#I just like doing these to flesh out characters more

[celestiamour]

Ever since squid game s1&s2 wi hajoon character😩 I even saw a clip of his back 💀ok im getting side tracked😭so may I please request a smut with junho x fem reader where he’s stressed trying to find his brother but his wife or gf is there for him to keep him calm. It could literally be any plot😭 just need Jun Ho

ft. hwang jun-ho x f! reader — squid game

╰₊✧ eating you out after a long stressful day┊0.7k words

setting: season 1, before the 33rd games contains: smut!! dom jun-ho & sub reader┊oral fixation, receiving oral, overstimulation, mentioned nipple play & marking, established relationship

➤ author's note: i need this so bad, the new year depression is hitting and i’m so lonely

being a police detective is insanely stressful on levels he couldn’t even begin to explain, even more so when it’s a case related to him personally. ever since his brother went missing, he’s been relentless in his pursuit to find him, searching for even the tiniest clues that may help push the dead end he’s been stuck at for so long. he comes back a little bit later each night with less and less energy, crashing out on the couch and fall asleep to stop the raging headache from considering all of the possible things that could have happened. 

he still makes an effort to be there for you though, taking time out of his busy schedule to take you out on at least one date per week, not just to remind you that he loves you even with how busy he is, but for him to relax too. there’s nothing better than being comfortable and able to turn off the gears constantly turning in his brain in the company of someone he adores so much, and returning home to rest in your warm embrace is akin to heaven for his troubled mind. 

sometimes he likes to shut his brain down entirely when having sex with you and just thoughtlessly do his own thing. it’s almost therapeutic for him, even though you’re the victim of his ministrations and find your body suffering from too much pleasure (if it’s even a thing, he draws a thin line that makes you wonder).

like he is right now, hands spreading the inside of your thighs with a tight grip to prevent them from closing and his mouth laser-focused on what’s in between.

“i-it’s too much,” you whined, trying to push him away for a second of relief yet making no real attempt to do so, limbs slacking after a mere second of effort. perspiration had covered your skin in a thin sheen, shining under the light of the ceiling fixture and drawing attention to his previous actions: marks from constant sucking and biting into your soft flesh all over your neck and chest area. 

he simply hummed in response, the vibrations sending pleasure straight to your clit and making your whimper, not really listening to you. there weren’t really any thoughts in his head at the moment, only trying to pull another orgasm from your spent body to taste more of your addicting nectar and listen to your cries that sounded like the song of an angel.

you originally wanted to pay him attention before yourself, taking the edge off the perpetual stress he was going through with his climax, yet this was all he wanted to do, sucking on your clit like it was candy until the neighbors knew his name. there was no real skill or technique behind his movements, just pure unadulterated passion and lust as he pulled you even closer than you thought possible with an increased pace of fucking you with his tongue. 

it felt so suffocatingly hot, taking another breath only to let out another pitched moan in a vicious cycle. you didn’t know where to put your hands, alternating from the bedsheets to your oversized t-shirt stolen from his before finally tangling your fingers in his dark locks and tugging which caused him to groan in response. he finally opened his eyes and met your half-lidded ones, but he did not stop his assault on your engorged pearl. truthfully, the sight of you as such a blissed-out mess was almost enough to make him cum untouched, and he’s not even certain if he didn’t.

the familiar feeling of an orgasm washes over you, the intensity of it being your third tonight making your back arch off the mattress and your toes curl with a pitiful gasp. still, jun-ho’s lips stayed latched onto your abused pussy, lapping up all of your arousal like a damn dog until you were all cleaned up with nothing but his spit slicking your folds. you whimpered when he finally let go only to part your swollen hypersensitive cunt with his finger, admiring how it quivered and clenched around nothing begging for more.

it was going to be a long night, but it’s worth it if he gets the satisfaction of carrying you out of bed the next day due to your shaking legs and he finally wakes up with a clear head for once.

[incorrectskyrimquotes]

hello ive been bedridden for like three days now so i was messing around w this picrew, here r some ideas for my other doomed prisoners (the protagonists of the other mainline games)

Talyn, The Eternal Champion

Izath, The Agent

my Nerevarine, who is not yet named bc i cant think of anything and is just "Nera" wherever i mention them in my own notes and im probably getting attached to that as a name

Cornelia, Hero of Kvatch

[alittlebitofloveliness]

I think so many of the issues between book fans vs musical fans in the fandom come from the fact that people are pretending they're the same story, so people get really upset when they see one of their favourite characters being mischaracterized or left out, when in reality they are two DIFFERENT stories that share the same SOURCE MATERIAL. Like, I love the book. My blog is very much focus around the book, and there is a reason I don't tag my content with the musical tag very often, because the Darry Curtis I'm writing about is NOT the same Darry Curtis from the musical. And that's okay! It is! I know it seems crazy but they're both great characters, they're just not the SAME character. My favourite character is Steve Randle, but I haven't thrown a shit fit about how he isn't included as much in the musical because it's a different story, and because what content does exist for musical Steve offers lore for a very interesting character. Just like some people get all upset about blogs and content focusing on the soc characters in the musical, and I'm like I don't know what to tell you, I haven't even seen the musical and I know that the socs play a more important role in the story the musical tells than they do in the book; and that the musical universe makes it so it's far more likely that the socs and greasers COULD potentially have more aquaintanceships/childhood friendships/ post adolescent relationships than the book in which Ponyboy consistently notes that neither the greasers nor socs as a whole can see past their way of life to see the other side as people. Idk, I just think people from the book fandom and musical fandom need to just accept they're different stories, with different characters, with DIFFERENT messages and themes. Like, you really can't mischaracterise a character when the character that's being 'mischaracterized' is a different character to start with. Musical Dally isn't book Dally, full stop, but that doesn't mean that the musical character isn't fleshed out and deep and interesting and a complex addition to the musical, just like it doesn't cheapen the fact that book Dallas is the centre of the story. They just serve a different purpose, because they're two different characters in two different stories, neither one is 'better' than the other because they're NOT the same thing. I just wish people would stop vaugeposting and hating and othering each other, and it's getting the point where people need to learn to either engage with both stories or use filters to curate their fandom experience, OR collectively decide to split into two separate fandoms and tag stuff the outsiders book vs the outsiders movie accordingly, because I really love the Outsiders but all the petty fighting is driving me crazy , it's exhausting and it's making me want to leave the fandom altogether and I highly doubt I'm the only one. In the nicest way possible, please examine both stories for what they are, be mature, and act accordingly. Please.

[grimaldiapologist]

can we talk about the fact that Geta doesn't get to be himself one single time in the entirety of the movie aside from his last scene, nor does he ever get to actually talk to his brother, nor do we ever get anything real from him in dialogue,

but Joe's given us so much beyond words that despite this, Geta feels like one of the most fully fleshed-out characters in the entire movie? Analysing him is so easy, because despite the way that he holds back his emotions, he is still shown to be one of the most deeply-feeling characters, his youth and his vulnerability are spoken so well through his stances, his tones of voice, and his love for his brother above all things entirely through his body language and the ways in which he deals with him? Not in words, not once before the last scene?

What the fuck actually? Correct me if I'm wrong. Find me one scene where we get Geta saying anything as a man, not an Emperor, not a performer with a sword to his neck in front of an audience. The only time, I swear to gods, is when he's talking Caracalla down from Macrinus's lies, and even then, most of it we got in the script.

And in that scene, he has a literal knife to his neck.

Everything. Else. Is for an audience. He never has one chance to just be himself. The tragedy of this not being an oversight per se in the writing, but simply how he is. Never being able to be more than his roles - emperor, or his brother's keeper. I don't think Geta has any idea who he is, either.

[the-ellia-west]

SO

WHO WANTS HELP WITH THEIR STORY???

Moots and Open tag!

I am providing my free services, Hop in my DMs or my ask box with your Plot, Worldbuilding, Character, or just concept Troubles!

I need practice for helping people with their stories and keeping several people's WIPs straight in my head if I'm going to be the leader of Storytelling Club next year!

I can provide advice, help brainstorming, what kinds of things I would personally like seeing, feedback on plot or scenes, critiques, or help you create something or flesh it out, like a character or a city

Just tell me what you want, I'll send some clarifying questions, and We can get right into it!

I am by no means an expert, but I love helping and I know a lot about Cliches, critiques, tropes, and dialogue! I am also very Excitable and Passionate about storytelling, so if I go off on a ramble, feel free to shut me down or ask me to stop and I will, no hard feelings at all!

That's all! I would also like to Schedule these, in case I have more than one, because I would LOVE to give each and every one of you who ask my full attention

To apply for this, Just... send me an ask or a DM, or comment or reblog this post asking about times, or telling me to DM or ask first!

AND YES, I HAVE THE FREE WILL, AND I CAN AND WILL REJECT HELPING WITH STORIES I AM UNCOMFORTABLE WITH THE CONCEPT OF, I WILL MAKE MY BOUNDARIES CLEAR

Love you! Have a wonderful day! <33

@thewritingautisticat @yolbert @vyuntspakhkite-l-darling @ambersky0319 @lunaeuphternal

@an-indecisive-nerd @homelessnerd @vesanal @thebookishkiwi @write-with-will

@hihopelessromantics @pastellbg @seastarblue @i-do-anything-but-write @darkandstormydolls

@supercimi @blargh-500 @sunflowerrosy @corinneglass @carb0n-m0n0xid3

@tiredpapergirl @whatwewrotepodcast @busybussinbee @urnumber1star

[lesbianherald]

hiii I’m curious : what’s your process for creating your stories? like character development, plotting, creating arcs, etc?

thank you for asking !!! i'm going to get way longer and more thorough about this than necessary I feel it in my bones so I'm going to read more this now (I included a few tidbits from my miro board for carry the blade :) )

it's such a mixed bag ! part of this is my adhd lmao, and part of it is because, genuinely, I think each story needs something different.

almost ALWAYS (with one rare exception of a sci/fi fantasy world I've been building for years) I start with character, especially in original work. Because character is everything it's who we're following it's what the audience/readership will grab onto. Usually I have a basic premise and setting already there, but I don't build on it until I get to know who we're dealing with in the story. And then after building up the premise, setting, and plot I do even more character work after.

sometimes.... sometimes I get really impatient to start and start writing half way through the planning process. But anyways.

so I come up with character. do the basics. think about what their deal is. What is the journey they need to have, the lesson they need to learn, what themes and emotions do I want to explore with this character? Why is she important to me? Why will she be important to others?

I also think a lot about relationships

i just wrote a coming of age dramatic comedy for instance, and for that one, I broke up the story into my protagonists relationships. Wrote out the arc/story of each relationship and then combined each of these arcs into the key points that made up the film. Each relationship I wanted to be relevant to her grieving process, as she had just lost her mother. IDK if that makes sense. I wish I could show you but unfortunately I cannot.

for fic its honestly similar, but we already know character, so I usually ask what about this character/these characters am I most excited to explore.

that being said, coming home came to me in the idea for what they'd be like in modern day, and then a single idea for a single scene - their first kiss in the lab. I wrote that first, then asked myself what the context I wanted to give it was. Of course, I changed it a little once I actually got to writing and fleshing out chapter eight.

but this fantasy fic i'm writing is a fun example. I'm building out a lot. I'm building out characters, the world, the themes. - using visuals to help me kind of guide myself.

but because I have adhd and get impatient. I am outlining throughout this process to keep myself entertained. perhaps ideally you'd figure out everything first then outline then write but my brain just doesn't work that way.

in fics, especially, the relationship is so important that I really like to see how the obstacles they face, both due to their own psychology and internal pressures, can reflect the themes, create tension, etc.

but i also like to reflect on side characters too - their motivations and desires. So they don't just become like - flat little reflections of the central love story.

Finally, and this i learned from acting theory mostly - but I love it - is in each scene I like to think of what each character wants, what they are going to do to try and get that, and why they want it. In this fic, wants are something I also look at from a chapter by chapter basis.

side note - and i'm only saying this this far down so hopefully not too may people will see it - but I do have a secret subplot going on throughout the first half of this story that the audience doesn't know about.

in order to make this work I've been mapping out everything going on behind the scenes, and making sure they pair up well with events that people reading will see. it helps me plant little hints and seeds while hopefully not giving too much away (secret subplot in blue, actual story in red)

sorry i know this is such a ramble I just took my meds and had a double shot of expresso so I am buzzing right now lmao! Obviously I'm not the expert and there's not only one way. And also it really is so different for me every time. It's important to think about what the story actually calls for !

[lucius-morningstar]

Vaggie is not a bad girlfriend.

I know there are some Vaggie haters out there and don't get me wrong I understand why. But you're hating her for the wrong reasons. Her character wasn't completely fleshed out right in my opinion and I think that's why so many people hate her character. She's a dependent and honestly can you blame her? Her entire life was killing sinners under the guise of helping heaven. She leaned on other sisters who were said to be "just like her." She depended on them because they were the only family she knew. That WE know of. Imagine being so close to someone and you make a decision out of complete mercy for someone else. Someone you see as innocent and in doing that, you're severely punished and abandoned by people you considered family. I could even say Vaggie has a touch of Stockholm syndrome but Charlie doesn't do this intentionally. You basically took two broken girls who suffer from abandonment issues and expected them to be stable. Let's be real for a couple in hell with abandonment issues, Stockholm syndrome, dependency issues, ect and they actually do come off to be the most healthy if not for one obvious factor. Vaggie's hidden past. Now let me be clear, the Stockholm syndrome bit is obviously not intentionally. Charlie is just doing her best to be helpful and help her out and in doing that Vaggie had a deep dependency in her. So much so that being honest about her past put her into possibly sever panic attacks. I wouldn't be surprised if Vaggie had tried and would have mental break downs because of it. After all, the people she knew she could trust with everything saw her, heard her spare someone and their reaction was to rip everything from her and leave her for the worst fate possible. Could you picture what could have happened if Vox, Alastor or hell forbid Valentino found her instead of Charlie. Especially Alastor of all people, imagine someone with Vaggie's determination and loyalty behind Alastor's command. Instead she was shown true kindness in a place that was suppose to hurt her, where the place that was known for good and kindness hurt her beyond words. Yes, she fucked up. She hid a lie for almost four years. I can understand every reason both parties have for being afraid/hurt and betrayed in a sense. Vaggie despite being in the best place never truly mentally healed from her pain. Not until her meeting with Carmilla did she truly accept her actions and move on for it thus gaining her wings back. Yes you could say it was her desire to protect her girlfriend but I also believe it was an acceptance that her way wasn't going to help in the long run.

Vaggie did everything she could to try and make up for the wrong she did, her not telling Charlie wasn't just hiding but it was her own silent torture. She believed she deserved to be hated and the idea of Charlie loving her despite her actions was far more insane then redemption itself. So in not telling her, she tortured herself further. Believing she did not deserve to be forgiven and every loving gesture, gentle kiss, touch was another knife in her heart telling her she deserved none of it and her guilt was her punishment. Vaggie was in her own personal hell, in her eyes, being loved over a lie. Not being able to tell the truth despite wanting too, her guilt and self loathing pushing her deeper into a pit she couldn't get out of alone. So her response was to push herself out of her comfort zone for Charlie, for the one person who truly showed her true kindness and love no matter what would happen to Vaggie, she'd do anything if it meant Charlie was happy, if it meant she could be forgiven for what she viewed as HER sins. Vaggie is not a bad girlfriend, She literally went to someone who had been confirmed to have murdered an exorcist. The value of her life is so low to her and all she clearly cares about is Charlie getting what she needs. if anything she's bad at self love and she's slowly working her way to loving herself as much as she loves Charlie. That's where I feel her arc is going, being better for herself and for Charlie. Sorry for the rant. Feel free to add your own comments, I obviously forgot some things xD Just went off on a rant about this cause I honestly despise all the hate Vaggie gets, as a girlfriend and as a character.

[bokettochild]

Not sure if people have already asked this before, but whose roles are whose for your Opera House AU doing Epic the musical?

No one has actually asked this before! I kept kind of hoping they would though, because I felt weird just throwing it out there unprompted, but trust me, I HAVE thought about it before! So, huge thank you for asking!

Odysseus: Warriors. Who else? I mean, come on, lets be real here, the Troy Saga alone has influenced my perspective of Warriors for so long now that it would be an utter and complete SIN to not have Warriors play the guy who is, in so many ways, so much like himself. Granted, OH AU Warriors is less like our Ody and more like Jay himself, but who cares? The vocals are there and Wars has the spirit and skill. Also, he has the range, from the desperation of the Cyclops Saga, the sadness of the Underworld Saga, the fury of the Vengeance Saga and the warmth and tenderness in both Just A Man and Would You Fall In Love With Me. He had the audience on the edges of their seats, and even though he's already a fan favorite at the opera, he reaffirmed that position with this role. It's also been one of his favorites of all time, because it's very rare he gets to play such a fleshed out and complex character, as he's usually cast as a knight in shining armor archetype rather than a blood-covered and desperate soul one second from snapping!

Athena: I actually had to debate this one a bit, but Imma say Lullaby. Warriors' own Zelda is too sweet, and while Dusk herself could do it, I have a better role for her, and Lullaby is so Athena in so many ways, so I went with her instead. She has that strong, authoritative energy, while also being old enough to sell the Goddess of Wisdom vibe, and also the agility to be a warrior herself. Also, I can kinda see her just actually sounding like that when she sings, y'know?

Zeus: They brought Dei in for this role. Time would have, but they needed a couple of convincing individuals for this, and Dei being bigger and physically of a brighter pallet than Time kinda gave him High King and Sky God energy that they just really needed for the stage performance.

Polyphemus: Also Dei. For a stage performance, they actually had a puppet and rigging for the cyclops itself, but Dei's vocal range allowed him to do the voice from off stage quite convincingly. (Four himself was the Puppeteer (lol) for the cyclops though, so he also deserves credit)

Polities: It was Ravio. Typically, Ravio doesn't perform, but he could capture that energy they wanted for Polities and his vocal range is a bit higher than most of the other cast. Wind would have done it, but because of his age, the crew divided against it. After all, Polities isn't a child, but a man, and having Wind in the role would have changed that perception. Hyrule was nervous for the part, but he's actually glad that Polities died within five songs because it meant that he only had to show up on rare occasion as a ghost after that, and spent less time in the spotlight.

Eurylochus: They actually had a bit of a struggle on this one, since none of the team actually has a voice that deep, but Twilight ended up filling the role, since it's got less major singing parts and more speaking bits than a lot of the other characters. It's not as demanding as some of the other roles he could have played (like the gods) and he looks the part of the big, strong, best-friend and advisor to the lead, or at least enough that he was believable. He's not the best actor, but he did a great job all the same; better than anyone else could have done it at any rate!

Poseidon: Time actually played this part! Being a former rock-star has it's advantages, and that includes being able to bleed rage and/or agony into his voice while leaving his audience totally and completely chilled! Being the blocking director and stunt coach also means that he was able to really sell any battle scenes because he was right up in there to guide, coax, and otherwise cover for the cast's mistakes when need be. He admittedly had a TON of fun with the role, and I'd be lying if I said that there weren't;t a few people in the crowd watching who didn't have to pause and wonder where they'd heard his voice before, never mind so many online forums comparing his vocal qualities to famously masked singer Major-A, but, hey, Time considers it worth it, even if the role might have blown his cover.

Aeolus: Who better to play the god of winds than Wind himself? It's a small role, so Time and Lullaby felt comfortable letting him take it, even though this would have been a major production and risk for the opera. The fact that he's kid only helped to sell the care-free and mischievous depiction. He had a TON of fun with the role too, and the audience was eating his performance up!

Circe: Artemis! I wanted one of the divas to do this, and Artemis has the right energy, as well as great on-stage chemistry with Warriors! They broke down into giggles so many times as she attempted to "seduce" him during practice, but it actually turned out really great. She's one of the only gals in the cast who could hit the high notes at the end of There Are Other Ways and really sell the emotional range of Circe's character

Hermes: I actually struggled on this one until it literally just jumped out at me. Wild plays Hermes. He's got the energy, physically and otherwise, and I'm going to say that any dancing included was actually something he just ad-libbed in there, rather than being told to do it by Time or Lullaby. They loved it though and totally kept it in, as well as a few other little quirks he added to the character (they sort of just set him free on stage in the end and told him to go nuts, so most of Warriors' reactions to him are entirely real and not faked at all, lol). Yes, this did result in Wild deciding to address everyone (short of his bosses) as "dawling" for the foreseeable future, but no one could deny that it's been one of his best roles ever!

Tiresias/The Prophet: This one was actually a huge struggle for the crew, because while they have a lot of actors, there's a sort of a limit to who can or cannot portray certain character, and in the end, it was Legend who took the role, despite having other parts to play and a prop and costume crew to supervise for most of the musical. He did a great job though, and you know those animatics that sort of depict No Longer You as a sort of twisted waltz? Yeah, the cast went with that, and it was a good thing Legend played the role, because he's the only one who can actually dance blindfolded! He also carried the weight of the song very well, and between him and Warriors, they gave the audience absolute chills!

Odysseus's Mother: Malon! It was a small appearance, so even though she's technically not an actress, and is actually a musical coach, she was happy to join on the production if it was just for one song. Yes, everyone cried. Warriors' tears were entirely real in that scene and everyone else was hard pressed to not show it when their turns came to sing.

Scylla: For some reason I Can Not Explain, I just really want Legend to have told everyone "I know a gal" and just dragged Hilda in to play this role. But, since she isn't an actress, and probably wouldn't want to be one, I'm going to say Fable took it instead. She doesn't give Monster Girl energy, but like her twin, she's very adept, and really gave everyone the creeps even before Styla made her up like a monster lady! Her vocals are chilling, and she really enjoyed reading up on the lore of her character and trying to let it bleed in through her voice to sound more like a tortured soul, punished by the gods and made out as a monster to mortals due to her horrific appearance (and man eating, but details!).

Calypso: Believe it or not, Sun sold this role like the queen she is! Her innocent, almost angelic look really contrasted the horrible behavior but also total ignorance of the character, and I actually think she'd sound similar to Barbara Wangui when she sings, so having her in the role feels right. Granted, she doesn't give "Island Goddess" in the same way that Marin would, but Marin is probably dead in the OH AU, and wouldn't join the opera anyway, so yeah.

Penelope/Siren: (I'm pretty sure it's the same actress for both, but even if not, that's how the crew did it!) Dusk was the only option for this role, and she rocked it! She's got the range, got the mature look of a woman who's been waiting 20 years for her beloved to come home (totally helped by the fact that she spent 17 years waiting for her actual love to reappear), and while she and Warriors did have to work quite a bit to sell the right dynamic on stage, they are both talented actors, and did a great job together. She actually really had fun with the siren role, and her screams as the sirens are slain were positively blood-curdling! She half sacred Warriors to death when he first heard it and he still shiver slightly even when they finally perform.

Telemachus: I debated this one so hard, because each member of the cast has a certain energy and none quite match Telemachus, but in the end, again, Legend filled the role, since he's good at taking the ones that no one else can do and adapting as need be to suit it. Is it sort of method acting if he can relate to the character and thus capture the emotion better? Who knows, but despite playing the prophet as well, a costume change and intermission can do wonders for helping a guy get into character as the opposite of what he was an hour ago! He's also got the stunt training and skill to pull off fight scenes well, and look like he's bad at it, as well as a good irl dynamic with Lullaby that they definitely leaned into for their songs together. As for the Ithica saga songs, well, he and Warriors had to work really hard, given their actual dynamic, to try and sell their parts, but they're both talented actors and they made it through in the end.

Antinous: Don't come for me, but Sky actually ended up taking this role! He's a talented actor, with a special skill for action scenes and fights, as well a great depth of emotion and, despite being an utter teddy bear in actuality, he plays a killer villain! Did Legend and he end up laughing their asses off after having to act like they hated each other? yes, but they kept in character as long as they were on stage and Sky's voice tends to give people chills when he sings, so he really could set the mood well, as well as keeping pace with Legend and giving their scenes together some great energy. It scares the rest of the cast how quick he can switch from softie to scary monster man, but there's a reason he's one of the best!

(Note: I feel like after a while if they decide to revisit the musical, Hyrule might be at a place where he'd be able to play Telemachus, but as it stands in the AU, he doesn't have the confidence needed to basically carry a whole act just yet. He has the vocals quality to sell the character though! And, while Legend's great at his job, Hyrule does look/feel more the part of the sheltered and stumbling young man without a guide or guardian to show him the way. Time and Lullaby probably wanted to cast him, but since Hyrule wasn't ready, they asked Legend instead.)

As for some of the other roles, the team had a ton of fun using puppets for the winions, and various not on stage actors got to voice them via mics! Think sort of Jim Henson style puppets though, since they are mental to be a sort of comedy relief.

The various suitors were played by all the guys who had been 'killed off' previously in the show, with the exception of Dei and Time, whose voices are too notable, and Legend who, of course, is currently playing Telemachus. Same thing for the army, although they did pre-record some of the bits where there's supposed to be more of a crowd, since they can only fit so many people on stage and wanted to really sell the idea of 600 men or 108 suitors, or the countless dead in the underworld, ect. They did hire a bunch of extras for crowd scenes, and used puppets and various other effects to sell the appearance of crowds where they could, but I don't feel the need to state who every extra is LOL.

So yeah! That's how it would go! Thank you again for this ask! It's been a delight to talk about a musical I actually understand, as well as adore! Especially considering I'm working on LU animatics for it even now!

Feel free to ask anything else you'd like, even if someone else might have asked already, because I have a big mouth and I like to talk, and I might have more thoughts now than I did previously!

[blackaquokat]

Hi Kat~

I hope you're doing well! You've graced my inbox several times, and more often than not, your asks give me little bursts of inspiration for snippets.

If you're comfortable sharing, I was wondering—how would your MC make Chris/Jade or the parents suffer? Or, if you're not up for answering that, I’d love to hear some details about your OCs!

Either way, I hope you're having a great day/night, and I’m looking forward to seeing you in my inbox or the comment section!

LEA!!! HOLY SHIT, HI!!!

My god, this is such an honor, I'm not even joking!

Okay, so when I first mentioned my MCs, I was still using previous OCs from other IFs , but now I think I've OFFICIALLY adjusted them into true Love & Leases fashion, so I'll do a post about them later with picrew images and everything, but in the meantime--

Peridot "Dot", my Cam-mancer (formerly Genevieve), would not go in with the Intention of making anyone hurt. It's easier for her to just cut them out of her life. BUT, that doesn't mean they won't be seeing her around. Dot posts on socials fifty times more than she ever did before, because suddenly it's like this entire weight is off of her shoulders and well, Cam takes too good of pictures not to post when they're finally together.

Dot honestly just decides to live well with the knowledge that her family and Chris will never be allowed to touch her existence again. That being said. Doesn't mean Dot won't be passive aggressive. They might get, "You are Not Invited to the Wedding" Invitations in the mail. Jade might get a piece of jewelry in the mail: something that she gave to Dot years ago because she didn't like it and though it was more to Dot's "taste", and it was something that had been given to Jade by Chris or her parents. so when that comes in the mail at a strategic time, it won't be pretty.

Jumana, my G mancer (formerly Quinn) on the other hand, has Fuck Around time. If she hadn't been so shell-shocked when finding Chris and Jade doing the Deed, she would have been grabbing inconvenient shit right there with Cam. Would have grabbed Chris's favorite shirt/underpants, cut them up, and then mailed them back. Would arrange friendly dinners with ALL her family's friends, be on her absolute best behavior when spending time with them (which she's not known for with Jade and her parents) so that her family looks bad for their decisions to support Jade and Chris.

She would find the time to tell Chris at one point that they were a rebound from G. Would remind Jade that if Chris cheated on Jumana, what would stop them from doing the same to her down the line? Or reminding Jade that the spotlight can burn, so be careful where she seeks it. And well. Jumana doesn't exactly keep what happened a secret. So that spotlight might burn Jade faster than she expects.

Anyway, those are my initial thoughts. Now that I have their characters more fleshed out, I'm excited to work with them more to fit the story! I'll make sure to tag you when I make the intro post for them!

[comikbook]

Hi! I absolutely LOVE the most recent painting you're working on! The composition is incredible and the colors are everything to me 🫶🫶 I absolutely love the way you draw faces like the piercings help map it out without showing too much and just !!! It's so good 🔥🔥🔥🔥 I was wondering if you would be willing to explain some of the symbolism behind it? Like the bleeding mouth, the house, or the dog? If it's a personal thing and you don't want to share, no worries!!

absolutely !!! this one is a little bit different story wise than some of my others but ill do my best to explain

this is the piece for those who dont know !

so lets start, why the armor and the sword ? well !

i wanted to do a piece referencing joan of arc. as someone who also has had the experience of hearing god talk to them/feeling like a messenger of god due to schizophrenia i have always felt a kinship with her. so i wanted to do a piece inspired by this iconic painting. that also goes into the composition.

however, that nod is the extent of that reference.

what about the house ? well, that is my childhood home.

here it is :,) the one with the bird over the door is the house i consider my childhood home. i no longer live here of course, the neighborhood got a lot more dangerous, abandoned, and not taken care of, i live in a city with a lot of violence, particularly gun violence and gang activity as well as heroin and fent being popular on the streets. there are houses in this neughborhood that have been destroyed by fire and were never fixed, most houses had infestation of roaches rats or mice, occassionally bedbugs. it wasnt a great neighborhood before, but its gotten worse over the years. despite that i hold some of my fondest memories here. i think its beautiful in a way, and i felt safer there than anywhere else.

the house represents my past, the blood trail leading from the door to the figure, who is me, after having slain some beast inside. this is representative of moving on, of leaving your childhood behind. It also represents the violence of where i live, and the horrid memories experienced by my father who lived there growing up as well. it was his home, but he inherited it from his mother. while that house was a safe haven for me, it was a bitter memory of horrific events for him. it was bittersweet to leave. for him, he was moving past that, for me, i was desperately trying to hold on. it was a needed sacrifice, which goes back to the blood.

the dog is a character in my work that represents god. he is omnipresent, always observing. he watched me kill a part of myself, that held on to memories i loved, and forced to move on. he watched this attack, and did not intervene. Perhaps I blame him for this, my relationship with god is not a good one, but that is the symbolism nonetheless.

lastly, there is the blood around the mouth, insinuating the beast inside had been consumed. I have killed it yes, but it stays with me. I consumed its flesh and it is now with me forever, even if it is gone. We are still one, me and the memories i shared there, even if separated by life and death.

this was a really long post, but i hope you find this explination interesting :,) !

[dalishious]

Do you play BG3 too? If so, how does it compare to DA4?

I adore Baldur's Gate 3 - you can follow my BG3/D&D dedicated blog here if you want: @eeldritchblast

They both have different strengths and weaknesses, just like any game. But I think Baldur's Gate 3 had the huge benefit of more development time to flesh out the story and characters. (Well, those they chose to... because the biggest problem I have with it can be boiled down to the very obvious dev favouritism - racism - when it comes to the party members.)

If you want to know which game I prefer, I'd have to say BG3; it's really on par with DA:O in terms of my favourite game of all time. But again, that isn't to say I dislike DA:TV - I feel like I need to stress that every time lol. I still think it's a fun game with cool characters and an engaging story. But BG3 just excels at everything I love in an RPG.

Also, the BG3 modding scene is fantastic. And now that there's an official toolset, it's only gotten better.

[bluejaysandblackbats]

Keepsafes

Fandom: Batman, DC Comics

Summary: AU where Martha and Bruce survive, and they adopt the batkids.

Chapters: 13/?

Characters: Bruce Wayne, Thomas Wayne, Martha Wayne, Alfred Pennyworth, Harvey Dent, Dick Grayson, Cassandra Cain, David Cain, Talia al Ghul, Damian Wayne, Jason Todd, Tim Drake

Relationships: Thomas Wayne/Martha Wayne/Alfred Pennyworth, BruHarvey, BruTalia

Additional Tags: Canon Divergent AU, Hurt/Comfort, Bruce Wayne is Not Batman, Angst, Alfred Pennyworth Knows All, Bruce Wayne Only Has One Child, Bruce Wayne is Not An Only Child, Bi Bruce Wayne

Chapter Thirteen: Stitched

Bruce snuck into the pool house in the manor with Harvey to clean his face up in the bathroom. “Bruce, he’s never hit me in the face before. I—. Jesus!” Harvey shouted. 

Bruce rinsed out the wound with boiling water and soap before going to the kitchen with the first aid kit. “Keep it down… That doesn’t make him a good person. Just because he hits you where bruises won’t—.”

“Are you mad at me?” Harvey asked. 

“No. Do I ever get mad at you for what he does? It’s not your fault that this happened. He’s your dad, but it doesn’t change how I feel about him. I’m always gonna question him as a human being. I don’t care what happens between us, I could never imagine hurting you like this,” Bruce whispered.

Harvey sighed and grabbed Bruce’s wrist as Bruce leaned forward with tissue forceps. “Wait… Wait, what are you gonna do with that?” Harvey asked. 

“I’ve gotta expose the wound to see how deep it is. I’ve been practicing this since I was six years old… But this is gonna hurt a whole lot. I’m not gonna lie to you,” Bruce warned him. “Actually, go to the guest room and lay down, so I could get a better look at the cut.” 

Harvey obeyed without a word, and he lay on the bed. Bruce sat by his side and used the tissue forceps to get a better look at the cut. He balled up his fists as he anticipated the sharper more concentrated pain of a needle penetrating his flesh. “Bruce, what have I done to deserve a friend like you?” Harvey whispered. 

“I wasn’t a good friend to you… I should’ve told my parents a long time ago, but I was scared. I thought if I told you’d leave me and never come back… I’ve been scared of losing you all this time. I can’t handle the thought of losing you, but if I let him hurt you again, I’ll have to do something drastic,” Bruce whispered. Harvey’s eyes widened. “I wanted to do it today… The only thing that kept me from doing it was the fact that you were outside.” 

Harvey winced as Bruce stitched Harvey’s eyebrow up. “I know… I know,” Bruce whispered as he inched closer to Harvey’s face. “I know it hurts… But it’s better that you get stitches now. The scar won’t be as bad if you—.” Bruce stared into Harvey’s eyes, and his heart dropped into his stomach. Harvey’s eyes were soft and filled with tears. He’d cleaned Harvey up before, but it felt different. Intimate almost. 

“What did you do to him?” Harvey asked as he held onto Bruce’s leg to handle the pain. Bruce lifted his gaze just above Harvey’s eyes to his brow.

“I didn’t hit him. I just put him to sleep for a minute. He’s not hurt,” Bruce whispered. 

“You didn’t go to summer camp… Did you?” Harvey asked as Bruce finished cleaning up. 

“No… I learned how to fight this summer. I’m gonna keep learning… But, I don’t want my parents to know about it yet. Can you keep a secret?” Bruce asked. 

“Yeah,” Harvey replied. 

“I spent the summer in Detroit learning martial arts… And I’m gonna try and learn to box right here in Gotham,” Bruce replied before telling Harvey everything he’d been through. 

**

Thomas intercepted the call about the boys not showing up to school and pushed a hand through his hair. “There has to be some sort of mistake… I swore I called in for both of them,” Thomas lied, “My apologies. I’ve been so exhausted from the clinic lately…” 

Bruce and Harvey crept into the house, and Bruce mouthed, “Can we talk?” 

Harvey tried to keep his face obscured, but Thomas noticed the stitchwork in his brow. He said goodbye and hung up before looking at both of them. “Do you mind telling me what you’re doing here at home?” Thomas asked. 

“It’s my fault, Mr. Wayne—.”

“No, it isn’t. Harvey didn’t show up in our spot before school, so I went to his house. Harvey’s dad’s been beating him all these years, and I—.” 

“Bruce,” Harvey interrupted him.

“I should’ve told my dad a long time ago... I handled it, Dad—.”

“What do you mean you handled it? You both could’ve gotten seriously hurt—.”

“Please don’t get the police involved, Mr. Wayne. It’s fine. Everyone’s fine,” Harvey replied. 

“No more going back and forth, Harvey. You’ll stay here now. I can’t in good conscience let you go back there, and I wanna get a second look at those stitches. Did Bruce do them?” Thomas questioned. Harvey nodded as he crouched in front of Thomas. Thomas lifted his chin and looked at the stitches. “Good job, Brucie. These are nice and clean… You kids should stay home from school today.” 

“Thanks, Dad,” Bruce whispered. 

“And make sure you show Harvey how to care for those stitches. How’d he cut your face like that anyway, Harvey?” Thomas asked. 

Harvey turned away. “He threw a bottle at me,” Harvey mumbled. Bruce’s jaw tightened. 

“Bruce, you didn’t give him any painkillers… Right?” Thomas asked as he checked Harvey for signs of concussion.

“No, sir,” Bruce answered. Thomas wasn’t always reserved in a family emergency, but the shooting changed him. He never shouted or panicked anymore. When he saw something alarming, it was like he shut out all emotion and focused on the facts. And the facts were, Harvey couldn’t go home to his father ever again, not after that. 

**

Bruce soaked in the tub while Harvey waited outside, still trying to speak to him. “I didn’t actually think it would be different. I just—. I thought we were getting too close, and I got scared,” Harvey confessed, “I didn’t want to admit that maybe I have feelings that I don’t even understand yet. Bruce, I think I’m in love with you.” 

No answer. Harvey pressed his ear to the door, and he could hear something faint like music. “Bruce!” Harvey called. 

“Huh?” Bruce asked. 

“Nothing. Just wanted to know if you were in there,” Harvey lied. “Did you hear anything I said a minute ago?” 

“No. Was it important?” Bruce asked. 

“No. I’ll see you downstairs,” Harvey replied before running into Martha. She wore sweatpants and one of Thomas’ nightshirts. “Hi, Mrs. Wayne.” 

“Hi, Harvey. How’re you feeling?” Martha asked as she hugged him. 

“I’m okay,” Harvey whispered.

Martha let go before hugging him again. “Well, if you need anything, I’ll be upstairs,” Martha whispered. 

“Okay… And, Mrs. Wayne, I like the haircut. Angelina Jolie in Hackers, right?” Harvey asked. Martha smoothed down the back of her hair and smiled. “It suits you.” 

“Thank you, Harvey. Goodnight, sweetheart,” Martha whispered. And she stopped. “Harvey, can I talk to you for a minute?” 

Harvey nodded. “Is it something I did?” Harvey asked. 

Martha shook her head and chewed her lip as she tried to figure out how to word her question. “Did something happen to make you leave?” Martha questioned. 

Harvey pulled her aside and looked into her eyes. “I was scared that maybe I was misconstruing something… I—. Can you keep a secret?” Harvey asked. 

“Of course… You think you like Bruce. Don’t you?” Martha asked. 

“No, I thought I liked Bruce a few months ago. I think I’m in love with him,” Harvey whispered. 

“Are you going to tell him?” Martha asked. Harvey shook his head. 

“I’m scared, Mrs. Wayne. I think I’d feel better keeping this to myself right now. I just didn’t want it to be my secret… Not alone, and I don’t know if Bruce should know that’s why I left,” Harvey whispered. Martha nodded. 

“You’re right… He doesn’t need to know why you left. I also don’t think now is a good time, but maybe—. Maybe give it a week or two if you still want to tell him. I can’t tell you how to go about this. Just—. Just be careful with your feelings and Bruce’s. You’re both so young, and I don’t want either of you to get hurt… In the meantime, you can talk to me whenever you need to,” Martha replied. Harvey nodded. “And you know something? You are no different than you were yesterday or a few years ago. You’re still you.”

Harvey started crying. “Sorry, I—. I don’t know why that—.” Harvey couldn’t breathe through his words, but Martha understood him perfectly. She recalled what it was like for Alfred and Thomas when she found out about them. It wasn’t easy having to protect a secret that should’ve been okay to share with the world. Harvey already knew what it felt like to not be safe. 

“I know, sweetheart. I know. I’m so sorry,” Martha whispered, “It’s so much for one boy… But you’re safe. This is safe.”

[stupidlittlespirit]

Can you give me more examples of Alex disliking Ford? I’ve always kinda felt it, but I never really had much of a real grasp on it.

Okay so this is the part where I look crazy because I can't give you specific examples LMAO but I'll try to explain what I mean. It's more in what he doesn't say than what he does.

Alex doesn't ever come right out and state 'I hate Ford', but he implies his distaste for him through his treatment of him. The way he hasn't gone harder/more explicit on drawing lines about Ford's abuse, or talking about how Ford suffered terribly during the time he was alone, for example. The way he blames Ford inherently for a lot of stuff that Ford, while not blameless, isn't fully at fault for. It's little things, and I'll detail them below.

TW below: Abuse, discussions of victimhood and irl consequences.

He extends more sympathy to other characters whereas Ford is sort of an afterthought. I don't actually think Alex has fleshed Ford out very well in his own head. Remember when he said that he didn't even know that Bill was going to be the main villain? They were flying by the seat of their pants for a lot of the series and it's quite clear in some elements. Obviously, the series is wonderful, I love it, it's one of my favourite shows of all time and Alex is a true talent, but it's obvious which characters are more important to him. He favours Bill a lot, too, so when his disliking of Ford/being ambivalent about him meets his enjoyment of Bill, only one of those dogs is coming out of the fight alive and it ain't Ford.

I think Alex is a genuine talent, I admire his work and his writing. He seems lovely. But I do also think he lacks in skill when it comes to complex abuse depictions.

I see a running theme that he isn't very good at portraying it specifically via 'unlikeable' characters. I mentioned on a previous post that he did this with Pacifica until people expressed empathy with her, and then he decided to round her out. He stated that himself during an old interview; I can't source it but I remember it vividly because it flagged red in my head that he couldn't see she was just a product of her environment. She's a twelve year old girl, for god's sake, she isn't 'just a horrible person', it makes a person sound like Bill when they beef with kids like that lol.

Another thing is in TBoB, there's a really horrendous page where Ford is tortured. It is visceral and awful, and tbh I wish I'd have been able to ask Alex what his top 5 horror movies were when I saw his talk because the scene is very reminiscent of a lot of my fav horrors.

But anyway, it is literal torture and it is also communicating about how helpless Ford is. He's a victim and a 'weak one' at that. Nothing he can do will stop Bill's abuse, he's stupid for trying, he's pathetic, he deserves it.

Now, that is a take I see with Ford a lot. He deserves it. He's asking for it. And it's a really upsetting one. It's also a common narrative told by people who blame victims for the abuse they suffered.

Not once have I ever seen Alex defend Ford. Not once have I ever heard him say 'Ford didn't deserve this', 'Ford suffered as much as Stan'. Not once.

Considering that he said he took 'inspiration' from his friend's 'toxic' relationships (I also think this is a strange and slightly perverse thing to do btw), I would have thought he might feel more strongly about pushing away this narrative about victims deserving their treatment.

I, obviously, also don't know for sure that he did take inspo from friends; he could well be describing his own experiences and just not feel comfortable saying so because men do suffer a different kind of stigma around being abused. That's fine, he doesn't have to out himself or anything, that would be horrible. But it's just the way he reacts to fans and speaks about the victim (Ford) that makes me think he's a bit more removed from this specific experience than it being personal.

There are many types of abuse. Ford's experience is familial, relationship-wise (platonic, because nothing about his relationship with Bill is romantic in the most basic sense of the term, if anything you can liken that side of things to sexual abuse) and personal. Ford then abuses himself as a reaction to outside abuse. Not his fault, again, but it does happen and it's a common thing for victims to do. I did.

Ford does nothing but suffer.

I truly don't believe that if you loved and cared for your character, you would be willing to watch your audience tear them apart like that after they had already been through so much and were not actually a villain themselves.

Especially if you had, or knew other people who had, experience with that kind of abuse. He doesn't let it happen to Stan, he came down hard on people when they did it to Dipper, and to Mabel, too.

It would kill me to let my OCs be bastardised like that by an audience and I'd be damned if I did a disservice to victims everywhere over something like this.

I think his lack of care is displayed in his treatment of Ford, as opposed to him outright saying he doesn't like him.

I also understand that this analysis also comes from a deeply personal point of view and my own experience with this topic, too.

This is a TV show, it isn't real and I don't need to take it so seriously, but what I do take seriously is seeing the real world reactions of other people. That does hurt. It hurts to see someone who is (very inelegantly and heavy-handedly, btw) depicted as a victim of abuse be laughed at and made into a joke, or flipped on their head and made to be romanticised with their abuser just to make a ship happen.

Fiction doesn't need to be taken seriously except when the lines begin to blur over into real life. We know people are cruel to irl victims and we can see where these lines blur quite obviously.

I think abuse and uncomfortable topics should be depicted, but I also think that as a creator, if you use them, you have a HUGE responsibility to teach and guide your audience into understanding why these things are bad/what makes them so. You shouldn't make jokes about the topic or encourage other people to go off the rails with it.

You can't control people, of course you can't, but you can hold their hand a bit and show them towards the light. If they choose not to follow it then they're probably not bright enough to pick up what you're putting down and that's on them, but you have to try.

Maybe if I hadn't (and my friends and other victims hadn't) been subjected to exactly the same reaction, we wouldn't feel so strongly about this, but it really does feel like a kick in the teeth to see a large number of people behave so grotesquely about abuse.

And just as an aside: I am a victim, I have been/am an unlikeable one, but it does not mean that I deserved what I got and that goes the same for every other 'unlikeable' victim out there.

*deep breath* but other than that I'm totally normal about Ford and not at all mentally ill :)

[scrumpledorph]

Two points of preface. One, I like to talk in absolutes; 'never do this' 'always let this happen' etc. That's just a shorthand so I don't need to append a bunch of caveats to every sentence I write; in truth, there will be times where breaking the established rules will elevate your work. You kind of just need to get a sense for it, and I'm afraid I can't help you with that because it's also largely a matter of personal taste. Two, I'm not a professional, just a hobbyist with a couple friends who I solicit feedback from.

Likely the single biggest piece of advice I can give is: don't cut the tension. Marvel and its derivatives (henceforth referred to as capeshit for brevity) establish tense scenes, but they don't use them for tension - they use them as a punchline by having a character say or do something wacky right as things are getting good. Don't do that.

If you're establishing tension between two characters; an argument, a fistfight, what have you; play it out. Or, if you want that tension to linger; have an interruption that doesn't cut it, but denies them the ability to resolve it. Something more important than whatever they were fighting over comes up, and now they have to work together. This dovetails well into another piece of advice.

Have consequences for scenes. Capeshit more or less alternates between SNL bits and action scenes to make sure the audience doesn't get bored. Not much really matters. When two people shout at each other, have it mean something. Have an argument rise to blistering invective; make them want to genuinely hurt each other's feelings, and leave them raw after - towards each other and onlookers who try to make them feel better. Have a fist fight establish a power dynamic between two characters, have people lose or gain respect for the people involved based on whether they feel the attacker was justified or the loser is weak, things like that. A single interpersonal confrontation can loom over the story for chapters (scenes, episodes, etc.) if you do it right.

Treat your characters with sincerity. This is addressing lamp shading, and it's very closely linked to the first point. When capeshit has a character take themselves seriously, often the villain, other characters mock them in drawn out comedic sequences. While this can be done with intent - to show a lack of respect, goad someone into making mistakes, etc. the problem is the writers don't use it with intent: they always do this, because they're working with borrowed properties made to appeal to thirteen year old boys between twenty and seventy years ago, and think these characters are beneath them.

You should love your characters. You don't need to like them, maybe you think they're a weaselly piece of shit or an irredeemable monster, but you should be excited to flesh them out. You have to want the audience to feel things about them to elevate them above cardboard cutouts. This is a specific subset of the next point, but I felt it was a significant enough occurrence to warrant giving it its own paragraph.

Play it straight. Don't have your characters constantly questioning things if the only reason they're doing it is to signal to the audience that something is absurd. When confronted with the impossible, it becomes the possible, and the mind bends to accommodate it. No 'they fly now', no 'well that just happened'. Things are self evidently possible by virtue of them happening, and that's just how it is. If presented with enough confidence and follow through, the audience will accept it.

For an enduring example, JoJo's Bizarre Adventure constantly follows absurd leaps of logic, but Hirohiko Araki does it with such gusto and panache the reader simply can't question it in the moment, and even when they can later - they usually agree that it worked anyway.

As a closing piece, and I really believe this is arguably the progenitor of the entire problem: assume your audience likes your work. All of the things above are compromises made for a hypothetical reader, watcher, etc. who doesn't like your work, to make it more palatable to them. Cut that person out of your mind. You are creating art for yourself, and if they're lucky - a few close friends. Make your characters hyper competent and don't worry about the person saying it's unrealistic. Give your characters designs you think are cool without thinking about the Reddit dipshit who'll call it a donut steel. Let your characters give uninterrupted monologues at dramatic moments without imagining cinemasins dinging it because the other characters don't attack them while they're doing it.

To paraphrase a piece of advice from Mark Rosewater, the head designer of Magic: The Gathering; if everybody likes your work but nobody loves it, you will fail. It is better to alienate ninety people and make ten lifelong fans than it is to get one hundred fair weather fans. Capeshit ran out of steam the second the original set of characters were retired, because they were working off goodwill established back when they gave half a goddamn.

As I said at the start; every one of these points has caveats and exceptions that are too numerous to list. If I held you by the hand and told you exactly how to make every decision in your work, I can't imagine it would be very fun for either of us. But I hope I've established enough of a scaffolding for you to start building off of.

Few things I respect less than an artist or writer who lacks creative conviction. If your work is visibly self-conscious, how can you expect the reader to possibly engage with it with earnest? If even you don't believe in the work, how can the reader? Likewise I think that having artistic convictions is a boon that can guide a weak premise into a strong execution.

[dolls-self-ships]

silly comic about self defence plus some millie lore drop

[evie-doesnt-write]

I don’t know how to say this exactly but like… fandom and show are kinda weird about Mel and Ekko and it is very much rooted in racism