#At the introduction of the main conflict which I find to be a kind of storytelling I’m not that into as a concept…

[in-study-hell]

TFone doodles that I need out of my system immediately. Airachnid was so cool she stole the show, coolest copter ever… I tried to remember how exactly she looked but there ain’t much refs of it online yet ToT

[secondhandsorrows]

Some Vital Scenes to Include in a Romantic Subplot, pt. 1

I’ve been in the plotting stages of a novel I’ve been working on for some time now. It’s not a romance novel, per se, but the romantic aspect is very prevalent… dare I say important. Anyway, so as I was working on my scenes and character arcs, I began to realize that I didn’t have enough fleshed-out about romantic arc, nor deepened the protagonist’s love interest or their connection, for that matter. This led me to devise up some scenes that I felt were crucial to the story if I wanted to keep this romantic angle to it, and now that I’ve most of them arranged, I find now that I’m way more excited about my characters’ love story. 

These tips will be unnumbered because, obviously, the sequence of these events and how they will fall into your storyline will probably be different. Also, you don’t have to use only one scene for every suggestion that will be mentioned, as you can have multiple scenes of flirtations or deep conversations, for example. They usually blend all together into the narrative at this point. Just remember that there should be some relevance to the plot at hand in some of these scenes as to not derail completely from the main narrative or other conflicts.

I was going to post this all at once, but decided it was too long and wanted to split it into two parts to go more in-depth and for easy reading. /-\ Enjoy ~

- The meet-cute, or the meet-ugly:

Ah, yes, the first encounter. Or, as we sometimes like to call it: the meet-cute, or the meet-ugly if you’re feeling a little unconventional or perhaps mischievous. Though we may enjoy setting up our star-crossed characters in a whole range of moments from awkward to swoon-worthy, the initial meeting is what’s important (if your characters haven't already met before the beginning of the story, ofc, but this is useful to have in mind). Let us quickly define the two:

Meet-Cute: A charming and serendipitous first encounter between the characters in question that sets a positive, memorable, and oftentimes romantic tone.

Meet-Ugly: An unconventional, awkward, or disastrous initial meeting that adds a unique twist to the start of the romantic connection, often leading to unexpected chemistry and an added intrigue on whether or not they’ll get together.

You don’t have to nail your characters’ first encounter into a label or bubble such as these two examples, but I like bringing these up for a general idea. 

- Bouts of flirting and/or banter:

Just as the title suggests, these are scenes containing the flirtaious communication between the two characters. These kinds of interactions will, of course, develop over time and deepen the bond or relationship. Playful interactions, gazes, and witty exchanges between the characters can create a lighthearted and flirtatious atmosphere that hints at their growing attraction.

The way they might flirt or tease can reveal their personalities. For example, one character might be more sarcastic, while the other responds with quick wit, or quiet bashfulness. There’s an element of subtlety, as flirting lets the characters express their romantic interest without explicitly stating it (unless one of your characters lacks subtlety in general and prefers to shout their undying love from the rooftops, which would make for an interesting dynamic, but I’m only spit-balling). 

Banter, teasing, and romantic tension underscoring heated debates or loathsome gazes suit just as nicely, especially if you’re writing with enemies-to-lovers or rivalry tropes in mind. But be careful! A little goes a long way: too much all at once can repel any growth for the characters or narrative.

- Initial conflict or struggle:

Depending on your story’s big-picture conflict, the introduction of challenges or obstacles can create tension between the characters, adding depth to their relationship and making their eventual connection all the more satisfying. This might include cultural or class differences, opposing goals or values, history of past heartbreak, personality weaknesses such as stubbornness, or external pressures that threaten to keep the characters apart. Even a nosy family or a disapproving mother can be considered. How the characters navigate and resolve these conflicts contributes significantly to the overall emotional impact of the romance subplot, as well as allowing for some exploration of each character's strengths, weaknesses, and resilience. 

- Shared vulnerability:

This kind of scene involves the characters opening up to each other about their innermost fears, insecurities, past trauma, or personal struggles. Shared vulnerability goes beyond surface-level interactions. It involves characters revealing their authentic selves, exposing their emotional vulnerabilities, and allowing the other person to see them in an honest — and sometimes new — light.

This is a symbolic gesture of commitment we’re talking about, here… something that requires trust. As characters share their fears or past traumas, they are entrusting the other person with sensitive information, fostering a sense of trust and emotional intimacy. It might be scary, it could be out from left field, but they will end up learning something new about themselves, their situation, or about the other person, and thus deepen their connection, little by little.

[ricanvvas]

Hinata Hyuga Slander and why it is obnoxiously idiotic.

I actually thought the Hinata Slander was a joke or one or two people sided with it. But I am totally taken aback to realize that it’s actually real—and a little popular—it’s real?

Prepare for a run down through Naruto Series kids, because some few fellas clearly did not watch it properly. Either that, orrr…they’re filled with unreasonable hatred for a character who should be the last to be hated. By literally anybody.

I’m going to try to keep this short (I’m lying), but there are going to be topics on Hinata I’m going to go over so it’s not a messy bunch and rather organized and you can skip to which ever you find most relevant.

Before anything, a remark, I never overly cared for Hinata’s existence and she isn’t even in my top 15 Naruto characters but that does not mean I dislike her nor do I look down at her character. Now imagine a person like me going out of their way to take time and write an entire blog for her—yeah, it’s that ridiculous.

There will be that one person—and I’m saying this beforehand—who will barely skim through this and childishly reply to my blog. Catch me caring though!

All of the topics will include manga based evidence as well as a breakdown of the scene and what they portray, therefore, canon reasonings. There are plenty of other and more evidence out there, I will only provide some and main ones that back up claims. Here are topics I will be going over:

Hinata Hyuga as an anime character/character writing

Personality

Goals & Dedications

Skills & Strength

Incessant Love for Naruto Uzumaki

#1 Character Writing

While many people believe that Kishimoto is terrible at writing female characters, I’d like to disagree. Females like Temari, Konan, Ino, and Karin all pass the main checkmarks of being an exceptionally “good” character; a solid background/past, special abilities, and set personality. What I do agree with though is that he does not know how to put them to use, and it is obvious why. These females were not the only ones tossed aside—so were good characters like Lee, Neji, Jiraiya, and so on, all because of the author’s obsession with the Uchiha as well as Sasuke’s story.

Hinata is included in the “good” character checklist, and rather exceeds. The difference between her and the rest of the women is that she is the best representation of an individualistic woman and had incredible character development.

↓ How did we go from a girl so easily shaken and brought down with mere words

↓ To the girl who had the guts to charge against an Akatsuki member,

↓ And seeked frontlines during the war?

It may look like it’s only for the sake of Naruto, but it’s not entirely the reason, only partial. Everybody was set on saving Naruto anyway, instead of fighting the war themselves because they knew Naruto was their key to winning.

Hinata’s introduction may have started with her admiration for Naruto Uzumaki, and it did play a big part, but her entire existence never just revolved around romance. She had way more to her. Hinata’s character itself promotes women empowerment despite her not being the main female protagonist.

Through her writing, we learn that women don’t need to not seek love in order to be independent and a powerful female with goals and dedications that have nothing to do with romance. Hinata is a perfect example of this.

As a side-side character, Hinata excels in character writing, and is interesting enough to keep the audience invested in her existence. The next few manga pages and break-downs will explain it well.

#2 Personality

Her personality did not revolve around her undying love for Naruto only. She was her own person, too.

↓ While shy and timid, Hinata is also a pure and kind hearted soul, as we do not know any character she actually has bad blood with, making her somebody easy to be around with. She’s very gentle, making the atmosphere around her almost tranquil.

↓ Her conflict with Neji was very one-sided, and despite his harsh treatments, she still used honorifics and respected him.

↓ Yes, she might be a soft human being, but not to the point she is unable to pick out flaws in other people.

She seems more warmed up in Shippuden than she was in Classic, and it’s fair to say that ever since Chunin exams, she had gained confidence with the help of Naruto’s cheering. Confidence in herself and her skills. (Panels above may help)

Something to keep in mind is that Neji was known to be more cold, arrogant, and stronger than Sasuke during this time, by Kakashi’s words.

↓ Yet Hinata did not back away even after being told to, multiple times I believe, even by Kiba himself.

↓ This was the beginning of her journey of trying to be more assertive about herself, as she believes she could keep on going without chickening out.

↓ And she didn't back away when someone from the Hyuga Clan told her to do so--she was persistent.

Hinata was never meant to be somebody with great leadership skills; she has always been a follower, almost, who takes a lot of inspiration from people she looks up to. The obvious person, Naruto, and Neji were mentioned.

#3 Goals & Dedications

Her goal had never been only to be a wife and a lover to Naruto. It was one of her goals, the hope to get Naruto to acknowledge her, which he did several times. But that was not it, there was more.

Hinata did not seem so close with her family, so she had no certain goals regarding the Hyuga Clan. She was almost avoiding them and was deemed to be a shinobi, which she probably preferred, participated, and found likeness to, rather than the next heir to the Hyuga Clan, simply because her father did not believe her feather-like personality was fit for it, nor did Hinata seem too interested to lead a clan with such twisted rules and laws.

Despite her father's harsh, degrading words (and Neji's), she did not let it effect her because she continued to get stronger later on.

Hinata always wanted to be self-assured, and wanted to be as confident as Naruto always has been. She wanted to be of use, somehow. Refer to #2, second last image.

↓ Here, too, we see her admitting that she never believed in herself, until she did.

"I stared liking myself a little more..." shows she had very little fondness for herself.

Hinata wanted to change herself for a very long time. She did not ever want to stay the way she used to be--scared.

Another admittance,

But then...

All of these images show that Hinata had something she was thriving for, something she was dedicated to achieve that was not just romance. So, props to Hinata (and Tenten, but that's another story) for actually having a goal/objective.

#4 Skills & Strength

All powers Hinata has been shown to use/possess:

Byakugan (Kekkei Genkai)

Gentle Fist (Specific Taijutsu)

The Eight Trigrams (Air Palm, Palm Rotation, 64-Palms)

The Gentle Step; Twin Lion Fist

The Eight Trigram; Twin Lions Surging Shots (Utilizes Hagoromo's Chakra)

Hamura Otsutsuki's Chakra

And some others I might’ve missed

I'm not going to make this section breaking down each ability, but I'm going to use this information to factually prove that Hinata has more amounts of known and used abilities than probably all female characters, as well as like 90% of overall Naruto characters or something. And she's definitely stronger than a lot of characters, logically, despite her not having been in fights very often.

During younger years, Hinata Hyuga was put against Neji Hyuga—once again, claimed to be possibly stronger than Sasuke at that time—and Hinata was actually able to put up with Neji. For a bit, or a while, it doesn't matter. For a young, scared girl who has never been in a fight before to be able to do so speaks for her skills.

Inexperienced against the nearly strongest genin, one filled with hatred, among her generation, Hinata exceeded enough.

↓ In Shippuden, we even get a scene where she protects Neji!

There's a very few people Hinata actually canonically fought, but when she did, she did plenty well for being a side-side character.

↓...And that same side-side character, Hinata Hyuga, was the only kunoichi in the entire show to actually land a hit on Pain, during Pain Arc. The inevitable praise.

Here comes the cries of, “but she was flung LOL” “hinata didn’t achieve shit from this” “he threw her like she was nothing”

Frankly, those are most ignorant things you can say regarding her actions. To stand up against an Akatsuki member? That takes a lot of balls, considering that nobody was standing up for Naruto, and practically gave up, giving into Pain’s near-victory.

The entire point was not even to defeat Pain—it was to defend Naruto. And in doing so, she stalled for a bit, preventing him from immediately killing Naruto. In that amount of time, the few who remained could’ve backed her up, they could’ve offered some sense of rescue, but because of twist of fate, and the expected, Hinata was unable to keep Pain off of Naruto. It brought her to near-death, triggering Naruto Uzumaki’s 9-Tail-Fox.

Hinata was the fiercest woman. She wasn’t stupid, she accepted she was weaker and couldn't win before she even got onto the battle field. But she tried.

The scene was never about physical strength to begin with; it was her strong mindset and dedication. She was aware of the consequences and still stepped in, demonstrating her everlasting commitment for Naruto. This entirely proves that she not only had great self-development, she had the audacity to stand against the strongest Akatsuki member (excluding Obito), who killed a Legendary Sannin.

#5 Incessant Love for Naruto Uzumaki

In the entirety of Naruto Anime existence (excluding Boruto), only one of its movies have been considered canon, that being Naruto: The Last.

While I hoped it would show us Naruto promoting to Hokage, all of it was focused on Hinata and Naruto's relationship, and we found out a lot through it. Like, a lot.

There are very few couple/characters in Naruto that actually have past together/some story and strong reasoning to start liking their love interest. Such characters being Kushina, Karin, Konan (the K's lol), and of course, Hinata.

There are filler episodes that go before The Last, but I wouldn't count them (even if they add on to the actual story), but in The Last, we figure out that Hinata and Naruto first met when he protected her from getting bullied due to her Byakugan, and he gets beaten up for it.

"Never go back on my word" was one of Naruto's internal rules that he stuck by and it made up his entire personality, almost. Hinata really seemed to respect it and use it for herself.

She tend to turn his imperfections into motivations,

Those feelings seem to get more bold in Shippuden and more confronting. So much so she did not hesitate to put her life on the line for the boy. Not "just because." Hinata gave a list of unavoidable reasonings, that we were able to point out, too.

And vice-versa, she did make a difference in Naruto's life pre-marriage. She gave him courage, motivation, and a reason to keep going. Refer to the fourth image in this section, too.

Then, our closure, he finally realized that Hinata has been there for him since the beginning of the times (also in The Last).

“…but…but…! Hinata is a stalker! She was always watching Naruto! She’s so creepy!”

Okay, but her canonically shown watching Naruto was like, twice in 700 episodes… ↓

And...honestly...it's not really...that...deep...lol? Old Japanese humor. And don't act like girls nowadays don't stalk the shit out of the boy they like--let's get real here. Just get over it. It's an exaggerated cartoon.

People have different views when it comes to love. But one thing I heavily disagree with are weak or false reasonings to fall in love with somebody. You’ll screw yourself over. Seeing a guy walk through the door and finding him physically attractive should not be your reason to “fall in love” and keeping that reason forever; you’re falling in love with his body, not him. It could be the start of your interest. Taking your time to get to know what kind of individual they are, and then accepting their personality, and falling in love with that person is guaranteed success. Reasons are important.

And Hinata understood that well, unlike someone who didn’t (I’m throwing shade!)

(A very quick addition and counter-argument I might get is that Hinata was the cause of Neji's death. I didn't want to put this into an entire section because it'll involve mentioning Neji's own character. But to be frank, Neji chose to protect Hinata and died that way. And I idiotically love Neji far more than Hinata. You don't need somebody's permission to protect them, nor did Neji do it just because he was the lower branch of the Hyuga Clan. Neji and Hinata’s relationship was beyond that. Way beyond. Reread the manga, or even rewatch the anime, and listen and figure out why he did what he did. It had nothing to do with Hinata being a higher rank than him, at least not entirely at all.)

__________________________________________

I was going to add another section titled, "Comparison", but because of image restrictions and as well as the thought that this blog is only about Hinata, I scratched it out.

I don't even praise Hinata. She isn't my favorite Naruto female, either. Personally, for me, she just existed as a character. But I'd be damned if I threw any dirt on her for any reason.

If anything, I believe Hinata Hyuga's character is underappreciated in the way she should be appreciated. She's not just some...loyal, attractive girl (hell, Kishimoto never canonically even drew her with tight/exposing clothing, they were always baggy. So, screw the anime studio.) She was a figure of a powerful woman, better written than any other female in Naruto, and a strong individual, with more story than several, several other characters.

So when I heard "Hinata Slander" was a real thing, truly, I was baffled. I'll admit my blog was quite messy despite my effort to keep it organized with main claims and obvious evidence, but there are still multiple more panels that back up everything I've mentioned that make up Hinata's character.

After all this, I really don't think there's anything that can be said against her in the context (and lie) of "she is a horrible character." And there aren't a lot of characters she can fairly be compared to, anyway. She's just awesome.

As a person, and a side-side anime character, Hinata Hyuga undeniably exceeded.

"Hinata Slander" is fake. Find something better to do than embarrassing yourself.

[ikkosu]

you want pharma and prowl? I’ll give you pharma and prowl!! Them both as romantic rivals trying(and failing) to woo reader (gn, can be whatever species) cause they are both losers (affectionate) they keep trying to flirt with reader, but are so jealous and possessive they keep getting in each others way, which is not helping their image in front of readers eyes. Maybe reader is a secretary and has worked under both, and their personality(and bod) attracted them in the first place . Here’s your pharma and prowl <3

author’s note : YESSSS YESSSSS THIS IS THE CONFLICT I NEED. ILL GIVE YOU A SMOOCH FOR THAT IDEA ALONE ANON. I’m a sucker for these tropes on goddd. Also don’t mind me as I change it to a medic, since it’s more flexible for me to work with <3 possible three some later ;;)) also, whoo! This is a lot longer than I expected.

ONLY ONE WAY UP THE HIGH WAY

summary : prowl and pharma finds themselves as rivals when they pine for the same darling pet and thus the inevitable egos clash.

You hate rom-coms.

Now, you might be a hopeless romantic; delving and losing yourself in romantic stories, tugging even the most deepest heartstrings which gets you all giggly and kicking your feet. What you hate, however, are bland characters. A random, mix and mash kind of chemistry, forced with no substance, set up as a love triangle.

Which is, quite literally, what's occuring right now.

You see, you’re a medic up in Delphi for some time before being paired up as Prowl’s buddy-buddy partner, because Chromedome insists someone needs to look after that unruly cop who’s always destined get himself killed.

And so you do. Upon Ratchet’s introduction to the Autobot SIC he’s not exactly someone friendly. He's, ah, rigid and prickly, the know it all by the book, kind of prickly. His unresolved anger issues takes quite the toll wheb you tend his wounds or even so much as to touch his arm. Though, demure as you are, you know when to stand up for yourself when the situation gets out of hand. And this kind of resistance managed to ease down his sharp edges. Now, he’s still a prick, a tolerable prick more accurately, but you’re both good pals!

Or so, that’s what you thought.

One unassuming day, you were lounging off as usual in the main area, gathering your bearings after another tough match with the hoards of patients when your communicator buzzes with a ping. It's a message from Pharma.

An Autobot base will be set up here in Messatine at due time. Will be expecting your arrival promptly.

Ah, Delphi. How long has it been, seven years? Meeting your mentor again was something of a, well, it wasn't far from a dream. Wasn't really a need, either. But it's definitely something, at least. Besides, Prowl said he had to monitor the new crew in case they messed up the communication systems, again. So, you decided, with a hopeful heart, to follow along with the Coppa to Delphi.

Yeah, bad decision. Whomp, whomp.

That hospital might have it's up and downs, and while saving patients might not be it's strongest suits, it's decor are definitely a catch to mind. Goodness, since when did they have the funds to do that? The stark white of the tiled floor ( since when did they had marble designed pillars? ) embellished with grey, engraved carvings stumped your prior, blatant distaste of the facility.

It's safe to say you're surprised.

You're sauntering across the halls of the hospital, admiring the added features of new wards, machinery and nurses, when you bump into a wall that is, apparently, Pharma. Your, uh, very, very nice superior who you squint at your notes is definitely obsessively clingy BUT very smart , but also crazy. Like, mad crazy. Haha....

Why do you attract people like this.

"And, who ..? is this?" Condescension spools from his tone as he sizes up the Autobot SIC with a careless wave of his hand like he's some newly discovered specimen.

"Their partner." He makes sure to emphasize the 'partner' like it's a bullet. "The 'who', here is a Prowl."

"Oh, is it now. I didn't expect you to move on that quickly, dear."

"You're in a relationship?" You feel his glare on you; it's not a question.

"No, he's just—"

"Kidding! I'm only kidding." Pharma gives a hearty laugh. "My, my, officer. You know, tight muscles are a sore to deal with if you're not going to loosen them anytime soon."

"No thanks. I'll stick with a stroke."

"Ah, the ever so pessimistic. Pleasure to meet you then, officer. I've heard lots about you."

The doctor gracefully extends a hand to which Prowl ignores and then replies without much a look to him.

"If that's so, then I'm not very pleased."

The hand falls sharply, so does the smile.

"Oh, good,"

You swore you heard a joint breaking when he snaps his neck to your direction, and while you look away, you knew the chesire grin-like smile on his face is nothing but a threat.

"Very, very good." He straightens up. "How about a tour?"

Honestly, you expected the two would be more civil since they’re both so heads over heels about their reputations in front of another superiorly defined character. What you didn’t expect, however, is intruding in a tug of war that materialized from, seemingly, out of nowhere.

Right, the doctor insisted on an individual tour of your own. He suggested Ambulon show Prowl around, while he would take the pleasure of doing the same to you.

Obviously, Prowl isn't having any of that. So, you're currently between them, one arm in Pharma’s grip and the other in Prowl’s unrelenting grasp. You wince as their digits dig into your skin. If they're not careful, that's gonna leave a mark for sure.

“They already know their place around the medical facility, Jet-fuel. I’m sure they’re able to handle themself just fine without your guidance,”

“Oh, yes indeed,” Pharma, despite Prowl’s 100 degree glare, grits through his forced grin and yanks you back by the scruff of your collar, right into his chest, “I invited them here, I might as well show them around. If I didn’t know any better you’re trying to hog my staff.”

You know better than to voice your opinions. Their inner brain workings, all the cogs and mannerisms were already familiar; operating under their influence is like treading around a field of broken hards bound to prick you at any moment lest you misstep.

"Your staff?” The Autobot SIC scoffs. “Im not hogging them. It's long gone. They're not working for you, anymore. But I'm sure you're not aware of that since you've got a stick up your ass."

“Not quite, actually. Before they became your little pet—“

“They're. Not. My. Pet. I’d prefer it if you didn’t reduce them to some mindless animal—"

“Doesn’t matter. they’ll be fine. I know you haven’t you heard about this since you’re new here but Delphi has its new additions around the facility. I’m merely trying to greet back an old prodigy of mine back. In fact, they’ll be fine without you.”

"Oh, really." Prowl's up in his face now, grinding his dentas.

"How about you push my buttons and let's see where this leads?" Pharma taunts with an obvious tick on his under-optics.

That’s last week and you’re surprised when Prowl is frequenting your work station more often, always nagging you about your reports and how you ‘incorrectly’ structure them. That's strange, he never does that. Why is it only now he's bothering you about it?

When you asked him to take a look, however, he merely tosses it elsewhere and hands you his own datapad for you to look through. Of course, Pharma pops up round the corner and chastises the strategist for hogging his medic’s working hours. He says it's 'unethical' use of Power-play and authoritism and that Prowl should be locked up in jail.

Even worse, they’ve had this tug of war battle where they would try to ‘woo’ you when they can. You weren’t surpised; Pharma’s quite full of himself, so obviously he’s got territorial problems, even though you're not sure why he's so possessive over you. But later you realized he IS the entire problem. Not singular, not plural, he’s a walking embodiment of a complicated problem.

It gets worse when you're trying to do your work and here they are barging into your cubicle with another problem. At this point, you’re convinced it’s just a fight Pharma puts up because he hates sharing his pets. Now? He’s gotten too far down the rabbit hole to get up. For sentient robots who’s been through a war and back, they’re so damn petty.

Pharma’s idea way of flirting is more up and personal, he doesn’t care about your personal space and he never will. Brother in Christ, this mech does NOT leave you alone. AT ALL. He touches you whenever the time allows him to and you knew he's doing that to get under the lesser affectionate Cop-bot's skin, who finds physical touch repulsive.

Sometimes, you feel his hands up on your waist, your back against his chest as he leans over to regard your report, chin on your shoulder. If he’s feeling more bold, he often puts in his two cents of insinuating a quick session in the office which you, uh, politely decline because you’ve got a meeting with the new interns.

There's always another time, he'd jest. Yeah, well, not so funny. He’s clingy, obsessive and despite the charming suave-esque front of a Bond Villain he puts up, he’s easily the best person you can turn into a pile of seething venom.

“My little pet, I think it’s high time Prowl has his duties transferred off elsewhere, don’t you think?” His optics are twitching, and his unusually sharp talons pierce the metal desk. “ Not that I mind, that rancid Cop-bot has been getting in my nerves, recently. Wrong, this, regulations that. Can you believe it, he terminated half of my crew for, as per his words, carrying out unsanitary operations! Thats defamation! A false accusation. It takes a whole restraint not to shove him down the grinds of the accelerator.”

Please, don’t.

“He’s just monitoring the district, sir.” You maintained a neutral tone. He’s at your desk again. And, instead of trying to woo you into his bed he’s complaining. Oh, my god. I’ve got a report due tommorow. And you’re complaining. Someone, help me.

“Well, he’s not monitoring anything anytime soon with how much blood he’s leeching from your body. I should've known better than to agree with his demands to stay in your office as well. He’s stuck to you like a damn mosquito.”

Like, you're any better. You deadpan.

Prowl, on the other hand is aware and accepted the fact that he’s definitely not the most likable or the best lover kind of material out there. And, to take someone like YOU to like him, someone playful and fun, not ripping out his head every two seconds, is a blessing in and of itself.

He can't even stay a second around someone without pissing off their early descendants. So, with his glock locked and loaded he takes 'counteractive measures' to ensure that nobody is going to take that moment of happiness away from him. Even if in unethical terms he’ll have to ensure it.

“You’re been forty five meters off from your office.”

You let out a startled yelp, swivelling around to meet Prowl, oh thank god prowl, who's expression is pinched, lips pressed in a thin line and his hands are intertwined behind his back, military-like.

“I’m buying drinks,” You clutch the myriad of snacks and drinks in your arms, blinking away your pounding heart. “ H-how’d you find me?”

Prowl merely glances at the contraption on his wrist where, when you crane your neck to look over, is a circular radar with a blinking red dot.

“You’re to notify your disappearance when necessary.” He grunts out and turns on his heel. “Let me know when Jet-fuel decides to harass you again,”

Weird. Still, you brush off his disdain for the medic as nothing when instead his, ah, paranoia (?) goes on for months. That one instance youre in the bathroom? Yeah. Hello, there. I'm just walking. Totally not peeking. Totally not—

Is that a new sock?

"Prowl!"

"I'm checking if there are cameras here."

"It's a bathroom?!"

"All the more reason why I should ensure there isn't."

What's more strange is the fact that there's a blatant evidence of someone meddling with your schedule. And, you had an inkling their tug of war session travelled even to technological seams.

This rivalry continued on (despite, literally, the entire hospital's annoyance) until you eventually lost it.

It was a Friday night.

A party was held in the lounge. The younger mechs had set the celebration up to mark the lethargic end of July. Of course, since you’re invited to the party, the two came along despite not being known as party-dwellers themselve. So, it was quite a sight for the young mechs to see.

You thought they’d tone down the hostility a little and even warm up with how much time they spnd trying to one up the other. That's enough months to start a relationship, God damnit. Unfortunately, you’re not able to drink freely without the two mechs pushing against your personal space. Prodding, blabbering away about how skimpy your outfit looked. You're wearing your uniform.

At some point you drink in defeat, squished between their two frames as either tries to stop you from drinking your misery out while the other eggs you on with another bottle.

After the party they insisted dragging you back to their quarters. You’re not even halfway into your room when they start bickering again.

“Don’t you have anything better to do, Prowl?” His name is a venomous jab in the guise of a forced, seething smile. “Your presence in the hospital is unnecessary as the security guard up front. A mandatory monitor check doesn’t require you here all the time. If i didn’t know any better, you’re deliberately trying to distract them so they’ll end up in your berth.”

You hold back a vomit as Pharma nabs you into his hold, the alcohol seething your veins aren’t doing much for your psyche and you stare dumbly at the floor, wanting to retch over it.

”I’m checking up on my partner.” Prowl stands his ground then tugs you into his chest again, “Doesn’t have anything to do with you, Jet-fuel.”

“Oh, it does, actually.” Another tug back, “ It’s called harassment and I'm going to report to your superiors for pestering one of my medics.’’

“Your medic?” He scoffs. “You’re a sad sorry bunch who’s got no chicks up his ass. If I didn’t know any better you’re manipulating them into caving into a newly registered scheme. A play toy, plaything, exhausted for pleasure. Don’t think I know you used to work with the D.J.D, Jet-fuel.”

“Call me that one more time and I’ll ensure your processor isn’t he only thing I’m dislodging from that helm."

“Illegal malpractice of surgery is an offense. Is that a threat, Jet-fuel?”

“Oh, you’ll see, Officer. You’ll see just how skilled I am with my Servos.”

They’re both at already each other’s throat, servos clenched, door wings, jet-wings flaring and blasters at the ready. The Engex they’ve ingested earlier only prompted the hostile ambience and as they were about to—

“Why won’t you both fuck me already!?”

In a fit of annoyance, inebriation and stupidity, the three horsemen of your misery, the words left your lips before you even think. They stop bickering and it felt like forever as they did a 180 , full, joints creaking swivel of a ‘What did you just say???’ baffled expression thrown at your direction.

But you’re still seething and only then you’ve realized your slip-up, you’re a crumpled mess on the floor, palms wide and open, clutching your face that’s unrelentingly burning. Pharma looks like he's been kicked in the crotch and Prowl looks like he's seen God.

Kill me. Kill me. Kill me. Kill me.

“Both of us, hm?” You hear Pharma muse and whether or not Prowl is considering the prospect, all you want to do as of now, is to rot in this hole you dug for yourself.

[tossawary]

I've only seen 3 episodes of the new "Percy Jackson" show so far and my main complaint with the first two episodes was pacing. I thought the pacing in the third episode was much improved and overall very good, but a lot about the first two episodes felt rushed to me.

I think episodes 1 and 2 both could have been two episodes each to slowly introduce us to Percy, Grover, Sally, Mr. Brunner, Mrs. Dodds and the Minotaur, and then to the Camp, to Annabeth, Luke, Clarisse, the satyrs and the different cabins, etc.. I mean, I think what was there was pretty solid! I like the actors! I don't think it's badly written (I think making Luke show Percy around the camp was a good choice to make later things hit harder, since we will have more time with Annabeth on the quest itself later), but I would have liked more breathing room scenes, like when Percy burned the blue jellybeans, for things to settle in, and I blame the studio for not giving this show a longer season to work with.

As it stands now, the first two episodes felt more intended for existing fans, rather than for onboarding new fans. I feel like a frog being thrown into boiling water instead of the water coming up to a boil around me. If you're not familiar with this religion & lore already, if you don't know who the Twelve Olympians are, the introduction to the Camp doesn't give you much of a foothold, which is quite unfortunate when PJO was many people's introduction to this stuff.

The blue food is not really explained. The tension of the mystery with Mrs. Dodds kind of gets thrown out because it all happens so fast. There's no time to slowly build a feeling of normalcy and then wrongness. Percy's relationship with Chiron is undermined by how little time they get together. Percy finding out who his father is happens SO QUICKLY that we don't have a proper understanding of what's wrong about his claiming when it happens. The camp looks cool and I want to see more of it! How it functions is barely explained! We barely get to meet anyone! It feels like Percy is there for less than 48 hours before he's leaving on a quest again, so there's very little time to build up his attachment to it. I have less emotional investment in Percy's conflict with Clarisse because we barely get to understand what daily life at Camp Half-blood might be like (although I understand putting less focus on Clarisse now knowing that you'll be able to play catch-up during future storylines).

I think the show is making pretty good choices with the time that they have, I just wish they had MORE time. I don't think that they have to include every little detail and scene and character from the books. I like a lot of the changes they've made just fine. I just feel like the writing and acting is being undermined by the fact that there's very little time to set things up so that you can knock them down, and that it takes more time to show something visually than it does to read a sentence. Everything in episodes 1 and 2 is moving so quickly that some of the magical aspects feel... less magical to me because there's less time to develop contrast. And the show doesn't have as much time to potentially develop cool NEW things, to slide in more new funny character interactions, because it's all so smushed down. I want more time to see these actors shine together.

(Although, admittedly, it is VERY funny to feel like Percy is stuck in some sort of speedrun version of the story. Every day is a new rollercoaster of Percy not knowing what the fuck is going on and going with it because he's not given the time to ask questions. Sure! This might as well happen next! His life sucks already. That part feels very true to the books, although I think the feeling could still be preserved if the show was given more time.)

I'm tired of 8 episode seasons. I don't know if I think that PJO needs a full 20+ episodes to tell the story of the first book, probably not, but being constrained to only 8 instead of at least 10-16 feels disappointing.

[myloveforhergoeson]

ash's september 2024 reading round up

find all the books and fics i read (or didn't read...) this month under the cut with a link to the synopsis and my reviews/ratings attached :)

this is just for fun! i'm not a professional, i just like to read <3

booklist:

Summer Reading by Jenn McKinlay(18+!)

• review: this was a solid read. nothing incredible, but definitely better than some of the other crap i've read this year lol. i enjoyed the dynamic between the fmc - a dyslexic chef named sam - and the mmc - a librarian named ben - and the interesting relationship between someone who hates to read and someone who's life revolves around books. honestly i was really interested to see how this played out between the two of them, but like one week into them fooling around he begins to read a book aloud to her and the conflict is magically solved. sam just loves audiobooks now and i wish the author had done more with that. both sam and ben have goals they're striving to reach and i love that ben is able to see his through to the end, but the reader is kind of left wondering about sam's and i would have loved for that threat to have been tied up, but overall this was a cute read. my only real issue with this story was the quality of writing. there were some parts that were super cringe and were clearly written by a millennial emulating the 'how do you do fellow kids' meme that i could've gone without... anyway. i really enjoyed the relationship exploration between sam and her budding teenager brother. after not being in each others lives for a bit, i thought their bonding over the summer was adorable :) would've loved to read a book just about them tbh. neither of the main characters were the kinds of characters to write home about, but overall i did enjoy the progression of their relationship. just kind of a middle-ground novel.

• rating: 3/5 seasons of the bear that taught me all i know about cooking

fic list:

assorted works of @ceruleanmusings <3

look around your world, pretty baby

Blood Diamond; Year Four

i could always write literal essays on your work i swear to god but these two works this month really got to me as per usual. the first mickames one shot for james canon bday was so freaking adorable. i had literal butterflies in my stomach like i was there on the date with them... despite the urgency of the time crunch, which you did exellent in making it seem like it was somehow slow and fast at the same time, god i read this like three times over. mickey and james are just my favorite ;-;!! and blood diamond always hitting in the feels of course... this one in particular really got to me though. the combination of brooke's annoyance with james the last few chapters really came to a head here at the hair salon. he's just a kiddo!! let him play in peace!! and then her figuring out a way to potentially exploit his singing talent... i'll wring her neck i swear. as always tysm for sharing and tagging me in your works 😭 i could read them forever and ever and ever <3

2. assorted works of @partiallypearl/ @praetoravila <3

it's nowhere close to closing time

all over again

be my weekend lover (but don't be my friend)

can i have this dance?

lolive kissssss

you got me paralyzed

you know all my deep dish

this is such a STACKED LINE UP AUGH!! from the beginning with it's nowhere close to closing time... kogan... save me.... i love the first chapter introduction to both the characters and the setting. it's been so exciting theorizing how the story will play out from here and i can't wait to read more!! and of course... all over again with olive my beloved... i just can't get enough of logan and olive and their fucked up little relationship. jo's party chapter literally had me shitting my pants ngl and you already know im thinking of lolive on a daily basis. they're my roman empire i stg... the other three lolive on shots had me by the neck too - from the conversation with kendall 👀 to the quinceañera chapter to their KISS augh im too obsessed for my own good... and saylors introduction one shot!!! ahh!!!! you always have such interesting and well-rounded ocs i'm so jealous!!! i can't wait to learn more about saylor and their relationship with both kendall and lucy :)) macie's story too... she and katie are so adorable. i love the dynamic you've set up between the two of them as they both navigate hollywood!! obsessed as always. im up in your dms literally every single day gushing and i wouldn't have it any other way!!!!!!! <3

3. assorted works of @selangkir <3

mrs. knight one shot

girl time rush (anniversary reread🙏)

iconic work as ALWAYS!!!!!! i truly think your character interptetations of btr/side characters/ocs are so unique and bring such a fresh perspective to the story! the mrs. knight one shot, on top of being hilarious, began to expand on her pretty one dimensional characterization in such a short story and it blew me away. unmatched creativity!! lord knows she needed the j anyway if im being COMPLETELY honest. and i cannot believe gtr turned one year old this month what the fuck!! what the actual fuck!! i swear i've read all three chapters about a bazillion times. ty for being so accepting of roxy and using her as a vessel to tell your story too <3 i'd be lying if i said i wasn't so inspired by sabrina carpenter rn i already have another chapter draft of my own cooking in the google docs..... <33

4. assorted works of @inkameswetrust <3

the windowsill pt. 4

the windowsill pt. 5

oh LORD such incredible updates to this sweet story. these chapters always pack such a punch! i expect nothing less from kames fan #1... im obsessed with the continued relationship between katie and kendall in pt 4. btrtv lacks so heavy on their sibling-ness so i always love seeing it expanded on in fic! and JAMES AND KENDALL GOING OFFICIAL AOAJFOBOBGA i had knots in my stomach! you've also so clearly set up stakes and kendall's future fears it's so genuine and just real it hits so hard. pt 5 with brooke had me almost throwing my phone at the wall if im being honest. the way she spoke to kendall was bonechilling and i'm nervous yet excited for their future together <3 never stop kamesing the world needs it so so sos sooo bad !!!

5. assorted works of @naquey / @ithinkyouhealedmyheart

ghostwriter chapter 1

ghostwriter chapter 2

hi <3 welcome to the reading round up! i love your story sm i'm so grateful to be here for the very beginning of kenonnie and their sweet relationship. ronnie is such a cool character! there is so much depth and dimension to them and i love that every single chapter we learn something new about her!! from her relationship with addy and callie (who i also ADORE and can't wait to learn more about) to his struggles with his father's health... god... the amount of thought you put in is clear and i'm just astounded! the second chapter was also super cool too; i love how you took existing characters and tweaked their relationship so we could learn more about how you view the two of them. i'd never thought to write something with just kelly and rebecca - it's so inventive, just like the (spoliers lol) other chapters you've published since <3 tysm for sharing your writing with us, i'm so excited to see ronnie's journey progress!!!

[evelhak]

I’m curious about a few: Propinquity, Anem and Bitchberg (a great name, lol)

Well, you've already read about Bitchberg by now from the previous ask. :D

Lol, I actually winced a little when I saw you asked about "Propinquity" since it's the current working title of my Akashi centric fic, and I know you don't find him that interesting. It's still just a bunch of "notes" (=bits of monologue and dialogue that come to me and I have to write down so I won't forget). I haven't actively started this fic yet, since I can't really write multiple projects at the same time. I will probably have to finish another shorter fic after The Luminous Things, before I get to this one.

I know the opening lines, though:

Winning is like breathing. Sometimes I wake up, gasping for air, but my lungs seem to have fallen into a partial state of paralysis.

Or something fairly close to that. The idea has been in my head for a long time, because I really enjoy digging up ignored dimensions that kind of naturally follow from whatever is going on in canon.

There is of course one thing in this fic that could interest you: The main love interest is an OC. :) You know some things about Azumi already. Here's a snippet that will probably serve as her introduction in the fic:

I absolutely pretended to be the empress of this micro-utopia, growing up. Not because it was mine to conquer, or control. Because it was mine to know. To pick apart. Explore, taste, and merge with. A little pocket of wonder in this huge city, a bubble with its own rules. That's what I came to realise pretty soon, anyway. About the world. How different, how illogical and ultimately unsatisfying it was, compared to my shrine, my home, my own ecosystem, my island of undisturbed ground. It frustrates me that the rest of the world doesn't know how to do it. Live and let live. Give and take. Circle of life. A system that works. Because I was born into it. An heir to it. Happiness.

Micro-utopias are a huge element in my whole fic series as it progresses, and there are several kinds of them, Azumi's home life being its own example. Utopia is generally something I'm really interested to write about, especially because a lot of people claim you can't write interesting utopia without making it dystopia in the end, and I very much disagree with that, as people are always imperfect, so you don't need to add any intentionally awful circumstances for a story to have conflict, if you're writing believable people. For me, the key to what makes the most out of utopia is to centre it around whose utopia it is and why. This got slightly off topic, these are just themes I really like exploring and since my fics are my playground, I definitely use them for exploration of things I might want to write later in a more polished form in my original fiction.

The working title "Propinquity" came while I was writing a chapter in The Luminous Things where Kagami ends up lost in Kyoto (it's complicated) and spends the night in Azumi's place, where he has many enlightening conversations with Akashi. (Azumi and Akashi are already together in my main fic timeline, their own fic will cover how they got together, among other things.)

Here's a snippet from the chapter also titled "Propinquity", which I haven't yet posted anywhere, so things might still change a little, but for now, Akashi muses something like this in it:

"[Propinquity] is the central theme of this shrine. Things develop, and change, and prosper in propinquity. It rings true, doesn’t it? Right things, wrong things… so it really matters what you surround yourself with. It’s not enough to know and think. You have to see, and taste, and touch… A plant wouldn’t grow from the understanding that it needs water, if it never got it. It would still die from poison, no matter how informed it was. Azumi knew all of this, so bone deep. That’s why she was disappointed with the world. That’s why she retreated back to her paradise. I think that’s what caught my attention at first. How she had a physical place to go to when she needed to get away."

I probably would not have developed any need to write a story about Akashi's love life on my own. (Well, it's not all there is to it, but it is a how-they-get-together type of story). It was the influence of my ex, who's a big Akashi fan, and as I have probably said before, Azumi was originally her OC that we worked on together a lot. Eventually I grew attached to Akashi and Azumi together, and now I have my own version of the story.

I don't think I actually read any Akashi x OC fics myself, but my ex read them and complained about them, usually, and I picked up on two pretty common patterns, which I didn't want to do: I didn't want the OC to be 1) poor, or 2) have a similar family dynamic and childhood trauma as Akashi. This is because I wasn't interested in dealing with the power imbalance that tends to come with very different socioeconomic standing, and I also didn't want to write a relationship where people get stuck in validating each other's trauma, and it takes them a long time to grow beyond that phase because their relationship is centred around how similar their experiences are. I wanted to hit that sweet spot which I like the most, a relationship that centres around growth, having enough common ground, and being inspired by things about the other that you've never experienced before, or even believed really exists in the world. The kind of relationship that makes you feel that you want to fill your own gaps, and a key factor in that is the proximity, or, propinquity to a person you can rely on, because they don't have the same weaknesses as you. I just really love writing about people who are good influences to each other.

A lot of this fic will also be about dissociation and trauma. Yay.

Anem, then, is another original novel I've started multiple times without being completely satisfied. The premise is pretty classic religious cult + good girl/bad girl dynamic, or at least would seem like that in the beginning.

Here's how I seem to have described it on my website at some point:

Dina is a good girl. She picks up flowers every morning, to put on the altar of her family’s home. She’s chaste, she’s beautiful. She fears God. Semira is a “Wild One”, she rarely goes to church, she speaks out of turn. She could be beautiful, if her hair wasn’t so short. Dina doesn’t think it’s her job to save Semira. After all, if the Fathers don’t know how to help the girl, how could she? But Dina keeps ending up spending time with Semira anyway, and the more she does, the stronger the big black swirling something grows in her stomach. There’s clearly something very wrong about Semira. And there’s something wrong about the woods surrounding their isolated village. Dina knows she’s supposed to stay away, but Semira keeps going into the woods.

It has a lot bigger world and anything but clear-cut themes and dynamics, even though it may seem like that in the beginning... and it's one of those early projects that are sort of everything, because you're not good at narrowing it down yet. It's like a dystopian supernatural medieval fantasy horror philosophical cult story I wrote just to barf out everything I was thinking in my early years of studying theology. It's certainly a cult story, but is the cult the big bad or the world around it? It's certainly a queer story, but is it a love story or a hate story? It's certainly trying to say something, but what? No one knows, not even me. It's a big mess.

I'm also starting to feel like I'm dealing with every element and theme I have in this story, in some other story too, and coincidentally someone from my writing group actually just got a book published this year that has a strikingly similar setting and themes, (we both wrote them without knowing about each other) and even though it shouldn't, it does kind of add to my confusion to what to do with this story. I do still want to write it at some point, but it's a big question mark that sort of just pops up from below the surface every time I'm not actively thinking or writing about another project.

Some angsty pictures of Dina, also drawn in my early university years (Oh Lord how obvious my Arina Tanemura influences still were in the way I draw):

Yeah... at least they are accurately dramatic to the story.

Thanks for the ask. I hope there was something entertaining. <3

For anyone curious, here's the WIP list.

[mermaidsirennikita]

what are your thoughts on the genderswap with michael's character? i feel like that's another thing that the book readers and the non-book readers are going to fight about. (you can publish this if you want, and i understand if you'd rather not talk about the show!)

My main thought is: support the genderbend, do not support the introduction of Michaela this early (because I think it really invalidates Fran's love story with John, which the show could've explored really well). I would've held the trigger on introducing the eventual love interest whether they were Michael or Michaela.

To me, it seems like another opportunity for a poorly done love triangle. And what I think makes WHWW really solid as a book is that it isn't that.

I also personally don't love the idea of John AND Michaela really existing in relation to Fran finding herself. Maybe it won't be that! But based on Brownell's discussion of Francesca like, realizing there's something missing in her marriage, based on that scene (which I did watch) of her looking disappointed by her kiss with John, based on the line Violet had about forgetting her own name when she met Edmund and Fran then forgetting her own name with Michaela...

I don't know what they're trying to say about Fran's sexuality, it's early. It just FEELS to me that the "missing" line could relate to her not loving John sexually (or presumably romantically, as I don't think this show is going into romantic vs sexual attraction). But I could be wrong! And perhaps Fran's sexuality has nothing to do with her not loving John, though I'm not sure how they would find the time to map out "I am attracted to both men and women and I just don't love my husband even though it seemed like I did for most of the season". I suspect that they're going down the comphet -> married John -> realizations occur route. But again, I could be wrong.

And in the hands of good writers? I think that could be a really authentic story. The idea of this being realized, however, through a love triangle (and I don't know how they avoid that, introducing Michaela as early as they have... she's not going to just sit there and not have Fran be attracted to her, based off their first meeting) is really messy to me. I don't mean in the sense that we can't tell messy queer love stories; we can and should. I mean that we can't divorce John as a CHARACTER from the story. I don't love the idea of him existing as an obstacle, versus as someone who has his own love story.

That latter part? Is where it starts to feel like... John as a character who exists to prop up a white woman's journey. Much like it felt Simon did for Daphne, at points, in s1. And if John feels that way, I worry for Michaela, too.

Ultimately, I feel like I would've had this kind of conflicted feeling regardless of who was genderbent, though, because I just don't really feel like this show has the writing it needs for this. Which doesn't mean I think the show shouldn't do it; it means I think the show as a whole is like... the core issue.

And I guess it's like "but they wanted to make sure they got queer rep added in so they introduced Michaela now versus later". Sure, but you didn't have to introduce Michaela now in order to have queer rep in the show. You could tell Fran and John's story pre-Michael/Michaela organically AND feature... one of the other siblings also being queer.... Cressida being queer... Both....... There was a way to tell this story and OTHER queer love stories with more nuance. To be fair, though, I don't really think the show has approached any storyline with nuance. This is the "one of THEM fell in love with one of US" show. This is the show that featured homophobia in-universe from the jump for absolutely no reason.

What I'd personally rather see than the show itself, of course, is adaptations stories that involved people of color and queer people falling in love canonically from the start, but hey.

[dammarchy211]

It isn’t true!

I am not the ghost!

Without a soul!

come! Listen to my heart!

You here it beat…

(Preface for pronouns, Dart is transfem)

Introduction of both this au’s villains, and more Dart lore! This is for the au we’re Raz is 20 btw.

Firstly, Agatha was working on her reanimated dead in secret, her company makes toxin based weapons basically but they're still not Really doing anything illegal that people know about. The reason people started finding out is that she was dumping "unsuccessful" ones out of the drainage pipes in her factory and they began walking around and terrorizing people. Lili, Raz, Dogen, n Kitty were sent to the city her company's in (dubiously New York City) to sleuth out what was going on! They don't immediately figure out it's her, Dex gets wrapped up into it because of the zombies using C.R.I.M.E. tech. Agatha tried to be super friendly n sponsoring the psychonauts agents at first in order to lead them in the wrong direction ! Kinda a mix between Syndrome and Mirage from the Incredibles plot wise.

She eventually reanimates Dante, but noott very well. All of Agatha's zombies r basically puppeted around by mechanical parts and some psychic tech. Dante is only conscious after she reanimates him too bc he had his brain stored when he died! Agatha's reanimated dead are also reanimated a while after death, whereas Dart was reanimated almost immediately so Dante is practically falling apart compared to her. Dante is definitely not the main villain, and Really does care about Dart, especially since he went through so much effort to keep her alive after he died, but Agatha reanimates him so they can rediscover that same method that worked with dart. Which might become a conflict of interest between Agatha n Dante in the future.

When Dante was alive, he did actually Try to parent Dart, but so much of his time was iust devoted to his experiments and work and cult stuff and holing himself up in his office that they were distant regardless. I mean Dart was kind of just an experiment that he didn't even think would work and he got attached too- there were a good 3 or so years that Dante was sick and dying (probably harmful material exposure let's be honest) and they just Didn't talk about it. They both knew but they didn't discuss stuff like that. I mean they had heart to hearts sometimes but the last time Dart really saw him before he died was kinda 'you're dying and we both know it'. Even when Dante was alive, Dart was really trying to run away from anything ‘supernatural’ or ‘weird’ or dangerous and just live a normal life. That’s kind of why she started going to whispering rock, but after the brain snatching incident she just hid in the outhouse the whole time and then stopped going after.

[corellianhounds]

Criticism of Ahsoka Tano’s Character and Role in Season 2 of The Mandalorian with Suggested Changes

Word Count: 2.8k

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I’m largely indifferent to and more critical of Ahsoka Tano’s live action appearances in The Mandalorian and The Book of Boba Fett than favorable. The short reason for why is that my introduction to her was the second season of Mando with “The Jedi” episode, and your audience only cares about Gandalf the White if they already know Gandalf the Grey.

The longer reason is that I don’t think she’s utilized well for Mando’s story. When I saw her for the first time I only knew through cultural osmosis that she was in TCW and was Anakin’s padawan. That’s it. I don’t know anything about her character and that episode doesn’t give me much to go on. I haven’t seen The Clone Wars or Rebels cartoons and I think it’s unrealistic to automatically expect your audience to know who this person is when this show was introduced as a standalone story with brand new characters, simply set in the world of Star Wars. There’s no indication that I should have seen two unrelated cartoon shows before going into The Mandalorian, so if you’re going to have this pre-established character from another medium, she should be written as if you’re introducing her for the first time. Don’t rely on what part of your audience knows about her, introduce her to this story as a new character because she’s entirely new to your main character (who in this show is also the audience’s proxy for new information). You shouldn’t be relying on our hypothetical prior knowledge for us to trust her or know where she’s coming from regarding the Jedi as a whole.

If your intention as the show runner is for your target audience to be people who have consumed select pieces/all of Star Wars media in the past forty years so you don’t have to do a lot of (or better) exposition, you have to be okay with automatically limiting your audience and likely having casual viewers (of which Mando had many) drop off when you start writing in characters without having more thorough storytelling establishing their place in this show. From a casual viewer’s standpoint, her character isn’t all that interesting, forthcoming, or fleshed out in “The Jedi,” at least not enough for me to care about the fact she’s apparently the main character of that episode since the central conflict/physical plot doesn’t affect or pertain to Mando’s overarching plot or character development, and the Thrawn name drop meant nothing to the audience regarding Mando’s story that far and— in the rest of two seasons of his own show and his participation in TBoBF— has yielded nothing as a result. What the episode did was introduce Ahsoka so she could get her own show and it largely wasted Mando’s episode and his involvement with Ahsoka for that entire season. We’re not given any indication that the information he gets could only come from her and not another Force user, and at that point the show would have been better served with an original character not constrained by or beholden to an established (apparently canon?) history or the episode’s focus on her.

Bo-Katan comes back at the end of Season 2 and is involved with the overarching plot. Cobb Vanth was apparently from the comics but I didn’t need to have read them for his character to make sense in the Krayt dragon episode because they DID lay out his character well enough I didn’t need prior context. Objectively, “The Jedi” episode is poorly written as an episodic installment of The Mandalorian, the script and characters on their own aren’t all that compelling, the music is what really indicates I’m supposed to care about Ahsoka/her decisions, and if you look at it from the POV of knowing Mando’s story with no knowledge of Ahsoka, she’s kind of wishy-washy and vague in her response to testing/training the kid and her explanation as to WHY she has reservations. I don’t find her character admirable when she refuses to go through with their deal in the end, especially since it’s apparent she has bigger priorities she should have been clear about from the beginning.

I know her being clear about her priorities would negate Mando’s purpose in staying there and the episode would follow him off to wherever he went next, but keeping Mando there for her for the whole episode only for her to go back on their deal makes her seem deceitful and not much different than Bo-Katan, who also used him for her own gain and changed the terms of their deal partway through the job once Mando was already working for her. The only difference is in their deliveries and personalities. The showrunners relied too heavily on the audience not wanting Mando to separate from Grogu to be what kept us from protesting about/criticizing Ahsoka’s decision; audience emotions are irrelevant to what will make a stronger story that will have more impact in the end. We don’t have to like every character who’s introduced, and our opinions about them can change over time as the story progresses and we see them develop.

If you don’t want me to think negatively of Ahsoka but you’re dead set on these circumstances being what keeps these two characters together for the length of the episode, she can’t have her mission take priority in the end. It’s that plain and simple. If she was never going to train the kid, she needed to be upfront about it AND you need to explain to Mando— somebody who has zero clue about the Jedi code or Force powers or the caution against attachment and it’s reason for existing in the first place— why the kid seeing him as his father is relevant to Jedi training at all. You can’t just say “You're like a father to him. I cannot train him,” you have to explain to Mando what being a Jedi™ means. The Jedi were peacekeepers specifically trained to uphold and defend what was best for the greater good and to serve as protectors of other people, meaning the choice to train the child as a Jedi would mean Grogu dedicating his life to this schooling, and that people with strong emotional personal attachments tend to have a harder time separating themselves from their loved ones and tend to prioritize those loved ones over everybody else, meaning they’re less likely to be good at doing what the Jedi specifically were called to do. That doesn’t mean the kid or anybody with similar tendencies is ‘bad,’ it means they shouldn’t dedicate their life to being a Jedi™. There’s more than one way to learn how to use the Force.

Does that ruin the chance of Mando staying there on Corvus because he would logically move on, meaning we as the audience wouldn’t see Ahsoka’s Cool Samurai Episode™? Yeah, but those are the circumstances Favreau and Filoni came up with, so either you change the story or change Ahsoka’s character or change Mando’s role in the Calodan conflict. Kill your darlings and write a better story. It’s not the Ahsoka show, it’s Mando’s.

However, the episode isn’t unfixable.

One of my biggest complaints with Season 2 is that it failed to establish/drive Mando’s character with the inner motivation of why he’s bringing the kid to a Jedi in the first place: yes, the Armorer tasked him with returning the child to the Jedi so that the boy had the chance of being raised by people like him who may already know him and would understand how to raise him to control the powers he has, but that’s the external reason. The whole premise of the show is predicated on the child being in danger and Mando wanting him to be safe. The Armorer says in the finale for Season 1 that the boy is too small and young to be trained as a Mandalorian, but given the fact he’s capable of powers that allow him to do these incredible things, there’s a possibility he can be trained to defend himself in other ways. The point of giving the child to a Jedi is that he’s given the cultural upbringing closest to what he would know as his own (an ideal the Armorer, Mando, and Mandalorian culture as a whole would understand the importance and value of), and so that he can learn to protect himself.

“The Heiress” should have established that as Mando’s internal motivation, and “The Jedi” should have been where the character voiced it because by this point in the season he should be at his most desperate. He’s finally found a Jedi and she’s reluctant to take him. Ahsoka’s his last lead. I’ve said it before and I’ll say it again: there is only one way for Din and Grogu’s story to end, and it’s with one of them dying before the other. The child does not age the same way humans do. He needs to be trained to use his powers so that he can defend himself when he’s alone. His proximity to Din makes him a target by association because Din simply being a Mandalorian invites conflict. Even when the Empire isn’t after the kid, the child is constantly in danger. Even if Din lives to a remarkably old age, the boy may still be a child by his species’ reckoning. Who’s going to take care of him once Mando is gone? What happens if they’re separated now and the child is in danger?

That’s a very real and compelling motivation for Din to want to give the child away for the child’s own good, permanently if he has to. If giving the boy to a stranger means he will be safe and taught how to keep himself safe, that’s the sacrifice Din is willing to make. That’s the kind of sacrifice any good parent with empirical evidence backing up their reasoning would understand, and Din has seen that evidence in spades.

We should see Din being scared for the child. That worry fuels his mission and it should stoke his anger and frustration when that mission continues to be foiled by dead ends (Cobb Vanth not being a true Mandalorian, therefore having no contact or information to give him), side journeys that cost him time, resources, safety, and possessions (the Frog Lady’s contact for information contingent on traveling sublight, which garners them the attention of the law), and personal conflicts and compromises (Bo-Katan’s heist, deception, and their culture clash). “The Siege” re-establishes that the child is still in the greatest possible danger he could be as a target of the Empire, and Mando is following his last flimsy lead to a Jedi who may or may not exist or even be on the planet he’s been sent to, considering the person who gave him that intel deceived him once already before giving it to him.

Mando should have been desperate for Ahsoka’s help. If she refuses to train the kid, he (as far as he’s aware) has no other options. If Ahsoka were honest about having larger priorities to attend to (ones Din wouldn’t object to if she explained she was fighting the resurgent Empire too), she could have told him about Tython at the beginning and the two would have parted ways without wasting Mando’s (and the audience’s) time on the Calodan storyline.

Mando wasn’t given enough time or personal connection to the people under the magistrate’s despotic rule for his bleeding heart and sense of honor to compel him to stay, and Ahsoka was honestly capable enough I don’t think she needed Mando’s help. She was planning to storm the castle herself anyway. Mando could have gotten the spear another way if that was to be his incentive for taking down Elsbeth.

In order to fix “The Jedi” and still have Ahsoka as the main secondary character and still have her be an honorable person by the end, a few things need to happen:

If Ahsoka was going to be a genuine option to take the kid under her wing, she should have been sent there by somebody else to depose the magistrate and gain the information about Thrawn that she would then relay back to her partner or employer, or she should had a personal vendetta against the magistrate (devoid of any connection to Thrawn) and genuinely needed help getting close enough to take her out.

Mando needs to be given more story and connection to the given circumstances of Calodan, forming connections with and gathering exposition from the people in town

Ahsoka and Mando’s discussion where she’s already reluctant to take the child as a student for personal reasons needed a better explanation based on how she saw her own master fall because of his flaws (just enough to flesh her out and give exposition to Mando/the audience who have no idea who she is), and Din’s own reasoning and desperation need to reach a boiling point where he reveals why he’s so insistent on the child needing a teacher (so the child can be taught to protect himself). This discussion needs to establish tension and stakes that make the emotional conflict (having Ahsoka take the kid and Mando’s mission being complete) dependent on the outcome of the physical conflict (the liberation of Calodan, Ahsoka resolving whichever conflict she has with Elsbeth)

That revelation allows Ahsoka to say she’ll consider taking the child as a pupil, but that it can’t be done until her mission is completed

The two of them have contact with other characters introduced from Mando’s more fleshed out connections and the story in town, grounding Mando’s involvement in this physical conflict

And most importantly, something Mando does in the ending fight/s inadvertently affords one of the citizens the chance to kill Elsbeth themselves before Ahsoka can get the information she wants. This reinforces Mando’s character as somebody who puts power into the hands of the people most affected by the conflict they’ve asked him to help with, and it inadvertently thwarts Ahsoka’s objective in obtaining information, forcing her to forgo the kid’s apprenticeship and forcing Mando to continue ahead, trying to find the information elsewhere. This outcome, based on consequences driven by character decisions, is much more compelling and satisfying and more naturally prevents the main character from achieving his main objective, forcing him in the story to continue forward.

This doesn’t mean the two of them have to be enemies. Conflict from outside factors prevents Ahsoka from being the child’s teacher and gives a logical segue for Ahsoka to give Mando the next best thing since she can no longer help (information about Tython and the chance of finding another Jedi or Force user). It provides a more natural exit for Ahsoka to either stay or go in the larger story of Mando and the kid, and her character doesn’t end up being wishy-washy or deceitful at all. Things just didn’t work out for the three of them, and it’s time for them to part ways.

If anything, doing that episode right could have meant it became a two-parter in order to really get into some of the nitty gritty of each of those characters and more worldbuilding and hey! Now die-hard Ahsoka fans get two episodes with her, and Mando’s character is given meaningful involvement in town and we can flesh out the storyline with Elsbeth a little more, raise the stakes and really give it some tension.

(This episode could have also had the optional bit of exposition of the two of them coming to the realization that the child doesn’t necessarily need to be a Jedi, that was just the information Din was operating under because that was what was available to him, and what Din really means when he says he needs to find a Jedi is that he wants the child to be protected by people who understand him and can teach him the kind of effective self defense he’d be capable of. Ahsoka or whoever you have filling her role (or even somebody in the town) can tell Mando that being a Jedi is not the only way to master use of the Force, that there are other avenues that would achieve Din’s inner objective, which in turn foreshadow and/or parallel Din dealing with challenges to his faith and the other ways he sees people being Mandalorians.)

(Him deviating from the exact wording of the mission the Armorer gave him is a non-issue. She gave him an objective with the broadest and biggest target she herself had knowledge of and she wouldn’t have cared if the kid ended up being given to a non-Jedi provided they were still a Force-user and they were who Din decided was best suited to fill that role. She trusts his judgment. This show had the opportunity to branch out into what else the world of Star Wars has to offer and diversify the setting so that we could have either gotten away from the Jedi or kept from rehashing things the audience is already aware of concerning them.)

[saikolikes]

“Si vis pacem, te ipsum vince”: the meaning behind Erina’s banner

I’m sure most people have noticed it, as it was shown firstly in the trailer and then in the opening: “Si vis pacem, te ipsum vince” seems to be the official motto of Persona 5 Tactica, and is indeed present on Erina’s banner when she uses Flag of Freedom.

The slogan is in latin, it roughly translates as “If you want peace, you must conquer yourself,” and it’s an alteration tailored to the game from the most commonly known “Si vis pacem, para bellum” (If you want peace, prepare for war).

What most don’t know (myself included before digging deeper to make this post), is that even the “original” phrase wasn’t exactly born as such and is itself an adaptation of a wider paragraph from a military treaty — Vegetius’ De Re Militari or “Epitome of military science” (the following quote comes from the beginning of Book 3):

Igitur qui desiderat pacem, praeparet bellum; qui uictoriam cupit, milites inbuat diligenter; qui secundos optat euentus, dimicet arte, non casu.

From what I read, the author does a sort of introduction by citing war masters from the past, including Athens and Sparta, and declares his task in compiling all their teachings in one place. Then, he concludes by saying “Therefore, the one who desires peace shall be ready for war; the one who longs for victory shall diligently instruct his soldiers; the one who’s after success shall fight following the art of war, not chance.”

The concept here is clear: you can’t search for and uphold peace without being skilled in battle and ready to fight for that peace if need be… which is a pretty interesting message in the wider scheme of Tactica.

(Warning for story spoilers from here onwards)

I didn’t reflect on it much as I was playing, especially because the game never gives you any “official” translation of what’s written on Erina’s banner. But as I went back to thinking about it, I realised just how fitting this alteration is. The whole deal with Salmael is peace should be the ultimate goal for mankind, a state of existence where no conflict is necessary—on the contrary, conflict is viewed as a bad thing, because it causes hurt and is ultimately harmful. So it makes perfect sense that “Si vis pacem, para bellum” is something that goes against Salmael’s philosophy.

What bothers me, instead, is that it perfectly fits what Erina represents, as is and without any alteration: she battles Marie like rebels do tyrants because the peace in the Kingdom has been disrupted and she wants it back. Putting metaphors aside, Toshiro is the one that realises that only by opposing his father and his fiancé he can right the wrongs that his family committed, and eventually find peace within himself. “Si vis pacem, para bellum” is actually already tailored on what the game is about, so thinking back about the alteration they made, I can’t quite explain it.

It has to be said, though, that “Si vis pacem, te ipsum vince” is also fitting. Reconciling with one’s Shadow self, tame it and embrace it is what awakening a Persona is all about and what Toshiro does later on in the story, so to have “If you want peace, you must conquer yourself” written on Erina’s banner is also a really nice touch!

I guess my main point here is that both phrases go well with the story’s themes and plot, but I do have to say, removing “para bellum” kind of ends up reinforcing Salmael’s point, which is that war (=conflict) isn’t necessary. It ultimately serves P5’s whole narrative that puts individuals at the center of societal changes without questioning too much what role society at large plays: it is acknowledged society needs reform, but reforming passes through righteous people and removing bad apples rather than dismantling and rebuilding anew a system that is designed to be exploitative. More so that “te ipsum” is a bit like saying “you yourself” so I’d argue that a really great emphasis is put on the person/individual. Also worth noting that “te ipsum” is specifically male-gendered as “ipsum” is accusative cause (direct object) for both male (“ipse) and neutral (“ipsum”) pronouns, but “te” is accusative case for the pronoun “tu” which can only be used referring to a person; this means that if the phrase was to be female-gendered it would be “te ipsam vince”. So it really seems to be tailored to Toshiro.

I think what they did with Tactica’s motto is cool (if anything because it let me put my high school diploma at use again after 7 years lol) and definitely a nice addition that shows this game was made with a decent level of care for being a spinoff… at the same time, I can’t help but find a subtle contradiction in the alteration they made.

[lutawolf]

My Dear Gangster Oppa Commentary Ep 1

This is a super cute show. Initial attraction was that grumpy sunshine troupe and the idea that they meet doing online gaming. While Tumblr/reddit/TikTok isn't online gaming, there is a sense of community and friendship that's special. So there is an immediate feeling of relatability.

This episode starts with an easy-to-follow introduction to the main characters that quickly sums up who they are and the conflicts that they are dealing with.

We flash back to the past where we find out that Guy, is a shy, college nerd who secretly loves his best friend, Wahl. Personally, it doesn't seem like love to me. He has found someone that has taken away his loneliness, and so he suctions himself to him. Believing this is love. He even signs up to follow him to a university that he has no interest in. That isn't love, that's a deep-seated need to not be alone. But before he can confess his feelings, Wahl picks up a girlfriend. Anyone else get the feeling that the gf knew that Guy was about to confess? First her asking Wahl if he was sure that Guy was his friend and then the way she rushed to get the sign board as Guy himself was reaching into his bag. It was all just classic mean girl.

Guy realizes he has to get over his best friend finally, and so he distances himself. Which is sad, but something I think he needed to do to find himself and other friends, even if they are online friends. To relieve his loneliness of one-sided love from Wahl, Guy turns to playing online games. In the game, Guy meets a kind sister named Yuri. Within the game, they become close to the point that Guy would like to meet Yuri. Wahl almost unknowingly sabotages this moment because Guy just can't say no to Wahl and Wahl has asked him to hang out. I wanted to reach into the computer and beat Guy's ass for going with Wahl. It was so fucking inconsiderate. When Wahl can't shut up about his gf, Guy remembers why he was putting distance and making new friends. Which in turn reminds him that he is supposed to be meeting Yuri. He rushes off to the aquarium, where they planned to meet for the first time. Luckily, Yuri waits, and they are able to meet, though it's an awkward introduction. Personally, I feel that Guy deserves to feel awkward. Asshat. Not only is Guy nervous, but he finds out that the real Yuri is a handsome, young, and dangerous man named Tew. I love the cold, but mysteries lead male troupe! What I also like is that because Yuri is a "girl", she isn't a replacement to Wahl. Guy genuinely starts to develop a friendship. With nothing else in mind. Sidenote: I hate how Guy talks shit about himself.

Tew is really hard to read. He is cold and distant and seems to be watching Guy more like an observer than a participant. He knows he makes others uneasy. Though, he appears as if this meet up means nothing, he is the one to suggest dinner. They go to a conveyor belt restaurant where Guy is trying really hard but is clueless on how to interact. Last desperate measure it to have a few drinks. And second hand embarrassment ensues, but fuck is Guy adorable. It works because you can see the atmosphere begin to relax rather quickly. When drunken Guy begins to talk freely to Tew, you can see that Tew is a wee bit charmed. But what puts the hair line fracture in Tew's wall is when Guy becomes cuddly and handsy. The episode ends with Tew's broken composure forced to close the gap between the two.

It's really cute and unserious while touching on some pretty sensitive topics. Stay tuned for the next episode review. 💜💜💜

[postmodernmulticoloredcloak]

Good Omens 2 Episode 1: what’s in a name

So I have just watched the first episode of season 2 of Good Omens, and I am going to write this post instead of watching the next episode right away for two reasons: one, watching tv for too long gives me a headache, and second, I refuse to let the streaming companies’ obsession with dropping entire seasons at once stop me from enjoying the journey, and enjoying the journey for me means stopping to think and write about things.

So this is my reaction to episode 1 of Good Omens season 2. Spoilers, duh.

The fil rouge that runs through the episode is the theme of names. We have Aziraphale who introduces himself by name in the flashback to Crowley, who does not reciprocate that kind of introduction, which paints a picture of where they stand in relation to each other, i.e. not exactly on the same page.

And then we have Maggie, who makes a gift to Nina based on her name (the Nina Simone record), but Nina cannot play it, which represents how they cannot be on the same page at all due to circumstances.

Of course we have James long for Jim short for Gabriel. And then we have Muriel, who is asked her identity so she has to say her name but also insists she’s nobody. Also, in the first scene with Michael and Uriel, Michael states their names out loud, which emphasizes how their identity is tied to their name, which highlights how Gabriel not remembering his name and then being forbidden from using it is an encapsulation of his struggle with identity. (There’s also the clothes - being naked is as far as you can get from the normal condition of angels with their pristine outfits, but that’s quite an obvious imagery trope.)

So this is an episode that deals with identity and how it relates to interpersonal relationships.

The first scene is absolutely lovely. They are immediately comfortable with each other - Crowley feels free to act nerdy, Aziraphale, despite his fear of saying anything “inappropriate” at all, expresses his concerns regarding Crowley’s attitude. But they’re not quite on the same page, due to their differences in personality. Crowley is nerding out about the nebula and doesn’t quite get that Aziraphale is trying to connect in a different way (exchanging names). So Aziraphale feels that Crowley doesn’t care about him, but then Crowley shields Aziraphale with his wing. Crowley is not the kind of person who likes to use words to express emotional matters, Aziraphale is (thus how he makes Crowley speak his apology out loud, complete with dance). Crowley’s love language is actions, not words, more specifically actions to protect Aziraphale.

An additional difference between them that is highlighted in the scene is how Aziraphale cares primarily about people, while Crowley cares primarily about nature (stars, ducks). Crowley is interested in the universe as a whole, and doesn’t have much affection for people in general. Aziraphale loves people. And that’s why one stayed up and the other went down, of course.

And of course the difference between their priorities is the source of their conflict in this episode, as Aziraphale sees a vulnerable angel (something he can relate to very much) and automatically decides to help him, but Crowley’s priority is Aziraphale’s safety.

Nina and Maggie are wonderful mirrors for our main characters, although way behind on the relationship process than Crowley and Aziraphale are. Nina needs to keep Maggie at a distance, due to her being already involved with another person and thus being unable to let herself connect with Maggie. Nina is perfectly capable of being affable and sweet, as shown with Aziraphale, so her curtness with Maggie can only be explained by the fact that she finds Maggie cute, and that’s why she cannot let herself get close to her, so she does her best to put up a wall between them.

Basically, Nina doesn’t have the player to play the record on - she does not have the circumstances to metaphorically let herself listen to Maggie’s music.

On the other side, Aziraphale has a record player, and has started listening to his beloved music, but Gabriel’s arrival interrupts him, just like Gabriel’s arrival creates a conflict between him and Crowley.

(The records are gay love, yeah.)

Crowley’s anger, though, forces Maggie and Nina to connect a little more - I would say something about anger not being a primary emotion, but stemming from love, but we were all here for Supernatural meta first, so it’s way redundant.

Speaking of Crowley being, um, smoking, let’s change the topic to fire/heat and light.

At the beginning, Crowley is trying to make a nebula happen, but forgets the first step i.e. “let there be light”, and Aziraphale helps him remember to do it.

Then there’s the empty box of match sticks in heaven. Out of place, because there should not be any material object in heaven. I’d say it represents a source of light and heat, but it’s empty, so it is and is not at the same time.

Conversely, Gabriel is naked and cold but then Aziraphale gets him a blanket and hot chocolate and he stops being cold. Not quite fire/light, but still warmth. So, again, heaven is coldness (but not quite in the right conditions to change, thus the match stick box being empty) and earth is warmth. (Hell is coldness too, of course, with its damp, dark spaces and ineffective neon lights.)

Then we have Crowley’s lightning and smoke, which makes the electricity (light) go off in the coffee shop, but then Crowley comes back and fixes it.

(A note: the box with the arrows pointing up - clearly representing “up up” is empty. Boxes are empty, heaven is empty, Gabriel is naked. Something something metaphor.)

Cinematographically speaking, the episode all revolves around sources of light, like the sun (I love what they did with the lighting when Gabriel gets to the bookshop). In case you missed it, in the flashback scene Crowley protects Aziraphale from being hit by the sun, which bounces off Crowley’s wing:

And then, insert something about lamps here that traumatizes Destiel people.

In fact there’s the quote on the match stick box:

[ID: partial screenshot showing the quote “Out of his mouth go burning lamps, and sparks of fire leap out - Job 41:19”.]

I’m sure the exploration of this theme is just the beginning.

I guess these are the things that stood out to me during my watch. I’ll conclude this post with a final consideration: this is it! Now we’re talking - it’s a queer comedy! It sets itself absolutely as a queer comedy. It goes straight to the point. It’s no longer a comedy with a queer overtone. It’s a queer comedy. I love it. I can’t wait to watch the rest. But still one episode at a time.

[curiouselleth]

For the WIP game, would you tell me about "The Founder" and "Morgoth Wins AU", please?

oh you've asked about the two biggest ones in the idea phase, wohoooo here we go! I haven't even started typing the rest of the answer to this ask but this will be longgg lol

---

The Founder -

The founder is a working title at the moment, if it ever becomes post-able then I'll certainly re name it. I will try my best to explain it in as few words as possible - last time I explained it to someone in full it took an hour and a half and 2600 words. This one is very indulgent but I love it.

Unfortunately, the Founder has also been a white whale for years. I'm not sure if it'll ever get in completely postable form, at least how I want it. But Veil of Starlight, my Elured is Gil-galad fic, actually had it's start in this fic! The concept was originally part of this fic, but it branched out into it's own. The concept will still be in this fic.

It starts with the main character. I haven't decided her name that she'll have at this point, but her name through the rest of it is Merldë.

She was a "normal" human from earth, current day, when she discovered a strange piece of technology that fell out of the sky. Of course she touches it. It turns out, it's a prototype device to travel through time or to other universes. So Merldë gets a fun, impromptu introduction to the multiverse and time travel. Through these little journeys, she also learns about her heritage.

Earth's universe has a strange entanglement, reaching out to other worlds, and the space in between worlds. This entanglement could draw in souls as they traveled between worlds to the one they are meant for. Merldë was one of them, she was supposed to go to the 1st age of Arda, and to be an elf. Not just any elf either, as she discovers her elvish heritage, she also discovers that she was to be the child of Elurin, and Gwingloth, (Irime/Lalwen's daughter, born in Gondolion.) She also discovers some maiar powers.

Over time, she decides to establish her own kind of artificial "bubble world" in the space between other worlds. Kind of like inter-dimensional Rivendell! It's named Oudawor.

Oudawor has two purposes. It's like a half-way house. They rescue people who were fated to die, or who were in bad situations and needed help. For those who were fated to die, they can find a new home, or figure out how to avoid that fate without changing time too much. Oudawor is also like a base of operations, they don't just rescue individuals, they go into all different worlds to help. For example, in conflicts or wars, bringing medical supplies or aid. It is done very carefully, so the timeline is not too changed, or dangerously changed.

Many of those worlds are ones we know, like middle earth, the MCU, the chronicles of narnia, etc. People on Earth know about these worlds through stories from the entanglement mentioned earlier, humans can pick up on it and other worlds subconsciously, which is where some of those stories come from. They are not always true to how the events really happened.

I don't have much written yet. Most of what I have is set in Arda, but I think that would be much later in the story, it would be the last part really, because Merldë was afraid to go, because Arda has one of the most fragile timelines, and because she is so closely related to so many there. And because I figured out how to end the story, it was pretty hard to find an ending that I liked and was satisfying. Now if only I could find a beginning... lol

The part of this fic that I'm passionate about really is that part, based in Arda, but I think it would cover a few other fandoms. Really, it could go into any! I have a lot of concepts for the Arda parts that I really love, some things in the first and second ages, and a few things before then. If you'd be interested in some more of the details, I have a few scenes figured out, and some world building and such, please let me know if you'd be interested!

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Morgoth Wins AU -

This one was inspired by this song! I was listening to it one morning on my way to class and this entire idea just hit me at once.

I haven't quite worked out the years yet, but (obviously) Morgoth wins. How did this happen? Well, the Feanorians won the war for him. I'm not 100% sure on the details for a few parts, but here we go!

This starts with things generally going a good bit worse for most of the first age. The Feanorians were lured away from their respective strongholds, and Morgoth's forces surrounded and sieged their strongholds. Morgoth held all their people hostage, and presented a choice. He kills and enslaves all their people, or he lets them live in peace and comfort... if the Feanorians serve him. If they agree, he will also return the silmarils, fulfilling their oath. I think there would be a LOT more pressures and factors in them taking his deal, but ultimately, they do. And one by one, the people of Beleriand fall to their swords.

Celegorm and Caranthir hold Menegroth under siege. Maedhros and Maglor take Hithlum. Maedhros and Maglor hoped to get Fingon out of Hithlum. They fail, and Fingon is taken prisoner before they can get to him.

Curufin leads a force to Nargothrond. Curufin falls at Finrod and Celebrimbor's hands. There are no tears. Only anger, fury. How, why? No one but the Feanorians know why they switched sides. After a few more years, Nargothrond falls, and Finrod and Celebrimbor are taken.

Most of the house of Finwe actually survived Morgoth's victory, but became thralls in Angband. The house of Fingolfin endured the worst treatment. Finrod's fate was a bit different from the rest of those captured. He became a spectacle. After some years locked up, he is forced to be a direct servant and minstrel to Morgoth. His every defiance turned against him, and onto his family. He doesn't eat? They aren't fed. He refuses to cooperate? They are not allowed to sleep.

So how long until he stops? Until the only defiance is in his gaze? He is well fed and dressed, so when Morgoth sends him on errands that take him right by where his family is laboring and being tortured? Well, what they think of him is the real torture for Finrod.

How long until Finrod completely breaks? Not yet, but this fic will certainly find out!

The rest of Beleriand continues to fall in the next decades, until only Cirdan's people in Balar stand, and they are preparing a desperate escape.

The Feanorians are just... broken. Hollowed out by all they have done, they have obeyed Morgoth's commands for years without needing any further threats to their people to "motivate" them. They begin preparations for the final attack.

And at the same time, an escape plan is taking shape.

What happens from here? Well, that would be too many spoilers. I think it's going to be a bit before I start proper, post-able writing for this fic unfortunately. I have 6 or 7 things that are in the real writing phase, so this one shall have to wait until that number goes down lol

Thanks for the ask!!! I am constantly rotating the Founder, and I am so excited about the sheer amount of angst in the Morgoth Wins AU, I am cackling evilly.

[perpetual-stories]

Writing 101: How to Write a Prologue

To help answer a question that was submitted to me, I’ll go ahead and create a whole separate post for it. I know it’s a bit different than what was asked in but I promise the answer to the question is there!

What Is a Prologue?

A prologue is a piece of writing found at the beginning of a literary work, before the first chapter and separate from the main story. The definition of prologue introduce important information—such as background details, or characters—that have some connection to the main story, but whose relevance is not immediately obvious.

Fitting the definition of prologue, the word comes from the Greek prologos, which means “before word.” The Ancient Greeks frequently used prologue in dramatic works of theater, where it functioned more like a first act to a play.

What Is the History of Prologue in Literature?

The invention of the prologue is attributed to Euripides, an influential Greek playwright and poet who predominantly produced tragedies about the darker side of human nature. Euripides’ plots often featured passion and revenge.

For a good example of how Euripides uses this literary device, consider the prologue to one of his most famous works, “Medea.” In the play, a woman takes revenge on her unfaithful husband by murdering him, his lover, and her own children. But before we get to the action, an old nurse enters the stage and tells the audience some of the facts so far:

Medea and her husband, Jason, are having marital problems

Jason has run off with someone else

Medea has been stricken by grief and has even begun to despise her own children by Jason

What Is the Purpose of Prologue in Literature?

Prologues serve an integral role in fiction writing, as well as playwriting. In modern literature, Geoffrey Chaucer started the tradition of using a prologue with his Canterbury Tales, a collection of 24 stories written from 1387-1400. Chaucer used his prologue as a kind of roadmap for the entire work, which tells the story of a group of pilgrims on their way to Canterbury.

A good prologue performs one of many functions in a story:

Foreshadowing events to come

Providing background information or backstory on the central conflict

Establishing a point of view (either the main character’s, or that of another character who is privy to the tale)

Setting the tone for the rest of the novel or play

What’s the Difference Between a Prologue and a Preface, Foreword, or Introduction?

While prefaces, forewords, and introductions serve a similar function of providing additional context for the content to come, they have some key differences from a prologue.

A preface is written from the point of view of the author, not a character or narrator. It explains the origins, development, legacy, or aims of the book, and often acknowledges others who contributed. Prefaces are employed mainly in nonfiction books, but may be used in fiction as well.

A foreword is written by a critic, subject matter expert, or other public figure who is not the author. A foreword typically introduces readers to the book by connecting its content or themes to their own experience. Forewords are used in both fiction and nonfiction.

An introduction is written from the point of view of the author, and offers additional information to help the reader understand the subject of the book, including historical context. Prefaces are employed mainly in nonfiction books.

3 Famous Examples of Prologues in Literature

Romeo and Juliet,” William Shakespeare (1591-1595)

One of the most famous literary prologues of all time, this prologue takes the form of a sonnet that introduces readers to the setting and characters of the play, as well as the dire situation in which the two star-crossed lovers find themselves. The prologue begins as follows:

Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean.

Shakespeare doesn’t hold back on spoilers: the sonnet also reveals the play’s tragic ending.

Lolita,” Vladimir Nabokov (1955)

Nabokov’s prologue is designed to heighten the controversy of its subject matter. It takes the form of a fictional foreword by an academic, who has supposedly discovered the book and is warning readers of its subject matter prior to chapter one.

“These are not only vivid characters in a unique story: they warn us of dangerous trends; they point out potent evils,” it reads. “‘Lolita’ should make all of us—parents, social workers, educators—apply ourselves with still greater vigilance and vision to the task of bringing up a better generation in a safer world.”

Jurassic Park,” Michael Crichton (1990)

Crichton actually offers two prologues, each showcasing a different style. The first reads like a legal document, outlining the seriousness of an “incident” and the “remarkable events” that followed.

The second prologue is more literary: a short scene, separate to the main story, in which a man is treated for an injury by a doctor in a remote village in Costa Rica. The doctor observes that the man seems to have been mauled by an animal. While treating him, the man wakes up and says one word: “Raptor.”

How to Write a Prologue in 3 Easy Steps

Introduce the main character(s). Some twentieth-century plays have used prologues to great effect. In Tennessee Williams’s The Glass Menagerie (1944), the prologue introduces the audience to the play’s narrator, Tom Wingfield, who explains that what the audience is about to see is drawn from his own memories. Tom tells the audience: “I am the narrator of the play, and also a character in it. The other characters are my mother Amanda, my sister Laura, and a gentleman caller who appears in the final scenes.”

Drop hints. Crime fiction and thrillers often make use of prologues to hint at characters, locations, and the mystery that is to come. Sometimes, a prologue may be set centuries or miles apart from the book, and appear wholly unrelated; however, it will somehow tie back into the main plot later in the novel.

Add only relevant details. A prologue should not be an “information dump”: a good prologue enhances your story, rather than explaining it. The best way to decide what to include in a prologue is to ask yourself: what does the reader absolutely need to know before starting to read the main story?

[nestavadavat]

Nests "Oh god how to get my long fix actually plotted" Guide for the Damned

If you’re someone like me who’s wanted to write a long-fic but has had a really hard time this is the guide for you.

So the main problem I encountered while trying to plot out fics was that I didn't know what plot points I should meet! When we’re young y’know you’re taught the beginning-middle-end type of story structure, maybe a basic version of the hero's journey. If you don’t already know that follows the;

Exposition > Inciting Incident > Rising action > Climax > Falling action > Conclusion

Now at least for me it was kind of hard to use this for fics! Mostly because this isn’t a structure built for romances! The structure I’m showing you I found from this article which I built on! Feel free to just go wild with this structure honestly!

(PS you can also use the hero's journey as outlined by this article but I don't particularly find that layout helpful!)

So here’s your rundown! Long read ahead!

(BIG TEXT) The Hook

Meet the protagonists, give your story a theme, etc! Now because I’m adapting this for fic, you actually have less work to do here. But let's say you’re doing an AU, you need to establish to your readers what situation your characters are in! What's their everyday like, what's the new change in their life that makes your story relevant?

You’ll also want to set up your issues! Maybe you’re writing about Dean Winchester, you’ll want to establish his daddy issues to come up later. If you have a twist in mind this is where you’ll want to lay your little crumbs.

Inciting Incident

Whats changing? This is where your characters should meet properly. Now’s when you establish their dynamics.

Are they enemies at first? Maybe they’re instantly making heart eyes at each other. The article I’m basing this on says it should be about 9,500 words, but you may not want this, so generally it should probably be in the same chapter as your introduction to the character/s. Maybe have it continue into the second one. This is your setup!

Plot Point 1

Our article talks about how your characters should be “stuck” together. You can do this literally or figuratively depending on how quickly you want them together. This just means you want to give your characters a reason to be together. Maybe they’re roommates now, they’re trapped in an elevator, or they’re working together.

At this point personally I’d want to have your characters starting to be attracted to each other if they aren’t already! You want to start giving your readers those swoony type moments where they want the characters to get together! Also define what the characters want, or give hints. Do they want a relationship or are they focused on something else? (Already have in your mind whether or not they’re going to get to that goal or change their mind)

“Pinch Point” 1

Now’s when you start getting into conflict. Now this could be internal or external conflict.

Is someone keeping them apart? Is one character too afraid to go into a relationship? This is also when you maybe want their first kiss, or a semblance of something building between them. They should start falling in love/being drawn more to the other character.

Maybe they share a moment, or complete that work project, maybe they carpool home together after something! Just give them reasons to be together and reasons for that established conflict and goals to come up.

Midpoint

Boom something new just happened. Our article tells us that this can be formed in a false-high or false-low. This should be when at least one character solidly admits (even if just to themselves) that they’re in love with the other character.

A false high means that it seems like everything is going super good, trick your readers! Maybe your characters sleep together or they have a touching moment. You definitely want this route to seem like an endgame where they're all happy.

A false low means that your readers should be thinking “oh my goodness how are my blorbos supposed to come back from this”. Maybe that love confession goes poorly, or they get in a big argument, or something goes poorly with one of their goals!

“Pinch Point” 2

More problems!!! This relates back to your characters conflict you set up in the beginning. Maybe they need to make a big choice related to their goal or something from their past comes up. Maybe your characters are getting closer still but this conflict should be brewing.

Your character should be nervous about their relationship because of these conflicts. This should blend into the midpoint, so these conflicts are starting to arise during for false-high or false-low and maybe creating a strain on this newfound love.

Plot Point 2

More stakes! Your characters really can’t catch a break! This is when that thing your character was afraid of actually does happen! Maybe there's a misunderstanding, or their plans fall through. The article says that this is the moment when your character should be going “i knew better than this”.

This is when your readers should really really think that there's no way the characters can come back from this. Maybe they call it off or split up because of all this not-so-sexual tension created. The characters have to chose between wanting the relationship or being afraid (and its super heartbreaking and compelling when they chose fear btw)

The Crisis

Now your characters need to choose. Is it worth it? The answer to this for your main character is usually “yes”. This is when they should start looking for their solution to their big problems and start learning and changing. (Character arcs <33)

The Climax

Yay they got back together! Your theme has been explored, and their problems are solved/being solved. Usually this means a big gesture like a love confession, a proposal, something big and dramatic that makes your heart ache. Your readers should go feral rn!

The End

Now’s when everything gets tied together. All of your characters big plans come together. You may want to timeskip forward to show us their lives. Happily ever after and all!!!

———

Thank you for reading all this! Just as some ending notes, a lot of these points probably blend into each other. Also feel free to mix these around, this was mostly a way for me to really get this into my brain so I can practice it more but I hope this also helps other people who may struggle with finding a plot structure for longer romance oriented fics!! :)))