#I don’t want it to be too busy

[gazeboarcade]

hmmmmm just some ideas

[bagginshieldfamily]

Something I need the fix it AU writers who use Frodo as Bagginsgields child to focus more on:

Gimli meeting a hobbit that looks strangely like Thorin Oakenshield but has the last name Baggins before connecting the dots:

[aria-greenhoodie]

Have some meme redraws of the radioactive old man yaoi ft. my Human Bill design again‼️

Click for Quality!

[age-of-moonknight]

“Systemic Approach (Part Two),” Avengers Unlimited (Vol. 1/2022), Infinity Comic, #64.

Writer: Mat Groom; Penciler and Inker: Caio Majado; Colorist: Pete Pantazis; Letterer: Joe Sabino

[sforzesco]

hey! hi! the cartoonist cooperative has an e-sim drive for gaza, offering art for e-sim donations (instructions etc in the link)

[hungharrington]

jayy!! lately i’ve been thinking that steve really really likes it when you ride him. like yeah, he loves to see you on top but i feel like he loves the idea of you using him to get off yknow?? like he just wants to be your boy toy. doesn’t even care if he doesn’t cum, but gets SO WHINY and blushy when he does cause he just feels so so lucky to have you jump his bones🙌

UGH i need him like i need to BREATHE. need him to whine in my ears 24/7

-🍒

oh lawd. this one…. brain goes BRRRRRRR what did you PUT in this ask cherry…. does this fit the prompt? maybe 🤪 but it was written at work so have mercy on me

Of all the things Steve loves in the world, making you feel good? Top of the list.

That much is a given— with the fervor in which he’ll bury his face between your thighs, moans that vibrate against your cunt just right, his fingers digging into your thighs as his hips rut against the bed.

When he’s determined to pull an orgasm out of you with his hands, his darkened hazel eyes drinking in every moan, desperately flicking between your blissed out expression and his fingers pumping into your cunt, covered in your slick— all of it shows in the ache in his pants, in the breathy noises he makes when you tip over the edge.

So, you’re not at all surprised at what he says to you that night — take what you want.

You’re both tangled together, haphazardly draped across the bed— too entranced in the hot press of each others mouth to think about letting go, even as you had both staggered up the stairs and into the bedroom. It had been one charged dinner date, with one hand far too comfortable sneaking up your skirt go tease you.

Now, Steve lies beneath you and when you break away, panting, to work on the buttons of his dress shirt, he’s a fucking sight to behold. Chest heaving, face flushed so much it crawls down his neck, his eyes fix on you with such an intenseness that it makes you shiver.

His shirt has been driving you crazy all dinner, undone just enough to show a flash of chest hair. Now you work it open quickly, each button revealing a little more of his glorious tanned chest, sprinkled with hair. Lust drools through you. You rake one hand down it, fingernails pressing into his skin lightly and Steve groans.

“Okay, you need to get naked, like, right now,” His hands pair with his words, finding the edge of your shirt. He’s tugging it up and your arms go up to let him pull it from your frame. His insistance makes your grin.

“Funny how you can say that when you’re still wearing pants.” You bicker back, using your now free hands to work on his belt buckle.

Steve watches you for a moment, his tummy clenches when you palm at his bulge for a moment and his head rolling back onto the duvet. He makes a pained noise. His hands form fists at his sides — just for a moment, before he’s sliding them up your thighs.

They creep beneath your skirt, finding the elastic of your panties — then one of his hands shift forward, cupping your heat tightly. You moan at the same time Steve does, his hand pressing up against your clit perfectly. He shakes his head on the bed, his hair messing up against the sheets.

“I take it back,” He whines. His hands shoot down to overtake yours, shucking his pants down his thighs as best he can. Just the thin material of his boxers remains. “I don’t think I can wait, honey, I need— you can just- please,”

“Hey, hey, I got it, I got you,” You push his hands away and Steve melts. He grows still, only his hands twitching and his neck craned up to watch as you tug his boxers down.

His cock must be aching with the way it looks, all pretty and flushed in the head, crying just for you. You can’t help yourself, giving it a quick pump, rubbing the head with your thumb.

Steve keens loudly, his body growing taut, his head thrown back. A strangled whimper tears from his throat. “Ngh- please, oh fuck, pleasepleaseplease—“

You release his cock and Steve deflates a bit, panting loudly. Your skirt takes only a second to remove and it takes another to push your panties to the side, your knees straddling across his hips. Your core burns hotly, clenching in anticipation of being filled.

You make sure Steve is watching as you hold his cock, prepped to sink down — and he is. His face, still flushed with his eyes bright, is intent on watch your own.

It makes the heat in your gut flare hotter. Hot lust sparks beneath your skin as he keeps his gaze on you for as long as he can — your hot, wet cunt sinking down on him finally forcing his eyes closed.

“Fuck, fuck— shit, don’t move just yet,” The words pour from Steve’s mouth, his eyes screwed up and head thrown back. Your hands shift forward, planting on his chest and you give him a minute— revelling in the delicious stretch his cock gives you. Fuck, it never gets old.

You lean down and kiss the closest skin you can find, his collarbone. Steve smiles, eyes still closed. His hands shift off the sheets, trailing from your thighs, your hips, up your ticklish sides, until he finds your face. His thumbs stroke over your cheeks delicately and when he pulls you closer, you follow without hesitance.

He kisses your lips, soft and sweet, and then murmurs against them. “Take what you want, baby.”

A little whine creeps out your mouth at his words and your hips follow without thinking, beginning to rock gently. A dose of lust licks up your spine and you sigh prettily.

Steve’s face shudders, pleasure rippling across his features and his eyes slip shut. His mouth drops open a little bit, the smallest noise escaping, his cheeks almost as pink as his lips. His eyes crinkle open, watching you closely.

“Ye- yeah, that’s it.” Steve manages to murmur. His hands haven’t left your face, still gently holding either side as you roll your hips back, slow and sensual. “Good girl.”

A gasp pushes past your lips and this time when you rock back, it’s a little more desperate. Steve moans, voice drenched in desire, and his hands fall from your face to grip the sheets. You lean on his chest further, your thighs aching deliciously as you fuck yourself on his cock— up and down, faster and faster.

“Steve,” you mewl out. It’s instinct to reach for him, to call out for him and in response, you feel the buck of his hips, pressing him deeper within you. Steve whimpers.

“You got it, honey,” He assures, voice more and more breathy. “Doing so good.”

There’s a soft squelch as you work yourself down on him, a coil of pleasure beginning to tighten up in your tummy. You feel a fiery warmth beneath your skin that spikes with every movement you make.

One of Steve’s hands comes up to cover your own, holding it tight to his chest — right over his heart and he lets the other nudge your face back to facing him. You hadn’t realised how it had begun to tilt forward, lost in your own pleasure.

“Mhm, fu- fuck, that’s my girl,” Steve whispers. You shift up to change the angle and when you fuck back down, you moan loudly — Steve writhing beneath you to contain himself from fucking up into you. You, however, show him no mercy.

“God,” Steve whines loudly. His breathes are coming out with little whimpers now. “That’s—that’s it— just fuckin’ take what you need. Take it, take it from me, baby.”

Your cunt gushes and you whimper — and you do just that.

[withthewindinherfootsteps]

Wei Wuxian and Narrative Agency – Part One

For Xiantober Day One: Genius… albeit stretching the prompt so it refers to MXTX and MDZS itself, but at the end of the day it’s still about WWX – so no harm done!

(Part Two | Part Three | Full version on AO3)

The narrative is a very active player in MDZS’ story. How it presents information, what it chooses to show and omit, often reflects important facets of its themes and characters – Nie Huaisang, for instance, is so good at hiding behind his mask that not even the narrative can hold him accountable; the present day’s storyline as a murder mystery and the slow reveal of information about the past both prompt the reader to think critically about the truth of events, when the importance of thinking critically is an important theme; and the dangers not thinking critically (and instead basing conclusions on rumours without much evidence) are shown by tricking unquestioning readers into the very same trap the cultivation world falls into, as the information given by the title, summary and in-universe rumours – which contradicts how we see actually Wei Wuxian act – turns out to be false.

But nowhere do I love this trait more than in its treatment of Wei Wuxian – and, more specifically, in its way of emphasising his agency. We’re not just told how much his active choices define his character, and we’re not just shown this in-universe through his personality, worldview and the events he causes. I’d argue that this aspect goes a step further, and shapes the structure of the out-of-universe narrative as well.

There are two main ways this happens: one, in how the aspects of Wei Wuxian’s life that are shown and hidden directly tell us what’s important about his character (which is good writing but isn’t necessarily tied to this shaping of the narrative), which is what we’ll explore today; and two, how what’s shown and hidden reflects what Wei Wuxian himself prefers to dwell on, resulting in the narrative respecting his own thoughts and feelings on matters (which very much is tied to it). We’ll explore this at a later date.

But as for now – let’s explore my favourite aspect of MDZS.

(Here, narrative agency will be considered the ability of a character to meaningfully influence their events and the story they’re in.)

Tragedy, Circumstance, Choice

If we simply look at Wei Wuxian’s backstory in a vacuum, it seems almost typically tragic. His  parents died in circumstances beyond his control, he was left alone as a child with nobody to care for him, he was forced to grow up fending for himself on the streets, he was faced with abuse when he finally was taken in… as with all typical woobies, everything simply happened to him, and none of it was good. It’s just another example of the lack of agency being used for sympathy points, right?

…Except there’s one problem with that idea. We don’t actually see any of this.

It would’ve been easy to start the flashbacks during these times. We’re telling the story of Wei Wuxian in (largely) chronological order, and these are likely important experiences for him! But instead of starting in his street days, or evenat the moment Jiang Fengmian took him in*, we start at the lectures in the Cloud Recesses. That’s not even something mentioned in, and therefore something that’s able to disprove, the rumours at the start of the novel. So why is this the case? 

Well, there are multiple reasons – the main one being that MDZS is also Lan Wangji’s (and Wangxian’s) story, and having the flashbacks open with their first meeting is very satisfying. But I want to focus on something else.

This period doesn’t have to be shown, because what happens to Wei Wuxian, especially out of his control, isn’t what’s important about his character.

We’re not even at Lotus Pier here, where Wei Wuxian certainly has more agency than he would’ve had as a young child, but where the harm caused by Madame Yu is still completely out of his control. Here, he has agency! Though there are consequences, he is free to act, and what happens to him is a result of those actions and not of circumstance. Yes, he gets punished more than others who also take those same actions (due to classism); yes, it’s not his choice to be picked on by Lan Qiren in class (yet look how he responds, twisting the situation to his advantage and ending up tricking Lan Qiren into letting him leave, which is what he wanted to do. He is not at all helpless here!); yes, these choices have been influenced by his learned mindset from Madame Yu that punishment is arbitrary and will happen anyway, so you may as well do what you want regardless. But there is cause-and-effect here. It’s not circumstantial tragedy.

Therefore, instead of our first impression of past!Wei Wuxian being that of an unfortunate woobie, it’s of someone who has the freedom, ability and will to choose and act (and that’s after these initial tragic events have taken place). This is compounded by the fact that before we see any of his backstory, we get a similar impression of him in the present day.

If the purpose of his tragic past was to earn him sympathy points, to make us pity him due to how much he was influenced by events out of his control, this would’ve been a terrible way of going about it… and it’s this that betrays the true reason for its existence. Because now, the flashbacks instead show us how little these tragedies define who he is! From the very start, Wei Wuxian isn’t someone defined by circumstances out of his control, but rather by who he is as a person and by what choices he makes in the present day (which is both a mindset in-universe, and a nice little out-of-universe detail that lines up! Because out-of-universe, this means he’s not defined by sympathy points from a backstory, but rather by his great character writing… aka, by who he is as a person and what choices he makes). And this refusal to be defined by tragedy is a conscious choice on his part, too – but we’ll explore that more later. 

The important thing is that this idea of Wei Wuxian isn’t because of what exists in his past, it’s because of what parts of his past are shown to us (as well as what he chooses to do, with agency, in the present). 

Now, if this relationship between what’s displayed and what’s omitted was just a one-time thing, I might’ve considered it a cool detail or a nice way to establish a character, but not something the narrative is actively focusing on. But it’s a pattern that continues throughout the flashbacks. What, arguably, are the two other most important times in Wei Wuxian’s life where he doesn’t have enough agency to meaningfully influence his circumstances? His three months in the Burial Mounds (before escaping – he managed to assume some control of the circumstances but not enough to substantially reduce his suffering in his time there), and his loss and death during the First Siege. And we’re not shown either of them! We skip to when Wei Wuxian has emerged from the Burial Mounds and is torturing the Wens, or we skip to the present day – both times he has agency once more, because, again, what he’s like without it doesn’t matter enough to be shown. 

Furthermore, I’d argue this does actually contrast the other tragic events we see in Wei Wuxian’s later life. Things do go horribly wrong, but it’s either due to choices he knows the consequences of (see: rescuing the Wen Remnants in the first place), or instances where he still has some ability to act in the situation and influence it within the limitations. If he’d had no ability to influence circumstances at Qiongqi path, he would have died in the ambush; if he’d been unable to do that at Nightless City, he would’ve died then, too (of course Lan Wangji helped him escape as well). The attention drawn to him losing control of his actions in both instances is very interesting, but intentional or not, it’s still his actions influencing the plot. And that influence happens to be detrimental. The very ability to act and influence, at a base level,  is not taken away (though, of course, that doesn’t make these events any less tragic).

So, so far, the narrative seems to be telling us that the ability to act and choose is key to Wei Wuxian’s character. And it’s doing it through omitting his moments without agency in favour of instead showing us his moments with it. 

Let’s see if this is echoed in the text itself before we go further – because even with this pattern, nothing would end up mattering if Wei Wuxian’s agency wasn’t actually that important to the story itself. But thankfully it is, and that first impression we get of Wei Wuxian in the Cloud Recesses turns out to very much be accurate! Though there are defining circumstances out of his control that occur, such as the massacre of Lotus Pier, the majority of the important events of his life are due to his own choices. He didn’t happen to be forced to cease traditional cultivation and solely use guidao, didn’t happen to lose his Golden Core in a fight with Wen Zhuliu or due to some force in the Burial Mounds, it was his own choice to give it and his spiritual powers away. He didn’t tragically happen to get targeted by the cultivation world, it was a result of him acting on his morals and protecting the Wen remnants (a choice which he was fully aware of the implications of). He isn’t a protagonist to whom things simply occur, and that activeness and agency is my favourite thing about him. 

That’s not to say that the times Wei Wuxian doesn’t have agency, or feels like he doesn’t have any, don’t exist at all, either – but they are rare enough to have attention directly drawn to them in his internal narration:

Or else what could he do? He could do nothing. He was powerless. Lotus Pier had been destroyed, both Jiang FengMian and Madam Yu were gone, and Jiang Cheng had disappeared as well. He was the only one left, alone, with not even a sword in his hands. He didn’t know anything, he couldn’t do anything! For the first time, he discovered how little his power was. In front of something as large as the QishanWen Sect, it was the same as a mantis trying to stop a chariot. - Chapter 59, EXR translation

(And even in this circumstance, note that he still does force himself to act – to carry on searching for Jiang Cheng, to place his faith in Wen Ning – and does accomplish his goal (albeit with the help of others)! So even in dire situations, he isn’t simply passive. This is actually also the case with his time in the Burial Mounds, almost certainly the First Siege, and even his days on the streets as well (Chapter 20: he did actively fight with dogs to get food despite their danger and his growing fear of them, rather than just waiting and hoping to somehow receive some more). He can’t influence or immediately influence his circumstances, but that doesn’t stop him from trying.)

Overall, although they do influence him, Wei Wuxian is very much who he is in spite of his circumstances, not because of them. We’re shown the importance of his agency both in-universe by the major impacts his choices have on himself and the plot, as well as by narrative presentation – important periods where he lacks the ability to meaningfully influence anything are often mentioned but not directly shown, which suggests that such moments and circumstances aren’t as important to understanding Wei Wuxian’s character as moments where he does have this agency are. And I’d argue this works very well. Depending on the version of the story you consume, you may end up having different interpretations as to how much circumstances were at play nearer the end of his life – but nobody comes out of MDZS thinking about Wei Wuxian, the poor bearer of yet another generically tragic backstory.

(Part Two | Part Three | Full version on AO3)

—

*We are shown this moment in more detail in Chapter 23… but even then, it’s through the framing of Wei Wuxian remembering Jiang Yanli’s narration, not through a flashback proper or even him remembering the experience itself!

[lucaswarmhotchocolate]

Muggle college AU where Harry sneaks into tom’s dorm room (after making sure to drug tom’s water earlier ofc) and takes pictures of him while he sleeps and posts them online. because god fucking dammit, Tom riddle is the most annoying RA that could possibly exist, and he wants a little bit of light revenge.

Harry realizes that “light revenge” may have gotten out of hand around the same time he started stripping Tom, and suddenly he was balls deep in both Tom riddle and a felony. The gravity of the situation did nothing to prevent Harry from taking a video, even though it was just more evidence that could be used against Harry.

[waywardstation]

Hey!! I hate making this kind of post but I’d like to stop being sent anon asks trying to get me to talk about Bl@nksh!pp!ng please!!!!! This is very clearly not a blog for that kind of content, I have made it very clear several times before that I don’t like the ship and never will, and I will not put discussion of this topic on my blog and make it look like I’m open to debating the subject — I’m not. Please stop sending these asks, I’m not answering them for a reason.

[bestworstcase]

Anything from Volumes 1-3 that is setup that you don't think is given enough attention or respect for good setup?

Sidenote to this:

Open seat with no person in it + Salem having someone looking for the Choice Relic was hinting at Summer Rose. Did we have anything hinting at her pre Beacon's Fall or just things that she fits given additional context?

regarding summer specifically, while i wouldn’t call them hints per se, there are a handful of beats in v1-3 that smell like foreshadowing to me:

the first is “she was right about you; such arrogance.” – cinder might well be referring to salem here, of course. however. what strikes me about this remark is that arrogance is not a characteristic that salem seems to perceive in ozma; rather she describes him, in her soliloquies and songs, as a self-destructive, deceitful, manipulative fool blinded and trapped by his faith in the old gods. cowardly. fallen from grace. think of what she says to oz in 8.9—look how you’ve diminished, how you’ve lessened yourself—she sees him groveling at the feet of tyrannical monsters and sees debasement.

does it follow for salem to characterize ozpin to cinder as, primarily, arrogant? i’m not convinced it does. but summer rose? well… hm. consider, also, that the full line is “this whole time, right beneath our feet… she was right about you; such arrogance…” <- i think it is more likely than not that “she” is someone inside the brackets of “our,” and in context “our” is either [cinder + ozpin] or [cinder + her associates physically present at beacon].

in the event that “she” is not part of “our” the more naturalistic phrasing is “beneath our feet… salem was right about you” – because “she” otherwise has no antecedent. of course, some allowance here for this to be a narrative choice not to name salem yet, but we’re one (1) episode off from revealing her face and by this point we’ve known for a while that cinder works for someone else, so the choice to drop the name here or in the volume credits is of fairly trivial importance. unless of course cinder isn’t talking about salem.

second: “Oh! We've also stopped some bad guys, too! I guess it's like they say: "like mother, like daughter"! I still wonder why Ozpin let me into the school early…” [laugh track] – obv this part of ruby’s address to summer’s memorial headstone foreshadows ozpin’s conspiracy and team strq’s involvement therein. but it also foreshadows this exchange:

RUBY: We don’t have to kill you to stop you, and we will stop you. SALEM: Your mother said those words to me… she was wrong, too.

and i think it bears pointing out that ruby is wrong here, and later in the volume qrow specifically calls attention to this and lays out why she’s wrong. team rwby didn’t stop the bad guys; they cut off one avenue of attack and cinder circled around from a new direction that took advantage of torchwick’s imprisonment, and this also resulted in the public break between ozpin and ironwood which eroded the cohesion of the inner circle. ergo, ruby thinks she stopped the bad guys but in the long run the consequences of the breach all benefited salem.

looks into the camera like im on the office.

like mother, like daughter!!!

further, that sequence of events ultimately leads to the final confrontation between her and torchwick – wherein he declares “if you can’t beat them, join ’em,” and shortly gets eaten by a grimm right after making it clear that he intends to kill her. torchwick’s death is thematically motivated – a narrative rejection of his cynical every-man-for-himself, dog-eats-dog outlook – but consider that:

summer rose, if she is indeed salem’s willing agent, is certainly at beacon tonight – because she’d be the one who stayed behind to hold the fort.

summer is thus the one salem instructs to “reinforce our numbers at beacon,” meaning the grimm; that instruction only makes sense if the person receiving it can communicate with or command grimm. ergo, summer must have some degree of control over grimm.

ruby is disarmed and on the ground getting beaten by a man who fully intends to kill her, and a grimm swoops down out of nowhere to eliminate him faster than he can blinks. and then… the grimm rears up, roaring at her, and comes down with a sweep of its wings that creates a blast of air that pushes her away. that isn’t aggression!! that’s a defensive threat display!! (the feilong in v4 does the exact same thing – trying to push the boat away). it’s ruby who charges the gryphon, and while it lunges forward in reaction to her charge, all that happens is she gets her feet on its head and pushes off to leap over it, and the grimm goes fucking flying so hard it crashes into the ship’s interior and never emerges. the point being,

math.

it’s plausible that the grimm was drawn to torchwick’s murderous rage. but the way it behaves immediately after it swallows him – that very clear “get away from me please” body language, and ruby -apparently- kicking a grimm the size of a goddamned clydesdale dozens of feet and then through the hull of a literal warship? ruby is strong, but she’s not… that strong. but if the grimm didn’t want to engage her and propelled itself under and past her at the same time as she vaulted off its head? that would explain what happens perfectly – ruby’s kick altered its launch trajectory just enough that it crashed.

minutes later, someone loyal to salem scraped a very badly injured cinder off the top of beacon tower and left ruby alive where qrow would find her. salem’s vested interest in keeping ruby alive is VISIBLE throughout the battle for beacon, and notably include a perfect opportunity to capture her while she’s in a coma atop beacon tower that isn’t taken – suggesting that salem makes her singular attempt to capture ruby solely to reassure cinder that Something is being Done.

and if summer rose has command over grimm and was at beacon that night… the gryphon’s behavior is exactly what i’d expect if all the grimm had marching orders to insure this one girl in particular – the spitting image of their commander – doesn’t come to serious harm. there’s a nonzero chance that gryphon did in fact save ruby On Purpose!

…and that happens in the context of a fight between ruby and the bad guy she thought she stopped (but she was wrong), who joined salem because “if you can’t beat em, join em.” (salem voice) she was wrong, too…

also

<- like mother like daughter. summer had a nevermore’s eye view of the battle for beacon, in this essay i will –

third: this one is something i didn’t really Think About until v9 and specifically the v9 ost dropping, but some of the things cinder says in v2-3 strike me as like – she got that from summer im sure of it. for example, in midnight, cinder’s view of huntsmen is that they’re free, they have power, they can go anywhere and do whatever they want, and rhodes never contradicts this. where did she get “huntsmen and huntresses should conduct themselves with honor and mercy”? who taught her the aspirational moral ideal?

summer rose, maybe.

but in the deeper sense,

where did cinder get the ‘destiny’ conceit? her underlying beliefs about how the world is are a product of her childhood, but the overt framing of fate/destiny isn’t present in midnight; nor has salem ever spoken of destiny and her philosophical views are in many ways a rejection of destiny – salem does not believe in fate, she is the woman who dedicated her life to toppling the gods.

and on close examination this looks like yet another suspiciously summer rose shaped hole!! “you’re special, ruby […] special the way your mom was special […] it was said that those born with silver eyes were destined to lead the life of a warrior.” – in after the fall, ozpin gives coco an entire pep talk whose central conceit is embracing and submitting to the turns of fate – sacrifice “show them gods and deities/blind and keep the people on their knees” & guide my way “you were born to hypnotize them all/they all said their prayers/can you hear me up there?”

cinder, of pyrrha: “people assume she’s fated for victory, when she's really taking fate into her own hands. interesting. add her to the list.” & “it’s not about overpowering the enemy; it’s about taking away what power they have.”

<- that second statement is salem’s strategic doctrine, through and through. but the ‘power’ cinder is talking about here is derived through manipulating the perception of destiny; the self-fulfilling prophecy. the invincible girl cannot be touched because she makes subtle adjustments to insure that no one is able to try. it is pyrrha’s belief in destiny that destroys her, as it destroys ozma. ozpin invokes fate to justify and explain his choices. those born with silver eyes are destined to lead the lives of warriors.

summer rose was destined to live and die fighting the grimm – so the world promised her. maybe she believed, maybe she felt like she had no choice but to accept her prescribed fate. until she met salem, and took fate into her own hands. made a choice. broke the chains. it’s about taking away what power they have, like salem did when she tore the scales from summer’s eyes, like summer did when she refused her destiny and joined hands with the grimm instead.

what does summer rose look like through cinder’s eyes? she was a huntress. she was literally destined to be one of the greatest huntresses in history, a hero, the shining pillar upholding the world order that chose the enslavement of children as a fair price for peace. fate dictated that she be the icon, the idol, the embodiment of the system that brutalized and subjugated cinder – she had every privilege cinder could ever dream of, freedom and security and a home, a loving family – and she chose to walk away.

and if they talked about that like, ever, and specifically if summer talked about that warrior’s destiny as a cage, a curse she had to escape – is it any wonder that cinder would adopt that framing to make sense of what happened to her? if summer rose was fated to stand at the pinnacle, then does it not follow that cinder fall was fated to be ground into the foundations? and likewise, if summer rose can shatter her pedestal and fall from grace, then cinder fall can shatter her chains and rise. summer proves that the idea of destiny is powerful but not inviolate. and it is hollow, it is a lie, a fiction, and that means it can be taken away. revealed as a deception. destroyed.

anyway

to the broader question

i think people really, really do not give the jaundice arc enough credit for the long-term set up it’s doing.

(or the very overt textual statement from THE HISTORY PROFESSOR! placing the blame for the violent radicalization of the white fang squarely on human bigotry and persecution of faunus in general; the white fang arc is clunky and hamstrung by the inadequacy of its vocabulary, but the fandom talking point that the narrative perspective on this subject has “evolved” or “improved” is just. not true. v1 is very emphatically clear that 1. terroristic violence is not activism, 2. ascribing the terroristic violence of a few to an entire minority group to rationalize bigotry is bigoted in and of itself and completely unacceptable, and 3. violent radicalization is created through relentless discrimination and hate, which creates a self-reinforcing circle wherein the justifiable outrage of the persecuted outgroup and the extreme violent reactions provoked by the persecution are distorted into a justification for further persecution by those of the in-group who materially benefit from perpetuating this cycle!!! all of this is explained in an almost afterschool special manner by the main character faunus rights activist and the history professor!!! in volume one!!! what changed is that the writers developed the skill and vocabulary necessary to weave these ideas into their storytelling in a more effective and more cogent way!!! literally begging the rwby fandom to start listening to the actual words the characters say)

ahem. the jaundice arc lays so much of the groundwork for jaune’s and ruby’s character arcs reaching all the way to v9 and undoubtedly beyond; it sets up the first pieces of the ozlem fractal; it foreshadows the white fang arc and sets up blake’s character arc of self-reclamation and figuring out how she wants to use her voice as an activist; it draws attention to the misogynistic cultural norms that define and are defined by the history between ozma and salem; it lays the foundation for the scene in v2 where ozpin questions blake, which hits the way it does because we have the context of anti-faunus harassment occurring openly at ozpin’s school and nobody doing anything about it, and by extension is the first stroke of the salem-faunus connection that is almost certainly the keystone holding the entire narrative together because it is her relation to the faunus that provides the key to decipher the lost fable.

the jaundice arc is a crucial load-bearing pillar that supports the entire narrative and people revile it because nobody in this fandom can be fucking normal about jaune. lmao

[gd-dollopole]

So I was posting my 30.000 words chapter of my Merthur fic (yes, you read that right, 30.000), and I was on my third proof-read, right on Ao3, and I was thinking about saving it, in case anything happened. It’s been some time since I posted anything, so my brain has to re-load and do everything from scratch. I was fixed on writing, so I didn’t save the draft (subtle foreshadowing.) I was almost at the end, I had corrected typos, re-wrote entire paragraphs and set another pace to the writing. Then, on automatic, I clicked X on my PC, and deleted it all. Without saving shit. Ehm, so then, I got angry, and decided I would have simply put space between the paragraphs and post it, but I needed to put the HTML at least on the first four sentences of the work (they were a phone conversation, that’s why). Apparently, there had been a typo, because I click “post”, and Ao3 posts the entire work in <strong> 😍 So then I deleted the draft and now I’m debating whatever I should jump from the roof of my house or in front of a passing car.

Which one do you think is faster and less painful?

[just-call-me-moran]

I am so normal about these two men. Like completely normal.

[askchilchuck]

What's your favorite snack? Mine is cookie dough bites and my rats love bananas. Also I cleaned my room. Can I have dessert now? -🐭

Fine, yeah, whatever.

[clownsuu]

Hey, uhm, hope I'm not bothering you today. I'll just drop this here. It's the continuation of what I wrote form the Mob Au. Hope you like it.

https://archiveofourown.org/works/47292106/chapters/119165542

That's all. Goodbye. Have a nice day.

oH SHID ITS THE FIC HELL Y E A H-

[lilybug-02]

CT Comic Speedpaint - Page ??? (Part 25) I’m not keeping track 😔

[legendoftherisingtide]

me avoiding leaks and not reading the epilogue, seeing bakudeku trending three times this month:

(why is it NUMBER ONE RN. i thought it was OVER, did something happen? AGAIN??)

nobody tell me. or even better, give me fake spoilers. i have to finish my final projects, i can’t deal with the emotional damage.