#I'm unreliable with my writing at the best of times

[minhos-harness]

hey! do you take requests? or like ocs in them? <33

hey there!

unfortunately not, I'm afraid. not at the moment, anyway. sorry!

[whumptober]

WHUMPTOBER 2024: PROMPTS LIST

Welcome to Whumptober 2024 — Seventh Time's a Charm!

Please make sure to read the Event Info and FAQ below carefully, as most of your questions will be answered there already. For everything else, you are welcome to come to our ask box or ask questions in our Discord server here.

This year’s AO3 Collection can be found here.

This year's playlist can be found here.

The 'Anatomy of a Whumptober Prompt' post can be found here.

And our 'Resources for Writing Sensitive Topics' post is here.

We’re very excited to see the community come together for another year of Whumptober! Go wild with the prompts, and support your fellow creators - we wish you all the fun!

Best of luck and happy whumping,

Mods Vanne, Yenn, Kitty and Surro

(Text versions of the prompts, as well as event information, rules and FAQ are posted below the cut!)

Whumptober 2024 Prompt List

No. 1: RACE AGAINST THE CLOCK

Search Party | Panic Attack | "If only we could hold on.” (Icysami x Renegaderr, Strangers.)

No. 2: TRUST ISSUES

Amusement Park | Role Reversal | “You got away with the crime while the knife's in my back.” (Charlotte Sands, Rollercoaster)

No. 3: SET UP FOR FAILURE

Fingerprints | Wrongfully Arrested | "I warned you."

No. 4: HALLUCINATIONS

Hypnosis | Sensory Deprivation | “You're still alive in my head.” (Billy Lockett, More)

No. 5: SUNBURN

Healing Salve | Heatstroke | "If my pain will stretch that far." (Lottery Winners, Burning House)

No. 6: NOT REALISING THEY'RE INJURED

Unhealthy Coping Mechanisms | Healed Wrong | "It's not my blood."

No. 7: ONLY FOR EMERGENCIES

Unconventional Weapon | Magic with a Cost | "It's us or them."

No. 8: SLEEP DEPRIVATION

Isolation Chamber | Forced to Stay Awake | "Leave the lights on." (Coldplay, Midnight)

No. 9: OBSESSION

Broken Window | Bruises | “Frame me up on the wall, just to keep me out of trouble.” (Fall Out Boy, Irresistible)

No. 10: BLOW TO THE HEAD

Slurred Words | Passing Out from Pain | "I can't think straight."

No. 11: SEEING DOUBLE

Convenience Store | Loneliness | “Leave no trace behind, like you don't even exist.” (Taylor Swift, Illicit Affairs)

No. 12: STARVATION

Underground Caverns | Cannibalism | "Just a little more."

No. 13: TEAM AS A FAMILY

Familial Curse | Multiple Whumpees | "Death will do us part." (Set It Off, Partner's In Crime)

No. 14: LEFT FOR DEAD

Hunting Gear | Blackmail | “Because I want you to know what it feels like to be haunted” (tiLLie, kooL aiD mAn)

No. 15: CHILDHOOD TRAUMA

Painful Hug | Moment of Clarity | "I did good, right?"

No. 16: NECROSIS

Swamp | Wound Cleaning | "No, I can't feel anything."

No. 17: NOWHERE ELSE TO GO

Ruined Map | Shipwrecked | "We had a good run."

No. 18: REVENGE

Unreliable Narrator | Loss of Identity | “I see what's mine and take it.” (Panic! at the Disco, Emperor's New Clothes)

No. 19: BLOOD TRAIL

Abandoned Cabin | One Way Out | "Is there anybody alive out there?" (Bruce Springsteen, Radio Nowhere)

No. 20: EMOTIONAL ANGST

Shoulder to Cry On | Giving Permission to Die | "It's not your fault."

No. 21: BODY HORROR

Body Horror | Tattoo Gun | Spirit Possession | “Let the bedsheet soak up the tears.” (Apparat feat. Soap & Skin, Goodbye)

No. 22: BLEEDING THROUGH BANDAGES

Tourniquet | Reopening Wounds | "Oh that's not good."

No. 23: FORCED CHOICE

Public Display | Broken Pedestal | "I'm doing this for you."

No. 24: RADIATION POISONING

Collapsed Building | Equipment Failure | “I never knew daylight could be so violent.” (Florence + The Machine, No Light, No Light)

No. 25: SURGERY

Stitches | Being Monitored | "It's for your own good."

No. 26: NIGHTMARES

Breakfast Table | Parting Words of Regret | “I'm haunted by the lies that I have loved, the actions I have hated.” (Poe, Haunted)

No. 27: VOICELESS

Laboratory | Muzzled | “I have no mouth and I must scream.”

No. 28: DENIAL

CCTV | Exposure | "They caught me red handed."

No. 29: FATIGUE

Labyrinth | Burnout | "Who said you could rest?"

No. 30: RECOVERY

Hospital Bed | Holding Back Tears | "What have I done?"

No. 31: ASKING FOR HELP

Therapy | Making Amends | "I'm alive, I'm just not well." (Elliot Lee, Alive, Not Well.)

Alternatives List:

Body Swap

Communication Barrier

Finding Old Messages

Forgotten

Friendly Fire

Motion Sickness

No-Holds-Barred Beatdown

Regret

Secrets Revealed

Shivering

Survivor's Guilt

Time Loop

Used As Bait

Venom

Vermin

Event Info & Rules

WHUMPTOBER is a month-long, prompt-based creation challenge (think: Inktober, but whumpier). There are 31 official themes this year - one for each day of the month - which can be used, skipped, or combined in any way you’d like. They are meant to serve as inspiration without being taken literally (e.g. you don’t have to include the exact wording of prompts into your work). Feel free to run rampant on interpretation. For example, if the prompt is “flame", you could create something with reference to a candle/campfire, your character could have suffered a burn, or the flame could be a reference to an ‘old flame’ - an old relationship. It’s truly down to you!

In total, there are 4 prompts for each day. These are optional suggestions and can be used in conjunction with the theme, or as options/alternatives.  We want to give everyone as much creative freedom as possible, as well as increase event accessibility for folks with triggers and squicks. There is also a list of 15 alternative prompts that can be subbed in for any day, again to give participants as much creative freedom as possible.

Creators can PRODUCE work in any media they choose, including but not limited to: writing, visual artwork, photo/video/audio edits, paper crafts and elaborate recommendation lists (not just a list of links). Creators can PARTICIPATE as much or as little as they want (i.e. you don’t have to do ALL the prompts if you don’t want to) and prompts can be used in any order. They are also free to use even after the event ends.

When uploading Whumptober content to your blog, be sure to tag it with:

#whumptober2024 …..(the event tag)

#no.1, #no.2, #no.3, …..(theme number)

#bruises, #stabbing, …..(the theme or specific prompt you chose)

#altprompt …..(if you use an altprompt, tag the post with the number of the prompt you replace)

#fandom or #OC, …..(ironman, original content, oc, etc.)

#medium …..(gifs, fic, podcast, art, etc.)

#teeth, #etc …..(trigger warnings & any additional tags. Keep in mind not to add “tw” in front but only use the word/trigger itself)

#nsfwhump …..(only for nsfw content)

#your own tags go here

PLEASE BE DILIGENT WITH YOUR TAGGING. Only properly tagged posts are considered for archiving on the official @whumptober-archive blog. They must be tagged in the order above. An elaborate post about our tagging system can be found [here]

Unfortunately, due to the sheer number of participants in recent years, we cannot guarantee your work will be archived. A random selection of properly tagged posts from all genres will be reblogged each day.

Whumpers who produce content for 31 total theme days are considered event completionists and will be tagged in a masterpost at the end of the month. A form will be published at the beginning of November asking you to tell us if you completed. This is based on trust and we will not check this.

Frequently Asked Questions

Please read this before you send an ask!

TIMELINE

July: Trope voting form released. Late August: Prompt list is released for at least four weeks of preparation time. Tropes cannot be posted earlier than August 25th because of Moderator obligations in real life. (But, you know, go ahead and start writing/drawing, and add the themes in later, if you want!) September: Do as much or as little on your works as you want. You can prepare everything in advance or let September go by with vibes and start working in October. It’s up to you. October 1st: Challenge begins! A storm of whump breaks upon us all! During this time, some posts will be reblogged to the whumptober archive blog. We open the yearly AO3 collection for posting (optional). November 1st: The challenge is officially over! Completionist form opens for those who want to be included in the hall-of-fame. Early November: We release completionist and participant badges, solicit feedback, and post a hall-of-fame list of completionists by the 10th.

PARTICIPATION AND COMPLETION

Q: What counts as participation? Create or continue at least one work inspired by one of this year’s prompts. Q: What counts as completion? Creating work(s) inspired by at least one prompt from each day (or alts), for a total of 31 unique prompts. Q: Do I need to create 31 works? No. You can, if you want. Or you can create one work that you add to every day with a new prompt. Or several works that combine prompts. You can also update an existing work by adding new material with the current prompts. Q: Do I need to post my works somewhere to be a completionist or a participant? No. Q: How do you know I actually completed the challenge? We’ll take your word for it! Q: Do I have to finish my work(s) to be a completionist? No, you can post WIPs. And you’re not obligated to finish them in October, but if you want it to count towards being a completionist, you must have completed 31 prompts by the end of the month. So for example, if you’re writing a long fic and you fit 31 different prompts into the writing you did in October, it’s okay if that fic isn’t finished by the time October ends, you’ll still be a completionist. Q: Is co-writing/illustrating allowed? Yes, absolutely, and it would count towards being a completionist for both/all of you. Q: Is there a min/max limit on word count for written works? No. Q: Is there a min/max limit of quality for art? No. Q: Do I have to do something each day to be a completionist? No. You can skip days whenever you want, and as long as 31 daily prompts (or alts) are in your works done in October, you can be a completionist. For example, if you wrote a 1000-word ficlet that covers prompts in days 2, 3, and 17, you can check all three days off your list even though it’s only one work. Q: Is this challenge just for fics? No! Artworks, GIFsets, headcannons, rec lists, poetry, moodboards, or any other creative work is encouraged. Q: Can I combine Whumptober with other creation challenges? Absolutely, as long as the other challenges allow it too.

PROMPTS

Q: How do the prompts work? There are FOUR prompts per day: a theme and three ideas. You can use one, two, three, or all four prompts for each day. If you don’t like any of the daily prompts, you can substitute one of the ALT prompts instead. Q: How strictly/literally should we interpret the prompts? As literally or as figuratively as you want. For example, if the theme is WATER, that could mean drowning, waterboarding, raining, swimming, take place underwater, be lost at sea, construct a metaphor about a character’s mood that changes like a flowing river, crying, or whatever else you can think of that fits that theme. Q: Can I combine prompts? Is there a limit on how many? No limit and combine as many as you’d like. If you create a work that checks off multiple prompts, that work will count for a fill of multiple prompts. You need to address 31 different prompts to be an official completionist, but you don’t have to produce 31 separate works.

WORKS

Q: What’s whump? Hurting a character, whether that’s physically, emotionally, intellectually, psychologically, or any other way you can think of. Comfort afterwards is optional. Angst is emotional whump, so it counts. Q: How do I know if it’s whumpy enough? If your character is just mildly inconvenienced, it probably needs more whump. However, no participant has to prove whumpiness to the mods. Whatever you write is up to you. Q: What kind of characters can I create for? Anything. Generic “whumpee,” OC, PC, NPC, major characters, minor characters, or whatever you want. There are no limits. Q: Does it have to take place in a specific fandom? No, you can create works for your own worlds or for fandoms or for both. You can also create more generic or pan-fandom works. You can do cross-overs or use OCs, whatever you want. Q: Can I create AI-created works? We will not reblog or promote any works we know to be generative AI-created. Q: Is there anything we’re not allowed to write? As long as it contains whump and is based on our prompts, it’s fine. Please courtesy tag your works if you post them so people who follow the #whumptober2024 tag can filter according to their preferences. Q: What about sex, minor characters, and potentially disturbing content? You can create whatever works are legal in your country and post them accordingly. Please courtesy tag anything you think might be objectionable if you post to Tumblr so people who follow the #whumptober2024 tag can filter according to their preferences.

POSTING

Q: Where can I post my work? Post where and how you want. You don’t even have to (cross)post it to Tumblr. Just keep in mind if it’s not on Tumblr we will not be able to add it to the blog archive. There is an AO3 archive for Whumptober 2024, as well as the parent collection for works completed outside of the event. Q: Can I start posting early? You can, but this is an October event and wouldn’t it be more fun with everyone doing it at the same time? We won’t be reblogging any work predating October 1st. Q: Can I post late? Yes. For the sake of our hardworking Post Fairies, only a day’s themes will be reblogged to @whumptober-archive each day of October. But you can post whenever. Some of us are still working on and posting Whumptober fics from years ago. Q: Do I have to use your tags? Only on Tumblr and only if you want us to reblog your work on @whumptober-archive. Q: How do I have my works reblogged to the archive? Properly tagged posts will be reblogged to @whumptober-archive. If you want the official archive blog to reblog you, post on Tumblr and tag correctly (see this FAQ link for more info on tagging). Please note not all posts will be reblogged each day. Q: Can we @ you? For questions and comments, of course. We’ll be getting a flood of notifications, so if you really want us to see something send an ask. Q: Can I cross post on other blogs? Yes, multiple platforms and blogs are perfectly acceptable, as long as they allow cross-posting (to us). You can also post different works to different accounts under different names, without posting them everywhere at once. If you post some works under your main and others under an alt blog, that’s fine for completionist purposes. Q: Can I upload/repost my Whumptober content to other social media platforms? Of course! We’ve created an AO3 Collection to archive any fics posted there, which can be found here. The blog is the official archive, so please respect the personal boundaries of any whumpers in your social circle (don’t out anyone as a participant who would prefer not to be outed).

Most importantly, have fun, create, and enjoy all the whump posted this October!

[chuluoyi]

𝐓𝐇𝐄 𝐃𝐄𝐏𝐎𝐒𝐄𝐃 𝐄𝐌𝐏𝐑𝐄𝐒𝐒 . . . 𝐑𝐄𝐌𝐀𝐑𝐑𝐈𝐄𝐒 ! — untold tales

first of all, thank you so so much for those who have read the deposed empress series! i can't thank you all enough—i'm blown away with all your kind words!! <3

and so, what is this? there are actually many little details i've had in mind for this au, but i can't write them all down bc there are just too many and writing up to 9-10k isn't usually my cup of tea :') this is more or less my little notes i held onto while writing the empress series, and i don't want to discard it so with this, i'll be clearing several plot holes you might've found throughout all hail the empress, the crown of diamonds and long live the empire :D

who is the infertile one, naoya or the empress?

truth is... none of them! :D both of them are perfectly healthy, and as of why the empress couldn't conceive while she was still with naoya... well, that has a lot to do with fate and god's blessing HAHA

official explanation *cough* — the empress feels oppressed in eastern empire, naoya isn't being kind to her as of late, and actually, she has a delicate body more than most... so despite being healthy and all, that kind of environment won't support any conception 💁🏻‍♀️

hanabi's children paternity

continuing from point above... naoya is the true biological father of hanabi's daughter and son :) this is my aim since the beginning -> how ironic and pitiful is it that he casts his own flesh and blood away? the main point of zen'in naoya's arc is to obtain his own heir, and yet once he does, he stupidly has them locked and about to be punished

has naoya ever loved the empress?

no. but why was he so kind with her in the beginning, you ask? that's bc he regarded her as an equal. she was the best pick out of highborn ladies in her time, famous for her talents, pretty too, and he deemed her worthy to become his wife. but later, naoya fell out of respect with her since she couldn't produce an heir

but on the contrary, the empress was in love with him, at least during her youth

what is the argument between gojo and empress in part 2 about?

gojo has long wanted to decimate naoya and his empire (no particular justification for this, that's just what emperors do :') let's leave it at that), but it's true that seeing how the empress is wronged while she was married to naoya fuels the fire. gojo may be biased bc he is so in love with the empress, but in his eyes, it's so unacceptable

the empress is suspicious that gojo is only using her after the ending scene of part 1. and she overhears geto's words (“No, Satoru. You are just using her. You were almost there when Empress Y/N proposed that deal to marry you.”), and so she is even more convinced that he's just planning to use her so... yeah, an argument ensues :')

in gojo's pov, empress saving megumi and hanabi means she is doing it out of (lingering?) love for naoya, as he knows that she used to be in love with him. in empress' pov, gojo is finding excuse to wage a war, and with the cursed necklace incident, he has found a right justification to do so

why did naoya send the necklace as a gift to the empress after everything? what happens to it afterwards? does he know what hanabi did?

you know, actually... if it isn't obvious by now, everything naoya does in this series is unreliable :') to put it simply, he's a bit mad ever since empress ditches him for gojo—his pride is so wounded and he's becoming erratic day by day

while looking at the his coronation portrait, he might feel some kind of twisted sense of regret-like emotions (i said "-like" bc he is not right in the head), and then he remembers that he still has that necklace with him, so he might as well get rid of it. it's totally not out of love at all! :D

after hanabi tampered with the necklace and imbued it with a curse from god knows where... gojo of course has it destroyed 💁🏻‍♀️ and naoya doesn't know any of this bc this matter is not made public by the western empire (after the empress' involvement in concealing the evidence), and neither megumi or hanabi want to risk naoya's wrath so they don't bring it to his attention. more like, they don't know how he'll react, and if he throws a fit then it'll be a headache so yeah he must be kept in the dark

still, megumi resents hanabi for what she did, that's why later, he has a hand in banishing hanabi to duke kamo's household :)))

hanabi's doomed fate explained

hanabi was a former maid to the kamo household and they're famous for their cruelty. as of what they've done to her... well, you can imagine all sorts of cruel scenarios and that will be it :) things get better when choso takes over, but still... hanabi still has nightmares from it

so what happened to her? basically, gojo's line in part 3 here: "Anyone who dares to lay their hands on my empress... they have to pay the price."

working together with geto, megumi and choso, gojo orchestrated the whole dumpster fire to make naoya and hanabi fall from grace. first, he digs hanabi's background, and after knowing it, he makes a deal with choso—zen'ins have usurped the throne from the kamos and a new plaything is always welcome so he easily agrees, and then megumi... he complies bc he knows everything is in shambles in eastern empire anyway and he hates hanabi too for cursing the empress, so he helps in spreading the false information about hanabi's children not being of naoya's blood and slips choso's blood in the paternity testing naoya conducts... and yeah, they all have him fooled and hanabi is kicked out that instant

and comes the main event: naoya's stroke is also choso pulling the strings :D so in other words, this is also their plan to dethrone him altogether and install megumi to the throne. the "kindness" megumi shows hanabi is also a part of their plan, as he sends her right back to choso

in conclusion, emperor gojo is actually a cruel, cruel person :) he designs this elaborate plan to take down those who dared to touch his empress...

final note

there are many inspirations for this series if you look closer -> the manhwa remarried empress (part 1-2), queen of tears & queen charlotte: bridgerton story (part 3). i tried my best to add my own twist in all three parts, but again, writing is a form of art and we're leaning towards things that are familiar to us to write :D after all, it's just fanfics... we're free to put them in any situation ;)

it has been such a fun ride to write this series :') again, thank you so much for giving my stories a chance🩵 i never expected for so many to interact, and you all truly make my day!! if i'm going to be honest, writing here isn't always fun... but seeing your asks, comments and tags really is the reason why i'm not giving up writing here :'D and i'm saying this not for me but also on behalf of all writers out there—whenever you drop by with a long analysis/tags/comments for our fics, we're so so beyond happy to read it!!! :) so thank you, and please continue to do so if you can <3

[roxineedstosleep]

Could you do a snippet for yandere platonic Batfam where reader accidentally gets hurt and is able to hide it for a few days until someone (May be Dick?) finds it and asks / gets upset about it? Love your writing!!! ♥️♥️♥️♥️

Hi there!!!

First of all: Thank you sweetie!

It's been a while since I've written, mostly because of the university, I'm about to graduate and I'm crazy because I'm approaching my final exams (I even have to defend my research work to be able to get my bachelor's degree)!

But, I got to thinking a bit about what you have written above… and even more so because I myself am a little bit crashed after my last film shoot for my final year of my degree. And can I just say that being in a bad way and having to hide it is terrible.

So… here goes!

(I'm sorry if I sound a bit comical in this writing, but I think the best way to get over something is to laugh at yourself a bit so you don't think about the pain too much; I hope you enjoy it anyway.)

Disclaimer: I don't know if you've noticed, but English is not my native/mother tongue. Occasionally, when I think too much, I write them in my language and then translate it in a trusted translator. So, if there's a grammatical problem or a strange term, it's the translator's fault.

Let's face it… having a large family is terribly exhausting.

It's never quiet enough, everyone is in everyone else's business, you can't leave your favorite mermelade in the fridge for less than a day. Someone is always occupying the bathroom or using your favorite shampoo or watching something on TV at too much volume and someone is probably occupying your bed at nap time.

Did I mention about meddling too much in other people's business? Yes? Well… triple it.

Having multiple siblings was new.

Having multiple siblings, a father and a butler/grandfather isn't exactly bread and butter either.

It wouldn't be so bad to belong to a large and numerous one if it was your blood family and you had lived with them all your life. I mean, sometimes blood is too thick and you have no choice but to learn to love them or just be nice to each other.

Like I said, it wouldn't be so bad if they were really your family.

But the Waynes were not your family. Not distant relatives or anything like that.

You were just living your life, as quietly as possible… and poof!

New room, new butler/grandfather, pets beyond belief, 4 new male siblings and a father with serious emotional constipation issues. And, to add more salt to your wound…. all have serious abandonment issues and death-related trauma.

After several escape attempts, sleep strikes, hunger strikes and any other kind of protest that an anarchist could be proud of… you realized that it was simply impossible to get out of this without risking the path of death.

Which, to top it all off, was also unreliable because apparently your older brother Jason had revived as well as another of your siblings. So no, dying was also not a viable option to which one could resort in the worst case scenario.

What to do?

Well, not much. Trying not to die of suffocation of affection or finding a way to have privacy while going to the bathroom just seemed to be the best survival tools you could resort to.

What does that entail?

It implies that Tim was going to give you hours and hours of lectures on his latest discovery of a case, even if you don't understand half the things he's told you or mentioned at all.

Richard and Damian trying to teach you new tricks almost every second, taking you to the Zoo or not leaving you alone to go to the bathroom.

That Jason, oh holy cow he is the only one more relaxed, takes you with him on his motorcycle to eat ice cream and to the public library. Without being able to scape, because it seems that you have a kind of GPS inserted in the bone marrow.

(Sometimes you don't know if it's true or not, but sometimes you also felt pain between your bones, almost during the cold seasons, and you didn't want to burst your poor little head thinking of different viable possibilities knowing them. No scars, no remembering anythins about any surgery).

Have a grandfather who will not hesitate to make you cookies, your favorite foods whenever you want … without leaving you aside at any time.

Plus a terribly quiet father, who if he can will carry you for as long as you spend time together, won't let you near the secret basement and enjoys being in the same room with you.

Do you see any privacy in this?

No, because even at the bathroom door would be the pets trying to get in and see you for themselves while you want to do your business.

The worst of that? Titus always judge you when you close the curtains.

As I mentioned and it was clear: Having a large family implies little privacy… Having a large, obsessive family means NO privacy.

So, knowing that you have over 50 nanochips tracking in all your clothes, two security monitors embedded - God knows how - in your body (monitors that only tell you if you are in designated safe place), 20 high definition surveillance cameras in every room and a Great Dane chasing you like a chick …. How the heck do you fall down the stairs and hit your pelvic bone without anyone noticing?

No kidding, how?

And if you had to blame someone for your fall… you'd totally blame Damian for it.

It's not that the kid pushed you down the stairs, but over time he had tamed himself into various things and relaxed into looking his age. You know!!! He started acting like a normal teenager!

What do Damian's kids do at his age? Well, they leave things lying around and have messing around them when they can, of course they do!

You just wanted some yogurt with orange marmalade. Maybe some oatmeal cookies. Alfred had left it for you in the fridge when he noticed you'd been watching video tutorials on homemade marmalade for hours. Who were you to deny such a gesture of generosity?

I mean, Alfred was the one who allowed you to hide in the attic for hours on end so you could have some time to yourself.

And how did it end? You, slipping down the main stairs of the old Wayne mansion, down a nicely polished wooden staircase, rolling all the way down (which is no small flight of stairs, it should be noted) to the bottom of the first floor.

Now, lying on the ground is not so bad in itself. What is bad is not being able to feel your legs and still not being able to understand how you manage to tidy up your neural wiring so that your legs can still move on their own and go to the kitchen to rescue all the delicacies Alfred left you in time.

And it's a good thing you managed to do it… because within seconds Bart had rushed in to ransack the fridge and the fruit basket.

But that's not the point.

The important thing is that this time you managed, I insist a little on the feat of action, to climb up to your room and not notice how you couldn't really feel your legs.

You ate, you lay down… and to your bad or good luck, you couldn't get up …. and without anyone noticing there was an emergency and everyone went out to sort it out.

Weak limbs, limited movement and you don't want to mention the embarrassing actions you did in order to go to the toilet.

It's not like you hid it either, I mean, there was no one who could even notice because they weren't entirely available to watch you. Nor is it that you would have run away, otherwise they would have been at your side in less than a second.

The detail, as they insist, is that you had probably bruised your back badly and your body was now taxing you extra for your food craving.

I insist, you did not hide anything.

But still, when you're found completely itchy on the floor, ridiculously trying to run away in the direction of the bathroom… that's when everyone really goes crazy.

First, having to carry you and not dying of embarrassment when you notice that Bruce definitely doesn't give a damn about having to carry you to the bathroom and do almost everything for you.

Or having Dick and Jason carry you and fit you into some kind of weird medical scanner they have in the cave.

Or that Tim keeps track of your periods, types of meds you take and, for fuck's sake, knows how the fuck to inject something into your spine.

Or that Damian had the gall to look a little embarrassed when he heard that a pair of boxers lying outside the laundry basket was to blame for all this.

NO matter.

At the end of the day they heal you, pamper you, leave you alone when you need to take a nap and figure out a way to fix it without looking like complete maniacs who built some kind of internal plumbing that sucks up the dirty laundry and throws it straight into the washing machine.

Like the time they didn't look like maniacs by sanding all the edges of the tables and nightstands.

Or the time they bought a whole brand of sanitary towels when they realised that not all women use tampons.

Don't worry, they're looking out for you… even if they look like deranged Arkhan freaks in the process.

[junkissed]

late night talking

member — minghao x f reader genre — angst, idk if there's enough fluff for this to count as hurt/comfort but the ending is sort of happy ? word count — 2.1k synopsis — the best and worst conversations always happen at 1am. warnings — reader is very drunk and very very insecure, lots of crying, lots of internal back & forth, unreliable narrator moment, refers to reader as girlfriend/my girl/etc., idk if i'm missing anything else but lmk if i am notes — this is an old fic that i never really intended to be released but @onlymingyus and @wooahaeproductions convinced me otherwise. sorry this is not at all what i normally post lmao i swear don't write like this often i just found this in my drive that i wrote when i was in a very shitty mood. we will return to your regularly scheduled smut programming soon i promise lmao! leave a comment in the reblogs or send an ask if you enjoyed this? idk i am nervous to post this pls don't perceive me too much

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you're ugly when you're drunk.

“hao?”

your voice rings throughout the house, the sound shaky and quieter than usual.

he wouldn't even have known you were home if he hadn't heard your friend's car pull up minutes ago, bright headlights flashing through the bedroom window. he wouldn't have known, if he wasn't already worried sick at you being gone so long and consuming an unknown amount of alcohol. he should've been there with you, but too much was riding on the deadline for his students’ grades that had to be finished before midnight. any other day he would've been by your side the whole night, a steady hand on your arm for balance and a sharp eye on your glass just in case. he loves playing the role of protective boyfriend, letting his girl do whatever she wants because he'll always be there to watch over her. but he couldn't do that tonight, and it tears him up inside.

he hears your trudging footsteps down the hall, soft footfalls signalling your approach as you drag yourself towards the room. he pretends not to hear; he doesn't want to make a big deal out of this and embarrass you.

“you're home early,” he comments with a chuckle, but his sarcasm is lost on you in this state. it's well after 1 in the morning, and you tilt your head in confusion at his words, brows deeply furrowed.

“what— are you working on?” you ask after a moment, focusing all your energy on not stumbling over your words. 

you know how drunk you are, he knows how drunk you are, but even now you're still putting on an act. you hate feeling stupid in front of him, and right now you couldn't feel any stupider. the worst part is that you feel as stupid when you're sober as you do right now, but you couldn't tell him that.

he pauses, choosing his next words carefully as he surveys your current state. he can't risk hurting your feelings, especially in such a vulnerable headspace.

“grading finals,” he decides on. not too detailed to confuse you, not too simplified to make you feel stupid, just enough to make you feel involved.

distantly you feel your eyes welling up with tears. you don't know why, but at the same time you know exactly why. you're never good enough compared to him, not when you come home drunk in the dead of night, and he never does. not when he's so good at everything he touches, so talented and beautiful and perfect, and you're… not. 

he deserves someone at his level, an artistic genius like him who can help him with his work. someone with an eye for his paintings, someone smarter, someone prettier, someone who can keep him on his toes. someone who won't drag him down and burden him with your obvious lack of skill and your quality of being so embarrassingly lightweight that you need to be supervised at all times. 

“i’m sorry,” you finally muster. you can't find the words to explain what you mean, but you hope he's able to sense your sincerity.

“what for?” he asks. his voice is softer now. 

you hate it when he uses that voice. he's talking down to you, talking like you're a child and he has to explain everything to you in the gentlest way possible because you aren't capable of handling the truth.

you love when he uses that voice. sometimes he can be so blunt it almost feels isolating, but when he talks to you like you're a child in that sweet, gentle, kind tone you feel like everything will be okay. he can soften himself for you, drop his straightforward persona around you and be the tender man you know he's capable of being. 

you lift your eyes to his computer screen and the feelings you've been struggling with float back into view. “i'm sorry,” you repeat, voice cracking despite the effort you put in to stop it from breaking. it's all you can say.

you don't notice when the tears overflow, bursting from your eyes without a sound. you're embarrassing, you're an idiot, standing in front of him with red eyes and hunched shoulders as tears stream down your cheeks. you don't even feel them fall.

if he knows what you're trying to convey with your tearful apologies, he doesn't mention it. 

of course he knows, how could he not when he's so astute with everything? you suck at keeping things to yourself. 

of course he doesn't know, why would he take the time out of his busy schedule to care about how you're feeling? you're not worth his energy.

the moment seems to stretch on for eternity, standing in front of him. you don't know why you started dating in the first place; he doesn't have the time, you're too annoying, too clingy, too affectionate. standing in front of him, you don't feel anything. you just feel cold.

you turn to drag yourself out of the room, deciding that you've embarrassed yourself enough by now. you don't know where you'll go or what you're doing, probably to pour yourself a glass of water and try to sleep on the couch. obviously he won't want you to sleep in his bed when you’re like this, why should he? you aren’t deserving of that privilege.

but then you feel a warm hand on your wrist, gently tugging you back towards him. you lose your balance, stumble over your feet, fall onto his lap. you're mortified, barely able to get another “sorry” out before trying to stand again on wobbly legs. you shouldn't be here. you're so aware, so painfully conscious of your weight on him, every ounce of energy you have left fighting to keep yourself from annoying him even further but it feels like it's too late. everything that comes from you is too little, too late.

“no,” he says. his tone is still that soft, sweet sound, but his voice is firm and you don't try to get up again. “we can talk tomorrow,” he says as he begins to run his hand along your back, and you hate yourself for the way you instantly melt at his touch. “just… relax. calm down.”

your body slouches against his chest, feeling like a puddle on his lap, head tucked into the crook of his neck whether you meant to or not. your legs dangle limply off his lap, arms wrapped loosely around the back of his chair as he holds you.

“it's okay,” he says simply, still stroking his hand along your back in small, soothing motions. “it's okay.” he repeats the words, maybe to convince himself but mostly to convince you from having a breakdown. even now when he's treating you so delicately, your brain won't let you rest: he's probably scared of you, he doesn't mean it, he doesn't mean any of it and he's using whatever means necessary to stop you from turning hysterical or even violent. of course it doesn't mean anything to him. 

“how much did you drink tonight, baby?” he asks, and you know you should take that as judgmental but you don't have the energy left anymore. you don't note the twinge of concern in his voice, you can't see the look in his eyes as he gazes down at you.

“a little— a lot,” you answer, somewhat truthfully. the real truth is that you lost count. you weren't trying to get drunk, but one turned into two turned into ten and before you even knew what you were doing a car was dropping you off in front of your house.

he shifts his legs for you to sit more comfortably on his lap, and as much as you want to fight it you don't have the strength to. “do you want to go to bed?” he asks gently. “or do you want to stay up with me?”

“don't… want you to go to bed ‘cuz of me,” you mumble against his neck. god, his skin is so soft and warm. you couldn't move your body right now even if you tried. “not your fault.”

“what kind of guy would i be if i didn't take care of my girlfriend when she needs me?” he asks. “i can put you to bed if you want. it's alright. it's late anyway.”

“it's not– your job,” you manage to reply, and his hand on your back stops for a second.

“it is my job,” he says softly. he tucks a piece of hair behind your ear. “i'm sorry if you feel like i haven't done that.”

“please, don't— no sorry,” you choke out as fresh tears prick at your eyes. “it's my fault. i'm sorry. it's my fault.”

he holds you tighter, both arms wrapped around you on his lap now. “it's not your fault,” he says in that same firm but gentle voice. “you haven't done anything wrong at all. it's alright, baby, i promise. you don't have anything to worry about. why are you sorry?”

“i don't know,” you mumble. your hand clutches at his chest unconsciously, balling his t-shirt in your fist. “i dunno. i love you. i dunno.”

“i love you, too,” he says after a beat. the tears, the drunken outburst, he just lets it all happen. without a word of complaint. despite the voices in your head fighting to convince you otherwise, he never says a single negative thing to you.

you know he's not normally like this. with everyone else he's polite, unemotional, reserved. he's never vulnerable. which is why you're so confused right now.

“why?” you slur, still grasping onto hope.

he hums in questioning, nudging you to elaborate.

“why are you like this to me?”

but now he's the one who's confused. “like what?”

you pause, and the room goes quiet for a moment, the only sound your shallow breaths against his chest. “nice.”

for all his knowledge, this time he's actually lost. “why would i not be nice to you?”

“i don't deserve it.”

he shifts again, pulling you closer to his chest as he starts to run his fingers through his hair. “of course you do, baby.”

“you don't deserve me.”

he stops again, this time in shock. “hey. that's not true.”

“is too true,” you say. your eyes are closed and you can't help the frown overtaking your face. “you should have somebody you deserve. it's not me.”

he just sighs, and you feel his chest expand beneath your cheek at the deep breath he takes. “i love you, baby. not anyone else. you'll feel better in the morning, and we can talk then. but i'm not mad at you, okay? there's nothing wrong. everything's okay.”

you try to mimic his sigh, but the angle you're laying at on his chest and the alcohol in your system makes it hard to breathe deeply. 

“do you want to keep sitting with me?” he asks. he knows how much you like the sounds his keyboard makes, the quiet tapping as he enters grades and types comments to his students about things you could never fathom to understand.

your eyes stay closed and your head doesn't move. “yeah,” you murmur softly.

he settles back into his chair, you curled up on his lap. he's not doing much, he's finished the worst of it and now just entering numbers. he glances down at your figure, almost asleep on him, and he feels an ache in his chest. 

every emotion feels amplified to you right now, but if it took getting blackout drunk for you to finally say it then it must've been weighing on you for a long time coming. he wonders how long you've felt like this, felt inadequate compared to him, and it makes him pause. it was never his intention. when you're awake and sober and hopefully not massively hungover, then you can talk, and he can make this right.

he loves the person snuggled against his chest, loves the feeling of you comforted and protected by him, and he'll do anything to make sure you know that. he'll do anything to let you see yourself the way he sees you. above all the worries he has about you, he knows one thing for sure.

you're cute when you're drunk.

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i hope you enjoyed this!! if you did, consider reblogging or leaving a comment or an ask :) it shows me this is something people want to see more of, and knowing people like this makes me want to write more of it! thanks for reading!!

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[creativename87]

Major ORV spoilers!!

obsessed with how haunted every inch of orv feels, how its entire narrative, every sentence, every inch of dialogue is haunted by kim dokja

because like when you take a step back and look at it, orv never had kim dokja in it at all

the entirety of orv is created and written by all of kimcom, except kim dokja to find and save kim dokja

they had to take their memories of him, the constellation's memories, (probably past live streams let's be honest) They had to use what they knew and fill in the blanks whatever fit best

and kim dokja was definitely there. their memories of him weren't wrong, I'm not saying orv is a lie, but no matter how accurate their interpretation of kim dokja was, he still was never there, in the story, he never helped them write it, he was gone, and this book is their gravestone of him

This time, if he's able to come back, all he'll need to do is knock on the coffin that they've laid next to it, that they don't have the courage-- and probably never will-- to bury

and when you re-read orv with that fact in your head, it kinda fucks you up?

you're in his head, but you're separated by more than just a single wall this time, The fourth wall that comes with all books is almost enhanced by barrier after barrier (kim dokja's own fourth wall, his unreliable narration etc. etc.)

and kim dokja was never really there-- not yet at least, and you're left with the ghost of him, haunting every interaction, every unlucky smile, every single happy moment, and you can feel everyone's pain bleeding through the paper, begging you to read this and love him and love yourself

kimcom is haunted by kim dokja, the book itself is haunted by Kim Dokja, even the reader, after they finish, might be haunted by him

and I just want to make it clear I'm not saying all of the things in the book are false! they are kim dokja, just 99% of him

the other 1% is what the fragment of him determines in their head

but you get my point, that it's that single one percent that kimcom can never achieve on their own that fuels the book, that single one percent that haunts them, like a carrot on a stick they'll never reach

[laurentspeach]

hi this is random but I'm obsessed with capri and want to talk about it forever!!! I was wondering what your favourite things are about the writing? like the craft, maybe the set up of the twists/reveals, etc? ilu

omg hi sorry if this has been in my inbox for forever, i didn’t expect to get an ask on this blog!!!

my favourite things about the writing are as follows:

1) Pacat trusts the reader to read between the lines. My favourite example of this (and probably the funniest of the trilogy) is the rooftop scene, where instead of just saying that Damen is getting an erection from Laurent shifting around, Pacat chooses to communicate that through vague dialogue and context clues. Other examples of this include:

Pacat writing “I would be, if the light weren’t behind you” instead of just saying that Damen could see Laurent’s figure because of the lighting.

Pretty much the whole blue dress scene.

2) Pacat makes Damen’s bias affect the whole narrative. Damen’s narration is intended to be accepted as truth at first, however as the trilogy unfolds you start to realize how (unintentionally) unreliable Damen is. Examples of this include:

Damen reiterates through the whole story how honourable and honest Akielons are, yet the readers know he was brutally betrayed by his brother + several of his men, akielons raided + massacred a village (with women and children) without remorse, etc.

Damen also reiterates through the story (mostly in book one) how Akielon slaves are given perfect treatment, but this whole narrative shatters in Training of Erasmus, although Damen is unaware (likely because he not only seems to assume the best in people, but also because he seems to base all Akielons off of himself, and he gave his slaves “perfect treatment”, so why wouldn’t everyone else?)

3) The pacing of Laurent’s arc. I feel like most modern authors who write enemies to lovers are too quick to give away that the “bad guy” is secretly good, but Pacat was NOT afraid to make us absolutely hate Laurent in the first book lmfao. I really appreciated that, because it made us fall in love with Laurent at the same time as Damen, instead of before or after. She made Laurent a good person at heart, who did some genuinely terrible things, which I feel like most authors think is impossible for some reason lmfao.

4) The sex scenes!!! Incredibly tasteful, contribute to the plot (not that I think 100% of sex scenes in media have to, but it certainly helps), well written, not so crude that it takes you out of the story, and also very hot. 10/10 no notes (other than there should have been a rimming scene but I’ll mind my business).

5) There’s a tasteful amount of fan service haha. This includes: size difference, Damen’s otherworldly strength, the pitcher scene, all of the short stories, etc. Thank you Pacat I would die for you

There’s also many more things I love about this series but that’s all for now!!

[artist-ellen]

I haven't watch the show so idk if this works but maybe if hotd chose the furthest point in the timeline from S1 as their main storyline and everything else was explained via flashbacks that may have helped

My friend and I were talking about this just the other day!

I think the show should have gone for a non-chronological time line. I think that since they had such a great two-ages cast for season 1 anyway they should have committed to it. Have the Dance of the Dragons just about starting in timeline 1 (the plot) and have relevant scenes from the "past" timeline provide context and nuance to the episode's arc.

The current chronological approach is the more "history book" style but I think a lot of watchers have picked up on the amount of time the show simultaneously "wastes" and skips over. We don't have enough buildup in a lot of semi-minor characters (ex: Laena and Hardwin are barely on screen long enough for the characters to exposit "I'm married to/in love with x" before dying to further Rhaenyra and Daemon's relationship), and we have too much time trying to scotch-tape the handful of key scenes together. (Lots of Season 2 being the "will they, won't they" instead of being the Dance.)

I also think there's a lot of lost nuance. Where the premise and marketing promised a complicated queen vs queen bloodbath... we are somehow back at the Cinderella premise. The evil stepmother wants innocent Rhaenyra dead. And that bores me because Alicent I would say isn't developed as a villain or a victim. Where the history book has multiple unreliable narrators, the show presents itself as a chronological "canon" history... while also changing major details like the number of children the characters have? I'm confused about the directions they have taken. The costumes for season 2 on the other hand are possibly some of the best costuming across the GoT/HotD. (Win some, lose some I suppose)

An example my friend came up with was for the 'Blood and Cheese' conflict: have the audience be unsure if Rhaenyra sent them or not. In the book it's only speculation, so why not have the "present" conflict cut into with the (season 1) scenes of younger Rhaenyra lying to Alicent/betraying her trust. Why is team Green sure Rhaenyra didn't do it? Where is the hope for audience intelligence? Interpretation? Not a wink of it.

I'm not good at writing out my thoughts, but hopefully you can see what I'm trying to get at....

[suzukiblu]

currently having EMOTIONS abt your 'Billy adopts kon and it goes p good actually'. Billy's there just like oh man I'm rambling they're gonna think I'm so lame...meanwhile I as a reader (and presumably also Kon and possibly the other characters present??) are actually going 'oh my god. oh my god he's known Kon for like one singular minute and already arranged a flat according to his best predictions of Kon's needs/wants, gave Kon FIRST PICK OF BEDROOM, and has freely offered to learn how to cook AND how to drive for the sole purpose of taking better care of Kon'. like. oh my god. oh my god. Billy is so precious and I want to give him a hug. I hope Kon isn't too overwhelmed or suspicious due to Billy's enthusiasm tho lmao. (pls could there be..more? more Billy adopts kon, if possible?) anyway I love ur writing. thank you. idk how to ask from a sidelong but this is tryingahandinholdingapen btw :D

I gotchu, friend, lol. @tryingahandinholdingapen But yeah I love a good unreliable narrator, one way or the other it's just so fun peppering in all the bits of "the actual situation that the narrator is oblivious to", hahaha.

Rich people are weird, Billy decides, then sets the swiss rolls and zebra cakes and rest of the strawberry shortcakes on the counter in case Kid Flash is still hungry or Superboy wants any of them and closes the pantry. Batman’s just doing his best, he guesses. Though Billy hopes he knows how to coupon, if he’s always buying brand-name. 

Well, he’s Batman. It’d be weirder if he didn’t know how to coupon, Billy figures.

It looks like Superboy ate all of his snack cake while Billy and Kid Flash were in the pantry, at least, which Billy hopes means he liked it. He doesn’t know how much real food Superboy’s had, but Batman’d said he should be fine eating solid stuff and not just whatever he’d been getting in his cloning pod. Though Billy’d still asked if they could get some bottled smoothies and protein shakes and stuff like that to keep in the fridge, just in case. He figured those might be easier for him to eat and digest, if it came up. Or like, maybe appeal to him more, if nothing else? 

Billy has no idea, honestly, he’s just doing his best here. The wisdom of Solomon is pretty useful but it’s not really, like, that much of a parenting guide. 

He is not going to cut Superboy in half. Like, ever. Like he understands the idea of that story but also it is an insane and incredibly freaky story and he is just not invoking it, ever. Just no way.

“If it’s alright, Captain, we should get going. We’ve got a bit of a drive to get home,” Mrs. West says, then sighs as Kid Flash empties the boxes of swiss rolls and zebra cakes in lightning-fast succession, though he leaves the strawberry shortcakes alone. Billy checks in the fridge and offers him a couple of the more filling smoothies–peanut butter and banana should be more filling, anyway, even with a speedster’s appetite. He steals those from convenience stores sometimes, when he can. He can’t be Captain Marvel all the time. 

Well–maybe he could, he guesses. But he does miss being himself, sometimes.

“Thanks, man,” Kid Flash says eagerly, then immediately shotguns both smoothies. 

“Wally,” Mr. West says in exasperation as Mrs. West sighs again. “Don’t eat Captain Marvel out of house and home.” 

“It’s okay, we’ve got lots of food!” Billy promises cheerfully. “I work with Flash, I know how hungry he gets. I bet it’s way worse when you still have growth spurts to get through.” 

“It is so much worse,” Kid Flash mutters vehemently, eyeing the empty smoothie bottles in his hands accusingly. Billy gets him another peanut butter banana one on principle. He really doesn’t want Kid Flash to be that hungry. It’s . . . not a good feeling. 

“We appreciate it, Captain, really, but we’ve got snacks and a cooler in the car,” Mrs. West says. 

“Oh, good,” Billy says, relieved. Mr. and Mrs. West both give him strange, inscrutable looks, then glance back to Superboy. Billy wonders if he likes peanut butter banana smoothies. Though if he liked the snack cakes, there’s strawberry banana ones too, so that might be better? And strawberry kiwi, but that’s probably less filling. “Superboy, do you want a smoothie too?” 

“No,” Superboy says. Billy pauses again, then gets him a strawberry banana one and tosses it over. Superboy catches it, eyes it, and then opens it and takes a sip.

Okay, Billy thinks he’s getting the hang of this. But also they should probably talk about how “no” needs to actually mean “no”. Like, for Superboy he’s sure it’s just like that phase when toddlers want to say “no” to everything no matter what, but it’s still important for him to understand. Billy doesn’t want to accidentally upset him or overstep because Superboy doesn’t know how to really say “no” to something.

Yeah, they definitely need to talk about that, he decides.

[spacemonkeysalsa]

I read about an evil magistrate in another Faerûn city, a few decades after Astarion had that job in Baldur's Gate and it has me thinking about his pre-vampire days, and my irl time as a Las Vegas law clerk. A lot.

Full disclosure: I feel a little guilty that I wrote so much on this topic rather than on one of my fics.

I wrote very little in July 🫣but it's because I was drawing and reading instead.

I read 13 books, but they were the first 13 Legend of Drizzt books.

And while writing fic, I've avoid details about Astarion's background as a magistrate, for reasons I've talked about a lot before, but I might need to rethink that, because one book in the Drizzt series just gave me SO MUCH context for what the world was like around the time that Astarion would have had this job, and also, what that job was like, and how it was very effected by geography and race. And I have THOUGHTS. Thousands of words of thoughts, apparently, below the cut.

TL;DR - The popular idea that pre-Cazador Astarion is the biggest possible asshole so he "earns" his fate is boring as hell, not actually supported by canon, or the examples of magistrates that we see in FR (who don't even need to be corrupt to satisfy cruel inclinations) and I deeply prefer going in a totally different direction. Below the cut is me working through my headcanon, and why I came to these conclusions.

I tagged this appropriately I think, but to emphasize, topics of relevance include horror movie tropes, torture, the deeply flawed American justice system, and the even more deeply flawed one in Faerûn as described by the Forgotten Realms novels I've read and the mentions/demonstrations in Bladur's Gate 3.

If you feel you need to avoid thinking about all of that, you are valid, and probably more correct than me for doing so.

And as always, it's just my opinion, based on my experiences. All headcanon is equally headcanon.

To start, I'm going to briefly reiterate that:

Astarion's canon backstory is thin on purpose and that all we really know about him is that he was a magistrate with not-red eyes who made an unpopular ruling that was unpopular for an unspecified reason and got jumped by Gur for a (heavily implied to be unreliable narrator influenced) reason.

That artbook is a developmental tool that is actually less likely to ever be considered canon than even a later stage developmental tool like a full manuscript outline precisely because of its position in the process.

But, before I get into what I read in Drizzt, I want to establish that my head space started from thinking about how much sadder it is if Astarion actually did have compassionate ideals and a balanced sense of justice prior to Cazador. The reason I think it's sadder is best illustrated by the choice to either make a doomed horror movie character sympathetic or an asshole. What happens to Astarion is basically a horror show, and some people prefer those fates are reserved exclusively for asshole victims. There's reasons to write this way, and it can be done well, but it's very easy to make it feel cheap and contrived and it's usually a sign of an amateur production, and a quick way to make an accessible film rather than a good one. Another option (which can also be done well or done poorly) is to harm characters who did absolutely nothing wrong.

To be clear, whether or not we like a character doesn't affect whether or not they "deserve" death. Horror movies often deal with totally disproportionate consequences, and the gruesome fate not really being "earned" can be an inherent part of the horror regardless of our sympathy.

But, I'm not sad when the evil teenagers in Toxic Avenger are killed. I am not that sad when Jigsaw's traps prove to be too much for his chosen victims. What happens to Julia's marks in Hellraiser doesn't move me as much as what's going on with Kirsty, even if they didn't deserve it, because they aren't particularly sympathetic.

And the thing about using characters like that is that it's not realistic. And to be clear, I don't think you always have to be realistic to tell a good story, in fact, please don't always cling to realism. But realism in characterization is usually a stronger choice, and should be considered generally. Most people are not as flat and unsympathetic as the asshole victims in slasher flicks. Even people who do bad things are not so one dimensional as to instill no sympathy in irl humans. I think people like to flatten Astarion in their mind, so that they don't have to confront the fact that very bad things happen all the time, and that most people didn't do anything to earn a horrible fate.

In the specific case of what happened to Astarion, even if he was a bad person, it's very difficult to ever make 200 years of torture, the loss of autonomy, exploitation on every level, including physical, sexual and psychological abuse, ever feel proportional. So at this point, some people need something to make it seem more just. Either because they hate the character, and want to feel that hating the character is objectively correct, or their worldview includes an idea of justice that can't accept such disproportionality.

And if you need that for your headcanon, dope. you're allowed whatever headcanon you want.

The "corrupt magistrate" thing isn't canon. It's headcanon. I understand that some people who really seem to know what they are talking about said it was canon, that's because they are wrong. People are wrong sometimes.

I recently became aware that although I thought we were all playing the same game, a bunch of players have never seen what I've seen, because it's all missable content. And, because everyone knows there's a bunch of stuff they haven't seen, it's real easy to just believe any random person on the internet who tells you something is buried deep in the game that you don't know about.

This specific situation with Astarion's canon backstory is that you'll never find much in the game, no matter how much you play, because there's nothing to find. Here's the facts: -There was never anything about Astarion being corrupt in the game, in early access, or in any of the writing that made it to recording. It was an idea that was discussed very early on---like back when we almost had a werewolf companion, (RIP Helia, you would've loved what I put you through) and they went in a totally different direction. Essentially, just imagine what they ultimately ended up doing with Gortash, and know that they were thinking about doing something similar with Astarion, but a long, long time ago.

-In the game, he'll lie and tell you he's a magistrate in Baldur's Gate and that it's tedious.

-Or, if you wait to ask him about himself until after you know he's a vampire, he'll tell you he was a magistrate, punishing troublemakers.

-Backstory complete!

-Art books are great, and beautiful, and it's baffling to me to see fans treat them like canon content, because if anything, they demonstrate various attempts to put together a story that ultimately didn't land for the creators. I love using materials like this when I write, I create character sheets and artbooks for my work all the time, and part of their charm is the features that didn't make it into the final work. Minthara is no longer an elven cleric, Shadowheart isn't covered in tattoos, and Astarion isn't one of corrupt elite of Baldur's Gate, or even elite, or a courtesan. Stop bringing up the artbook, you're embarrassing yourselves.

-There's actual explicit dialogue in game in which Astarion says he doesn't remember much from before he was turned. He says the person he was is gone, nothing left but a name on a rock. That's what's intentionally in the game. I think this is brilliant, because I think his character represents loss in a really poignant way, and that if they included anything too detailed about who he was before he got turned, that would undermine this theme, in a way that's especially unnecessary. It's better to keep it purposefully blank. A void of nothing. I'm actually really surprised that they didn't do this for Shadowheart, given that she's a Sharran, but in her story, we actually see a really nice counterexample: she does recall small details about her time in the city. Coming back there triggers memories and if you find all three of them---[spoiler deleted, please message me if you want to know about this, I've been informed I shouldn't just shout this out, because some people like to discover this stuff on their own. But also I'm not a gatekeeper, if you really want to know, I'm happy to tell you]. There's none of that for Astarion, in fact, if you go to the cemetery looking for his grave, which is something I think a lot of us did, you won't find any mention of him anywhere, but you will find one of those Shadowheart memories if she's with you. You only get to see Astarion's grave briefly, if you're romancing him, and even then, he once again takes the opportunity to talk about the person he once was truly is lost to him (and to us) and gone forever, long before we ever had the chance to know him.

It's tragic, and kind of perfect.

And in the meta of all this, it's intentional that we'll never known him. We might think we do, but we literally can't, because it's not in the story.

Which is good because it would ruin the scene a bit if he'd been like "btw I was a real piece of shit lmao." Just like it kind of ruins the affect of the empty backstory to go ahead and add a backstory.

But. We're curious, we speculate, and we expand, that's what fanfiction is for—it exists outside of the canon. I usually write post-canon, canon-consistent content, but there's a possibility I'll need to add a few scenes from Astarion's mortal life in this one fic—maybe not, idk—but in preparation for maybe doing that (or not), I had considered working through what I think his life was life before he was turned, and the events leading up to Cazador capturing him. I wasn't sold on the idea, but I was thinking about it.

And, then I started reading Spine of The World, which features an actual magistrate from DR 1365. This one is um. Corrupt. Or, at least, we would consider him to be corrupt? He's actually doing his job perfectly according to the very messed up justice system in Luskan, where he works. They don't have a concept of burden of proof there, or of innocence at all after you manage to get yourself arrested, and instead essentially just torture people to death publicly and explicitly for entertainment. It's not chill. It's not subtle. They call it Prisoner's Carnival.

This magistrate has Astarion's exact job, in a different city and a few decades later (and those differences matter, we'll get to it) but the important features are the same. So, here's some things to note: being a magistrate is a position of limited power, you have total discretion over the prisoners given to you for punishment (minus a few notable exceptions that come up in Spine of The World), but that's it. It's not like an influential political position of respect or anything. It can't be, because they are beholden to laws they can't change, and cultural traditions that are non-negotiable parts of the community.

This guy is referred to multiple times are a carnival barker. And there's loads of magistrates, they all have different reputations and and ymmv on how sadistic they individually are in Luskan. In a later book, when this particular magistrate is brought up again to another magistrate in Luskan, it's clear that the carnival barker thing isn't entirely universal and that he's considered one of the really bad ones, but regardless, they all acknowledge that what he does is legal and "serves a purpose" and they all direct and orchestrate the torture and slaughter of prisoners, and they all admit that many of them are probably innocent. The magistrates, and more importantly, the people in charge of them, maintain the necessity of the system, and the fear it instils to keep troublemakers in line.

One of the more reasonable and intelligent wizards in the series (a guy called Robillard who I can't help but envision as Gale of Waterdeep, because almost everything he does and says makes him sound like Gale of Waterdeep) shocks Drizzt by defending this system of justice very passionately.

Actually, Drizzt's thoughts in general about the Prisoner's Carnival are S-tier Drizzt musings, I love a man who keeps a journal. Likes cats too. Drizzt is lovely.

Drizzt also notes that this is a popular system in human societies specifically. Other races don't go in for it so much, and tend not to participate unless it's as... um... you know... as the prisoners being tortured. I think it's interesting that he mentions that elves in particular (in his experience) are universally disgusted by it. It's also explicitly stated that Baldur's Gate is different, and a much preferrable place to get tried by a magistrate. That isn't in his journal entry though, that's earlier in the novel. A moment of foreshadowing.

The whole world is brutal, but Baldur's Gate is a bit more modern and open to change than other places. That's probably one reason it keeps getting featured and mentioned even though we've barely spent any time there in Drizzt's series so far. It's a bit more relatable a place to actually live in long term than somewhere like Luskan, where you may have to seek out real estate that's far enough away from the square that you're not constantly hearing the death screams of someone being drawn and quartered in front of a cheering crowd. So that's the basics of it, and getting back to Astarion and the backstory that I would personally novelize for him, we have options:

If I'm going to try to fit this into the context that I now have though, it's important to keep in mind that 1) Baldur's Gate is considered one of the "nicer" places to be tried and 2) culturally, elves don't go in for cruelty, especially not as systemic "justice." None of this has to apply to Astarion, but if I'm writing it, I'm not going to ignore this cultural context. At a minimum, I'm going to say that appointing an elf as a magistrate in a city that's known for being more progressively compassionate about their treatment of prisoners was probably pointed on the part of tptb. Baldur's Gate wanted him to set an example for these bloodthirsty humans about mercy and justice and the balance between them. Racism dictates that you don't go to a human for that. They're carnival barkers. If you want a more compassionate magistrate, appoint an elf. And from there, we get to decide whether or not Astarion met their expectations, or if he defied them. Because maybe he was an asshole. Maybe he was just as bad as his human magistrate counterparts. That's not outside the realm of possibility at all, there's an argument to be made that we write him as a counterweight to the stereotype. Astarion is written to be capable of anything, so you can literally go in any direction with his disposition.

But, considering how Cazador rages that he "made" Astarion, and Astarion doesn't even argue with that sentiment. I think it's more likely (and loads sadder) if this unmaking and making included a complete and total overhaul of Astarion entire sense of justice. I actually think the harsh sentiments that Astarion expresses at the tribunal in Ansur's trials are a really good example of the flickers of Cazador and the person he twisted Astarion into, than they would ever be indicative of who he was before getting turned.

That guy's gone, remember?

And if it's not obvious, I'm going in that direction with my fanfic. I'm going to say he actually thought he could help his community. He studied. He got this civil servant position. It was a bit disillusioning. It's better in Baldur's Gate than in other places, but the system itself is cruel, and he's rewarded for being cruel within it. It doesn't even matter that he originally got the job because they hoped he would be a compassionate elf judge amongst bloodthirsty humans, once he's actually in position, it's all about maintaining the status quo. That's what they actually want from him, in spite of their "progressive" leanings.

If anything, he's getting in trouble, and getting noticed by not quite being status quo. A soft-hearted elf, letting his charges get away with all kinds of mischief. I'd write him this way, because I think it then easily follows that Cazador takes note of him and targets him, precisely because he's too merciful. It's annoying.

And, little bit about me, I'm an attorney, and early on, during and right after law school I worked for a few judges.

If Faerûn is anything like the USA I figure that after a few years he has figured out that being a magistrate only gives him a limited amount of discretion and authority over the specific individuals who are brought before him.

It's really legislation that makes a difference and he is specifically forbidden from that. He rules from the bench, and hopes that if he's consistent and fair, and if nothing disastrous results from his rulings, (and if he doesn't get reversed too often, idk if that's a thing in Faerûn but it's a thing in America) then maybe he could eventually influence those who do legislate, but like, that's not his job. And it's going to take a long time because most of it's quite tedious and people don't pay attention unless it's someone they care about standing before him. Nobody cares about the vast majority of these people. His job is to stare at "troublemakers" who have supposedly broken the law, hear witnesses and confessions and denials and lies and decide what the truth is, and decide what's fair.

And it's emotionally heavy work. A lot of people describe being a magistrate as a political position, and that's not incorrect, but there's a valley of difference between Astarion's very hands on job, and what Gortash/Duke Ravenguard do. You are beholden to powerful politicians (like actual politicians) with a lot more influence who figured all this out long before they made the mistake of having ideals or believing in anything, or taking a job in which they would have to a) actually work with people to probable burnout and b) inevitably make a lot of people very angry regardless of what they did.

But, Astarion is still young, he's still got energy, he's not lost himself yet, he thinks he can handle this responsibility and he's wrong.

One day, someone is brought before him. This person is Gur and has supposedly broken the law. Other Gur are upset about the way Astarion ruled. He was way too harsh, or maybe he wasn't.

Quick sidebar: in court, I have watched people literally receive the death sentence and have zero reaction. Same with life w/o parole and other life ruining sentences. In my experience, what triggers an emotional reaction and anger targeted at a judge isn't the severity of the sentence, it's how the severity of the sentence stacks up against their expectations. The defendants (or their families, with proxy outrage) who get really angry, who try to attack the judge, or the ones who are so disruptive that we have to call it and go wait in the hallway while the baliffs calm things down, all have one thing in common: they legitimately thought they were going to just be sent home. They didn't think they were going to be held at all. For that reason, I actually saw a lot more rage from people who had committed minor offenses, because they didn't think what they had done was that big a deal, showed no remorse, ignored their atty, made no effort to express any respect for the law, or any victims, and then when the judge just decides to go with whatever the statute says, in light if zero mitigating factors, the defendant hears "60 days" for the very first time and assumes that the judge just made that up and hates them.

And like, I know it's fiction, and I'm speaking on a very niche experience that most people can't relate to. It's unlikely the writers had anything (let alone realism) in mind at all when they decided to be as vague as possible in the details about a character who embodies "loss" as a concept. I think they were vague because of the theme of loss. I think they were vague because of the theme of loss. I think they were vague because of the theme of loss. I think they were vague because of the theme of loss. I think they were vague because of the theme of loss.

But this sidebar is just to explain why whenever someone says "well he got beat to death for it so his ruling must've been racist and harsh" my knee jerk response is "not necessarily."

And sidebar within the sidebar: if I was going to fully novelize the story, I would actually go in the direction of having the ruling in question be uncommonly fair. I might hint at some racism though—nobody really talks about it below the surface level obvious stuff that's in the game, and part of that is because information about the Gur as a people isn't super accessible. But there is information, and synthesized: racism against the Gur seems pretty standard, especially for an elf who has had it up to here with human bullshit generally. Especially during that time period. He probably didn't have a good opinion of the Gur in life.

But, I have to assume that his animosity towards the Gur that we see in the game was at least affected by the fact that they beat him to death, and then, he spent two centuries as an undead being that they kill on sight with absolutely no justification needed. Like. I don't think it's wild to suggest that. I'm actually very confused by how much people push back on the idea that this could be responsible for his attitude, in part. And that's as far as I have combed through all this so far. Idk how much of it will end up in fic, but it's my personal headcanon now.

I love horror movies. I have watched so many of them it's embarrassing. My letterboxd is embarrassing. I do love several horror movies that feature asshole victims, but as I look at my very favorites, I'm noticing a pattern. I like to feel hurt. I like it when a movie doesn't shy away from dealing out universal, apathetic and disproportionate punishment to everyone. I can't think of anything quite so sad as seeing a perfectly normal, maybe even morally progressive person with their whole life ahead of them, and choosing to unmake them and twist them into a broken puppet in your own image. Sparing/saving no one and nothing in the process. Just make them lose everything, including their entire sense of who they are.

So, I'm going to hurt my own feelings with my Astarion headcanon.

[lesbianrobin]

Hi for a writer new to writing 911 fics what are some key character points that you think are really important for capturing the vibes of Buck and Eddie?

omg HIII 🫶🏻🫶🏻

so first off i also consider myself New to writing 911 fics fmvjdjc but i assume since ur asking Me of all people you like one/some of my fics enough to think i am an authority which rules. thank u that's so sweet. ANYWAY on to my actual advice.

buck: you know that john mulaney bit where he's saying he's a terrible driver and he's like "i hear you honking and i also don't want me to be doing what i'm doing. i don't like that i'm in that lane either. and i sure would like to get out of it." that is buck in basically every aspect of his life besides being a firefighter. his problem is that he won't pull over long enough to figure out what the hell he's doing. buck acts before he thinks and only Later does he even consider like hey Why did i do that. What was i feeling. What was i trying to accomplish. which often results in him behaving selfishly and hurting others (see: lawsuit, Entire Relationship With Taylor Kelly, maiming eddie during a basketball game, coming to the erroneous conclusion that he was jealous over tommy rather than eddie) as well as behaving recklessly and risking his own life under the cover of heroism and necessity.

as far as more like. basic character things go. buck can be kinda dumb And smart at the same time. people often swing really hard in one direction or the other and i think it does buck a disservice. like, yeah, he loves his fun facts and research spirals and books, he clearly has a love for learning, but he's also not the Best at critical analysis of his sources and maybe has a tendency to take things at face value. like i do fear that buck could be persuaded to join an essential oils mlm.

ALSO buck is a weirdo like yes he Can be charming but he also has chronic foot-in-mouth disease and says shit like "oh we didn't kill him we just WANTED to!" TO THE COPS. WHEN BEING QUESTIONED ABOUT A MURDER. i think buck is just constantly rolling either nat ones or nat twentys when it comes to charisma.

i also think it's important to keep in mind that while buck can be deeply insecure, that insecurity doesn't Usually manifest in him like. noticeably withdrawing into himself or trudging sadly around like a kicked puppy. his response to that insecurity is most often to be loud, to lash out, or to overcompensate (see: his entire personality in s1, eddie's introduction, befriending red and taking on his end of life care, swearing to abby that he'll rescue her fiancé and risking his own life to do it, etc).

ok i think i've yapped enough ab buck SO!

eddie: i actually feel like way less confident prescribing advice for writing eddie fmvkdjc so this'll probably be shorter than the buck section. as far as the Basics go i think people can often characterize eddie as very like serious and grim but he rly is not! he's a very silly guy! mostly with chris and buck, but also a bit with carla and linda and the rest of the 118. i think eddie is a guy who can behave very differently depending on how comfortable he is around somebody, and there are many parts of himself that he keeps locked down around others.

eddie thinks about his feelings and motivations before acting in a way that buck typically doesn't, but that doesn't mean he's correctly assessing those feelings and motivations. eddie is an incredibly unreliable narrator when it comes to his own life! he'll feel the desire to do something (for example, dating ana or going from active firefighting to a desk job) and Then construct his conscious reasoning for it (i'm ready to move on from shannon and i like her, chris will feel better and it's better for him if i have a safe job) while avoiding his Deeper feelings and motivations (the compulsion to give chris A Mother so that he feels like less of a failure as a father, his own ptsd and other mental health struggles in the wake of the shooting).

this doesn't mean that eddie is entirely emotionally unintelligent! he just kinda hates himself and he's deeply repressed and he often feels that he can't do things For Him, they all have to be For Chris.

ok that's like most of what i've got for now i'm rly not an authority on eddie but i tried my best 😭

as a duo: i think the #1 thing to remember when writing buck and eddie is that they're best friends and they understand each other better than anybody else in their lives. like that doesn't mean that they're always on the same page but they Do canonically recognize each other's feelings and motivations most of the time and after the lawsuit/street fighting era, they always respond to each other with patience and care when one of them is having a rough time.

like i think you actually have to try Very hard to justify it if you're gonna have buck and eddie miscommunicating and seriously arguing with each other in a fic. i remember when everyone was like omgggg buck is gonna LOSE IT ON EDDIE when he finds out about kim!! and then when buck Did find out about kim he was literally just worried about eddie and talked to him about it and asked the questions that eddie Needed to be asked so that he could work through his feelings and address the situation. buck and eddie just have a knack for knowing what the other person needs, and they're at a point where they will go to each other for help and be openly vulnerable!

and they have fun together! they're silly! see: "locked room mystery" "locked Yard mystery", the whole bachelor party, eddie being like buck Pwease can we look for the treasure together 🥺, etc etc. they just enjoy being together and i think that is so crucial to writing them.

final thoughts: in general my #1 piece of advice for writing fic is to rewatch the show/clips from the show when you're trying to capture a character's voice. i do not do this nearly as often as i should bc i am lazy but it rly is deeply helpful for making sure that they sound like themselves!

i would also advise that even if your fic is buddie-centric, it helps to include the other characters in even small ways. our relationships with others are central to who we are! references to other characters like chris, maddie, chim, etc. can go a long way toward making buck and eddie feel like themselves.

thank you again for asking me!! it's really really flattering. i hope this was of some help to you!!

[whoishotteranimepolls]

Welcome! Event Request are Open Only

I post a lot of polls, all in the name of some good fun. Please stick to the rules. If you made a request I'm getting to it, but I am a full-time college student, so I am very busy.

Propaganda is welcomed. However, please be respectful.

Disclaimer: My rules state characters must be canonically over the age of 15 or assumed high schooler or adult. Now that means minors can and probably will be matched up against each other and against 18+ characters. Please don't come at me about that choice. These characters are fictional. You can't hurt them, and a blog like this isn't going to normalize preying on minors. YES, it's wrong in real life, but anime teenagers are not normal teenagers. I literally just finished an anime about an assassin trying to get back to his wife. He was 16 and had a wife. I swore he was at least 20, but sometimes anime ages don't make sense. Please don't start anything, or I will start blocking. But for those of you who don't want to participate in those polls, I will tag them with #minor poll so you can block all polls that have confirmed 15-17-year-old characters. So if you have a problem with this decision, block the tag and don't participate. Don't start crap I have ways of punishing people even if they cause issues anonymously that's why there is fandom jail.

Now, that does mean please, in your request, mark that there is a 15-17-year-old so I can add the special tag for the sake of everyone that doesn't want to participate in these polls. To clarify, if they started the series at 14 and ended the series at 16, they will still qualify for my polls.

Now if you see a character that is a minor and the poll is not tagged, please let me know. You can politely leave a comment or shoot me an ask and I will add the tag. Some people are not the best at letting me know their poll has a minor in it and needs the tag when they request

Characters, where age verification is complicated due to magic, time travel, other universe shenanigans, or the immortal child trope are accepted on a case-by-case basis and will be tagged with the #schrodingers minor just to be safe

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Not sure if the show counts here. Is it a list of cartoons and anime-like shows and if can they be requested before you ask

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[bread-tab]

okay random 4am rant time, don't take it too seriously, but: people need to recognize there's a difference between "bad worldbuilding" and "worldbuilding styles you personally don't like."

bad worldbuilding is, for example: internally inconsistent, bigoted, or something else that messes up the plot or characterization of the story itself. sloppy. careless.

things that are *not* bad worldbuilding:

minimalism.

i've been thinking about this in the first place because i saw a post about the Murderbot Diaries a while back (don't know who made it, don't care; this ain't personal) saying the worldbuilding in those books is bad and lazy. to me, as an avid sci-fi reader and writer, that is clearly not true. but i understood why they thought this. the series uses extremely minimalist worldbuilding which intentionally withholds a lot of detail, in a way that is consistent with the (nonhuman, robot, depressed robot) first-person POV. this could also be a feature of the author's writing style in general—i haven't read her other works—but i wouldn't bet too much on it.

the signature of intentional minimalism is that there *are* details about the speculative setting—they're just doled out very thoughtfully and sparingly. the intent is to leave you a little hungry for more. it's to make you think very carefully about the details you do have. this is best suited to stories that already have elements of psychological and/or mystery plot types. the worldbuilding you do see should still be believable, internally consistent, and have interesting implications if you think about it a bit. but you are for sure going to have to think harder to get it.

if you're not in the mood, i will concede, a minimalist style definitely comes off as a bit dry. if you are in the mood, it's relaxing.

whimsy.

this is a big one for sci-fi fans in particular. see: the constant debate about whether any particular story is "hard" or "soft" sci-fi, and whether soft sci-fi is bad, etc etc. but worldbuilding doesn't have to be realistic to be good. you're allowed to have Jedi and humanoid aliens and time travel in your sci-fi. you're allowed to have historical anachronisms and astrology and po-ta-toes in your fantasy. whether or not they're silly isn't the deciding factor on how "good" these worldbuilding elements really are.

the key thing is tonal consistency. you've got a serious high-fantasy setting with its own strict, un-Earth-like theology and magic system, and you throw Santa Claus in there? yeah, that's not gonna land well. but C.S. Lewis can get away with that in Narnia just fine. why? because the Chronicles of Narnia are whimsical children's stories with a strong Christian/Western mythological influence already, and their central conceit is a crossover between the mundane world and the magical world. of course Santa can cross over too. it's whimsical, but it's not actually random. (and if you ventured into straight-up comedy, you could get away with random too. as long as it's funny.)

the unreliable narrator.

i don't have a good example for this off the top of my head (maybe Murderbot again? idk, i'm sleepy, fill in your own) but i'll tell you how to recognize when this is done well.

by definition, an unreliable narrator has some key misconceptions about their own world. so how do you tell what's going on as a reader? how do you know the writer isn't equally confused?

you connect the dots. solve the puzzle. in practice this is similar to reading a minimalist setting—but instead of just sparse clues, you also have a boatload of red herrings. you can catch some of these misleading details by comparing them to your real-world knowledge and saying "wait, this doesn't add up." other times, the false clues intentionally trick you by subverting those real world expectations.

the trick is in the consequences. regardless of what the narrator says, their actions should still have logical consequences. there should be things going on that the POV character doesn't know about. the character will be forced to learn and adapt their narrative because of these shifting circumstances. you can catch them in a lie. the inconsistencies themselves tell a story.

...

i'm gonna stop myself there because this post is long and i oughtta be sleeping. just. this is a distinction worth making. is it really bad worldbuilding, or is it simply not the genre you're craving today? learn the difference for your own sake. you'll have an easier time realizing if a story is something you'll find enjoyable to read, regardless of its actual quality.

[darkfictionjude]

I definitely think there's sexism at play with Nia (although not quite as overt it was with Carmen), people are less forgiving towards female characters across all types of media. Especially ones who aren't humble/modest, morally good, supportive of or even subordinate to male characters (especially if the protagonist is male), conventionally attractive (I know Nia is, but just making the point generally), etc.

But in this specific instance, I think it's also because Nia is the only one with a prior positive relationship with the MC. I could see the MC feeling more strongly about Nia's actions than Lorcan's (who they never had a positive relationship with) and Imre (who they didn't even interact with or care about lol). With Nia, the MC has actually lost something, one of the few positive relationships they had. Maybe the only one if you consider Sally's to be “positive” but unhealthy.

Generally readers tend to feel protective over MCs against characters who hurt them. Sometimes to the extent that isn't viewing the situation fairly/logically, or giving the same grace to other characters as you do for the MC. I've seen authors receive hate over that for characters that are gender selectable too (e.g. Infamous). And this MC is an unreliable narrator and we haven't gotten an explanation from Nia yet or seen what she's seen firsthand, we didn't get a full conversation with her until recently. I think these factors make it harder to judge the situation and easier to view Nia negatively, because as the reader we're missing important pieces of the puzzle right now.

It also could be that what Nia did (distancing herself, ending their friendship, not seeming to care about them anymore (before the end of this chapter)) is something that's more relatable to real life and might even be something people have personally experienced. I see people hate bully characters more than outright murdering villains, because the latter doesn't feel real to most people, whereas there are a lot of people online who have experienced bullying at school. And whilst I understand that Nia doesn't actually like or respect any of that popular group apart from Imre, she's still willingly associating herself with people who are bullying Crown, someone they were friends with for most of their lives.

(I'm saying all this as someone who's looking forward to my MC and Nia rekindling their friendship. But I can understand why some people feel sour towards her, even if her actions are understandable and justified from her perspective. I would probably do the same thing as her tbh, probably even earlier on when she first witnessed a violent outburst. But even if you're being reasonable, your actions/words can still hurt someone else, and I don't think it's unreasonable for that person to feel negatively towards you as a result.)

Like I’ve said many times before I understand the anger over the abandonment, I think it’s extremely valid. My issue is with how the boys are given more grace in everything they do. It just seems hypocritical to be angry at Nia but then coddle the boys as if they’re little babies who don’t understand right and wrong

Imre is friends with those people too, he’s the king of the bully group and even though he doesn’t partake he associates himself with them willingly. Like I really appreciate you writing this all down, and I agree with it it’s just any form of media I’ve always hated how women are held to higher standards than men who are sanctified when all three of them aren’t that great. You want to say “fuck you” to Nia? Good. Deserved from the POV of Crowny. But like there’s no point in twisting the narrative to make it seem that anyone of them is worse than the others when all of them have issues and have not treated Crowny the best

[wildissylupus]

My (hopefully) last complaint about Junkertown and the Junkers before my inevitable Re-write post

Junkers vs. MAD MAX

Alright I'm already on a roll with this and I've already committed myself to doing a rewrite of Junkertown and the Junkers, but I have one more thing to complain. That being the fact that they butcher the media they are referencing, that being Mad Max. For more context this is also coming form an Australian who has never watched these movies, this doesn't mean I didn't do my research, this is just to give context that I myself have never seen these movies.

If you don't know Mad Max is very much Australian media, written by, acted by, and taking place in Australia. Not only that but it very much relies on the world building of the fact that one, Australia is very isolated, and two, the rest of the world is like this. Something that Overwatch fails egregiously off the bat with considering that the rest of the world is not an apocalyptic wasteland and the fact that the thing that caused Junkertown and the radiation was an Omnium. You know, the thing that multiple countries had? There's also the fact that Junkrat and Roadhog are international criminals, how big Austraila is and the travel time between areas are never considered, it's exceedingly easy to leave the damn country (Junkrat and Roadhog again but also Hammond in his new short story). They want to be a Mad Max reference without actually considering the fact that the isolation inherent to Australia is important to Mad Max's setting.

There's also the fact that Mad Max relies heavily on visual story telling, Mad Max: Fury Road not even having a screenplay, it was fully laid out on storyboards. There's also the fact that Mad Max was not about the Australian experience but rather the human experience, this isn't a problem until you realize that every other characters references are very much biased off that characters origin. That or their place of origin is considered when writing them even if the reference for said character isn't from that country.

Another thing is that Mad Max communicates the brutality and disfunction of humanity, society has collapsed and we are left with the worst of it. The theming and messaging does not work with the rest of Overwatch's theming, it also doesn't make sense in universe considering that Overwatch was one, very environment focused, and two, was already sending forces to Australia to help with the consequences of radiation. Why did they let the Wasteland and Junkertown get so bad? Especially in the early Golden Age, and you can't say that it was because of the Junkers cause Overwatch have handled worse. Even before that point. We also have better examples of "the worst of humanity trope" with Talon, and they actually fit the story and world.

The theme they also completely miss in the soulless copy that is the Junkers is the individual connections and the theming or regaining humanity after great tragedy. In all honesty the best way they could have done this would have been to make Howl's rule itself the Mad Max Reference while Odessa's rule was the healing process from that, but no, they made her an overtaxing dictator instead. The gave the Junkers storyline the theme of desperation but no theme of hope, leaving it empty.

The only thing they unintentionally get right is that your environment doesn't necessarily change you, you do. Yes, a change of environment can assist in giving you space to make that change, but you are you no matter where you go. Junkrat and Roadhog don't change cause their out of Junkertown, they stay the exact same. Which is unfortunate because this is just due to them lacking any real depth in canon, an no, Junkrat actually being incredibly smart isn't character depth.

Back to the whole human connection thing, tell me, outside of fanon interpretation, out side of Junkrat's unreliable narration, outside of the interaction with characters he hasn't met in canon yet. Does anyone like Junkrat? Roadhog is there because Junkrat is paying him and because he seems board, the rest of Junkertown hates him, JQ especially. Roadhog doesn't seem to care about anyone, Junkerqueen's only true connection we see is with Hammond, and Hammond contiues to be my favoutite Junker by literally negating all the complaints about Junkertown I've had so far.

Honestly when I started looking at Junkertown lore I did not expect to be coming out saying that the fucking hamster was the best written character but here we are.

This is all also only referencing Mad Max: Fury Road by the way, which is probably what Junker Town is based off of considering its popularity and the time of release compared to Overwatch's. Honestly I might re-do this analysis/complaint if I ever watch the Mad Max series myself. Though I don't think my feelings will change of this, and that is the Junkers are an insult of a reference to MAD MAX. An empty copy at best. This is also coming from the person who often defends Overwatch's writing, I can't defend the Junkers, it's just bad writing.

[clarabowmp3]

hate brigade? I'm sorry but joe alwyn is directly responsible for a lot of the mental hurt that taylor will have to deal with for the rest of her life. I don't understand how people can hear sll, half the songs on midnights not to mention the anxiety ridden lover album and not see the emotional gaslighting joe was putting taylor through! Like that takes a toll and fans qnd the general public alike has a right to call that out. Now he's saying ish about tayvis when none of this concerns him?? Like if that's not manipulative, my name is Bennett cuz he's literally re inserting himself into the ex he resented' life. Unhinged if you ask me. So I don't think it's fair to characterize people as doing the most in this case. Alwyn could have just kept quiet and ate and ate food but now he deserves the dragging. Peace.

wowww wow okay so a couple of things:

we don't know much about their relationship. all we have is speculation based on taylor's lyrics, but we have to remember she is an unreliable narrator, so at best we can take them with a grain of salt. that is excluding how she might have modified certain things to present herself in a favourable light. I'm not saying she did or didn't, but it's a possibility. I say this because of how she's written music about her cheating. She very obviously focuses on how she was feeling and what led her to cheat, rather than her considerations of how it would affect her partner, which I think is yet another manifestation of how she perpetuates her victim narrative. I'm not saying all cheaters are villains, there's definitely some complex emotions involved, but she writes in such a way so as to encourage the reader to root for her by default.

This plays into her desire to be seen as the underdog or hero that everyone wants to support. She did this with Miss Americana too where she spun this whole standing up for women and other marginalised groups narrative, which I think contributed to being a swiftie becoming a trend, along with her whole 'relatable' schtick, fostering personal relationships etc.

There is nothing wrong with liking her music (I'm not gatekeeping), my issue is with people who treat becoming a swiftie as some girl scouts patch to earn by ripping into her 'enemies,' most popularly her exes. Naturally, he has been put through hell on social media since the break-up, up till ttpd dropped and the attention shifted to matty instead.

I agree that many of her love songs from as early as lover are anxiety-ridden, but I think that speaks more to her personality rather than his actions. Certain events may have transpired and he might have acted in a certain way which made her feel insecure etc but we have no reason to think he did it maliciously. What we do have is reason to think this is extremely unlikely. 2016 was rough man, no one knew if she would ever recover from #taylorswiftisoverparty, and yet he still stuck around. To me I think that shows he genuinely cared about her, something taylor has also thought.

Could you elaborate on the emotional gaslighting he has done, (and hence the "mental hurt" he has caused her) keeping in mind all those other reasons why her music is not an accurate source of info ^^?

getting more specific with sll, I don't see how he did anything wrong? I don't want to get too much into it but I know what it feels like to be burdened by someone else's mental health issues, and I do feel irritated by it at times, even though at the end of the day I know it's something they can't control. There's nothing wrong with creating art about difficult emotions, but I think she did not need to release it for the whole world to hear, knowing that they know who she is talking about. The song itself isn't too egregious, she just expresses her frustration with the whole situation ("you'll find someone," "I'm not the one" -> even she doesn't blame him for anything let alone the emotional gaslighting you're accusing him of anon what are you on 😭) the main problem is when people like you use it to villainise joe. like explain to me what part of it shows his gaslighting

For context here is what the whole deuxmoi thing is about, taken from this post:

You can clearly see that he was expressing an opinion on what he thought was a private enough setting. How could he have known he was going to be overheard and it was going to leak to the internet and eventually reach taylor (if any of this ie even true)? She is his ex of 6 years and it's only been a year since their breakup, I think it's fine that he's still somewhat emotionally occupied with her. We don't know if he obsesses about her every day and since the London travis thing is pretty recent, maybe it was just on his mind that day? Also why does he have to keep quiet? taylor can write whatever she wants in her songs, I think he is more than justified to have a conversation in public. We have no reason to think he meant for this to get out or to "[re-insert] himself into the ex he resented' life," as you put it.

to end off, anon I really think you should touch grass (and I'm not trying to be condescending here) because it feels like you're blowing up select details out of proportion to fit the narrative taylor has created through her music. We don't know how accurate that narrative is.