourself to make your wish come true, and the harder you work, the more valuable the result is to you. The true happiness is not only the final destination, but a journey to it through the life itself. And no matter what, there's always a place for a miracle, even a small one.

If you read it to the end, first of all, WOWIE, THANK YOU 😳, and second of all, sorry, it was truly wordy. It's just... I don't tell what I wrote is flawless, but at least I tried to do my best to fix the literal holes, eliminate lack of characters' motivation and make the characters work for the story, because God knows how tired I am to see good-but-underdeveloped concepts in the modern media.

I wish it changes someday.

[heathtrash]

When you're working on TWW fanfic, how do you get like new inspiration or even just the motivation to keep going?

(p.s. thank you for keeping the fandom alive!!)

inspiration/ideas are something i almost never have a problem with. i come up with new scenarios for these gays almost constantly and it's everything in me to not just constantly begin new wips and crossovers and aus that have never been explored! and there's so much media to draw from with tww with all eight books, the shows, the movie, the spinoffs - idk but even like vanilla 2017 or 1998 stuff is always giving me life, maybe because i'm an insatiable multishipper with no chill and an adoration of rarepairs.

i also make sure i "read around" tww. i watch things or listen to audiobooks with a related genre or vibe, especially if i'm exploring au or want to go for a specific tone. keeping your brain active and making connections like this helps so much with inspiration and plot. it's like going on a silly little mental health walk, but instead of nature or whatever, you're opening your brain up to new possibilities. even something completely unrelated can spark something! it makes the worlds you write feel a bit richer as you're writing them.

motivation is something different, because i struggle with a lot of self-confidence in my own writing (lol, cptsd. i'm in therapy). comments on my works do really help with that. but these days people seem to feel weird about leaving comments on works that aren't like a week old??? bruh people still talk about books that are decades or centuries old. and we have some lovely people still in the fandom who are willing to read some of my work, and that is amazing to me!!

but of course, there are fics i've started that i am not sure will ever see the light of day because i feel like they're not good enough, or works that i've put up that very few people were interested in (rip to pippa university years my beloved. never escaped single digits on the kudos for 10k of fic). those embarrassments and failures hold me back so much because they confirm my own negative thoughts about my writing and make me not want to put my energy into this. i have a full plan of chapter 13 of a clock with no hands, but i keep giving myself imposter syndrome over my ability to write it well enough. idk. rationally, i know that the types of story i write are sometimes not what people want to read. i think it's important to talk about (please i am NOT fishing) because i'm sure there are many people who feel the same way. some people even look up to me as a writer?? but i cannot emphasise enough that it's a miracle that anything goes online with my mental health being how it is.

anyway, enough about me! mostly i try to think primarily of the fandom and what's best for us right now. that's why i'm running the drabble exchange, which i think will be a really fun way to get little sparks of inspiration going for everyone, as well as hopefully providing a chance for new writers to dip their toe into whatever ship they like! please sign up to join in - this is the last weekend before i close sign-ups!

i'm certainly not solely responsible for keeping the fandom alive though!!! there are some incredible artists who are doing a much better job of that than me with the recent influx of art - as well as all those who are writing new fics that are providing after the slump we had with the conclusion of the 2017 series. it was really hard to recover the fandom after s3, and i know i've had a small part to play in that with the twitter group chat evolving into reviving the discord. but i couldn't have done any of that if no one else was around to join in!

(also side note - general invitation extended to anyone who wants to join the discord!)

[marketableplushieenthusiast]

Team Past Propaganda

Because I started thinking about it again and now I'm all emotional-

I want to convey in words why I chose Team Past and why I don't think it contradicts the themes of the Splatoon story modes, because while the Squid Sisters do a great job of describing my basic reasoning in the Splatfest introduction, I understand why the story modes might feel like Present or Future are the "correct" answers.

(Spoilers ahead for all story modes, including Octo Expansion and Side Order)

Nearly every Splatoon villain is stuck in the past or heavily influenced by it in some way.

Mr Grizz and Tartar are the obvious ones: Grizz wants to see the return of mammals, and Tartar is disgusted with the current ex-sea life running the planet and wants to wipe it out and start over in favor of creatures more like his beloved humans.

In a way, being born of the regrets and desires of some escaped Octolings to return to their more orderly roots, Order/Smollusk can also be described as being motivated by the past. Even DJ Octavio does much of what he does because of the outcome of the Great Turf War and old grudges.

A recurring overall theme of these story modes, started in Octo Expansion and then expanded on (heh) in Rise of the Mammalians and Side Order, is that you can't turn back the clock, and you can't escape change. Even if Tartar and Grizz had "won", nothing would have brought back Tartar's scientist or the old mammals. In fact, their plans would have, ironically, destroyed humanity's last remnants. (And don't get me started on the thematic symbolism of Mr Grizz becoming biologically more fuzzy ink monstrosity than actual bear-)

I don't think it's a stretch to say that Grizz at the end of RotM is speaking with authorial intent in his final moment of clarity: "The times have changed. The world can never be as it was. Moving forward...is the future."

So the point of these story modes is that you can't move backwards. You can't rewind time; what's done is done, what's past is past, and obsessing over it and trying to revive it at the cost of the present and future isn't healthy (and doesn't work anyways).

But that doesn't mean you should never look back.

Rise of the Mammalians, like every other story mode dating all the way back to the Wii U, has optional lore, and it dropped an absolute bombshell for us lore nerds: the current ex-sea life of the Splatoon world didn't just evolve after humanity fell, their evolution was influenced by the desires of the last humans in Alterna. The species grew to leave the water because the Alternans' last wishes were to see the sun again. (And it was somehow transmitted through crystal detritus, which is some interesting sci-fi, but sure, why not?)

And this, in my opinion, is a pretty emotional reveal, and is treated as such.

Suddenly, all the significance given to Calamari Inkantation over the series pulls itself together - the fact it is an old, practically ancient folksong, described as being part of Inklings' very DNA, yet with the power to compel Octolings to seek the surface as well, and even transform Smallfry? If all that isn't enough to spell it out for you, the Inkantation is sampled in the credits' theme Wave Goodbye... Chanted by human vocals. The song that's been an Inkling battle anthem and the inciting moment of so many Octoling character arcs was passed down by humanity. Those scrolls from Splatoon 1 casually dropping that our colorful squid-kid world is a post-apocalyptic one come full circle.

Rise of the Mammalians tells us not to get so obsessed with the past that we try to turn back time... But in the same breath, reveals the past of the Inklings and Octolings and sea creatures we love so much and uses it to tie them together in the present.

Even Marina, a character who can "take or leave" her past and continually, consciously chooses to focus on the present (and to a certain extent, the future), goes out of her way to create the Memverse to help sanitized Octolings regain their memories of the past. She's also happy to reunite with Acht, who she shares a lot of history with. An exclusively present focused view could theoretically tell those Octolings that they don't need their memories to be whoever they want to be now, or could bristle at someone showing up from a problematic past, but Marina clearly doesn't hold to anything like that. She values the present the most, but she doesn't scorn the past.

And I think that's what I like about this Splatfest so much, and why it made me think about my choice for so long. Like Chaos vs. Order, (where they're careful to make clear that Pearl doesn't hate the status quo, and Marina doesn't necessarily want nothing to ever change), I feel they were careful to try and be clear that there isn't a definitive "correct" answer to this one. Callie herself points out at the start of her defense that all three of Past, Present, and Future are important, and I agree.

Splatoon as a series emphasizes living in the Present and not being afraid of a changing Future, but I believe it also values the Past. It loves to show where its characters and world came from to inform a little more about who they are today. (Just look at each member of Deep Cut getting a dedicated Sunken Sea Scroll about their family history!) I believe it takes a similar stance I do, that while your Past doesn't entirely define you (again, see Marina), it is nonetheless important - crucial even - to understanding who you are.

And someday, as you move onward through the present towards a brighter future, you'll look back at today - at the past - to see how far you've come.

So, uh, yeah. This cephalopod game makes me emotional and I love finding excuses to blab about it, so might as well get it in words before the actual Grand Fest starts.

If you read this whole thing, thank you so much, and whatever team you pick, I wish you the best!