#AS IF SHOWING BASIC KINDNESS WAS THE PROBLEM

[mari-buginette]

They deleted the video since I reblogged this a few minutes ago. It shows recruitment tactics. Basically, people are born without prejudice. We are taught prejudice by splitting a unified people up into little groups, and it is then that we can be controlled with us versus them speeches. It sounds reasonable to an average citizen, until you hear the bit that targets you, your group, your people. This video was to promote awareness of what to watch out for in movements, filmed 80 years ago. There is no us versus them. There is only us versus the actual problem, not any group of people who maybe aren't relatable to you. We are all real, loving, frightened, but still kind people. You can't blame a group for your difficulties- you can blame bad spending of (stolen by the government) Medicare funds, lack of safety regulations for food processing and airplane building, not enough prevention on rent hikes because of natural disasters. Those are problems. All people, every creed and color, want to live safely, peacefully, and joyfully. That is the goal. We achieve it together. United.

The fact that this is 80 fucking years ago but still just as relevant is terrifying.

[michaelwheelerdefiodental]

Hopper will hand over the sword to Mike, and it will be really important storywise.

As we know, Hopper is the epitome of what would be considered masculine in the 80s, a buff man that is strong, don't let people command him, stoic (at least he tries to be perceived as this), and tries his hardest to not let his emotions overcome himself. Mike is a skinny boy who don't let people command him but lacks the others "qualities". He isn't strong, he let his emotions take control of him. It's known that Mike tries to present himself as someone "normal", a person that wouldn't have problem to fitting in some type of group, and secure about his sexuality. We can see this behavior on seasons 3 and 4. In season 3 he tried to be the cool het guy, in season 4, he was basically copying Eddie style.

Apparently, season 5 will show us a Mike that ain't afraid to show his true colors anymore, and what would be better than making a guy that could be considered the pinnacle of masculinity handing his sword to a guy like Mike? And we know that Mike has some kind of respect and even sees Hopper as a paternal figure.

We can see a poster of Conan The Barbarian in Mike's room too. Most part of the fandom associate Hopper as a barbarian when making posts comparing the characters with a D&D class. And most important, Hopper's sword is literally a replica of Conan's sword.

All of this would come full cycle with Mike using the sword to kill the dragon, and accepting himself as a hero, just like Hopper at the end of season 4.

[mysticheathenn]

Messages From Trust

Hi, Hexlings!

This pick-a-card reading is about what is preventing you from trusting others including yourself.

This is a general reading, remember to take what resonates and leave what does not. This reading does not supplement your need to seek for professional help. Tarot should be used as entertainment and not a for sure answer to your problems but as a guide, a sense of hope, and amusement. Only a private reading can give you a more tailored answer to your questions.

Take your time when choosing your pile. Ask yourself the question and choose the picture(s) that you can’t stop looking at. Listen to your intuition.

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Pile l:

What is preventing me from trusting others including myself? Tarot: Six of Swords, Ten of Swords, Seven of Wands, The Hermit, Everything is Fine, Nine of Swords

Abandonment issues. Something happened in your life to where you believe that everyone who enters your life is doomed to leave and for most of you, you tend to drive people away first before they even have the chance to leave while at the same time be sadden by your loneliness because you feel no one wants to be around you or even stay. When people do leave you overthink and go down a spiral thinking about the many things wrong with you when really there is nothing wrong with you at all, sometimes people leave and that's okay but it doesn't mean that something was wrong with you. It's actually the complete opposite. Others of you have been hurt so badly that you don't allow anyone in, you are probably that friend where it takes 3+ years just to know anything other than basic knowledge about you and even then sometimes your friends will try to get you to open up more even though you prefer to be the friend who is always there for others versus the other way around because again of this abandonment issue or because you feel no one really cares when really that's the farthest thing from the truth. You will never know love if you keep pushing people away from you because you fear of them walking away and even if someone does walk away it's not the end of the world. It may feel that way sometimes but everything as your card states is fine.

How to begin trusting others again? Tarot: Same Cards

Letting your guard down and accepting the outcome of what life brings. Accepting that people come and go and it has nothing to do with you. Accepting that you are amazing and those who choose to leave are missing out on the love and beautiful energy that you provide. Letting people in so they can show you that they do care and want to be there for you and are not there to pity you but because they want to see you succeed, thrive and most importantly they want to know you...the real you and not the sheltered mask version of yourself that you give others. Trust people not to hurt you, and read the signs so you know when to call a spade, a spade. If someone is not putting in the same amount or not even close enough effort to make you feel seen or loved it is okay to let them go but if someone is putting in the effort to get to know you and shows up in a way that you feel loved, please embrace it and don't shut down to push them away. You deserve to experience this kind of love and support in your life.

What good can come from trusting again? Oracle Cards: Truth, Confidence, Transformation, Love

For some of you, your abandonment issues stem from previous lovers while for others it's just friends or possibly both. Learning and deciding to trust again will open so many doors for you when it comes to love as well as who you are as a person. Some of you will rediscover who you are as a person because you have such a high wall up to the point you sometimes feel as if you don't know yourself. This will change once you begin trusting people again and doing the work to release this abandonment issue. Your confidence will also skyrocket along with seeing that the world indeed does not end when someone leaves as well as seeing that there is nothing wrong with you.

Pile ll:

What is preventing me from trusting others including myself? Tarot: Eight of Swords, Seven of Swords, Two of Swords, Eight of Cups, Knight of Cups

Self Sabotage. In the past or maybe even currently you tend to not want to see red flags in others to the point relationships or even friendships tend to drag on far too long until you get to the point of being tired and finally moving on. You tend to attract and go towards people who are not good for you whether they are just overall toxic, manipulative, narcissistic, or what have you. The people you tend to keep around you are never good and just a few of you if this is mostly romantic you tend to keep going back for them hoping that when you return to them that things will change when nothing has changed. A lot of the people who tend to be in your life loves to hand you an empty cup but the thing about that empty cup is because you have dealt with their lack of loving you properly the fact that they even brought something makes you giddy because it's the thought that counts. Unfortunately, all of these issues has led you to have trust issues. You don't trust yourself enough to see the good or the bad in people to the point anytime someone shows even one flaw or an ounce of drama you leave because you have been down this road before and never want to go back. You are done with the empty cups and lack of reciprocal energy from others, now anyone who breathes wrong you send them to the left packing even if they are a good person and loves you properly, you can't risk them proving you wrong.

How to begin trusting others again? Tarot: Same Cards

Learning to trust your intuition. Learn to have discernment that when something doesn't feel good, right, or doesn't make you feel loved it's time to move on. Know it's okay to extend grace when the issues that are happening are a human error and not a character flaw. Anything that is a character flaw (narcissism, manipulating, lack of concern for you, etc) should not be tolerated whereas human flaws like (things that most of everyone does from time to time and they own up to it) are okay because at the end of the day we are all human and sometimes make a mistake. Being cruel, mean, etc is not a mistake and is very much intentional and this is behavior to move away from.

What good can come from trusting again? Oracle Cards: Grieving, Forgiveness, Clarity, Compassion

Because of your past or even current reality for some of you, you have lacked compassion for yourself and possibly even fallen into a deep depression when you think about the times you let someone treat you horribly or even less than what you have deserved. Once you begin to heal this, you will begin to show yourself more compassion as you now know what to accept and what not to. You will also know that what you didn't know before you now know to do better and continue to do better while showing the old you compassion, for what you lacked. You will also forgive others if not yourself again for the treatment that they have given you and forgiveness towards yourself. Clarity will also be a gift as you will no longer see every red flag through rose-colored glasses but exactly as they are keeping you safe and way from those who want to do harm or be toxic.

Pile lll:

What is preventing me from trusting others including myself? Tarot: The Fool, Three of Swords, Four of Swords, The Star, Ten of Swords.

Romantic Relationships. There are two songs that come to mind with you, pile lll and that's Bleeding Love by Leona Lewis and Fool for You by Cee-lo Green. You are a fool for love pile lll to the point you keep getting hurt over and over again and many of you lose sleep because of past partners always wondering who they are with, if they are coming home, if they are talking to other people. I can see you always by your phone hoping that they will call or text and when they don't you are disappointed because, in the back of your head, you have/had a feeling they are texting someone else, someone you believe might be "better" than you and a lot of you tolerate this for so long until you can't any longer. A few of you may have also been drawn to pile ll, if so there maybe something there for you as well even if it's just a sentence. Either way, Love has caused you to lose your trust in others and yourself because you are most likely a hopeless romantic. You are a lover of love and refuse to see or believe in anything other than just that. But I do feel that some of you are coming to your end of being a ride or die, a lover of love, and so forth because you are either tired of experiencing the pain or seeing on social media showcasing the many people out there treating their partners like crap and it's causing you anxiety that you will never find "the one" and you are doomed to be single forever.

How to begin trusting others again? Tarot: Same Cards

This isn't so much of how to begin trusting others again because with the fools card, you are always up for love again you are a lover of love but you are just coming to your end of being this type of person or even being the type where you feel a ride or die is admirable (depending how you view it, it's not). This is more so of a friend-to-friend chat, for those who find it admirable in being a ride-or-die when it comes to partners who aren't shit. That isn't a ride or die....you're just constantly dying because you are wasting so much of your life force worrying they are cheating, etc. Please know it is more admirable to leave than it is to look like a clown because you stuck with someone through "hard times." cheating is not hard times. Going through financial struggles is considered a hard time (only if you both are putting gin the work. If ou are doing the only leg work again this is not hard times or ride or die material). For those who want to give up on love keep pushing and stop listening or looking at social media. I know trust I kept getting weaponized incompetence videos of partners and etc but once I reset my algorithm and kept pressing not interested on videos and only looking at partners being loved and seen I began to have faith that there is real love out there and maybe it will happen for me too. Keep hanging on, you will find the person who will give you 100% and more to you. Have patience.

What good can come from trusting again? Oracle Cards: No Cards

This is more of an intuitive message but you will get everything and more that you want. If you want the house with the picket fence, dog, and kids, and loving husband you have it. Whatever it is that you want out of your love life it is yours for the taking you just need to be smarter about how you go about loving people. Be smarter in how you pour your energy into others as well. Again cheating and receiving poor treatment is not cute sticking around just to say "you held down your partner" because again that is not holding them down. Find the love that makes you feel seen, feel at ease, and worry-free, and pours just as much into you as you do them.

Pile lV:

What is preventing me from trusting others including myself? Tarot: Six of Cups, Nine of Pentacles, Six of Wands, Eight of Swords.

Childhood Wounds. Something happened in your childhood to where you didn't feel safe enough to be great, express yourself, or even feel as if you could make something of yourself financially. For some of you, you may have had that parent who told you they wanted to hold onto your money for you but then turn around and spend it. Whatever it is that caused you to lose trust during childhood it's deeply affecting your adulthood as if one wrong move and the worse is about to happen. You know how Chidi from The Good Place TV series (amazing show) would become so indecisive about a decision to the point it caused his death because it would debilitate him...I'm sensing that from this pile. I wish I knew what it was from childhood that caused you to feel as if you can't move on with your life and live it freely, abundantly, and so forth but again this is a general reading and also the energy feels like a shut door as if not even you like to open it. You may also suffer from remembering some of your childhood because it was so traumatizing. While you remember some of the bad times, other times that caused you to feel some type of way won't unlock itself except once in a blue moon.

How to begin trusting others again? Tarot: Same Cards

Facing your trauma head-on. If this isn't an option or you know that it wouldn't do any good remember that you are an adult and for those of you who aren't remember that you are your own person and you don't need any approval outside of yourself. Believe in the things that you set your mind to. If you believe you will and can be a billionaire don't tell those who do nothing but put you down...keep it to yourself and harvest that feeling so it can grow. Believe that you are capable of doing and being anything that you set your mind to. For some of you, this is more than a mental thing but more so having parents who think how you dress, look, act, etc is a phase, "of the devil", or whatnot. If you are an adult...please cut the cord and live for yourself. If you still live at home and are not an adult....this maybe a bit tricky as not everyone has the privilege to do as you please. Just remember who you are as a person and know that nothing is wrong with you. There is so much I can go on about but again that would be long and this is too much of a general reading for that.

What good can come from trusting again? Oracle Cards: Freedom, Peace, Lighten Your Load, & Beauty.

As mentioned some of you could have childhood wounds or could be currently going through it if you are still a child (under 18) where your family criticizes you for your style, weight, etc once you release your need for approval or even stop listening to the naysayers you will come into your own and fully embrace yourself relieving this load that you no longer have to listen or can tune out those who constantly put you down because of their own issues and problems with themselves Lastly of course freedom is something you will experience. You will have so much freedom you won't know what to do of once you release this wound or leave your childhood house.

Thank you to everyone who supports not only my Patreon but also my Etsy and Tumblr page. Much love and blessings to you all.

Stay Safe and Be Blessed :)

[project-sekai-facts]

Hiii I'm a newer fan and I have a few questions about how the SEKAIs work

1. When you leave the SEKAI, does it spit you back out the same place that you entered it? Or can you use it to teleport?

2. On that note, in the Wonderlands x Showtime main story, Emu and Nene hold on to Rui while Tsukasa transports them all. This means you do not need one phone per person to travel. Can he do this because they also have the Untitled songs on their phones? Or can this be done to ANYONE? Could it work on those from a different unit?

3. Do we know if there's a limit to the number of outside things someone can bring into the SEKAI? For example, if the Empty SEKAI is essentially limitless, could it be used essentially like a bag of holding from DnD? Could it store the Mediterranean Sea? Could you steal something and put it in the SEKAI to erase the evidence?

4. Do things brought into the SEKAI ever disappear? If they do, do they return to where the objects were in the real world, or do they simply vanish?

5. If you give something to someone inside the SEKAI, can they take that thing with them outside of the SEKAI? Can it be used to teleport objects? Or will the object return to the person who originally brought it? Or will it stay in the SEKAI until the original person takes it out?

6. Why do they have to hide the Vocaloids on their phones? What do they think will happen if people see a hologram of Kagamine Len? Wouldn't it just be assumed that they're looking at a vocaloid video or some kind of sophisticated VTube program? Why would someone automatically assume magic?

Thank you for your time! I have no idea if these questions have even been thought of; it seems more like the SEKAI are supposed to be metaphorical than treated as proper aspects of science fiction. So if you have/find any answers, I would greatly appreciate it!

1. It sends you back to where you were when you went in. This is shown most notably in the wxs main story where kigurumi-san says he saw Tsukasa and Emu disappear and reappear.

2. Sekai only allow certain people into them (the people with the specific untitled file on their device). This might change later this year.

3. This is something that they've never really gone into detail about, but you can probably put as much in as you want. They're pretty much endless or at least very very large.

4. No, they just stay there until you take them back out

5. The way the game seems to work is that whatever you are holding goes in/out the sekai with you (things like chairs you are sitting on seem exempt from this). So yes this technically means you can teleport objects, but only ones that came from the real world. Stuff that was created by the Sekai can't be taken out.

6. Probably just basic sci-fi rules of not trying to freak out the general public. Emu mentions that normal phones are able to display holograms in-universe, so in theory it shouldn't weird people out. But then again if anyone found out any level of detail about you having an mp3 file that warps you to an alternate dimensional plane where Hatsune Miku is legit real and based on your emotions would probably make you subject of government research. Like WxS use the vsinger holograms in the Wonder Magical Showtime event because they can use the excuse of "it's a show we just have the technology" and they never get sued by crypton and you could probably just say "cool app" if anyone saw it briefly but if people find out any actual info it's a problem.

Hope this is helpful!

[catscraftsandcommentary]

Not gonna lie, as a kid, I did NOT realize how much basic algebra and basic geometry would be involved in adulthood. All those word problems that you HATED as a student? They are preparing you to think your way through REAL SITUATIONS.

Real life word problems I have solved (or watched my dad solve, because he's very good at "let me show you how to do this Adult Stuff, so one day you can handle it on your own"):

I am preparing to retile the bathtub/shower in my bathroom. If the area is [measurements] on two walls and [measurements] on the other wall, and the tiles are [measurements] and come [number] in a box, how many boxes do I need? Does this include border tiles, which are [measurements]? Does this include cutting some tiles into two, where I need less than half a tile? How much will this cost? Do I need to keep the receipt to return extra tiles? What other materials do I need to prepare the wall for tiles, and how many of them do I need?

I want to make a cute knit hat. I have picked out a stitch pattern, a yarn type, and the appropriately sized needles. Using these, 5 repeats of the pattern is [measurements] and my head is [measurements]. Also, the border pattern that I want to use is [measurements]. How many repeats do I need to make for the hat to fit around my head? How many rows long should it be to cover the top of my head and down over my ears? When do I start decreasing for the top of the hat (where it goes from a tube to a circle)? Or do I start from the top and keep going until it's the right length? How do I adjust the pattern to account for the increases (top-down construction) or decreases (bottom-up construction) while I'm forming the top of the hat (the circle part)? If the pattern was written for flat knitting (back and forth) and I'm knitting in the round (always start rows on the right), do I need to adjust the pattern for that?

I want to follow a pre-written pattern for a fitted garment, BUT the test swatch I knitted came out the wrong size for the needles I used. Do I change needle sizes or rewrite the pattern [See process above for writing a knitting pattern.] If I change needle sizes, what size should I try next so I hopefully have to knit the fewest test swatches? Do I *like* the way that the pattern looks when I change needle sizes, or are the stitches now so loose that it's worth changing to a thicker yarn (test swatch was too small and bigger needles look bad), a thinner yarn (test patch was too big and smaller needles/tighter needles are hard to work with) or rewriting the pattern?

I am going to build a small wooden ramp for my new shed. What are the relevant local building codes? How long does my ramp need to be to reach from the door of the shed to the ground (which may be sloped) while keeping the appropriate slope? Am I using the gentle slope for handicapped access or the steeper slope for utility access? Is the ramp so long that it needs a level platform in the middle? How much space will this add? How many supports do I need? WHAT KIND AND HOW MUCH LUMBER DO I NEED TO BUY FOR THIS PROJECT? See also: screws, screw bits, support brackets, etc. How much will all this cost?

I want to reorganize my bedroom. What furniture do I have? Am I adding or removing any? What measurements do I need to take so I can make a small model of my room, doors, windows, electrical outlets, etc, and furniture? If I am doing this with graph paper, what scale am I using for "inches to graph squares" and what size does everything need to be? When I'm ready to move everything, what order do I move the furniture so that my largest pieces don't get trapped somewhere awkward?

If I also want to PAINT my bedroom at the same time, how do I move furniture so that I can reach the walls while doing the least rearrangement for heavy pieces? Do I have space in other rooms to temporarily move things out of my way, or do I have to keep most stuff in my room the whole time? How much stuff can I declutter and get rid of before I start?

I want to start a new embroidery project. What materials will I be using, and how much of each will I need? Can I use the things I already have in my Craft Stash, or do I need to make a run to the craft store? How big will the finished project be? Do I want to frame it (this will require extra fabric around the edges for mounting, plus the framing materials) or sew it on something as a patch (this will require a seam allowance and possibly backing fabric for the patch, like stabilizer) or embroider an existing item? What new techniques or skills do I need to look up and learn before I start?

I want to put organizing bins in my pantry cabinet. The shelves are [measurements]. Many of the cans and boxes that I want to organize are [measurements]. Of the organizers available, what size should I look for and how many will I need? Do I want everything one size, or do I want some larger or smaller for different things that I'm storing? How much extra effort will it take to set up and maintain this system, and am I willing to invest that effort - not just at the start, but as an on-going basis?

At work, we keep track of how much product we produce, the materials we use, and the waste that we had. (This helps for tracking "what does it cost to produce each item, including labor" which is important for budgeting. Unfortunately if management is obsessed with maximizing profits NO MATTER WHAT, this can lead to process changes that are REALLY ANNOYING.) If I have 5 rows of boxes plus 3 extra boxes on a pallet, and each box holds 12 items and each row holds 7 boxes, how many finished items are on the pallet? If I have 2 finished pallets (12 items per box, 7 boxes per row, 16 rows per pallet) PLUS that partial pallet at the end of the shift, how many items did we make that shift? If we threw away 68 lbs of material during the shift and there are 3.36 items per lb of material, how many item's worth of material did we throw away? What was our percentage of waste for the shift? (These ARE realistic numbers!) How much total material did we use during that shift, and when will we need to order more? If there are three production lines on the shift, all making different items and using different materials, how do we track everything? Are there any changes that management can make to make production more efficient? (More product produced, less materials and time wasted, less machine downtime for mechanical or user error problems.) How likely are those changes to drive experienced workers away, and is the cost of finding, hiring, and training new employees to a similar level of skill so high that we should NOT make those changes?

Word problems are EVERYWHERE when you're an adult, and half the trick of solving them is recognizing that they exist, and then figuring out what questions you need to ask to solve them, and what info you need to answer your questions.

One thing they don’t tell you about sewing is that it is actually ironing

[shabbytigers]

charles dickens: how can anybody tolerate reading him

it’s not the uncontemporary prose style i object to. i got super into the early novel in college, like samuel richardson and i mean his real doorstoppers, not pamela, which kind of sucks tbh, clarissa and sir charles grandison are much better. i also have a thing for old english. victorian prose still has new-car smell to me, and i like it just fine in general

i will concede the scrooge story but that’s basically one gimmicky short-story-length bit

and that’s the problem

all of dickens reads to me like a bit that’s fine as far as it goes but really should be over in twenty minutes tops. it’s like watching someone act out a comedy routine with hand puppets. there are some nice cutting passages about like socioeconomic shit, and some excellent quips, but i’m not sitting through a novel-length puppet show for that

forster’s distinction between flat vs round characters is the top-level read on what’s “wrong” with dickens: he does a lot of one-dimensional characters. really caricatures, not people. but like, that’s fine, sort of? jane austen also has some flat-ass characters. mr elton, mrs norris. mr collins! a great ‘caricature’ character, very much one long bit play-out. and he’s hilarious. idk though, i should probably try to articulate this better but basically he’s funny in a way that matters. mrs micawber isn’t. i’m done with her after one appearance. why is she still here? because dickens is saying something interesting with the plot twists that are inhabited by caricatures like mrs micawber. well, great: i don’t like that. it’s a puppet show. write me a blistering ass thinkpiece on what’s wrong with the economy or legal system directly, it’ll be more interesting. if you want to write a novel maybe write one where i can be bothered to give literally any kind of a shit what happens

i didn’t like fielding back in my early novel era, either. or candide and rasselas. picaresque is a puppet show too and i can’t live on just plot and atmospherics. i wouldn’t even say character is my biggest thing: what really drives me as a reader is worldbuilding, i read austen as much or maybe more for the window into how social shit and daily life work in this particular milieu as for the character arcs per se. writers in the mode i’m talking about aren’t trying to paint a world at all, a puppet-show stage is plenty sufficient for their purposes. i get it. but it’s excruciatingly boring. to me

[greenerteacups]

What are your thoughts on the magic system, both how JKR has created it in canon and also how you have tried to deepen or change it in Lionheart? In a lot of fanon/other series there’s more clear rules surrounding use of magic and magical strength or talent than it seems like JKR developed in canon.

Current fantasy publishing has trended hard towards hard magic systems, i.e. systems with clear rules, limits, and costs, because those systems make it really easy to establish stakes. Sanderson's books are a great example of hard magic used well, because his books are really interested in how societies built around magic would use them to solve problems.

Soft magic, in contrast, doesn't operate on clear limits. But that doesn't mean it's bad, it's just a different kind of worldbuilding. In his article, Sanderson points out that while hard magic systems thrive on getting the reader invested and scheming with the characters, it de-mystifies the "magic" of it all; it basically becomes technology. Meanwhile, soft magic systems are great at mustering awe and wonder. The risk of a hard magic system is you make your world feel mundane. The risk of a soft magic system is you make your stakes feel irrelevant. Neither of these are necessarily true, they're just risks you need to manage when you're writing. And good authors can manage them. For soft magic writers, you need to be really careful to show that your universe has problems that magic can't solve, even if you don't break down why it can't solve them. Martin and Tolkien are great examples of this. Why can't the eagles fly everyone to Mount Doom? I dunno, but I know they can't! And I trust that a world with his richness and verisimilitude, things happen for reasons, and those reasons, if explained to me, would be satisfying. When Tolkien tells me the eagles aren't a viable solution to the problem of the Ring, I just trust him. Because he's put in the work to make this world believable. Do I need him to invent some fictional rule about eagles being, like, physically unable to cross over that mountain range? What would that accomplish? The thing about magic being soft is you can just accept that sometimes It Doesn't Work, and you're fucked. So there's still a sense of tension and stakes for your characters, because they can't always depend on magic to get the job done. Another way around this problem is just to make the stakes of your series rest on something that magic can't solve, like emotional conflict, or a mystery. This is actually most of the Harry Potter books, in my opinion; they have pretty good stakes that almost always stem from human beings in conflict with each other, which isn't something that you can wave a wand and make go away.

Rowling's magic system is somewhere between hard and soft, whereas you can do X and reliably expect Y magical outcome, but also, it's pretty soft where the limit is. I don't mind this, because I'm pretty willing to handwave glitches in the magic system where it improves the story — so long as it's not a glitch that opens a plot hole, I'm fine not understanding How or Why Exactly a given piece of magic was executed. Dumbledore's escape from the aurors in fifth year, for instance. I don't know how he did that! Doesn't bother me. Because plot-wise, it doesn't make a difference. Because whether or not Dumbledore uses a mechanic I'm familiar with doesn't change the impact of the scene or my understanding of his abilities. The point is that he's super powerful and it would take way more than four aurors to nab him. Cool! Got it. No problem. But if Dumbledore was able to cast a spell that made Umbridge resign? I would be pissed. I don't want magic to fix that problem! I want the characters to develop and emotionally respond to challenges! Don't fuck with my stakes, man!

What also bothers me is when the books introduce technology that does work like straight-up hard magic, i.e., Time Turners. There is no reason a Time Turner should ever fail. It doesn't have a cost; it doesn't have a limit. This is insanely OP, and Rowling has admitted that it kind of fucked her worldbuilding. So I took it out in my fic, because I didn't want to be assed. I've peppered in a few limitations of my own on some things; I've hardcore nerfed Apparation, because I like travel sequences and I think teleportation is boring. The nature of the resurrection magic used by Voldemort seems big enough that there frankly should be a cost, so I'm thinking about that as I'm writing Book 6. Same with the horcruxes. In general, I think the nature of "dark magic" wants more explanation, so I'm trying to get into that more in the future. Plus also Lily's blood protection, and the horcrux/soul-splintering thing, and basically What All Went Down, Magically Speaking, With The Potters—? I'm interested in that. It implies the existence of much older and weirder magical mechanics than we've seen in the rest of the series. How can you do magic unintentionally? Was it unintentional? Much to figure out.

The spell system in general I don't mind, although I think Avada Kedavra is a terrible idea. you have this beautiful unbounded combat system that could be so creative and then you just. gave every wizard a gun. Sad! Also, I really like the idea in the last book of "you have to mean it," with respect to the Unforgivables, which ties in with how the Patronus requires an emotional component; it implies something about intention and willpower that seems like a potentially interesting mechanic.

[soniaknox]

Unraveling the science of storytelling

Ever wondered why you get so sucked into a good book or movie? 🧠✨

Science has some answers!

1. Identification with Characters

• Empathy and Mirror Neurons: People are drawn into stories when they can empathize with the characters. Neuroscience shows that when we see someone experiencing emotions, our brain’s mirror neurons activate, allowing us to “feel” what the character feels. This creates a sense of immersion.

• Relatable Stakes: Audiences are more likely to connect if they see their own struggles, desires, or fears reflected in the characters.

2. Curiosity and Uncertainty

• Suspense: Stories with unanswered questions, tension, or uncertainty about outcomes activate the brain’s dopamine system. This chemical keeps us focused, seeking resolution.

• Cliffhangers and Mystery: These engage the audience’s problem-solving brain, making them want to find out what happens next.

3. Emotional Engagement

• Emotional Peaks: Powerful emotional moments (whether joy, sadness, fear, or triumph) activate the brain’s amygdala, making the story more memorable and compelling.

• The Power of Conflict: Stories thrive on conflict, which keeps readers or viewers emotionally invested in how the situation will be resolved.

4. Story Structure

• The Narrative Arc: Most compelling stories follow a structure, such as Freytag’s Pyramid (exposition, rising action, climax, falling action, and resolution). This provides a rhythm that our brains find satisfying.

• Cause and Effect: Stories that follow logical sequences and actions tied to consequences are easier for the brain to process and engage with.

5. Immersion and Transportation

• World-Building: A well-crafted world pulls readers or viewers into the story. This is known as narrative transportation, where the audience feels like they are part of the story’s universe.

• Sensory Details: Vivid descriptions help create a mental simulation of the story, making it feel more real.

6. Themes of Survival and Meaning

• Primal Needs: Stories often touch on universal themes like love, loss, survival, and identity, which resonate deeply because they align with our core evolutionary drives.

• Meaning-Making: People engage with stories that help them explore big questions or provide insights into their own lives.

7. Neuroscience of Engagement

• Oxytocin Release: When we see acts of kindness or connection in a story, our brains release oxytocin, the “bonding hormone,” which makes us feel closer to the characters.

• Dopamine: When stories create anticipation or reward, our brain releases dopamine, which enhances focus and motivation.

8. Conflict and Resolution

• Contrast: Tension between what characters want and the obstacles they face keeps audiences engaged. Resolving these conflicts brings satisfaction.

• Transformation: Watching characters grow, change, or triumph resonates because humans are naturally drawn to stories of growth.

9. Universal Archetypes

• The Hero’s Journey: Stories that follow archetypal patterns (e.g., Joseph Campbell’s “Hero’s Journey”) tap into deep psychological structures shared across cultures, making them timeless and universally appealing.

Conclusion:

A great story combines emotional resonance, a strong structure, relatable characters, and moments of suspense or surprise. Scientifically, it engages the brain’s emotional and reward systems, creating a deeply immersive experience that keeps people “caught” until the end.

So, basically, a captivating story is a masterclass in emotional manipulation (in the best way possible!).

[lookstairs]

I think one of the most realistic parts about Baby Reindeer (2024) is how much Donny downplays the abuse he faces

I know everyone wants to hate on him for being “stupid” and blame him for everything that happened because yes from an outsiders perspective he made questionable choices but isn’t that what HUNDREDS OF PEOPLE DO?

I know so many people who’ve “played nice” or tried to downplay abusive behavior. You try and tell yourself “It wasn’t that bad”, or that it was just some crazy experience that should be forgotten. It seems so much easier to stay silent and just try to move on.

You don’t wanna start problems

You don’t wanna be mean

You don’t wanna be the bad guy

[vaguely-concerned]

seeing people claim that lucanis is 'bad representation' is hilarious to me because in so many ways he's really the closest anything has ever gotten to capturing my own personal experience. sorry for being bad real life queer and mental health/neurodiversity representation folks 😔 I'll take time to reflect and do some work on myself and try to do better in the future

[royalarchivist]

Quackity: Lately, I have been participating in events and projects, and unfortunately it's become clear to me that my presence and name have only been used to attract the attention of my national and international community with the objective, as I see it, of generating more attention towards controversies - destructive controversies, and a rupture that is very clear in the community. [...] In advance, I ask the organizers of any type of events and projects like this to please show more respect to me and my community, because I've shown lots of sympathy and cooperation in these various projects and events, but it's become clear to me that their only interest is in using my name. My name and my community have been used to attract all this attention for distorted purposes, and I will no longer allow that to happen. That is not what my content is about - not me nor my content nor anything I’ve done.

Here's Quackity's commentary on respect and his reasoning for distancing himself and his projects from future events and awards shows.

[ Full Transcript ↓ ]

-

Quackity: Before I leave, I would like to talk about something that is very serious for me and something that I would like to tell you about. Because for me it is a very serious topic and it is a topic that- well, I had my mind on and I want to express it- [reading Chat] yes, thank you. Merry Christmas, Merry Christmas.

Anyways, lately I have been participating in events and projects, and in these events and projects, unfortunately it's become clear to me that my presence and name have only been used to attract the attention of my national and international community with the objective, as I see it, of generating more attention towards controversies - destructive controversies, and a rupture that is very clear in the community, and this is what I want to say: I'm NOT ok with these types of dynamics or stuff like this, and I want to make it very clear to my stream, my community, and everyone that, for this exact reason that I just mentioned, I want to make it clear that I want to distance myself and any of my projects from the Esland Awards, which you all know is coming up.

Sadly, the Esland Awards have been an event with a history of much controversy, a lot of division, and a lot of divisions within the community, and as you guys know, as you know, my content has never been characterized by seeking controversy or divisions or anything like that. It's for this exact reason that I don't want to be involved with these awards.

In advance, I ask the organizers of any type of events and projects like this to please show more respect to me and my community, because I've shown lots of sympathy and cooperation in these various projects and events, but it's become clear to me that their only interest is in using my name. My name and my community have been used to attract all this attention for distorted purposes, and I will no longer allow that to happen. I don't want it to happen. That is not what my content is about - not me nor my content nor anything I've done. That's what I want to make very clear here.

That's about it. I'm going to continue with the projects I'm doing and I want to thank my community so much for the support and love. I appreciate it very much, but I wanted to make this clear - I wanted to make this clear. This is just a topic I wanted to address quickly.

Thank you for all the love and support, I love you all so much.

[miniagula]

movie sonadow would be so l umity-coded…and i say this bc their dynamic is similar to the games but with a different and tender perspective: they both empathize deeply with each other now, and this shadow is not as reticent or closed off bc of that. that being said: movie!sonic would ABSOLUTELY 'YOU'RE the sweet potato!' the hell out of shadow

[genericpuff]

UM EXCUSE ME-

y'all I am NOT making this up and neither is OP, literally go to the Canvas section on WT and click on a genre, esp romance, comedy, or fantasy, they're getting BOMBARDED by p0rn bots right now, it literally looks worse than Tumblr Live, THERE ARE MULTIPLE PAGES OF THIS SHIT

congrats Webtoons, you've now officially become "that" unsettling backdoor back alley app that promotes shovelware content and gets exploited constantly by bad actors with zero moderation, huh?

[polysyndetonaddictsupportgroup]

hii 📓

Okay so the thing is that I wanted a “the Zenin raised Megumi instead of Gojo” fic but the thing is that I’m absolutely convinced that if the Zenin were the ones that took Megumi they wouldn’t actually take tsumiki too. The fandom consensus I’ve personally seen has been that she would have been taken and mistreated by zenin for being a female non sorcerer but I personally think they would have just straight up left her behind.

They only bought Megumi. They keep non sorcerers and women as servants in their compound but all of them are Zenin themselves. Tsumiki isn’t related and I couldn’t really see any reason why they’d want her. Which turned this into a fic where Tsumiki loses her brother, but she’s trying to find him again, she swears. I think of it as my “siblings doomed by the narrative desperately try to write a new one where they can be together” fic.

The thing is that Tsumikis mom was one of those people who thought love and consumption were synonymous. She had a habit of getting caught up with assholes and just… having both of them chew on each other for a while until it turns into this horrible fucking bloodbath.

Tojis just another loser her mom got caught up in, but he’s Tsumiki’s favorite out of all the losers, because he gave her her brother. Her mom marries this random guy she barley knows and Tsumikis pretty sure she does it so they can both ditch their kids twice as much, secure in the knowledge that there’s supposedly another person checking in. It works out great for them, because they both stop coming entirely. It’s fine, because Tsumiki has Megumi and Megumi has Tsumiki and they don’t need anything else.

It’s one of those things where they were in really unhealthy circumstances and it made their relationship a little bit unhealthy but not necessarily bad. They both had to grow up way too fast and deal with way too much too soon and become codependent on each other because they are, in the most literal way possible, dependent on one another. Neither of them know how to love in a way that doesn’t involve sacrificing themselves for their sibling, mostly because they don’t have a way that doesn’t involve that.

They’re in a sinking ship and tsumiki knows it. Their parents aren’t coming back. The money is going to run out sooner or later. Their problems are stacking up.

Megumi has confessed to her that he sees things that no one else does. When she asks him how he knows no one else sees them, he explains that they’d say something if they did and won’t say anything else. And she doesn’t know what to believe but she refuses to call him crazy. He tells her that monsters cling to her back and he fights them off for her. She patches up his bruises and cuts and tells him he’s brave and tries to figure out if she’s just imagining that her back feels lighter after. He tells her that there are dogs that only he can see that have started following him around, and she tells him she believes him and can never remember, later, if she meant it or was just saying it.

The last time Toji came by, he left them more money than tsumikis ever seen in her life, took them to ice cream, told them that he was sorry he was so shit at this and that the money was Megumi’s share in a payment. It was for something he was going to help daddy with later. Tsumiki and him were to use it to take care of themselves and be healthy, because Megumi couldn’t help him later if he wasn’t. And tsumiki was always afraid of what he meant by that, but in the end, she let it slip her mind. After all, Toji hadn’t been by in ages. He probably wouldn’t come by at all.

And he didn’t. But others did. Two men she’s never met before are waiting outside their building one day, and when they see Megumi, they laugh. But the thing that Tsumiki can never get out of her mind later is that she swears they weren’t looking at Megumi directly. They were looking at his dogs.

Tsumiki basically tries to get Megumi and powerwalk past them, but they’re a lot bigger and a lot stronger and there’s nothing she can do, really. They have a brief conversation about whether they should take her too, before one decides that Toji only sold him his kid and to leave the other behind. This makes both of them try to run, but there’s nothing either of them can do to overpower the men, and the men say that “Naobito would go ballistic if they left the ten shadows behind” so they take Megumi and leave her.

They put Megumi in a car and shove Tsumiki to the curb outside of it, and she tried to hold onto his hand, she swears. She grabbed at the car door even when the car started moving, and she banged on the windows, and she watched as Megumi kicked and punched and screamed inside, until one of them hit him and he went still. She ends up falling and hitting her head when the car picks up speed, and when she wakes up again, the cars gone and she has no idea where it went.

And it becomes a foundational moment for who she is. I think she was just intensely lonely before Megumi and poured a lot of herself into this idea of a family together. Tsumikis never able to shake the moment of her being outside the car and Megumi being on the inside, and not being able to get into him. She can never again get what she felt in that moment out of her head.

She goes to the police and tells them that it’s her little brother, his dad sold him but she wants him back, and they’re like “…”. The issue is that apparently her mom can pick up the damn phone if the police call and she shows up, spins some lie about how her and the stepdad split up and he took the kid with him, they never adopted each others kids so it was within his rights, Tsumiki was taking the separation hard and acting out. She lies, basically, because toji hadn’t kept up his end of the deal and dropped in to check in (neither had she) and his kid wasn’t her responsibility, he could do what he wanted with him. She doesn’t want the police poking around the way she lives. Just let the kid go because he’s probably dead and not her real brother anyway.

Tsumiki refuses to give up on him. They were both kids who no one cared about but they cared about each other and that had to be enough. But she’s seven with no support and zero idea on how to find him. She starts skipping school to look for him in random streets, puts up flyers, can’t go outside without looking for him. She gets held back a year in school because of how much she skips and she can’t bring herself to care. She buys him gifts on every birthday and writes him letters she can’t post because she’s going to find her brother and she’s going to prove to him that she never once stopped looking for him. She just. She needs him to know that she never stopped looking for him. She needs to find him and be able to honestly tell him she never stopped trying.

One day her mom comes back in clothes she can’t afford and comes with movers they shouldn’t be able to afford and announces a move they definitely can’t afford. Tsumikis absolutely opposed to going because if her brother comes to look for her, she needs to be in their old apartment so he can find her. She doesn’t have much of a choice in the matter. They have mysterious new benefactors who are setting up a trust to take care of tsumiki with a very generous stipend for her mom but they have to move to Sendai as a stipulation of getting the money.

It’s not until the attorney who’s managing her trust hands her a set of glittery blue butterfly hairpins that tsumiki realizes her mom sold her brother a second time.

The thing is that tsumiki had this one cheap set of butterfly hairpins she’d always stopped to look at in the store when she took Megumi to go grocery shopping. Shed never buy them, because they couldn’t afford it, but it was the thing she wanted most openly in front of him. She was always secretly really insecure about her hair, because they were the kind of poor where bar soap was a luxury they could only sometimes afford and kids at school made fun of how her hair was dirty and frayed. Megumi was the only one who ever saw how badly she wanted those stupid hair clips. If they had to give her a set of butterfly hair clips, it’s because he demanded that they did.

It’s basically implied that the Zenin are the ones paying for her care and upkeep due to an unspecified deal they cut with Megumi, but when they approached her mom with it, they added the caveat that Tsumiki had to be moved to a new city entirely and there could be no forwarding address left anywhere.

The zenins stance on tsumiki is, effectively, that she’s a weakness Megumi needs to be weaned off of. They honestly assumed he’d just like, forget she ever existed and he. Did not do that. He actually pitched a total bitch fit. Tried to scale the compound walls. Bit multiple people including the clan leader. But he’s got the ten shadows, he’s heir to the clan, and he can’t be caught up on some random non sorcerer who isn’t even a Zenin. They end up agreeing to pay for her to live very comfortably if he starts cooperating more but they want to make sure that he can’t ever find her again if he does ever succeed in running away.

Tsumiki is at once full of hope and hopeless, because on one hand, the butterfly clips prove that Megumi still loves her and remembers her, at least in her mind. But at the same time, she’s being moved to Sendai and doesn’t know how they’ll ever find each other again. She doesn’t honestly know if they’d recognize each other if they saw each other again. She wears the butterfly clips every day, even when she gets too old for the style, because she’s more confident about her brother recognizing them than her.

The thing about tsumiki is that she doesn’t understand hate. She just doesn’t. Her mom and toji always got caught up in these perceived slights and revenge and never once let go of the past. They’d destroy themselves if it meant taking down the people they hated with them. She never wanted that. She wanted to live with the people she loved and she’d happily turn around and forget everything, all the pain, all the searching, if it just meant she could go back to being megumis sister.

This isn’t about hate. This is about that moment outside the car, where her brother was inside and she couldn’t get in to him. This is about how helpless and small she felt when they shoved her to the curb and ripped megumis hand out of hers. She needs to make sure that when she finds Megumi, she can take him home again. So she decides she needs to learn how to fight.

Itadori Yuuji has the constitution of an ox and the strength to match it, and he is known for getting in fights with bullies and trouncing them so thoroughly that it’s never a question of who wins when the fight starts. He’s insanely physically capable and can hold his own in a fight with ease. He’s also nice and kind and Tsumiki’s comfortable enough asking him to teach her how to throw a punch or two.

She is bad at it.

So fucking bad at it.

But she never gives up, and Itadori is nice enough to keep teaching her despite how embarrassingly horrible she is at it all. He always asks her why she wants to learn so bad, she doesn’t seem to like it all, and she never answers his question honestly.

In their last year of middle school, their class has a trip to Kyoto. She, Itadori, and the rest of their group walk into some random restaurant in the city and have barely sat down when someone comes inside, starts searching every booth in the restaurant while shouting Tsumikis name.

And oh. They could recognize each other after all.

She looked for Megumi in every crowd she was ever in, but she didn’t consider that he was doing the same. Or that he would see her first.

Her brother grew up without her seeing it. Hes older, dressed in strange, expensive clothes, has a slightly bruised up face and split lip, but his eyes are the same, and he looks like the brother she remembered.

But a lot more nervous than Megumi ever was. He was a tiny, stoic child who didn’t take any shit and never showed fear, even when there were monsters that only he could see. But he’s nervous when he tells her that she probably doesn’t recognize him or remember him, but when she was a lot younger, he—

Megumi. He’s her little brother. Of course she remembers him. She’s been looking for him everywhere.

Megumi didn’t smile much as a child, but he smiles at her then. He tells her he doesn’t have a lot of time and she tells him that they can leave out the back, and he never let her hold his hand as a child but he takes her hand so easily in that second. And just for a second, she’s his sister again, and it’s everything she wanted.

They never make it out the back.

Two men come in. Megumi calls one of them uncle, and he goes stiff and flat the second he sees him. His uncle apologizes for his nephew, tells everyone that he always makes scenes when they’re out in public, tells him to apologize to the nice people and leave. Megumi was mistaken.

Tsumiki tríes to keep ahold of his hand. Really, she does. She tries to tell people to call the police. But megumis “uncle” steps towards her and Megumi slams him into a table, and then suddenly Megumi’s the one insisting that they leave immediately. They can go. It’s fine. They’re leaving. She loses ahold of his hand.

She tries to follow, but the other man restrains her. She learns that she’s better at slamming plates into peoples heads than she is at punching, and at this point itadoris Friend In Danger Override has been triggered and he fucking tackles the dude, which gives tsumiki the clearing that she needs to chase outside after her brother. She gets out just in time to see him be pushed into a car, and she’s had years to think about the last time this happened and figure out what to do differently. She throws herself in front of the car and refuses to move.

See her entire stance is that she’ll sooner get run over and killed in the street than let them do this a second time, but she also can see Megumi trying to fucking punch the drivers head in from behind because he’s about to hit his sister. His uncles trying to restrain him, and just for a second, she sees his hands make the shape of the shadow puppets he used to show her as children. Something invisible slams her out of the way just as his uncle knocks him out.

She picks up a rock and tries to smash in the fucking window with it, and itadori has to pull her out of the way to keep her from getting her feet run over when the car finally tears out of the parking lot. She goes ballistic on him for stopping her because her brother was right there and she lost him again and she didn’t even get the license plate. He was right there.

The police basically do jack all again. There’s no license plate, no names they can follow up on, and they’re still half convinced this is a settled custody issue even though tsumiki insists her brother was sold by his dad and is very plainly getting hurt wherever he is. Itadori is now a devoted advocate of finding tsumikis brother and reuniting them, and both basically kind of end up becoming really close to the other? He’s taking care of himself and his grandpa alone, she’s alone while her moms awol again, and they both become the others support system.

At one point, there’s this random girl and boy who doesn’t speak who shows up to their school for indeterminate reasons. The girl is bored and twirling her glasses in one hand while the person in a suit that they’re with asks the principal questions, and when tsumikis eyes catch at the right angle, she sees an invisible monster clinging to a classmates back through them. She realizes it’s exactly what Megumi always talked about and still remembers that the people who took him could see his dogs. She corners the two others in a room and tries to demand information about the invisible monsters or see if they know her brother or the people who took him, and immediately gets blown off. The fight escalates until the girl tells him that actually, yeah. She knows tsumikis brother. He is a very special person to some very powerful people, and the only way she can ever help him is to tell him that she’s let go of him and that he needs to do the same to her. That’s the only message that the people who have him would ever let get through, and his life would get a lot better as soon as he got it.

The people who have him would give him anything in the world, except for her. He could be a lot happier and healthier than he is right now if he just agreed to stop trying to find tsumiki. If she really wants to help her brother, then she needs to let him go.

Tsumiki nails her in the back of the head with a milk carton when she tries to walk away. It sloshes out on her. Tsumiki did not intend this. She cannot admit that fact. There are some actions you just have to own when you do them. She tells the girl that he’s her brother and she’s never letting go of him. She’s going to find him. They can’t keep him from her forever. She doesn’t care how long it takes her.

For a second, tsumiki really thinks this girl is going to kick her ass, but she doesn’t. She wishes her luck and tells her she’ll need it, and it’s only later that tsumiki realizes she slipped the eyeglasses into her pocket.

And as it turns out, her brothers monsters were real all along.

There was a knife that toji left in the frame of his bed. Tsumiki confiscated it from Megumi as soon as he found it, and it was odd and strange and gave her bad feelings when she held it, and it can kill the things that gather on her back. When she follows Itadori to their local high school and joins the occult club in an attempt to find more people involved in this world of invisible monsters, she wears the eyeglasses and keeps the knife hidden in her bag.

It comes in handy when her senpais are trying to open this thing and suddenly there’s like a fucking portal opening and Actually Let’s Not Oh Too Late Let’s Run Let’s Fucking Run.

They run.

Meanwhile at the hospital Megumi found out in very quick succession that his sister has fucking sukunas finger and also that there’s a very over enthusiastic himbo who is the self appointed vice president of the Find Fushiguro Megumi And Bring Him Home Club who absolutely fucking refuses to leave his side. Sorry who are you. Why are you so enthusiastic about finding him. Megumi sort of was the one doing the finding there was a whole tracking situation and him waiting dramatically in the shadows like they just did it.

Anyway they run very very quickly to tsumikis school where she is dodging she is serpentining this is a fuckton of monsters oh holy fuck is that her brother?

The fight goes bad.

Tsumiki manages to follow itadori and her brother out at a much slower pace because she’s not a freak of nature like itadori and shows up just in time to see her brother shouting at itadori to not eat the fucking finger while itadori is absolutely trying to eat the fucking finger.

She chucks her shoe at him. The finger goes flying.

Then the monster eats it instead.

Tsumiki: :o

Yuuji: :o

Megumi: fuck

Now there’s a bigger monster and the fight goes even worse. There’s a lot of shouting. Itadori ends up with her knife. Then he ends up getting eaten and they’re down both a knife and itadori, who’s probably fucking dead. Then megumis insisting she run and she’s insisting he shut the fuck up because it’s sort of taken a decade to get this close to him again and she’s not fumbling the bag now because of a monster on the rampage. Have a sense of fucking priorities here.

Then itadori bursts out of the monsters stomach with the knife like the fucking Kool Aid Man and the fight is suddenly very over. Good job, team.

Gojo rolls up to his most stoic and eternally pissed off student having a dramatic and emotional reunion with his sister.

Yuuji, in a very bad whisper: no no so like she’s been looking for him for years but he saw her in the restaurant

Gojo: :o go on

Yuuji: and then he got caught by like, I don’t know, he said he was his uncle or something but the dude acted so weird and creepy and they put him in a car and Tsumiki tried to stop the car but they got away

Gojo: *gasp* what no

Yuuji: I know! Anyway then I start helping her look for him but we can’t find him anywhere until I’m at the hospital and he just walks up to me right?? And I’m like “dude I have been looking everywhere for you” and he’s like “I have no idea who you are, I’m here about that fucked up demon finger” and I’m like—

Megumi, really trying to have a moment here: we can both hear you

And megumis like “this is uh. My new teacher. I guess. I am his only student. And he is uh. Enthusiastic. Do not linger in conversation with him.”

Tsumiki is lingering. She needs fucking intel so he can’t disappear again. Where does he go to school and can she transfer there. It’s fucking wizard school? Will they take her even though she’s not a wizard? She cannot emphasize enough that she will study any fucking subject they want so that way she can be close with her brother again she does not care if it’s applicable to her education or life. She can throw things at people itadori tell the man tell him how enthusiastically she will throw things at monsters for their weird fucking wizard school.

Itadori: she hit me in the face with her shoe like five minutes ago

Tsumiki: see???

Megumi keeps trying to forbid her from wizard school but she’s technically the older sister so she has override rights. She will go to wizard school. How does she get wizard school to accept her.

And Gojos just really weird and off and keeps looking at Megumi and saying that he “didn’t know he had a sister.”

He really didn’t know that Megumi had a sister he wanted to stay with.

And then suddenly it’s like a switch is flipped and he’s back to his normal self telling them to leave everything to him, because he’ll make sure tsumiki can come back with them. And uh? Itadori? Weirdly physically capable kid who will apparently eat anything? Is he going to be good getting home after all this?

Itadori: actually if it’s not too much trouble can I go to wizard school too my grandpa sort of died half an hour ago and I don’t have plans for the rest of my life. Tsumikis kind of my best friend and I’d like to make sure she’s all good at wizard school. I’m a really good fighter and I stabbed the last monster so like can I come too because you know. Dead grandpa. No family or future to speak of. Haha.

Gojo:

Megumi:

Tsumiki, softly: dude

There’s more after they make it to jujutsu high but this is already really long so we leave it here

[daisywords]

\

[theprinceandthewitch]

Okay... now it's time to go back to my silly little game...