#Could i have written it any better?

[thegayneurodivergentagenda]

There's also a deeper more insane version of this in my head where Pran sneaks into the apartment because of the spare key he has to surprise Pat. And when Pat returns he smells Pran first in the doorway, and the kitchen, and the living room to the point that he feels like his mind has finally descended into the sixth stage of grief: delusion. (And maybe he breaks down in the living room because he just misses Pran so much and he avoids the bedroom just a little longer)

Until, Jazz-Hands Pran walks in to find Pat on his knees crying and looking blindly at the door of the bedroom and he understands and they both cry.

thinking about singapore-era pran just walking through the front door of pat's apartment one evening for an unexpected visit, and after pat has gotten over his shock and hug-tackled and kissed the hell out of him, he goes, "baby why didn't you tell me before?" and pran just shrugs a little and says, "you said if i missed you i should just come in"

[elliewiltarwyn]

"Hey, do you...need anything?"

"...I'll...get there. But later. Time is short, we should move." "Anything you need, buddy." ...I'm proud of you.

Ellie didn't expect to grow so close with Erenville over her time in Tural, but she feels the pain of the child of a willful mother all too acutely as well.

there is an actual wip in my scrivener project that i'm on the verge of Actually Posting, after some edits - i just really need ellie to hug the bunny.

a couple extra bonus shots that i liked:

[luminique]

Lighter with a chubby s/o more flesh for a pillow! (and also to hold...)

i am so sorry anon, i have a smaller figure (on the thinner and small side) so i will try my absolute best to write something but please forgive me if i get anything wrong. if there are any mistakes, please give any feedback so that i can improve. if there are any lighter writers who have a chubby body type, i would be more than happy to reblog their post instead !!

we’ve established that lighter LOVES cuddles, and your body type is absolutely perfect for that. not to say that he has a preference, he loves you either way.

there are times where he wants you laying on top of him and he’s insistent on making it happen. you can tell him 193739370272 times that you’re too heavy for him and to that… he’d just give the dumbest grin because you both know how strong he is. he loves wrapping his arms around you while also comforting you that he is alright. something about seeing you look up at him with your chubby cheeks has him head over heels, wanting to caress them but the thought embarrasses him so much that he fails to so his hand is just awkwardly in the air (we love a boyfailure)

OH I THINK HE’D LOVE LAYING HIS HEAD ON YOUR LAP/THIGHS !! they’re the perfect pillows and especially after a long day…. he’s a simple man, all he needs is to lay on your lap, have your fingers in his hair while he not so secretly gazes into your eyes behind his sunglasses. a sigh escapes his lips, what a perfect way to end the day.

and if ANYONE makes any negative comments about your looks, he’s already challenging them to a fight. as he said, “an issue that can be solved by fists is no issue at all” and he stands by that. especially about his beloved, no one is allowed to throw insults at you or at him and if they do…. well we’ll see if they can rise from the ashes.

[mephoj]

nickel and balloon would be so much more interesting if people explored the way nickel became everything awful that balloon used to be but so much worse ironically all in the name of "protecting" everyone from that history repeating. and not softboy tsundere yaoi or whatever is going on in those tags rn

[betweenblackberrybranches]

Day 7 of Medival Artober "Blacksmith"

When Y/N goes into the the next bigger village to get some things fixed or ask for something specific to be made for them Sun gets to see a lot of stuff, many things have changed since he was last able to freely roam outside and yet some things have stayed the same. And sometimes Sun dreams of a future as mundane and wonderfull as all these people get to live, as unobtainable as it seemed in the past... maybe, just maybe

[yuseirra]

ch 109 and Mephisto~

even someone in their right mind would have gone insane in his place I'm pretty sure I mean, his beloved got killed upon the reasoning they had his children, if he acted with the belief that he should reverse that somehow, I'd understand the despair and desperation.

[epiclad]

"You, this is Boo. And Boo -- meet you." "It is an honour." "No -- it is a hamster."

[ploverpaw]

Okay I'll speak a thought

It's hard for me to take 'does Curlfeather deserve to go to The Dark Forest' seriously because I believe the dark forest is an inherently flawed system no cat really deserves to go to

It's hammered in that it's an entirely horrible place to exist in, and there's no incentive or opportunities for cats to change their ways, learn better, or get help if a lack of it contributed to their actions already. And even when they do manage to do so, there's still no hope for them. They're still stuck in Cat Hell, surrounded !!for eternity!! by the unmonitored violence of the other df cats.

The only cat who got close as far as I know was Juniperclaw, who has to serve Starclan in a tunnel forever without ever being allowed to join them.

Seemingly, the only way for these cats to really change their situation from there is by breaking through on their own, usually through the use of violence, so I'm Not surprised the great battle [OOTS] came about.

Not to mention if we go off what we learned of Snowtuft in TBC, they don't even remember what they did to be in the dark forest after enough time has passed, so at that point it seems exceedingly cruel.

Of course these cats, including Curlfeather, deserve to face consequences for their actions, but the dark forest seems like a pointless way of just causing more pain for the sake of it. And it's the same punishment regardless of the crime, while we know many cats who arguably do things of the same severity are allowed into Starclan just fine

I could say so much more I have so many thoughts but I don't want this to get too long

look at this

[aashiyancha]

Finally finished writing something from start to finish.

Hope you enjoyed!

[right-there-ride-on]

Gyjo in the fandom

cw: light discussion of ableism

Gyjo… what am I thinking about gyjo…

I like them. I like them a lot, actually. They have paralleled narrative arcs, they complement each other nicely, the romantic subtext is incredibly obvious to the point that even the most homophobic fan you know will admit they understand why people ship it… so why do I also have a problem with it?

There’s a lot of good fanart. Hell, I’ve reblogged plenty. Maybe it’s just something that’s more pronounced in fic.

I’m trying to word this correctly. My issue with gyjo has nothing to do with the text itself. I think my problem is just how people portray it in the fandom.

Maybe it’s because it’s so popular, or maybe it’s the sheer prominence of applying ‘Character A’ and ‘Character B’ dynamics without considerable regard for the characters involved, but I feel gyjo is very prone to flanderization. I believe the intersection with how ableist people are toward Johnny (intentionally or not, subtly or not) and the old tropes these two get shoved into makes it so I have trouble enjoying fics in the fandom.

I’m not saying it’s bad to enjoy certain tropes. I’m not saying headcanons are bad either. What I am saying is that writing is hard, but if you’re going to write fanfiction please have consideration for the characters you’re writing. The arcs of these two are complex and multilayered, which is why I think they have such staying power, but I also think they also provide a good opportunity for us as writers and artists to examine our biases when it comes to the portrayal of certain groups, personality types, mental illnesses, queerness, disability, etc. and maybe come out better people for it.

[thecrimsonjaguar]

i think when it comes to the F+C finale it's important to see where the writers were coming from. And it's easy to do that, the lesson/moral they gave simon is fairly clear: Simon needs to appreciate his life because Betty sacrificed so much to get him here. alright, cool, that's good on paper.

I do Also think that the execution was poor.

up until this point, the crown has represented/could be viewed as many things. Alzheimer's, substance abuse, and anything else people have called it. In this series, a newer interpretation has arose: Suicide. And I'm certain the writers were aware of this. Depression and suicidal ideation are such strong themes in this series that they can't NOT be purposeful.

So their attempt at teaching Simon to appreciate Betty's sacrifice can ALSO be read as: Simon, the suicidal, on the verge of a relapse-man, gets put into a body of a child, (and that is very powerful imagery that does not help, actually) and is told nearly expressly that he fucked up in his relationship with the love of his life. He is told he should have sacrificed more for betty. And he says to himself: "Maybe i wouldn't have even found the crown". Basically it's simon pinning the blame on himself for his 1000 year curse on his mistakes with Betty. Which of course can be read as Simon's self loathing but the show does nothing to refute his statement, which i also have issue with. Simon putting on the crown was stated to be a Mistake. it was an accident. No matter what, the crown cursing him Was Not His Fault. Ever. It's not Betty's fault, it's not Simon's, it. was. a. Mistake.

regardless on if they should or should not have introduced these new flaws into simon's character, having simon learn his mistakes like This feels. icky. to me.

[finalgirlminamurray]

remember when halloween 2018 (or as i like to call it, halloween h40) came out and people were making those flowchart-style diagrams explaining the various halloween timelines? i like when people try to do that for the texas chainsaw massacre series because it is a fool's errand. you cannot divide that series into distinct specific continuities because there aren't any. there's a good argument to be made that every single film in that series takes place in its own completely separate timeline because it so often does not bother to meaningfully connect them beyond the single recurring character of leatherface.

i've mentioned before that tcm2 is my favorite sequel and the only one i actually like and will accept as a canon sequel to the original film, and part of that is because despite the complete 180 in tone it does, it's the only one that bothers at all to be a sequel. i think it's the only one that makes sense as a continuation of the first movie - the only glaring continuity errors are confined to the opening scroll text, which you can take or leave as part of the films' canon. (by this i mean the first movie's opening implies that the sawyers' crimes were discovered after sally's escape, while the second film explicitly says no evidence was found. also it retcons sally's last name to be "hardesty-enright" instead of just making lefty's last name also hardesty, for whatever reason.) there's one newly introduced member of the family but you can infer why he wasn't there in the first movie, and the one who isn't there this time has a good reason to be absent (he's died.) one of the main characters in this movie is a relative of the first film's final girl and his involvement in the plot is explicitly connected to what happened to his niece and nephew. the events of the first movie clearly happened in this universe. low bar, i know.

this could be attributed to this being the only sequel also directed by tobe hooper, although the original film's screenwriter did not return, and him having more of a vested interest in continuing the story of his own work. most of the original film's cast did not return for this one (can't say i blame them), but they work with that pretty well. i do think the film ends in a way that pretty decisively puts the brakes on any possible continuation from there, which could be attributed to hooper not really wanting to do a sequel in the first place and trying not to get asked back for another one. (i agree this was not a film that should ever have had sequels, much less become a full-on franchise. but you can tell that upon having to do it they were just like fuck it, let's have fun. hence the tone.) not that that stopped the studios from valiantly trying again and again to profit off of this title.

which might explain why the later sequels are so particularly weird. they don't really have a lot to go off of, i guess. i think part of the problem is that this is one of the few slasher films where the villain is actually a group of people, not a single recurring killer or identity various killers take up. they do have a silent, masked slasher who can be played by whichever new stunt guy you get for each film, but what about the rest of the family? it's always felt important to me that there isn't anyone outside of this isolated little unit in the first movie, but sequels keep inventing totally new characters out of nowhere with no explanation as to where they've been in previous installments. doesn't matter - we're in a new continuity now. tcm3 does not logically follow in any real way from tcm2 or tcm1. it's not a sequel despite the number in the title. it's a reboot.

(i've kind of come around on tcm4 aka tcm: the next generation. i used to think it was the worst sequel but now i think i get what it's trying to do a little better, although it is a pretty stupid movie in a lot of ways. some people have described tcm2 as a deliberate parody of the first film but i think that applies way better to the next generation, seeing how it follows a lot of the same plot beats but done in a more outlandish and parodic way. also, hey: same screenwriter as the original, returning this time as director.)

then the remake made a shit ton of money and kickstarted a new direction for 2000s horror (great. thanks for that.) and got a prequel that also actually made sense as existing in the same continuity as the film it was a prequel to. (again it probably really helped that they were able to get most of the cast back. no need to invent new family members when you still have all the same people playing them.) then in 2013 we got a sequel that promised to Finally be a Direct sequel to the original movie and...it made no sense as one. they try to pick up right where the original left off but right away there are once again a whole bunch of new characters who definitely weren't there in the first movie suddenly appearing in the house, including a baby whose existence is crucial to the plot.

(i'm sure everyone knows about the bizarre timeline decisions of this one, namely the main character ostensibly having been born in the same year as the events of tcm1 but only being about 18 years old during the main events of texas chainsaw 3d, despite it seeming to take place in the modern day. however there is an explanation for that! originally the film was supposed to take place in the early 90s when a character born in 1973 would have been that age, but studio meddling forced them to reshoot it to be 2013. you might notice that any mention or depiction of the exact year the opening scene takes place seems conveniently obscured in this film, implying that it is yet another alternate timeline where the events of tcm1 occurred sometime in the 1990s. this also serves as further demonstration that 1. studio executives are the dumbest people alive, and 2. people really don't care that much about the first movie. more on that later.)

leatherface 2017 is an attempt at a prequel that also makes little to no sense as a backstory for its titular character; i wouldn't be surprised if it started out as an original screenplay that got retrofitted into a tcm movie. there are no new sawyer relatives invented for this film (i don't think), but it does seem strangely insistent on keeping its leatherface away from the family for as much of the film as possible, making it feel especially like it didn't actually want to be a tcm movie. (the twist of the titular character's identity is clearly meant primarily to be surprising and not to make sense, but i can only say: there's no way that the original film's leatherface grew up apart from his birth family for that long and also used to be a "normal"-by-neurotypical-standards, verbal kid. different continuity.)

then in 2022 we get yet another attempt at No Guys Seriously For Real, This is a Direct Sequel to the First Movie, and i should have known things weren't looking good when it was announced this was actually getting dumped on netflix in february but my expectations plummeted to rock bottom when that teaser came out that thought the most relevant part of the movie to sell to people was a "canceled" joke. jesus. tcm:tng i'm sorry, this is the clear worst sequel. (if it was just that one dumb joke it might not be, but there's so much more that's awful in this movie - whatever.) anyway continuity-wise i guess this isn't completely disconnected, there is clear acknowledgement that the events of the first movie happened, but it's really not relevant to the main plot at all, when you get right down to it. pro tip: if a slasher sequel advertises the return of the original film's final girl, she will most likely not be in the film for more than five minutes. there's some implied backstory about leatherface running away to this neighboring town and being taken in by the lady who runs the orphanage, but honestly this could easily be yet another different continuity where leatherface is the adopted son of a kindly old lady (who still has a confederate flag in her window, jfc, i think this is the first time that imagery has ever been used in this series and it's associated with a character who's supposed to be sympathetic??) who was keeping a lid on his murderous tendencies before she died. points for effort i guess but i don't think it deserves much.

i really don't know why this series in particular is like this. most horror franchises will have their movies clearly follow each other and exist within the same continuity, sometimes with a reboot or two if they've gone on long enough (see: halloween having at least three different timelines, but all clearly branching from the same source.) if it's supposed to be an anthology series, they'll just...say that. i've heard it said that this series works best when viewed as variations on a theme, like the original film's events are an urban legend of sorts being told and retold around the campfire and every version is different because everyone remembers it differently or makes up their own. i do like that and think it makes the franchise make more sense but i know most people watching these movies aren't thinking about it like that, they're thinking of them all as sequels to the same movie, with the remake and its prequel being the only ones clearly existing in their own separate continuity.

it's a little sad to see how no one making official movies in the series seems to really care that much about the ostensible source material. maybe i'm biased because it's the film my brain latched onto the hardest when i started really getting into horror, but i think this movie is so interesting and there's so much there to explore with the little we're given about these characters and their dynamics and what they do and why they do it, and even if you can't really dive into all that in a movie you could at least use what's already there for your sequel and most of them just...don't. like they don't seem to have watched the original movie even before writing a sequel to it, just going off their own vague memories about that one scary movie about a guy with a human skin mask and a chainsaw. i know i shouldn't be expecting any more from a slasher franchise on its 9th installment but...whatever. it is what it is. this was never supposed to be a franchise in the first place. at least i can shout into the void about my thoughts and feelings on here.

(i think i read somewhere that the filmmakers were actually forbidden from referencing cannibalism in the script for texas chainsaw 3d and if that's true...oh boy. talk about missing the point. if you feel like something significant is missing in the later films in this series that's probably part of it.)

[problemswithbooks]

BNHA Ch. 429

So, I guess Toga is dead, and people are losing it.

I get why people liked her--she was actually queer, being pan/bisexual. She was representation for them and that's rare in shonen manga. But here's the thing--she was bad representation at best and insulting at worst. Nor do I think she was made queer because Hori really wanted to represent a queer girl. Himiko was always the author's poorly hidden fetish--she just was. She liked girls as much as boys because Hori wanted to draw a girl touching sexually on another girl. You can see this in how he draws her and Ochako in solo pics together.

I mean, people seem to understand this when it comes to Momo and her outfit being overly sexual or that both Himiko and Hagakure's Quirks either leave them naked or they have to be naked to use them. These are excuses to draw girls in a sexual manner. Himiko being into other girls is the same thing and that's the kindest interpretation.

Given how Himiko acts and her Quirk being heavily coded sexual desire, and therefore her use of it against someone unwilling being sexual assault, it could just being playing into harmful stereotypes of predatory gays.

As a queer person myself I just found Toga insulting. She was designed to be overly sexual and give the male author a female character that he could draw being suggestive with his other female characters. When he did flesh out her character, her backstory was eventually the trope/fear of straight people, that gay people will be so overcome with their lust that they end up sexually assaulting them.

In the end Ochako accepts this part of Toga and says she'll giver her blood forever, but as much as a lot of readers took that that as some deep lesbian confession, for me it really fell flat. Hori never really gave any of the main kids time to actually learn about their villain or show how that changed their minds toward them. Shoto only works because Touya is his brother (even though he admits he barely remembers him). But Ochako goes from not thinking of Toga at all pre-first war, to one thought about her during her speech, to suddenly caring about her so much she--given how Toga's quirk is coded, is willing to essentially fulfill Toga's kink for the rest of their lives.

It's weird and it comes out of nowhere. It's made even stranger because Toga doesn't actually change or show remorse for anything she did, which included personally hunting and murdering people before she joined the LOV. None of the death and destruction she is also partially responsible for is brought up either, something that Ochako was rightfully upset about during the first war when less people and property had been destroyed. Ochako just accepts everything about her suddenly and her past serious crimes are forgotten so they can cuddle and cry.

Am I shocked Toga died--a little. I didn't think Hori would have the guts to kill off a young girl character, especially one that he clearly got a lot of joy drawing in sexy poses. But at the same time, once he killed off Shigaraki and ended Touya's story with his slow death, I'm not surprised he went the same route with Toga.

This isn't Naruto--Hori isn't really kind to characters that do something wrong, especially if they don't try and change. Enji, Bakugo, Hawks, and Aoyama all sort of got punished for what they did. Enji is the worst off, being permanently crippled, missing an arm and burned everywhere. Bakugo's hand is damaged, his heart weaker, plus he feels bad that Izuku lost his Quirk so they can't compete the same way he wanted them to. Aoyama, despite doing way less wrong and even helping his class during the forest raid, still leaves school because he doesn't feel he earned being there yet. Hawks lost his Quirk and even though him running the HPSC could be seen as good for him, Hawks always wanted a break, but now he has one of the most time consuming and stressful jobs out there.

So, if this is what characters who actively did good things and even changed and fought to be better get, what would characters who never changed and never did anything positive for anyone but their friends/themselves get?

Before the last Arc started, when so many people said the LoV were 100% going to be redeemed I had doubts and always thought it wouldn't make sense with how the story presented redemption or treated other non-LoV villains in the past. That if the main LoV did get some happy ending where they were bffs with the main cast it would clash with how other characters had been treated.

That doesn't mean that I think how Shigaraki, Toga, and Touya ended up in the manga was well done. I think their endings fit far better then a last minute redemption would have, but at the same time you can feel how rushed everything has been since the end of the first war arc. Hori was done with this story months if not years ago, yet he was contractually obligated to finish it. Because of that I think he left out as much as possible. As much as I think he's written some pretty obsessive stuff, particularly towards women, I can't really fully blame him cutting corners or the story being shit at the end.

We know Manga authors, particularly those that work with Jump are treated like shit. That they suffer incredibly long hours at times not even getting to go home for days. We've gotten messages for Hori saying he's sick quite a few times. On top of that, weekly story telling is not a great way to tell a cohesive narrative. Ideas probably change week to week or at least month to month and you can't go back and change the last chapter no matter how much you need or want to. Then you remember he also gave a lot of ideas to the people who made the movies, which would also change his plans for how he wanted the main story to go.

The story is bad--it has been for a while, but I think a lot of people put their hopes on their favorite characters getting a happy ending, even when there were signs that probably wasn't going to be the case. I know how much it sucks when a character you love gets a shitty ending (Stain was my fav, but he got an absolute dogshit ending) but at least, knowing what I know about the industry I can't really blame Hori the way I see some other people doing. Criticize it, sure, but saying Hori hates his readers or is horrible writer isn't true. BNHA was popular for a reason--he's great with characters and the beginning of the story had some great pacing. We'll never know, but I wouldn't be surprised if BNHA could have been amazing if Hori had been treated better and the story hadn't needed a chapter every week.

If anything BNHA has taught me how much a story suffers when authors/artists are treated like crap and forced to work past burnout.

[epickiya722]

I haven't even read the ending and I won't have a full opinion on it until the actual chapter comes out, but from I have seen about "loose ends"... I could imagine that Gege actually wanted to explore more but there are certain reasons that kind of halted that. Similarly, like with MHA's ending.

(I'm sorry but I'm not deciding on just leaks on whether a chapter is good or bad.)

It just feels odd to me. I don't know, it just does.

I think about the overall scheduling and that Gege can't and can do certain things because he does work with other people he has answer to. I wouldn't be surprised if after this, Gege comes out with a statement saying there was a lot he wanted to continue to explore but couldn't due to reasons. There's also Gege's health to consider.

Whether the ending got fumbled or not, again, I don't know. I'm not here defending Gege or making excuses, but putting insight and why the ending possibly became what it is.

Hell, just last year people were upset because how some of the episodes of the anime looked but then it's turns out how the workers literally had to crunch for time and apologized (which I think was just so sad to do because the animation and pacing was fine for me and I know that has to be hard to do with little time to perfect it but some of you couldn't relate but I digress) as if they are actually to blame when they're just employees.

Maybe it is just me but it just seems odd to me.

And I know some people are upset about Gojo. If you are, I'm not holding it against you. I like him, too and yeah, I'm shedding a tear or two.

However, how this fandom acts now compared to before is such major whiplash for me.

Some of you want to throw around "Gege hates Gojo" so much but Gege is the same creator who gave the audience Gojo and a story to understand and yet a lot of people still mischaracterize him and only see him as "a hot character" or "the powerhouse that should come back because how dare he be happy in the afterlife" or "the blue eyed twink".

Actually, I find that some of you probably hate canon Gojo more than Gege supposedly does because of all these different versions that the fandom have conjured up.

The most Gojo did deserve is a funeral after he died and I get being upset if he didn't get that in the story, I would be upset for sure.

But given how much I have seen the fandom act when it comes to Satoru Gojo's character, I'm taking a lot of opinions on "Gege mistreated Gojo's character", the ending and everything else with a very teeny grain of salt. Yeah, be "critical" all you want but it just seems for anything nowadays that's all people want to do without considering other factors.

You can still hate or like something and acknowledge other things that play into why that something is the way it is.

[blushinggoku]

Been trying to read some goku x reader fanfics (because I love him and cringe culture is dead) but there's soo few out there it's insane. I'm disappointed in this fandom for not loving goku more

[dykedvonte]

If Ulysses has a million haters, then I'm one of them. If Ulysses has one hater, then I'm THAT ONE. If Ulysses has no haters, that means I'm dead. If the world is with Ulysses than I’m against the world.