#The character might not be real but the people behind them are!!

[ruruumin]

hi!! I came across you and I thought your work is really amazing!! This is my first time asking something like this haha but for everything a first :) I really love figure skating and I was wondering if you could make a oneshot or any headcannons of the reactions of blue lock characters haha (mostly rin nagi and sae)! (sorry if I made some mistakes, English is t my first language)

ice, ice, baby!

₊˚ ᗢ blue lock various x figure skater! reader.

⤷ what kind of relationships rin, sae, and nagi (separate) would be in.

itoshi rin

“if you’re going to do something, do it with your entire heart.”

rin met you when he was only ten years old. you were his next door neighbor with a feverish dream to become the best figure skater in the world. although it may have been one of the loftiest dreams anyone might hear, he believed in you the same way you did for him. and together, he will see you perform all over the country, with him in arms waiting.

so when a cold rainy day comes and the two of you were walking home together under a shared umbrella, he wanted to say something. but you beat him to it. standing in front of your door, you turned around and smiled, saying only two things: i will be leaving to russia tomorrow morning to train with a new coach. 

this first part came as a no brainer to him, of course you would leave. just as sae did a few months ago, you were beginning to flap the wings you were blessed with. however, the second part was what kept him on his toes, heart punching up to his throat: and i love you, rin.

after departing in the morning, he would stay up late to watch your performances on television. even when he had early practice, it was complete habit to see you on screen. your presence on the ice was unmatched by many of your cohorts in russia. cold and calculative, yet free flowing. like a confident stream you graced the fields with a polished play. alongside a perfectly timed quad axel, it placed you right at the top of the world.

the ultimate power couple. when you’re at the kiss and cry, you’ll say his name to the camera before blowing a kiss. meanwhile, whenever he scores a goal, he’ll raise his fist in a catching motion, bringing it up to his lips as he hides his faint smile behind his hand. your performances will always be dedicated to each other and it drives the press mad (rightfully so). 

when you return to japan, he’s the first person that you see at the airport. in only a matter of seconds, with his extremely long legs and speed, he is wrapping his arms around you tightly, inhaling your scent as he lays his head on your shoulder. 

he would immediately take you back to all your favorite places. during your time away, he had taken a multitude of pictures and sent you dozens of instagram reels of cafes. now that you were here in his arms, it made going to them all the more real (or maybe not, with you sitting in front of him, enjoying a mont blanc and latte, it feels like the perfect dream). 

sleeping in the same bed as him had never felt any better. while you knew him to be a drooler, you would have never expected him to be clingier than a koala. he is keeping you flushed against his chest the entire night. if you think about getting water, he will follow you with arms tangled with yours. 

itoshi sae

“i’ll carve my name into ice while you all watch in awe.” 

the only other person with the same amount of arrogance as him was you, a rebellious teenager he found on the streets of spain. you tried to pickpocket him on his first day in the country. instead of reporting you to the police, he asked you one simple question that changed the trajectory of your life: if you had the chance to do anything, what would it be?

some people viewed you as a lost cause in the figure skating world. having started extremely late compared to your other peers, your name was rubbish and caked in dirt. however, it never stopped sae from coming to see you after every practice, watching as you practiced your spins and salchows underneath the dim lights of the arena with a coach he’d hired. to him, you were a diamond in the rough that just needed a push.

he didn’t think much about your relationship until it was late at night. you were walking back with him to a hotel, face covered with masks to avoid intruding paparazzi. it started off with small talk, like family and friends (you learned he had a very cocky but sweet brother back in japan), but it quickly diverged into something more intimate that had the two of you walking into his room with intertwined pinkies.

when it came time to perform in the qualifying rounds, you had plunged the stadium with wails and tears. overcoming the country’s beloved skater by a wide margin, you stood above everyone, head raised high as you pointed up to the cameras, hardening your gaze as you mouthed sae’s name. you must have known he was watching from the corners of the locker room. 

the world of figure skating was going to change with you, a new generation skater that rose from nothing. 

sae feels immense pride when it comes with you. even though there were many curve balls thrown in your direction, whether it be from bad press or his persistent fanbase, the smile you hid beneath the covers reassured him that you were going to stick it out. nothing in the world could compare to the happiness you felt when you were with sae. because with him, you knew you could do anything.

dates typically consist of fancy meals or sightseeing trips. he isn’t particularly drawn to these activities himself, but what motivates him is the thought of treating you to something new. whether it be a pretty dessert from down the street that costed an arm and a leg, or seeing the stars as you walk along the beach, he’ll dedicate a huge chunk of his income to letting you see the world in its fullest.

matching photocards on the back of your phone cases. sae uses a clear one so he can flip his phone around and stare at you before every game. while some think he’s admiring your smile (as beautiful as it is), he’s actually sees you as the perfect rival to his games. although you were both in different sports, the two of you constantly pushed each other to your limits, showing the world what it means to be the very best. 

nagi seishiro

“there is no point in anything if you aren’t going to have fun.” 

he wasn’t interested in figure skating until he came across one of your performances on youtube. it was really early into middle school when he started watching you. one of the reasons why he started was because you skated to a lot of his favorite songs from video games he liked. the second reason was because you looked like you were having fun. 

unlike most figure skaters he’s seen, you made the sport look enjoyable (he thinks everyone else looks extremely constipated when they’re too focused). with a beautifully confident smile, you danced across the ice, performing triple axels and a perfect biellmann spin. you skated as if you truly loved this sport, and this was the selling point for him (maybe this is when he started to be called a certified fanboy).

when he arrived to blue lock, the first thing he wanted to win back was his phone so he could keep up with your recent uploads. even when you aren’t posting something figure skating related, your miniature q&a sessions were entertaining enough to keep him awake for the rest of the night, much to reo’s dismay (he wanted to sleep early for once).

the best thing reo had gifted him were a pair of tickets to see you perform at one of the biggest skating rinks in the country. nagi was almost shaking in his seat in excitement, eyes wider than saucers when you stepped into the arena with the prettiest outfit known to man. you blew kisses and waved to the audience, giving them your signature smile. you suddenly stopped in your tracks to deliver a long kiss in nagi’s direction, something that sent him into an early cardiac arrest.

your relationship with him blossoms after seeing him at the local convenience store. the two of you had awkwardly reached for the same cup noodle. even though you were dressed in a simple, oversized black hoodie and a mask that hid half of your face, he easily recognized you by the sound of your voice. nagi’s phone would have dropped to the ground if it wasn’t for you catching it midway. when the screen lights up with a picture of you as his wallpaper, you smile and type in your number, throwing his phone back to him as you take the cup noodle and leave.

you and him would text consistently. after every practice he would immediately rush over to his phone to see if you had left any messages. expect a lot of back and forth photos. nagi’s pictures consisting of things he saw that reminded him of you while you sent him photos of yourself at practice or a recent choreograph. 

imagine how shocked your youtube fanbase is when you show up with your 6’3 boyfriend who barely shows up on camera because hes too tall for your tripod. you’re teaching him how to ice skate and although he started as a wobbly giraffe, he easily picked up a lot of tricks. he might not be the best at doing jumps but his footwork was impeccable (you like to tease him about switching careers but he lazily replies with his face in your shoulder about how much work it’ll be). 

[felicity-worthington]

Why is “Doctor Odyssey” a television show that very cleverly shows the depth of the human condition?

So, I have seen some people say that Doctor Odyssey is fun (especially because of Ody3) but also just a superficial show with no plot and I have to politely disagree. I think this show is the opposite, it's just supposed to look silly and superficial at first glance, as you can see when they repeat the phrase "we constructed a paradise" in the weekly recaps.

It is supposed to look like that, it is the idea of a cruise itself, for a week you escape the real world, you enter a new constructed one, which is supposed to be paradise without problems. But here's the thing, here is why there's a doctor and two nurses on this ship: it's just an idea, it's not real.

We especially see this in the episodes "I Always Cry at Weddings" and "Quackers" and of course in the main storyline of Max, Tristan and Avery navigating their relationship and their constant struggle with what they really want in life.

Let's start with "I always cry at weddings" to deconstruct the idea of superficiality with the weekly funny themes and the show only being silly because it's quite obvious here I think. I mean, a man commits suicide in this episode because he's deeply conflicted about what he really wants out of life and how he thinks there is an incurable darkness within him. And we see him, his bride and his best man as an example of how this construction, this idea of heteronormative happiness is just that for a lot of people: just an idea that doesn't guarantee you happiness, but actually destroys lives (not everyone's, of course). And we start this episode superficially, with a couple about to get married on a cruise, the perfect wedding in perfect paradise. But as the episode progresses, we see the cracks and then it gets very real. The scenes with the groom breaking down in the infirmary, the bride talking to Avery and Max after the suicide and her mother's confession are all absolute tearjerkers in the best way. I mean, watch that scene and then tell me again that this show is just a silly Riverdale for adults:

This is actually one of my favorite scenes of the show because the delivery of the line "we need to help this boy" is just perfect, the actress did an amazing job. Also, the character herself says "she pretended her fears away", which underlines the show's idea that this is a paradise where people should just forget their worries, but actually real life catches up with you no matter where you are, you cannot hide from it.

The other example I was thinking of is the latest episode with the Quackers community, which is super silly in a lot of ways and I love that, don't get me wrong.

And then you have this older couple, the leaders (?) of this community, who seem extremely superficial and silly, I mean, going on cruises to go on a quack treasure hunt? So silly. BUT then the cracks start to show again as one of them, the husband (I don't know what his name was, so I'll just call him the husband and her the wife), shows a serious condition, the compulsive urge to swallow objects. When confronted, the wife literally denies it, unable to face the ugly truth. In her world everything is perfect, she and her husband are on a never-ending treasure hunt on paradise cruises, and when something real, something problematic threatens that, she can't accept it at first. And we see that again later in the episode when she refuses to leave the ship:

She wants to stay in paradise, in denial, on the surface. But that's not possible, you can't ignore real life:

But this is her and her husband's dream, an endless paradise in search of ducks, and it's hard to let go and take a deeper look at life and accept that floating through life is a nice idea and might work for a while, but it can't go on forever:

regarding her husbands condition:

Once again the theme of what we want (superficial) and what is really going on (what is behind the construction of paradise) is mentioned.

All of this, and all of the recurring themes I mentioned, are also at play with the three main characters and their constant struggle with what they really want out of life. In a way, their calling to help people is fulfilled by their professions, but then they keep asking themselves, "Is this enough? Is this what I really want out of life, taking one cruise after another?

The theme of constructed ideas versus what is actually going on is also seen in their throuple situation. Max and Tristan have probably always seen themselves as straight, and now they are getting a deeper look at who they are and what they really want out of life. And that is scary, and it often takes years to deconstruct habits and self-image.

But there is no unnecessary weird teenage drama in this show, it is very real. It is supposed to look superficial, you only have to look a little closer to see that it is not.

So once you deconstruct the idea that this is all superficial, you will see that yes, it is silly, so is life and we need those silly and funny moments in life and in this show, but it is also very, very deeply human in many tragic but also good ways.

[dissapointu]

How to Rile Up the Characters of Arcane

(anger wise perverts)

These headcanons explore what irks, flusters, or provokes each character in a way that makes their reactions as entertaining as they are educational for anyone seeking to test their limits. Use at your own risk!

Jinx

1. Messing with her inventions

• Jinx is incredibly protective of her gadgets and explosives. Poking around her workspace or suggesting her designs could be improved will get you an immediate, fiery reaction.

• “Improved?! They’re perfect, you total nimrod!”

2. Stealing attention

• Jinx craves recognition, especially from figures she admires (like Silco or her friends). Ignoring her or praising someone else more can push her into an erratic, over-the-top display to reclaim the spotlight.

3. Underestimating her

• Comments like “Are you sure you can handle this?” or ��Maybe you should sit this one out” will ignite her fury and determination to prove you wrong—usually in the loudest way possible.

Vi

1. Mocking her strength

• Vi prides herself on her physical prowess. Any teasing about losing an arm-wrestling match or struggling with a task will have her insisting on proving you wrong immediately.

• “Alright, tough guy. Let’s see if you can back that up.”

2. Disrespecting Powder/Jinx

• Bringing up Jinx in a negative light or blaming Vi for what happened between them is a surefire way to strike a nerve. Her guilt and protectiveness will flare up in equal measure.

3. Challenging her leadership

• Vi naturally takes charge, so questioning her decisions or suggesting someone else lead will have her bristling. “You think you can do it better? Be my guest.”

Sevika

1. Criticizing her loyalty to Silco

• She’s fiercely loyal, and any remarks suggesting she’s blindly following orders or dependent on Silco’s authority will make her defensive—possibly in an intimidating way.

• “I’d watch what you say next if I were you.”

2. Messing with her arm

• Joking about her mechanical arm or tampering with it is a fast way to get her glaring at you—or worse.

• “Touch it again, and you’ll see how well it works up close.”

3. Calling her soft

• Sevika has a tough exterior, and any insinuation that she might have a soft side will annoy her. Push too far, and she’ll feel compelled to prove just how “not soft” she is.

Silco

1. Interrupting his plans

• Silco is meticulous and hates disruptions. Questioning his methods or derailing his carefully laid schemes will earn you a cold, cutting remark—or a deadly glare.

• “Do you think you could do better, or is this just idle foolishness?”

2. Challenging his authority

• Silco thrives on control, and anyone who undermines or questions his leadership will quickly find themselves on his bad side.

• “I’d advise against testing me further.”

3. Mentioning Vander

• Bringing up Vander’s betrayal or suggesting Silco is living in his shadow will strike a deeply personal nerve, though he’ll hide his emotions behind his chilling composure.

Vander

1. Endangering his family

• Vander’s protective instincts are unmatched. Any threat—real or perceived—to his children or those he considers family will have him stepping into action.

• “If you so much as look at them the wrong way, you’ll regret it.”

2. Mentioning his past violence

• Vander is deeply remorseful about his history as the “Hound of the Underground.” Reminders of his brutal past will make him uncharacteristically curt or defensive.

• “I’m not that person anymore. Let it go.”

3. Disrespecting Zaun

• Vander’s love for Zaun runs deep. Insulting his city or its people will get him fired up—and ready to defend it, fists clenched.

Ekko

1. Treating him like a kid

• Ekko is mature beyond his years, and any patronizing behavior or comments like “You wouldn’t understand” will annoy him to no end.

• “Say that again, and I’ll show you who doesn’t understand.”

2. Messing with the Firelights

• The Firelights are Ekko’s pride and joy. Damaging their hideout, criticizing their mission, or mocking their cause will ignite his protective side.

3. Being overly pessimistic

• Ekko is an optimist, and negativity frustrates him. If you’re constantly dismissive of change or improvement, he’ll passionately argue with you about why hope matters.

Jayce

1. Insulting his intelligence

• Jayce is proud of his work as a scientist and inventor. Any comment suggesting his ideas are impractical or undeserving of recognition will hit him hard.

• “Let me remind you who brought Hextech to Piltover.”

2. Calling him a sellout

• He walks a fine line between invention and politics. Accusations that he’s abandoned his ideals or sold out for power will immediately put him on the defensive.

• “I’m doing what’s best for Piltover. You don’t understand the pressure I’m under.”

3. Undermining his authority

• Jayce takes his leadership role seriously. Any hint that he’s unqualified or incapable of handling the responsibility will make him overly defensive.

Viktor

1. Interrupting his work

• Viktor is hyper-focused on his research, and distractions—whether they’re intentional or accidental—irritate him.

• “Could you not see that I was in the middle of something important?”

2. Dismissing his ideas

• Viktor has faced constant dismissal throughout his life, so belittling his contributions or questioning his vision will strike a nerve.

• “You lack the foresight to understand, clearly.”

3. Criticizing his background

• Insulting Viktor’s roots in Zaun or using it as a way to undermine his accomplishments will get under his skin, though he’ll respond with cold indifference to hide the sting.

Caitlyn

1. Disrespecting her position

• Caitlyn is deeply committed to her role as a law enforcer. Suggesting she doesn’t deserve her rank or that she got there through privilege will earn a sharp rebuttal.

• “I worked harder than you’ll ever know to get here.”

2. Mocking her by-the-book nature

• Caitlyn’s dedication to justice and procedure is central to her identity. Teasing her for being “too rigid” or overly disciplined will irk her, even if she tries to laugh it off.

• “Someone has to uphold the rules around here.”

3. Bringing up her family’s wealth

• Caitlyn is sensitive about her affluent upbringing and works hard to prove she’s more than just her family name. Dismissing her as “just another rich kid” will immediately put her on edge.

[3hks]

How to Write Emotional Dialogue Without Being "Cringy"

Did you ever want to write an emotional scene between characters but suddenly felt so conflicted because you're worried it might seem cringe? I, for one, have (and still do) worried about this! So today, I'll share some tips on how to make your dialogue LESS cringy and MORE emotional!

But for starters, what exactly makes something "cringe"?

Our media actually plays a big part in shaping what we find to be cringe, so certain words or phrases tend to stick out to us as "cringe". But when it comes to writing, it depends mainly on the context given.

So, with that being said, something that's meant to be emotional might seem cringy and awkward because the scene falls flat. Now that you understand the base cause of this, let's explore some ways to avoid it!

>>> OMIT, DON'T SAY

If you ever found yourself writing out a line that, no matter what, still seems awkward, then the problem may lie in the line itself. Sometimes it's unnecessary to say everything; your readers are smarter than you might think! There's a lot you can omit in dialogue while still maintaining a natural feel, whether it be through body language or hidden meanings behind certain words!

EX:

Prompt: "You're so fake, you think you can hide from the world, but you can't. What if someone finds out the real you?"

"I'll just put on another mask."

V.S

"What do you think?"

Regardless of whether you find the first response cringe or not, you can also see that the alternative response hints at a similar answer despite not confirming or denying anything!

>>> BE BRIEF

Unless your character is ranting or you're strategically elongating their dialogue, try to keep their lines concise. Many people will speak briefer as a result of uncomfortableness, sadness, and/or anger.

If a piece of longer dialogue looks odd to you in a certain situation, that might be because your character seems to be trying to explain something too much when it wasn't your intention to create that effect. Filler words (uh, um, oh,) are fine because they're a part of natural speech, but sometimes it's better to get straight to the point!

>>> FILLERS

Speaking of filler words, they can become really useful when writing emotional dialogue because they can portray a variety of emotions! (They can depict feelings of anxiousness, sadness, and more.) Additionally, stutters and ellipsis are helpful for the same reason! Overall, these incorporations really spice things up! Unnaturalness can be a cause for cringiness, and fillers assist in making dialogue feel more natural!

>>> ITALICS FOR RANTS

Okay, but what about rants and purposefully long dialogue? How do we make these more meaningful when essentially, we're just talking about big blobs of text?

Here, it's important to add dynamic to catch the reader's attention. When we read, it's like a voice is talking in our heads, and the voice is ultimately determined by subtleties like italics!

So, with that being said, use italics (I suggest incorporating them regularly, actually) when writing LONG texts! It creates a flow and rhythm for our reading, and most importantly, adds emotional weight to certain words/phrases, which highlights what your character prioritizes and cares about most!

EX: "I-I thought we promised! You said you wouldn't leave--so why are you leaving now? Was it my mistake? I'll change, I swear! (etc...)"

V.S

"I-I thought we promised! You said you wouldn't leave--so why are you leaving now? Was it my mistake? I'll change, I swear! (etc...)"

See? With just a few italicizes here and there (although you do want to be strategic about which ones you italicize), the simple dialogue quickly grew more weighted!

>>> DON'T RE-READ TOO SOON

In the end, the most effective way to tell whether something is cringy or not is to have someone else read it and tell you! But if you don't like the sound of that and prefer to check on your own, I suggest to not re-read your dialogue over and over. Instead, give it some time!

When we re-read our work too soon, we already know what to expect, which influences our decision making and opinions. By approaching it after you refreshed your brain, it'll feel more like you're reading it for the first time; and therefore, you'll form more effective ideas!

***

Still, it's also important to keep in mind that something that's cringe to you won't be cringe to someone else and vice versa! It's ultimately based on the readers, which we have no choice but to accept. However, if you were concerned about your writing because of such reasons, I hope this has helped!

Happy writing~

3hks <3

[eerna]

jesus. yeah thank god for preaching the truth about arcane season two. i mean it had its moments - really, REALLY good moments, and by hell it looked AMAZING - but holy FUCK. what a terrible time to be a fan of ekko. or mel. or jinx. or vi. or viktor. or ambessa. or sevika. and probably more i'm missing (ISHA!!!).

i completely agree with everything about the zaun vs. piltover situation ... just not happening this season? first with shimmer - listen i am not the biggest fan of the chembarons lol they look nice but their characters are. Fine. but if you're going to hype them up in the second episode make them WORTH something, right? and then if you're going to hype up the new jinxers, make THAT worth something too!! would it have been so hard to have a bunch of zaunites fly into piltover following jinx? i mean, that's what everyone THOUGHT that scene would be? you had sevika LEAVE the council meeting. why don't you have jinx convincing her to help. and ekko's with jinx. why wasn't he reunited with the firelights? you're telling the fucking firelights would leave zaun? no but it's just them i guess. and sevika and other zaunites enter the fray at essentially the same time so you would have to change nothing but whaaaatever who gives a fuck.

SPEAKING. OF. EKKO. WHAT THE HELL? his FINAL scene in this show is him mourning jinx and being completely alone. we can have that scene, OBVIOUSLY (given that jinx dies - or fake-dies - which i have my own problems with) but... can bro get a seat on the council? please? can we have like a scene with him and sevika walking in and he nods at sevika or something. i know people were complaining about it being mostly pilties and just sevika at the council meeting but i LOVE that. genuinely. shows us that progress is going to be slow (wow crazy. arcane having realistic class issues in their show about class issues), but can it not be just sevika? and can ekko get some fucking credit for SAVING PILTOVER? sure sure sure it was jayce and viktor but WHO THREW. THE GODDAMN ZDRIVE. AT VIKTOR'S HEAD? EKKO. jesus sorry i'm just crazy upset about that.

i wish they also didn't just have the council in piltover? if we're being given an independent zaun (ARE WE BEING GIVEN AN INDEPENDENT ZAUN??????????????) can we maybe have meetings in zaun too? one of those cute little transitions behind sevika's head where they're meeting in piltover's council room and then we go to the meeting room in zaun? like fucking what? or maybe zaun isn't fucking independent what were we watching this show for. if you're going to keep zaun as part of piltover and leave that part open can you maybe elaborate more than sevika like... sitting down. im a bitch for subtext but at some point it's not subtext it's being lazy??

and meljay. not sure what else to say here tbh like i don't even love them and i thought they were handled so poorly. at least they had chemistry in season one? the fuck was their reunion in act 3? negative chemistry. jayce is imagining viktor. why does he have more chemistry with viktor. big jayvik fan btw im a big fucking jayvik fan but can it NOT come at the expense of an established ship? porque no los dos? like hello? does meljayvik mean nothing to the writers? if you're going to have shippers putting the JayVik Agenda (which admittedly i think is very real of them) into the show can you COMPROMISE ABOUT IT. like considering mel's lonely ass ending and ekko's lonely ass ending there might be a goddamn pattern here.

wow. speaking of lonely ass endings. JINX. MY GIRL???????? breaking down her "death": we have jinx, safe, on a ledge. and we have vi and warwick about to fucking die. vi is faced with two options: try and save warwick (bring back vander) or go to jinx. vi isn't AWARE that trying to save warwick is going to come at the expense at jinx, but WE do, and the WRITERS do. the option of saving warwick or going to jinx is the SAME FUCKING OPTION as the jinx vs. powder question at the end of season one. does vi try and bring back a dead man (one who is GONE, who represents jinx and vi's past coming back to haunt them) or does vi try and accept her trauma and forge a new future with jinx?

...she chooses vander. like ok. yes. that makes sense given the amount of time vi has had to process that vander is alive. and a wolf. and then dead. and then back. and still a wolf. and then fighting them. and then not fighting them. im not expecting her in that situation to take jinx's hand and move on. but if that's the case can the arcane writers then.. give her time to process? because this isn't GOOD. this isn't good for vi. this isn't good for jinx. also do you know what also isn't good for vi OH MY GOD CAITLIN. CAITLIN ISN'T WHY DID THEY HAVE SEX AFTER JINX WAS LIKE "SORRY SIS GOING TO KILL MYSELF" LIKE HELLO VI YOU HAVE OTHER PRIORITIES THIS IS JUST LIKE WHEN YOU LEFT EKKO ON THE BRIDGE WHAT. HELLO. WHAT. WHAT. WHAT.

"im the dirt under your nails" no vi caitlin is the blood under yours.

sorry ok this isn't all my problems with arcane season two but i just realized i've been ranting in your inbox for what's probably over 100 words so maybe i should stop now. sorry bro i may or may not make my own post now mb

NO PROB it's big feelings and opinions time here on eerna dot tumblr~ It's just a terrible time to be a fan of the show methinks. I don't think a single character emerged on the other side of this season by having been done right.

I hated the way the Zaunites refusing to help Piltover was treated like some kind of a dramatic "Well, I guess THEY aren't joining US" scene. Usually we get to see both sides so you don't feel like either side is the main character, but that was such a horrible "You, the viewer, are a Piltie now, and the way Zaunites act will from now on be used as plot twists only" POV. Sevika showed up that way, Jinx and Ekko showed up that way - not as main characters, but as supports to Vi and Cait and Mel and Jayce, the Good Pilties.

"im the dirt under your nails" no vi caitlin is the blood under yours. is such a badass quote, bro!!! I have nothing to add, you've said it all, thanks for sharing~

[twelvemonkeyswere]

How is dandadan about misogyny?/gen

I feel like it's particularly about how misogyny is the evil of the story. I haven't read the manga so I can't attest to how the story goes, but so far Dandadan has touched on heavy topics that tell me this. Also, content warning there for what I'm about to explain. Topics include stuff like sexual assault, the struggles of motherhood (particularly of single mothers), and the cataloguing of women into stereotypes, like the Angel vs the Whore. All this connects to the exploration of the show of specifically male violence against women. Old women and their knowledge - from wisdom to fairytales - is an important part of the story as well, placing a lot of relevance to what we know as "old wives tales", often dismissed by patriarchal structures.

One of the protagonists is a teenage boy, Okarun, who doesn't fit with his other classmates, and is bullied mostly by boys (though when a girl makes fun of him it also adds nuance, since she's also playing into a misogynistic stereotype because she thinks that's how she keeps her popularity in a patriarchal structure). One of the highlighted differences between Okarun and other boys is that he sees women as people. He defends his female friend from being badmouthed by the boy who bullies him, for example.

The show literally starts by having Okarun being attacked and having his penis and testicles magically removed, but he never lets that affect his sense of self. If anything, it adds to his strength since he begins training to fight the magic forces that attacked him, and he wants them back because that's a part of his body. But to me it reads like. Yes, it's often played as silly fun because an emasculated man ha ha, but also removing the stereotypical macho behaviors and beliefs makes a man stronger and more powerful.

The women of the show all face different complications based on the assumptions others make of them, and the misogyny of their environment hurts them deeply. Many of the magical monsters they encounter are in fact traumatized women who have become Creatures due to magic as they try to correct or avenge the wrong that happened to them in the world. The suffering of women leads to monstrosity, but so far it's always understood the real monster was the men who caused the harm originally. Women have an uphill battle, the show has said several times now, and when they get violent back it's seen as a horror story.

So there are many things like that that make me realize Dandadan gets that right at least. It still remains a shonen show and has a silly tone and ridiculous things happen and some might judge the character designs or some tonal approaches, but it consistently understands the objectification and oppression of women in a patriarchal society is a real and serious matter. it understands the violence of misogyny is always the ultimate evil behind it all.

[untildawnss]

random imagines/headcanons #1

ashley

ash would definitely try different kinds of drugs

she hates everything AI because she loves the artists she finds online (one of them might also be sam

beth

she's 1000% a board game enthusiast

always googles the place she wants to otder from to see if they have their own page

chris

loves bitch-ass takes on characters

reads fanfic, 10000%, he's so down bad for the characters

emily

she paints her nails to sad songs

she wants to cry all the time

hannah

writes diaries/journals canonically

writes poems

she writes fanfic and includes her poems 100%

jess

cries all the time

sad movie/show/sad whatever, she cries and she bookmarks the saddest bullshit for whenever she wants to cry real bad (she just like me fr)

josh

probably cries at commercials, but would never buy whatever he cried at

crying at something makes him hate the thing

matt

is very into romcoms

likes flowers a lot

likes to pretend he's in a romcom sometimes

mike

he actually writes poems on purpose and hates it every time

he feels better after writing but wouldn't even let his therapist read his poems

sam

she draws everything

she processes things by drawing them

copes by making an account to draw whatever's on her mind

copes even more by making an account to challenge herself by asking people to send her inspiration for her drawings

might become a tattoo artist or the invisible artist behind the visible tattoo artist

[sonchiildren]

Just to put this out there for the evening, it is ONE thing to try to fluster, agitate, or mess with a muse but it's ANOTHER when it clear that you are making the person behind the character uncomfortable. If someone tells you to stop than fucking stop. There are genuine people behind these blogs and just because we are playing a character doesn't mean you get to harass us.

[six-of-cringe]

never thought i'd say it. not happy about gay sex

[the--days]

so it's like this.

you're young and you're scared and you're trapped in the feywild (happens to the best of us) with the love of your life. You're a half-elf and she's a fullblooded elf but you don't think about it very much because you're barely surviving day to day. And you get offered a deal to get yourself home again, and you take it. And the price of your freedom is that you leave her still trapped there, alone.

And then five years pass. And you age a century in that time, and you grow, and you change, and you find her again, and you're still in love, and you meet people, and you lose people, and you love them too, and you learn, and you start wanting a future again, and caring again, taking care of yourself, taking care of other people--

and after all of that, at the end of things, you find out the man responsible for all of the misery in your short, sad life has cast a spell which gives him complete control and ownership of you- mind, body, and soul (again. this happens to the best of us). And you are given the choice to stay under his thrall, and live a thousand years-- or to age and die, like humans do, and to be free of him.

And the love of your life is there, and you're married now, and she's still a full blooded elf, and you're still a half-elf, and you think about what that means a lot more than you used to.

And still, after everything you've learned-- you choose your freedom. You choose leaving her behind.

[luna-azzurra]

How To Write A Chase Scene

Before anyone takes off running, the reader needs to know why this matters. The chase can’t just be about two people running, it’s gotta have a reason. Is your hero sprinting for their life because the villain has a knife? Or maybe they’re chasing someone who just stole something valuable, and if they don’t catch them, it’s game over for everyone. Whatever the reason, make it clear early on. The higher the stakes, the more the reader will care about how this chase plays out. They’ll feel that surge of panic, knowing what’s on the line.

Sure, a chase scene is fast, people are running, dodging, maybe even falling. But not every second needs to be at full speed. If it’s too frantic from start to finish, the reader might get numb to the action. Instead, throw in some rhythm. Use quick, sharp sentences when things get intense, like someone stumbling or almost getting caught. But then slow it down for a second. Maybe they hit a dead end or pause to look around. Those brief moments of slow-down add suspense because they feel like the calm before the storm kicks up again.

Don’t let the setting just be a backdrop. The world around them should become a part of the chase. Maybe they’re tearing through a marketplace, dodging carts and knocking over tables, or sprinting down alleyways with trash cans crashing behind them. If they’re running through the woods, you’ve got low-hanging branches, roots, slippery mud, and the constant threat of tripping. Describing the environment makes the scene more vivid, but it also adds layers of tension. It’s not just two people running in a straight line, it’s two people trying to navigate through chaos.

Running isn’t easy, especially when you’re running for your life. This isn’t some smooth, graceful sprint where they look cool the whole time. Your character’s lungs should be burning, their legs aching, maybe their side starts to cramp. They’re gasping for air, barely holding it together. These details will remind the reader that this chase is taking a real toll. And the harder it gets for your character to keep going, the more the tension ramps up because the reader will wonder if they’ll actually make it.

Don’t make it too easy. The villain should almost catch your hero or the hero should almost grab the villain. But something happens last second to change the outcome. Maybe the villain’s fingers brush the hero’s coat as they sprint around a corner, but they manage to slip out of reach just in time. Or maybe your hero almost gets close enough to tackle the villain, but slips on some gravel, losing precious seconds.

And Don’t let the chase end in a way that feels too predictable. Whether your character gets away or is caught, it should be because of something clever. Maybe they spot a hiding place that’s almost impossible to notice, or they use their surroundings to mislead their pursuer. Or, the person chasing them pulls a fast one, Laying a trap, cutting off their escape route, or sending the hero down the wrong path. You want the end to feel earned, like it took quick thinking and ingenuity, not just dumb luck or fate.

[kentopedia]

nanami kento, who hates dating, and didn’t do much of it in his early twenties. but now, he’s almost thirty, watching all the people he works with settle down, have kids, and he thinks he wants that. so he might as well try.

so satoru sets him up on a few dates — friends of friends, he calls them. and at the end of every one of the dinners, kento goes home empty, exhausted, because he knows what they want is not the same.

still; he thinks maybe he’s being a little self-destructive, maybe too picky, maybe he just got so used to being alone. with satoru’s insistence, he gives all the women another call, invites them over to his apartment.

the first time was a disaster… kento had barely set the dinner on the table before his cat had hissed at her, scratched her down the arm in a thin gash. and though it did draw blood, it was hardly enough to warrant that reaction.

he didn’t even try to stop her as she picked up her bag and left, huffing like she’d been morally offend. kento, though, could only smile to himself in amusement.

because maybe kento was a poor judge of character, a man who was secretly hoping nothing would pan out — but his cat could certainly tell the good from the bad.

it became a little game to him, after that. seeing if anyone could win his pet over, and if they could, perhaps they were the one. his darling animal was a fickle thing anyway. a bit too defensive, quick to bite anything threatening after years on the streets.

naturally, no one came back twice.

he was close to giving up, accepting his solitude because he was tired of empty conversations over dinner. but then, he ventured out over the weekend to a new coffee shop, during hours he normally didn’t spend out of his home, and met you.

though you only talked for a moment, kento felt like maybe he’d known you in a past life. a part of him thought maybe it was strange, the way he kept coming back to talk to you, catching you at the end of your shift to see if you wanted to grab a coffee sometime.

by the second date, kento started to think you could turn out to be his best friend.

by the third date, kento wondered if soulmates were real.

on the fourth date, almost two months later, an appropriate time to get to know someone when you were as reserved as kento, he invited you over for dinner. it was, perhaps, the final confirmation he needed to let himself be with you.

he let you through the door, smiling softly as you told him about the book you were reading, and hung his coat on the rack. a moment later, you stopped, distracted, hands covering your mouth in a gasp.

“kento! she’s the cutest cat i’ve ever seen, you didn’t even show me pictures!” you exclaim, and, a few feet away, crouched down. “look at her pretty eyes…”

“careful,” kento said, “she’s not very—“

but the cat approached your outstretched hand, sniffed once, before letting you scratch her under her chin, purring loud enough for kento to hear across the room.

“shes such a sweetheart, you told me she was mean!” you smiled, making a cooing noise as you threaded your fingers through her fur. “kento’s a liar, isn’t he… you’re so precious.”

a few moments later, she snapped her jaw at you in a biting motion, and you only laughed, withdrawing your hand. “alright, i get it, i won’t bother you anymore.”

though she still brushed against your legs, just as she did kento’s, and seemed to communicate some sort of message to him.

“do you want any help cooking?” you ask, tucking your hair behind your ears. “i’m a disaster in the kitchen, but—“

“sure,” kento said, his chest tightening as he blinked back at you, only in his apartment for minutes and already looking as at home there. he wondered if it was possible to fall in love so quickly. “but only if you want to.”

[imastoryteller]

Writing Angry Scenes: Tips to Avoid Melodrama and Make It Real

Anger can be one of the most intense, relatable emotions to read—and one of the trickiest to write. When handled well, an angry scene can pull readers deep into the emotional world of a character, building tension and driving the story forward. But when handled poorly, anger can easily slip into melodrama, making the character’s feelings seem overblown, forced, or even cringe-worthy.

So how can you avoid these pitfalls and write anger that feels real and compelling? Here are some tips to make angry scenes powerful without overdoing it.

1. Understand What Fuels Your Character’s Anger

To write anger authentically, you need to understand its roots. People get angry for complex reasons—fear, frustration, betrayal, grief, and even love. Ask yourself what’s truly driving your character’s anger. Are they afraid of losing control? Do they feel abandoned or misunderstood? Are they hurt by someone they trusted? Anger rarely exists in isolation, so dig into the deeper emotions fueling it.

When you understand the core reasons behind a character’s anger, you can weave those nuances into the scene, making the anger more relatable and layered. Readers will feel the depth of the character's rage, not just the surface heat of it.

2. Show, Don’t Tell—But Don’t Overdo It

“Show, don’t tell” is classic writing advice, but it’s especially crucial in angry scenes. Don’t rely on generic phrases like “She was furious” or “He clenched his fists in anger.” Instead, look for unique ways to convey how this specific character experiences anger. Maybe their voice drops to a deadly calm, or their eyes narrow in a way that makes everyone around them uncomfortable.

That said, showing too much can backfire, especially with exaggerated descriptions. Over-the-top body language, excessive shouting, or too many “flaring nostrils” can tip the scene into melodrama. Use body language and physical cues sparingly and mix them with subtler reactions for a more realistic portrayal.

3. Use Dialogue to Reveal Hidden Layers

People rarely say exactly what they feel, especially when they’re angry. Angry dialogue isn’t just about yelling or throwing out insults; it’s an opportunity to show the character’s deeper thoughts and vulnerabilities.

Consider using controlled, icy responses or unexpected silences. Maybe your character says something hurtful in a low voice rather than screaming. They might express sarcasm, avoidance, or even laugh at the wrong moment. Anger often carries hidden layers, and using these nuances can help your character’s dialogue feel genuine, even haunting, without falling into dramatic clichés.

4. Control the Pacing of the Scene

The pacing of an angry scene can be the difference between a powerful moment and a melodramatic one. In real life, anger doesn’t always erupt instantly; it can simmer, spike, or deflate depending on the situation and the character’s personality. Experiment with different pacing techniques to create tension.

You might build the anger slowly, with small signs that something’s brewing. Or maybe the character explodes suddenly, only to calm down just as quickly, leaving a chill in the air. Controlling the pace helps you control the reader’s emotional engagement, drawing them in without overwhelming them.

5. Avoid Clichéd Expressions and Overused Reactions

When writing anger, avoid falling back on clichés like “seeing red,” “boiling with rage,” or “blood boiling.” These phrases have been overused to the point that they lose their impact. Instead, get creative and think about how your character’s anger might feel specifically to them.

Maybe their skin feels prickly, or their jaw aches from clenching it. Think about details that are unique to the character and to the moment. By focusing on small, unique sensory details, you’ll help readers feel the anger rather than just reading about it.

6. Let the Setting Reflect the Emotion

The setting can be an effective tool to amplify a character’s anger without overstating it. Small details in the environment—such as the hum of a refrigerator, the slow ticking of a clock, or the distant sounds of laughter—can create a sense of contrast or isolation that heightens the character’s rage.

For example, imagine a character seething in a peaceful park or a quiet library. The calm of the surroundings can make their anger feel more potent. Or maybe they’re in a crowded, noisy room where they feel unseen and unheard, which fuels their frustration further. This use of setting can add depth to the scene without the need for dramatic gestures.

7. Let Consequences Speak for Themselves

An effective way to avoid melodrama is to let the consequences of the anger show its intensity. Characters don’t always have to yell or physically react; sometimes, a single choice can convey more than any outburst.

Perhaps your character cuts off a close friend or says something they can’t take back. Maybe they throw away a meaningful object or walk out in silence. By focusing on the consequences of their anger, you can reveal the impact without over-explaining it.

8. Let the Emotion Simmer After the Scene Ends

Anger is rarely resolved in a single moment, and its effects often linger. When writing an angry scene, think about how it will affect your character moving forward. Are they holding onto grudges? Do they feel guilty or exhausted afterward? Does their anger transform into something else, like sadness or regret?

Allowing the anger to simmer in your character’s mind even after the scene ends creates a more authentic and layered portrayal. It shows that anger is complex and doesn’t just disappear the moment the scene is over, adding emotional weight to both the character and the story.

[coffeebeanwriting]

Some Quick Character Tips

Here are a handful of quick tips to help you write believable characters! 

1. A character’s arc doesn’t need to grow linearly. Your protagonist doesn’t have to go from being weak to strong, shy to confident, or novice to professional in one straight line. It’s more realistic if they mess up their progress on the way and even decline a bit before reaching their goal.

2. Their past affects their present. Make their backstory matter by having their past events shape them into who they are. Growing up with strict parents might lead to a sneaky character, and a bad car accident might leave them fearful of driving.

3. Give reoccurring side characters something that makes them easily recognizable. This could be a scar, a unique hairstyle, an accent, or a location they’re always found at, etc.

4. Make sure their dialogue matches their personality. To make your characters more believable in conversation, give them speech patterns. Does the shy character mumble too low for anyone to ever hear, does the nervous one pace around and make everyone else on edge? 

5. Make your characters unpredictable. Real people do unexpected things all the time, and this can make life more exciting. The strict, straight-A student who decides to drink at a party. The pristine princess who likes to visit the muddy farm animals. When character’s decide to do things spontaneously or in the heat of the moment, it can create amazing twists and turns.

6. Give even your minor character's a motive. This isn’t to say that all your characters need deep, intricate motives. However, every character should need or want something, and their actions should reflect that. What’s the motive behind a side character who follows your protagonist on their adventure? Perhaps they’ve always had dreams of leaving their small village or they want to protect your protagonist because of secret feelings.

Instagram: coffeebeanwriting  

[slayingfiction]

Mastering the Art of Dialogue

Dialogue is the lifeline of any narrative. It brings characters to life, propels the plot, and creates depth in the story. However, writing dialogue that feels real and engaging can be challenging. Here are some tips to help you refine your dialogue-writing skills:

1. Listen to Real Conversations

The foundation of great dialogue is authenticity. Spend time listening to how people speak in real life. Notice the flow of conversation, the interruptions, the ums and ahs, and the unfinished thoughts. Real speech is rarely grammatically perfect or fully articulated. Incorporating these nuances can make your dialogue more relatable.

2. Each Character Should Have a Unique Voice

Your characters should be distinguishable by their dialogue alone. A teenager will speak differently from an elderly person; a doctor will use different terminology than a street artist. Think about their background, education, and personality. These factors should influence their speech patterns, vocabulary, and even the rhythm of their dialogue.

3. Use Dialogue to Show, Not Tell

Dialogue is a powerful tool for showing the reader what’s happening without explicitly telling them. Through conversations, you can reveal your characters' thoughts, feelings, and intentions. For example, instead of narrating that a character is nervous, you could show it through their stammering dialogue or their avoidance of direct answers.

4. Keep It Concise

In real conversations, people often meander through their thoughts. In written dialogue, however, it's important to be concise. Every line of dialogue should serve a purpose, whether it’s moving the plot forward, revealing character, or creating tension. If a piece of dialogue doesn’t add value to your story, consider cutting it.

5. Read Your Dialogue Aloud

One of the best ways to test your dialogue is to hear it. Reading your dialogue aloud can help you catch awkward phrasings or unnatural speech patterns. Better yet, have someone else read it to you. This can provide insight into how your dialogue will sound to your readers.

6. Use Subtext to Your Advantage

Not everything needs to be said explicitly. Subtext—the underlying meaning behind the spoken words—can add depth and complexity to your dialogue. Characters might say one thing but mean another, based on their emotions, relationships, or situations. This layering of meaning can make your dialogue more engaging and thought-provoking.

7. Balance Dialogue with Action and Description

While dialogue is critical, it should be balanced with narrative description and action. This balance helps maintain the pacing of your story and ensures that your scenes are visually and emotionally compelling. Action and description can also provide context that enhances the meaning and impact of your dialogue.

Conclusion

Great dialogue can transform a good story into an unforgettable one. By applying these tips, you can craft dialogue that captures the essence of your characters and engages your readers on a deeper level. Remember, writing is a craft that improves with practice. Keep experimenting with your dialogue, and don't be afraid to rewrite until it sounds just right.

Writing dialogue is a skill that can be honed over time. The more you practice and read, the better you'll become at capturing the essence of conversation on the page.

[writers-potion]

Writing Morally Gray Characters

Morally gray antagonists and heroes can bring up many interesting questions about your story's theme and plot. Yes, your hero does want to save the world, but resorts to cruel ways of bringing peace?

Being morally gray can also mean that the character is highly goal- oriented and values efficiency and success over anything.

Deceiving Appearances

As is true in real life, a person's intentions aren't always obvious. A character, their title, background or really just how they look might at first indicate they're the hero type but surprise - they're not.

By hiding ulterior motives behind more apparent ones, you can add depth to your morally gray characters. Appearances can be deceiving, and that makes for a juicy read.

Morally Gray vs. Villains

Morally gray characters and villains are not strictly one and the same. Yes, there is overlap-they can be villains-but the distinctions are there nonetheless.

I don't think having a dark past to provide motivations for morally gray characters is too effective. They do intend to harm others, and sometimes, that's just the way they are.

Recognition

Your morally gray character should recognize that their choices can cause harm, intentionally or otherwise.

Although he's willing to risk the chance in his pursuit of knowledge, he does actively recognize that his actions can result in negative consequences. He sometimes acknowledges this before he does something, and sometimes only in hindsight.

Remorse

They must understand and experience remorse. When the consequences of their actions wreck and story world and kills people around her, she would certainly have regrets and even struggle to undo what she did.

The point here is, she won't regret until she has already caused the wreckage.

Redemption

Finally, when even they feel things have gone too far, your morally gray character must seek redemption however that manifests itself in your story.

For all their logic and reasoning, they are not without feeling. They can grow to care for other characters and go out of their way to help them at times, even save their life.

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