#HOW DO I WRITE CONFLICT NOW?????

[hsiiwg]

how tf do i write conflict for my characters????? I already know their goals, motivations, relationships and all that but the original outline for their conflict feels too ooc after i rewrote the story setting and i can't really think of another way to make something similar

This conflict is so fucking important since it starts, like, most of the character development.

[theclownghoul]

I still really love Act l of Arcane Season 2 and I was so hopeful with how everything was set up and I still think everything is the first Act was good, approaching Season 1 level.

However now that we have the whole season I’ve seen a lot more people start to interrogate the writing, specifically of Cait and Vi.

I was first to defend the way things were done in act l but now that we have the rest of the story it puts many of the choices in a different light and it’s definitely worth criticism.

It remains me a lot of how I feel about Wasteland, the scene of Ekko talking Jinx down. The scene itself is great, stunning and really shows the care both of them have for each other despite all they’ve been through. Ekko not giving up on her because he sees her value where she sees a curse. It’s interesting to see that at her lowest she doesn’t bother to hide that she cares deeply about him. It’s good (though objectively should have been longer) and in isolation I appreciate it.

Retroactively it leaves a sour taste in my mouth. After the ending and Jinx “sacrifice” (that’s set to the same song) I feel like the writers really didn’t care about Jinx coming back from rock bottom with her supports (not seeing anything in between doesn’t help this). She dies and it’s framed the same way as all of her previous attempts and now it’s framed as good. It poisons the scene with Ekko the same as Vi’s later writing poisons her decisions in Act l. Because we now know they don’t care and were not going to be responsible with what they were depicting.

That scene also seems to be unnaturally beautiful, combined with the glorification of Jinx’s sacrifice it’s sickening. They wanted a spectacle and that was what they chose to debut the Z -Drive….

Even the good parts have to be called into question after the later decisions.

[valzhangism]

i know i said i was happy about how mel's story went, but the more i think about it the less i'm sure about that. this is very much connected to how the themes of classism and wealth disappeared in s2, but mel in the beginning was the epitome of piltover. she wanted to advance piltover to prove herself to her mother. to "put piltover—" and by extension herself, "—on the map."

she wanted wealth just to have it. and i'm not blaming her for anything that happened, especially with hextech! she, just like jayce and viktor, could not have known what it would lead to. i mean yeah heimerdinger said so but who the hell listens to heimerdinger? but anyway i think mel changed throughout s1, much in thanks to jayce. by the end she's become more cognisant of the mistreatment of zaunites. she's the first to vote for their peace. she was a good person all along but now she knows how to act on it. it's also seen more in s2 act 1. when she covers her painting with gold, it's symbolic—she won't act according to what her mother might think. she won't let her desire for approval dictate her anymore.

so somehow i wish those themes were. continued, somehow? like again they were dropped not just with mel but the whole show and it makes her story a off to me. there's no meaningful commentary on war or classism or how her ideology stands opposite to her mother's. like some people have said, it feels like she doesn't have much agency, even if she is really cool. and that to me is a shame because agency felt like her thing. "to shape your own destiny" as she says to jayce in s1. i know her collaborating with the black rose (but not fully joining them) and learning magic is supposed to represent becoming independent from her mother, taking her own path, but some other aspects of her character were thrown away... the more i think about it the more i'm thinking they kind of #girlboss-ed her a little bit. maybe to sell another champion. i can't help but feel like even though i enjoyed seeing her on screen, the payoff didn't feel proportionally satisfying compared to her setup in s1.

[vaguely-concerned]

Origins is of course the DA game most closely in conversation with and playing around with Tolkien (right down to the walking talking poetree haha) -- and even more so than most works in the larger western fantasy tradition derived from Tolkien's work that DA:O also hails from and owes a lot of its Stuff to, what makes the game so great to me is that it's doing so very deliberately, and is subverting and deconstructing those tropes and entrenched ideas in some very interesting ways without at all denigrating what it's commenting on. (it doesn't have the almost disdainful undertones of the vein of fantasy that seeks to make the world more 'realistic' ala the more tedious reactions to G.R.R.Martin's work, for example, despite having the darker fantasy bent to it.) among other elements it adopts, what I find the most fascinating is the choice to use the same literary device/conceit Tolkien did in ostensibly only having in-universe biased sources and works to deliver the world through (which I feel is an underappreciated thing about his approach but is part of what makes his world so enduringly compelling and real-feeling -- the feeling of real scholarship devoted/applied to a made-up world. the grounding effect of a good diegetic footnote about source criticism, truly).

many things to be said there, and I'm glad each following game has taken on different perspectives and lenses and traditions to view the world of Thedas through because if you stick with that one too closely for too long I fear we could teeter precariously close to Pratchett's famous and bitingly accurate accusation of most modern fantasy of that era just being about rearranging the furniture in Tolkien's attic lol. and while you could accuse DA2 (my perfect wife who has never done anything wrong in her life to be clear) of many things, that's not one of them, they are pulling on some completely different strings for that one and both the game and DA overall is better for it, to my mind. as so many things in this series: worth staying with and exploring for an installment even if it might get stale if all of it was like this! people are understandably sad about the elements from previous games that they liked which were lost along the way, but that capacity for reinvention is to my mind a huge strength of dragon age as a whole.

(I think Veilguard is coming in as a close second in Tolkien conversation-ness if only in outlining/revealing the worldbuilding that indeed may have been planned since DA:O around the animosity that SHOULD by all rights exist between dwarves and elves in this universe (as per Tolkienesque tradition standards). but doesn't really because you see: politics and the many pitfalls of conservation of knowledge over the ages. our ancestral enmity got semi-intentionally lost between the floorboards of history and you know what. maybe for the best. the humans are already up to so much shit you gotta keep your eyes on them at all times you can't be brawling with each other in the deep roads while they're still around getting up to their nonsense or they'll just pile up even more of it)

[incesthemes]

as i've rewatched seasons 1 and 2 of supernatural i've been pondering and hypothesizing reasons why john was so adamant on not letting sam know about his destiny. why he was so intent on keeping this secret, why he didn't want sam knowing about monsters, why his role in their hunts appeared to be research-oriented and thus away from the action. my perspective on ignorance and censorship is that it enables further harm, so if john were going to effectively protect sam, it would stand to reason that sam should have a comprehensive understanding of his destiny and what he's up against: give him the tools to fight.

this is obviously not the route john went, so then i have to question why that is—what about censorship was so appealing to him that he thought it not only the best way to keep sam safe, but perhaps even the only way to keep him safe, based on how he begged even dean to keep sam's fate a secret from him in his final words?

so i got to thinking. namely, about the fact that azazel wants sam to be hunting: he killed jessica with the intent to drag him back into the life, which implies that if sam is hunting, he is going down the path azazel wants him to go—he's following his destiny. this aligns with the everpresent theme throughout season 1 that hunting is a monstrous lifestyle, that hunting turns people into monsters. if sam is destined to become a monster, then hunting is the most sure-fire way to get him there.

if azazel wants sam to hunt, then john would need to take the logical opposition and keep sam out of hunting—so, he wouldn't tell sam about monsters until he has to, he'd give sam more passive roles once sam is participating in hunts, he'd train sam in self-defense but not explain why. and importantly, he wouldn't talk about mary, who is the root cause of this lifestyle, the impetus for their revenge quest, more than he has to. if the goal is to keep sam as far away from hunting as possible, and if john is someone who thinks ignorance keeps someone safe, then this more or less explains most of how sam was raised: on the fringes of the family, excluded and sheltered.

but weirdly enough, it wasn't until i was reading east of eden the other night that i finally understood the perspective being presented: late in the novel, the character lee says "when the first innocence is gone, you can't stop."

it made me remember that sam picks. he is a character who wants to understand the world around him and his place in it. if something is bothering him, he turns it over in his head until it consumes him. dean places doubt in sam's head in 2x10 and it obliterates him by 2x11. he's convinced he's going to become some horrible monster because he never stops thinking and trying to figure things out. when his memory is wiped in 4x17 and normal guy sam wesson finds out his coworker is the guy from his weird dreams, he pursues him relentlessly until they're back hunting. when he discovers the wall death put in his mind to keep his hell trauma out in season 6, he pushes and can't stop until it starts crumbling around him. he's intelligent and clever and he wants to know everything. and when he doesn't know, he picks.

and the only way to stop a person like that from picking is to not let them know that there's something to pick at in the first place. that's what the quote from east of eden means: once you catch wind of something, you want to pursue it until you're satisfied. curiosity kills the cat.

and what john is up against is fate itself. something that isn't supposed to be messed with, something that's supposed to be unavoidable. so trying to thwart it is tricky business. he has to be careful.

i think working under that logic his response makes sense, even if it wound up being a self-fulfilling prophecy anyway—sam was always going to find out, and sam was always going to pick. there was nothing john could do in the end to stop it, and trying to keep sam ignorant only made him that much more desperate to know. but that's the great tragedy of it all: john was given an impossible choice, and he's a deeply flawed character. he did what he thought was best, and it only made things worse.

i like this interpretation because it ties all of john's choices together really well; it explains a lot about his character and gives a nuanced and rather reasonable explanation for why he did what he did: a dad who wants the best for his kid does what he believes will set him up on the path to success. when the first innocence is gone, you can't stop—so john does his damnedest to keep sam innocent, even to his dying breath.

the problem comes down to that someone's damnedest isn't always good enough, and that sometimes someone's damnedest ends up benefiting the enemy instead.

[good-beanswrites]

A little something featuring Fuuta and Es after talking about their criminal lack of interaction in fanworks with @waivyjellyfish ! You had such awesome ideas (a few of which I'm still bouncing around in my head to post at some point,) but this one ended up taking over my brain -- I hope you enjoy 😅 Attempting to answer the widely-debated question:

“Oi, why didn’t you hit me?”

Es looked up from their paperwork.

“Prisoner number three. Most people are glad when they’re not struck.”

“Well, I’m not.” 

Es usually left the door open at this hour, in case anyone had any last-minute complaints before curfew. No one usually took them up on the offer. They figured that if there was any prisoner they could count on to complain, it would be Fuuta marching through their door.

“You hit all the other guys. You even hit some of the girls that were giving you trouble. So what? You think I’m too weak? You think I can’t take it?” Fuuta spread his arms. “I can, so show me what you’ve got!”

Es sighed. They put down their pen. They folded their gloved hands together, resting their chin on top. “Fuuta, I’m not going to hit you.”

“Why not?”

“As of right now, I have no reason to. If you’re referring to the interrogations…”

They reflected on the first one they'd shared with him. To be fair, the thought had crossed their mind. It would have been satisfying to give this rowdy prisoner a taste of his own medicine – striking him after such a dramatic charge at them. But Es was always good at reading people. It didn’t take them long to understand Fuuta was the type to lash out first and ask questions later. In fact, that was likely what had landed him in Milgram in the first place. 

Although Es knew they weren’t here to do any reformation, they wanted to try to show these prisoners where they’d gone wrong. So, they resolved to act as the bigger person. They’d prove that senseless violence was just that. By keeping their composure, they’d show Fuuta just how childish he was being. 

That wasn’t my only reason. I guess that's true, my actions weren’t all purely righteous. I still spent the entire time looking for ways to make him squirm… But it wasn’t all cruelty. I really did want to understand. I wanted to help. That counts for something, right?

Es never struck the prisoners out of anger, or as a petty show of power. It was a way to force the prisoner to mind their ego. When they’d gotten a bit too full of themselves, a bit too comfortable with the awful deed they’d committed, Es’ blow encouraged them to feel a bit more humility and guilt. 

By the time the second trial arrived, Fuuta oozed guilt. 

The moment Es entered the interrogation room, it was clear that he needed no lesson in humility. He hugged his arms to his chest. His remaining eye darted around the room in thinly-veiled hysteria. His voice trembled when he spoke. It didn’t require any people-reading skills to hear the remorse that underlaid all of his accusations and threats.

Hitting the others felt like giving a dog a tap on the nose after breaking a rule. Meanwhile, Fuuta snapped and snarled like a stray who’d been kicked time and time again.

Of course, he could never know any of this. Any way Es phrased it, Fuuta would misunderstand it as pity.

Well, wasn’t it? I thought he looked like a kicked puppy – that sounds a lot like pity. No, it was out of respect. Does that mean I didn’t respect the prisoners I did hit? No. I respected them too. Then, what’s the difference?

Fuuta was still staring at them, asking the very same question. What’s the difference?

“Each of Milgram’s prisoners is unique.” 

They were met with an unimpressed glare.

Es chose their words carefully. “Each one responds best to a variety of treatments. Some need attention to be comfortable, while others need time. Some need validation in order to confess. Others, a bit of debate does the trick. Some need a show of force. You –” remind me too much of myself  “– require something else. I’ve learned to change my approach depending on the person I’m dealing with.”

Fuuta’s features flashed with confusion, then shame, then his usual mask of anger. “Tch. How pathetic.”

“Excuse me?”

“So you just change your personality when it’s convenient? You put up fake smiles and fake attitude? Have some balls and just be yourself.”

Es was caught by surprise. “... I am. Those are all pieces of myself. I choose to bring out different parts when it would be most helpful.” 

“Sounds manipulative as hell to me.” 

It makes sense he doesn’t understand. He’s a very clear-cut person, with every aspect of his personality lining up in a way that makes sense. I find that predictability fun. Or, is it something that I envy? Could it be both?

They had no time to dwell on it, as Fuuta was struck with an idea. “Though, if you can do it on command, why don’t you give me the ‘you’ that wants to hit someone?” 

He spread his arms once more, hands gesturing to his chest. Es pretended not to notice him wince. They remained in their seat. 

“What are you waiting for? Hit me!” 

“I will not.”

“You just said you can change your personality on a whim, so let’s see it!” 

“That is not what I said.”

His good eye began to look frenzied. He raised his voice. “You scared? The big bad warden of Milgram, nothing but a big coward!”

“Stop this. You’re acting childish.”

“No! You’re treating me childishly! Let me see the Es that kicked Shidou! The one that slapped Kazui! Treat me like you treated them!”

“I hit them because they said something stupid. They deserved it.”

“Are you fucking kidding? I deserve it too! I deserve it! Come on!”

At the last word, his voice broke. He stumbled to his knees. He let his head drop. He sucked in strained breath after strained breath. Shidou would surely give him a lecture about getting so worked up with his injuries. 

Es finally stood.

They made their way around the desk. They knelt on the floor in front of him. 

“Why?” he wheezed. “Tell me…”

“Fuuta.” 

Should I just go ahead and do it, just to make him happy? No, I want to talk it out. But what do even I say? I'll tell him that I care. I can’t. None of the prisoners understand that I care. Why? Why is it so hard for them to see? I’m trying my best, why can’t they see? 

Es extended their hand carefully. They didn’t know what they hoped to accomplish, but in that moment their thoughts were too loud and conflicting. They needed to do something.

Fuuta saw the gentle intention, and immediately raised his own hand to strike. It froze midair, though whether it was from Milgram’s restrictions or his own hesitation, Es would never know.

Neither of their gestures connected.

Footsteps. Then Yuno’s voice, hesitantly from the doorway. “We heard shouting, is everything alright in here?”

Es retracted their hand.  A beat. Fuuta dropped his, too. 

“Yuno. Yes, we’re fine. Fuuta was just heading to bed. I’m going to walk him to his cell.”

“I can handle myself.”

“I said, I’m going to walk him to his cell.” 

Es stood, nodding to Yuno. When she’d gone, they turned their attention back to the prisoner crumpled on the ground. They made an effort to quiet their ever-racing thoughts. 

“Listen. I know you can handle yourself. I’m not doing this because I think you’re weak. You’re strong. Don’t think for a moment that I don’t see that.”

They held out their arm to help him up. He didn’t move.

“Sometimes you are a bit too strong, if you ask me. I mean, picking fights with your prison warden, really?” They clicked their tongue. “You should be grateful for a superior that gives you second chances.”

At last, Fuuta  took their hand. He avoided meeting their eyes, but his voice had softened considerably from his rant. “The only thing you give me is a headache.”

Es offered a dry smile as they pulled him to his feet. “The feeling is mutual.”

[spotaus]

Thinking about Orchid and her connection to my take on Gender (because this was meant to be about her and the Crew but it just devolved into a character analysis kinda??? More trauma-dumping maybe???) This is very much an oc/personal rant so feel free to ignore it ����

So, Orchid started off as a character I didn't really think much of (hear me out this is going to be relevant) because I wanted to add a 'girl' character but didn't know what to *do* with her, y'know? She was always going to be the strongest one there, she had the odds stacked in her favor with her parents. She was always going to be the gloomy side-character to match Reset's energy. But I think she's gone through every stage of Generic Woman I could possibly find.

At first she was angry and abrasive (think Fell!Sans) where every other word was a curse and she was likely to throw the first punch then laugh as she kicks her enemy while they're down. This was when Reset was a cartoonishly self-centered villain whose goal was simply to prove others wrong. Then Orchid became a sort of sisterly figure. This was short-lived, but she was the one comforting people who Reset would torment, but would ultimately follow his orders, because at this point he was actually a danger and sadistic. And then there was the phase where the story mellowed out and she became the token Goth Girl who, yes she was strong, but was heavy on the 'whatever' energy. Then there was her Era of deep self-loathing and anxiety about her worth that held her back and made her a much more timid and meek character who would only lash out on occasion.

Now, Orchid is the best of those iterations I've written yet. She's calm, level-headed, and a natural leader. Her father raised those traits into her. But she's very reactive, and can be silly, and when she's comfortable it's likely that air of importance transforms into something more comfortable and familiar. She laughs loudly and grins wide, she likes loud video-games but loves to read in the quiet. She's extremely disciplined, and normally no one can get through her tough exterior besides her best friend, Reset. She does what she does for her own enjoyment, sure, but she's thought of every angle and makes her choice to help Reset and control the others with her whole chest. She still worries she won't live up to her invisible expectations, and that and her loyalty are her two driving forces.

I know that Orchid is important to me because she's the longest-running female oc I've had. I have a rough relationship with womanhood/girlhood and I know looking back that Orchid recieved every ounce of my distaste for being a woman that I could shovel into her. That never made her less of a character, she was actually always one of my favorites, and rarely was she a 'punching bag oc'. I just... projected onto her a lot. And she's a good sign of how I've learned who I am. I've decided that my own femininity is something I could live without. I'd rather not associate myself with it, and I'd like to leave it in my past, focusing on a future where I'm not tied down with any gender roles or expectations. That won't happen, but I've come to terms with it myself. Orchid though? I figured out through her that I don't have to hate women characters. My own distaste for my circumstances doesn't mean I have to push it onto my characters (on God I've never expressed anything rude to actual people, that'd be rude as hell and uncalled for, but I have a bad habit of disliking fictional women in media). So, Orchid is a well-roubded character finally. She has motivations abd goals and a *lot* more depth than I ever expected her to. She's happy with being a woman, she's content. She's not treated differently for it in unfair ways by those she cares about, so she doesn't mind it. She likes to wear pretty outfits and lets Reset add bows to her ribbons. She doesn't let being a woman hold her back in the slightest.

So, yeah. Orchid is one of my babies. If I ever leave this Fandom behind for good, she's one that's coming with (Ichor, Orchid, and Pretender all have human designs I can use elsewhere lol-) but in the meantime I'll just rotate her around in my brain for a while longer.

If I'm right, she's been with me for nearly 5-6 years and I went through a *lot* with her as an outlet. So, she's kinda just like an old stuffed animal. A lil ripped, matted fur, maybe a stain or two, but there's a story there and that makes it important beyond belief.

[thetomorrowshow]

scars

empires superpowers au masterlist (not up to date)

i have no clue where this idea came from but here *hands you a tattooed jimmy*

this takes place about 8 months after then end of ‘poisoned rats’.

cw: past abuse, mentions of needles, scars

~

“Look at that one,” Jimmy points at the screen; Scott pauses in his scrolling. “It’s a poppy. You love poppies.”

“. . . I do,” Scott says, glancing at Jimmy quickly before resuming the scroll.

“That one’s a flag, but it could be a pride flag. That’s why I saved it. The birds are a bit cheesy, but I thought I’d include them anyway.”

Scott doesn’t say anything, just keeps scrolling through the document. He knew Jimmy had been researching something, but . . . he hadn’t been expecting this.

Before him, on Jimmy’s laptop, is a three-page document that is a collage of tattoos.

Some are better than others—there’s a celtic knot that looks pretty bad, and Jimmy’s right about the birds being cheesy, but the poppy is understated and delicate, and a cute cartoon cat makes him smile.

That’s all well and good, but the problem is: Scott has no clue why Jimmy is showing him tattoos.

Jimmy points at a bundle of stars, saying something about how it reminded him of Scott, then at a feather, then a ladder, which he explains could be combined with the stars. He quickly passes over an abstract canary, hands twitching and tripping over his words, to point out an intricate subway car, then a tiny soccer ball.

Scott interrupts right as Jimmy starts to explain an iceberg tattoo.

“Jimmy, I—this is great, but I don’t think I understand. Are you wanting me to get a tattoo?”

Jimmy blinks, laughs nervously. “I—Scott, these are—these are cover-ups. For scars.”

Oh.

Suddenly, there’s a lump in Scott’s throat.

“I—a tattoo is a big decision,” Scott manages to say around the lump, his eyes catching on a long scar down Jimmy’s left bicep. “It’s something you can’t change. Are you sure?”

Jimmy levels an exasperated look at him. “For one thing, I’m an adult. I know it’s a big decision, you don’t have to remind me. And I promise I’ve thought about this. I shouldn’t have to tell you that I have.”

“You’re right, I’m sorry,” Scott starts to amend, but Jimmy forges on.

“It’s my body,” he says. “It’s mine, and I can have the freedom to do what I want with it, because I’m an adult and it belongs to me. And when you—when you asked if I was sure, it felt like you were treating me like a kid, or like I don’t own my body. And it felt bad.”

Shame curls in his stomach. Jimmy’s right, he shouldn’t have responded like that. It’s perfectly normal for people to get tattoos, and for their partners to support them in it. “I’m sorry,” he apologizes again. “I didn’t think before speaking. I said something my parents would’ve said, and I should have considered what you just told me.”

Jimmy smiles, leans his head against Scott’s shoulder. “It’s fine. I was showing you because I wanted your opinion, and it’s all right if you don’t like the idea of a tattoo. But I would’ve liked for you to say that outright if that’s true, instead of telling me things I already knew.”

“No, I think it’s a great idea,” Scott hurries to amend. He pauses, taking a moment to get his thoughts in order. They’re working on having more open conversations, so that they don’t have repeat events of Scott’s Nightmare Situation of Last Month, as they’ve dubbed it. “I think a lot of tattoos are good,” he says eventually, “but some suck. So I’m happy you’re asking my opinion, because I don’t know if I’d be able to look my boyfriend in the eyes if he got a skull surrounded in roses on his bicep.”

That gets a laugh out of Jimmy. “Don’t think yours is the only opinion I’m getting,” he teases. “I know better than to trust a man who dyed his hair red all through college.”

“It looked good!”

They look at tattoos for a little while, Scott immediately vetoing the trio of birds and a guitar. Together, they separate the pages into ‘no’ ‘maybe’ and ‘yes’ images, dragging the little Darth Vader holding a lightsaber (a scar being the lightsaber) into ‘maybe’ and the celtic knot into ‘no’ and so on, until about half of the tattoos have been sorted.

And if they get distracted halfway through and end up making out right there on the couch? Well, they can always finish it later.

-

Three weeks later, Jimmy exits the tattoo parlor with the long, thin scar on his left bicep covered by a poppy, red and irritated from the procedure. Scott had been with him the whole time, holding his hand. They’d had to call for a break halfway through, but it had overall gone very well, and Jimmy had gotten into the passenger seat with a huge grin on his face.

“I thought I would be scared of the needle, but it wasn’t even that bad!” Jimmy says excitedly, twisting his arm around to check out the plastic-wrapped tattoo. “Did you hear when she said I was really good at staying still, especially for my first time? I’m going to get a good grade in tattoos, which is both normal to want and possible to achieve.”

Scott laughs out loud at the meme reference, resolving not to think about why it is that Jimmy’s so good at not moving while needles are stuck into him.

“Do you like it?” Scott asks instead, adjusting the rearview mirror before shifting the car into gear.

Jimmy doesn’t answer for a long moment. When Scott glances over at him, he’s let his arm fall, staring straight ahead, chewing thoughtfully on his lip.

“Yeah,” he decides eventually. “I really do. Now when I look at it in the mirror, I can be reminded of you instead of them. And . . . I can make choices with my body. That feels really good.”

“I can imagine.”

Jimmy twists his arm around again, peering at what little of the tattoo can be seen through the plastic. “I like it,” he says, quieter. “Do you like it?”

“It was my top choice, Jimmy,” Scott reminds him. “And it looks cute on you. Much better than that fish would.”

Jimmy snorts. “You know what, since it was Lizzie’s idea, I’ll tell her I’ll only get it if she gets it too.”

“Please—if you get fish, get a different one,” begs Scott. “It was huge, it had that horrible ‘gone fishing’ sign—get something cute, not something that screams fifty-year-old midlife crisis.”

That gets a laugh out of his boyfriend, and a little tension that had been in Scott’s body since before the appointment finally dissipates, allowing his shoulders to ease and his fingers to loosen their grip on the wheel.

“I’ve been watching videos on word cover-ups, so I think I might get one of those,” Jimmy says when they’re almost home. “I’m . . . I think it would help, even though I can still trace the letters. But I’d like to try scar treatment first, so I don’t think I’m gonna get another tattoo any time soon.”

“And here I was thinking my boyfriend was about to get all inked up and awesome,” Scott teases.

“And something for words would have to be really big, and there’s not much I want that’s good for that,” Jimmy continues. He glances at Scott quickly, then turns his gaze out the window. “That’s life, I guess.”

Scott thinks that’s the end of the conversation. He’s happy leaving it there, with vague plans and ideas in mind to experiment with.

But later that evening, at home, as Jimmy washes dishes and Scott dries them, Jimmy blurts out, “Would I be wrong for wanting a canary tattoo?”

Scott pauses. “Um. No?”

Jimmy sighs. “See, it’s the only one that I think I would want that’s big enough and colorful enough to cover any words. But I don’t know that I could be okay with having it cover up one of those words, because of . . . connotations. But also. . . .” he sighs again, sets down his dishcloth.

“Scott, being the Canary was the only freedom I had, as awful as it was,” Jimmy explains, and it’s a credit to how far he’s come that Jimmy’s voice doesn’t even shake. “I didn’t love it, but I could go outside. I could literally fly. And I looked pretty cool, honestly. So if I got another tattoo, I think it would be a canary, but . . . I’m afraid that’ll cause more harm than good, with my mental health and all.”

“I . . . don’t know,” Scott says honestly, sliding a plate into place in the cupboard. “I’m not in your head. And it’s not my body. But you don’t have to decide today. You don’t have to decide any time soon. You can talk about it with other people, and with Nora. And we can start looking into scar treatment, if you think you’re ready for that.”

Jimmy picks up the cloth again, runs it under the water. “I don’t know,” he says eventually, voice unreadable. His face has set back into that guarded look, the one that Scott is now so familiar with. “Maybe.”

Whatever Jimmy’s unspoken other concerns are (and Scott knows that they exist, he can tell in the tenseness of his stance), Jimmy abandons that topic of conversation. He doesn’t bring up tattoos again for weeks.

But every so often, Scott catches him admiring the poppy, and he can’t help but feel a bubble of happiness.

Jimmy finally has a good reason to look in a mirror.

[godsfavoritescientist]

Building off of what I wrote in my fic "Sparks," I'm really compelled by the idea of Ford genuinely no longer being interested in sailing around in a boat with Stan by the time they were seniors in high school.

I like the idea of it not being just a symptom of the resentment that had been building between them, nor it being a dream of Ford's that only paled in comparison to west coast tech, but it being a genuine loss of interest on Ford's end. I think it complicates things even further in some really juicy ways.

Like, imagine going through high school slowly losing more and more interest in the dream you've shared with your twin and only friend ever since you were little kids. How do you break it to him? How do you explain it to him without making it sound like a rejection of him? Without it making him hate you?

How do you explain it without it feeling like a spit in the face to all the hard work he's put into a plan that started out as a way of him comforting you by telling you "it doesn't matter what people say about you, you're going to be an adventurer who sails away into the sunset and never has to hear their mockery ever again, and there will be babes and treasure and heroism, and then they'll all see how cool you really are!"

And all through high school you think to yourself, "he's going to move on to more realistic dreams any day now, and then I won't have to say anything about it!" But no matter how many times you mention something else he could do with his life that he seems interested in, or bring up the challenging logistics of traveling around long-term in a boat, he sounds just as committed to the childhood dream as ever, and completely oblivious to how apprehensive you sound.

So resentment grows, little by little. Because that's easier than confronting the soul-crushing levels of guilt that are building up inside of you, every time you don't take an opportunity to tell him you don't want to do the plan anymore. You don't have a single person in your life who modeled how to have difficult conversations for you. As far as you know, having this conversation with Stan would crush him into tiny little pieces and then he would hate you forever, and you can't stand the idea of losing the only friend you've ever had.

So tensions grow. A lack of interest turns into a bitter resentment that, if you were really being honest with yourself, is directed more at yourself than it is at Stan.

And then the falling-out happens, and it seems like you were proven right. Stan hates you now, and he's never going to forgive you for giving up on his dream. But two can play that game, so you try to hate him too. Because if you hate him too, then maybe it won't hurt as much that he never came back. That he never even turned up at school, or by the boat, or in through your bedroom window in the middle of the night. He knows what dad's like, and how he says impulsive exaggerated things when he's angry, and haven't you both dealt with his harsh words countless times before and been able to dust yourselves off and joke about it later? So why isn't he back at home, joking with you about how absurd your dad acted that night, being impossible and belligerent about ruining your dream, but at least now you're even, because you've ruined his dream too.

-

And now imagine you find out he risked the lives of everyone in existence to bring you back, right after you had accepted your fate was to die killing Bill. It would be terrifying and confusing and infuriating. If he cared so much, why didn't he do something to reconnect with you sooner? Why did he ignore you in favor of trying to make it big without you? Why didn't he take the infinitely safer and simpler action of reaching out to you without you having to track down his address and send a desperate plea for help? You were convinced that he didn't care enough to bother with you unless you had an important enough reason for him to come. But even then, he thought your plans were stupid. He didn't want anything to do with you, not even with the world at stake.

Did he save your life out of guilt? Does he pity you that much? It doesn't add up with what he did in the decade leading up to shoving you into the portal. And the dissonance between the version of him in your head that hates you, and the man who held out his arms to welcome you back to your home dimension, is so strong that you feel like you're being lied to again, like you're back in the depths of gaslighting and manipulation that Bill put you through, even though there's no way that's what Stan is trying to do... right? You can't figure it out, so you run away from it. You don't want to know the answer to whether or not Stan hates you, because you don't know which answer would hurt more, so you try to make him hate you more than ever, because at least then you would know for sure how he feels.

And in the end, after he sacrifices his memories for you, and for the world, things seem clearer. The layers upon layers of confusion and anger and hurt seem to have washed away like drawings in the sand, leaving behind the simple truth: that you two had an argument, and didn't move past it for forty years, and despite everything you put each other through, you both still want to re-connect.

So you sail away in a boat together.

And at first, it's wonderful. It's exactly what you want. It feels like an apology to Stan, and a thank-you for saving the world, and a once-in-a-lifetime chance to heal the rift between you two, and it's good to be back on earth, and you wonder why you ever doubted the dream you two once had.

But then, after the first long journey you spend on the sea together, when you get back home to dry land, Stan is already talking about planning your next adventure out on the open sea. He recaps every adventure you had on the first trip, over and over again, and he wants to chat with you all through the morning and long into the night, and you don't have the words to explain to yourself that you don't have enough social battery for this, and suddenly you're slipping back into the horrifyingly familiar feeling of Stan being overbearing and needing space from him and how could you think that? How could you think that about him after everything he's done for you and everything he's forgiven you for? But the longer this goes on, the more you realize that you still don't want to spend the rest of your life sailing around with Stan. It's great fun in moderation, but the idea of your whole life revolving around Stan and going on adventures with Stan and being in a boat with Stan with no time to be by yourself thinking about your own things and figuring out your own dreams makes your skin crawl with a claustrophobic kind of panic that you still don't know how to put into words forty years after the first time this feeling grabbed you by the throat and ruined your friendship with Stanley.

But the first time this happened, it nearly ruined his life forever. You can't let yourself feel this. You don't feel this. You're happy to spend the rest of your life fulfilling Stan's lifelong dream, and making up for the time you crushed his dream, and sure, maybe he crushed your dream once too, and maybe it would be nice for him to support your dreams like you're now doing for him, but you can't say that. He saved the universe, and it would be horrible and ungrateful and cruel for you to try to voice these feelings, especially when you don't know how to voice your feelings without it making other people feel like you twisted a knife into their gut. So you try to pretend the feeling isn't there.

You go out on a boat with Stan again. You planned out another incredible journey together, and this should be fun, and you should be happy about this, but the unspoken feeling you shoved as far down in yourself as it could possibly go is eating you alive. The worst part? Stan is starting to notice. You have never been good at hiding your emotions. The trick to it has always been to convince yourself you don't feel it at all, and not think about it, and that has always worked like a charm. But whenever the emotion claws its way back up to the forefront of your mind, you can tell Stan knows something is wrong. So you can't even give him the happy ending he deserves. You can't even convince him that you want to be here on the open seas forever with him, like he deserves. And you keep trying and trying to hide it, but Stan keeps asking in roundabout ways, like "You're being awfully quiet, sixer," and "whats that look on your face?" and eventually it comes exploding out of you like a shaken-up soda bottle dropped on its cap.

And then it's like you're back at home in New Jersey again, standing in the living room while dad grabs Stanley by the shirt. It all comes pouring out of you, in the worst possible way, with the worst possible phrasing, like a pandora's box of monstrousness, and Stan tries to fight back against the sting of your words, but you're made out of acid and you're burning through him and you can see it on his face, and there's never any coming back from this, not this time, you'll just have to either jump into the ocean or become a monster forever, so Stan can hate you more easily again, and-

-and at the end of the outburst, you're still on a boat in the middle of nowhere in the ocean with your brother, in dangerous waters, and you have things to do to keep the boat running smoothly.

You can't run away from him. He can't run away from you. You're stuck here for at least a couple more weeks, even if you turned around and sailed back towards shore right away.

-

And the thing that compels me so much here, despite how unbelievably angsty it all is, is that it sets up a situation wherein the Stans might end up forced to actually address the decades of resentment and confusion and wanting-to-reconnect-throughout-it-all that they thought they could gloss over and heal with enough time spent adventuring together on a boat. They might end up forced to actually address the crux of the issue that drove them apart in the first place: Ford wanting a little more space to feel like his own person, and to feel like he's able to have his own dreams, too.

It wouldn't happen easily, nor right away, but if they were stuck together on a little boat in the middle of nowhere surrounded by magical creatures they have to protect each other from in order to make it back home alive, then after they had one fight where they brought up all the things they silently agreed to never bring up again, it would probably happen many more times, and each time it would leave them both angrier at each other than ever, until eventually something honest slipped through amidst all the saying-anything-except-what-they-mean bickering. And once enough of these honest moments slipped through, then they would have a thread to tug on to start to unravel the gargantuan knot of their decades of unresolved conflicts.

And then, eventually, maybe Stan could learn that he can have a good friendship with his brother without needing to be glued to him at the hip, and Ford needing a certain amount of alone time doesn't mean he dislikes him or wants to abandon him, and Ford could learn that he can be honest and have a meaningful connection with someone without it driving them away and making them hate him.

[warm-mangoes-with-chai]

What are your bets that Tenkyu is Atari's "Knight in Shining Armor/ Soulmate"? I think it's 50% but honestly Suzuki lives his wild cards so who knows.

What do they have in common? There both kinda carefree but that's common place for these crazy assassins so we'll have it wait n see.

[puppyeared]

i feel shy talking here when i dont have anything worth sharing but i cant help feeling like ive said things in the tags that could be brought up in court

[skitskatdacat63]

Here is a badly drawn comic of my terrible, awkward group project experience from yesterday. I thought it was very absurd so I wanted to share it other people lol :)

Let me know, how do you find their conduct 😭

[flufflecat]

Can someone explain what the narrative stakes are even supposed to be anymore in jjk. All the characters are essentially guaranteed to die, the current cast is comprised almost entirely of characters who showed up 2/3rds into the story and we're supposed to care about them for some reason, and I do not even know what the threat is supposed to be anymore. The apocalypse? Destruction of an amorphous innocent society? Like has ANYTHING been shown of "here's the regular world that apparently needs to be saved" or are we just supposed to assume "this society is just Real Life+, so you're REQUIRED to care if some guy threatens to kill all humanity, because one of those humanities may be... a child" or something. Can you spare two seconds to show anything other than some magic randos fighting, or is it just a superhero story all the time now, minus the fun. Remember when yuuji had friends.

[rearranging-deck-chairs]

yaz voice: i keep thinking,,, i keep thinking abt the.....future affecting the past of it all. the "if he runs out of time the hostile action would end and a time machine would know", "im fine because you fixed yourself", and "because it's not a grave"

like if it were me. if it were me. i still would have gone with the villa diodati conundrum. "save the poet, save the universe" what do we do when the poet IS the universe. "watch people burn now or tomorrow" like the distinction exists? like tomorrow isnt yesterday?

so we make them face the child. the doctor loses this one, right? too beholden to their rules. lost with shelley, will lose with the child. because there is no way to win it. not with the rules of the universe theyve clung to up to this point. not without play

so theres a child that needs to be saved but the doctor cant do it because it will take the foundation out from under the universe. she Can Not interfere. she fails to be the doctor when it comes to herself. but yaz is there. doctor's doctor. wont accept this. saves the child

the universe crumbles, but this or tecteun's revenge the outcome is similar except. the universe that crumbles if you save the child is the timelords' universe, their imposed histories, their laws, their logic. nothing makes sense anymore. it's terrifying. gotta let go gotta let go gotta let go. you HAVE to play. play or perish. please it's not that serious. it's just identity! funniest game there is. listen to the master; tag, youre it

[hballegro]

inside you there are 2 little guys

[pagesofkenna]

i wanted to make a post about a thing but the more i think about it the more i want to say and it's just going to end up being a big ramble essay, so instead i'll just give the thesis statement, thusly:

as the #1 Ratgrinders Apologist (self-appointed), of course they're the final boss fight to the death. i expected nothing less and the people trying to make discourse about it are ignoring the entire context of this being a Dungeons and Dragons game