#Then it's a lot more understandable that the writer puts a lot of effort into developing that villain and his son/little brother

[arcane-ish]

I think that is a really interesting speculation and it doesn't seem to me that unlikely, especially since Amanda loves Caitlyn and I presume she was heavily involved in the culmination of their relationship. I can easily picture her making time for that.

It would also make a lot of sense with the themes of the show, especially for those of us who see some visual parallels between Caitlyn and Silco this season and Silco was a character heavily shaped by trauma.

That said, irregardless of what happened between Jinx and Caitlyn, I doubt it will change the critique of people who critique her from the "systemic" POV. Who approach it as "everybody has trauma, but because Caitlyn is in such an exalted and oppressor position, she just has completely different levers to pull, ways to make other people suffer for it than Jinx or Vi have". Because Caitlyn can just terrorize an entire city without even having to put in much personal effort. (and just because the show might not be about political issues doesn't change that certain people will insist that it should be understood that way, regardless of whether the characters or the writers understand it like that. ie just because maybe the writers didn't mean a save the damsel or fridge the girlfriend story to be sexist doesn't mean that people will see it as being part of a larger sexist narrative)

I feel like in the end, the people who already sympathize with her will sympathize even more deeply with her and the ones who don't likely won't be impressed just because Caitlyn's trauma was slightly worse than just losing her mother.

(which in the end is maybe another parallel to Silco, having had genuine trauma in his past and genuinely loving Jinx doesn't magically make him not a bad person anymore, so why would it be different for Caitlyn if she had genuine trauma and genuinely loves Vi)

The more interesting aspect is probably the character level. If Vi hears about it and she loves Cait and she sympathizes, does that mean that Vi will never forgive Jinx or never feel comfortable around her again?

From a shippy point of view I just don't think that it can work for Caitlyn to tell her story and for Vi and stand up and make excuses for Jinx. So the only thing that could work would be if Caitlyn got to a point where she learned to sympathize with Jinx (ie no longer blame Jinx because she sees it as Jinx having a mental illness).

I just have a hard time picturing that on a show as violent as this they can really do much to "impress" people. I just think that there's a low chance that they would go for something like rape. I guess Caitlyn could reveal that she has scars on her body that are underneath her clothes (which certainly would be a good setup for CaitVi in my ways), though I personally that doesn't seem like Jinx's typical modus operandi? I guess there could have been something related to drowning (to parallel Silco) or gas (as this is something that has been done by several characters on the show by now). But just Jinx saying cruel things to her and dragging her around is not going to impress the Cait-dislikers.

Even if it's still going to be a powerful moment for Caitlyn and Vi, less for how what Jinx did was particularly awful, but for how Caitlyn kept it bottled up (with the timeskip at least a couple of weeks, maybe months) and is finally opening up about it to Vi. (could maybe fit nicely into Cait having issues being emotional with Vi/always pulling back, back in s2Act1)

Basically, I assume the emotional performance will be excellent and it's going to be serve as a great and satisfying explanation for Caitlyn x Vi shippers as to why Caitlyn broke up with Vi in Act 1 (and pacifiy the people whose main anger against Cait was that she hurt Vi). But it might not move the needle for people who think Caitlyn sucks for using The Grey on Zaunites.

In this interview Amanda said something that caught my attention. Do you think that in ep 8 Caitlyn will talk about what Jinx did to her when she kidnapped her? Bc Amanda said that in ep8 there's a Caitlyn line that will make us say "Oh so that's why"

Amanda means this line that Cait is going to say will let us know why she was so mad at Jinx in ep 3 and how Caitlyn went completely blind when she saw Jinx in her target and bc of her anger and also her fear and terror of Jinx, Cait has completely lost control of herself in this moment. (there is someone who made a post on this topic @loycos and talked about what happened to Cait in ep3 and how Cait didn't see Vi or Isha in front of her bc of her anger and her deeply terrified of Jinx) I mean look at her eyes and the expression on her face, yes she looks angry but she is also terrified.

This is a natural reaction. I mean for example, imagine that you see something that scares you so much. There are two reactions, either flight or fight, and these reactions always come without a person thinking. At this moment the person is only thinking about getting rid of the thing that scares him, and he does not focus on what is around him bc these strong feelings control him.

Anyway, what makes me sure that this scene might happen in ep 8 (Caitlyn talking about what happened to her when Jinx kidnapped her) is Reed Shannon (Ekko VA) comment when he saw the drawing and said "I thought this was a leak" Reed might be joking as usually, but why this particular drawing and why he chose this word "leak".

But honestly if this scene actually happened and we knew what happened to Caitlyn, it would make us understand more why she was so angry and scared of Jinx when she saw her in front of her and it would also explain why she literally went blind and didn't see anything around her at that moment, neither the child nor Vi, all Cait saw was Jinx, she just wants to bring down Jinx. I mean look at these pictures she is so terrified of her

Again Caitlyn's insistence on killing Jinx in the scene in ep 3 was not only motivated by revenge on Jinx, but also out of fear and terror of her.

And not like those idiots who say that Caitlyn wanted to kill the child on purpose to get to Jinx or even say that she wanted to kill Vi too, or bc she's a cop and the cops kill children and blah blah... That's really ridiculous and annoying!! Bc if we focus a little bit on the period that Caitlyn went through we will see that Cait didn't have time to process all these things that happened to her, from the torture that happened to her when Jinx kidnapped her, then the killing of her mother, then the attack on the memorial ceremony. (I know that Jinx is not the reason, but from Caitlyn's perspective she thinks that Jinx and the Silco followers are the reason)

And in the end I hope that no one comes who doesn't like the post bc I am defending Caitlyn's character. If you don't like this character I don't care, there is no need for you to write a stupid comments. Please don't tire your little fingers if you don't like my post block me this is better for you and me. I will not waste my time responding to you, I will delete your comment and block you immediately.

I am a student at the Faculty of Psychology, and when I talk about trauma and the interpretation of human behavior and reactions, I know well what I am talking about. Bc most of the characters' reactions in this show are very realistic and need to explanation, writers do not want to explain everything in the show, they want viewers to occupy their mind and explain the events themselves (And I still repeat the point that the show focuses on the development and complexity of the characters more than anything else, and does not focus on solving political issues, the show is not about politics, okay)

And btw some people ask me about my opinion of Jinx's character, I have no problem with her character at all, I like her and I understand her condition, when I criticize her actions, it doesn't mean I hate her.

One day I may do a post about her character development and her condition, but I see that there are many posts about her and her actions, and I feel like I won't say anything new about her. Unlike the rest of the characters like Vi and Caitlyn, there are not many people talking about them. And maybe I will make a Viktor post bc I really like the development of his character. When the show ends, maybe I will.

[redsrooftopprincess]

SOBBINF I LOVE YOUR DISABILITY HEADCANONS SO MUCH,, MIKEY'S IS A STRAIGHT PUNCH TO THE GUT <33

May I possibly request reader x Mikey where they find out how he copes and helps make him feel more comfortable? Maybe they find him stoned and snuggles are just exactly what he needs at the moment? Possibly even attempting to help him through his unhealthier coping mechanisms? Bonus points if reader has depression as well!

Of course, no rush and you totally don't gotta do this if you don't want!! Headcanons or one-shot would be rad either way, if you are interested in this req!

Your writing is just so real and I love it so much oml. You are doing AMAZING (in general- as a fanfic writer as well I understand the effort that goes into this stuff and maintaining a regular life ontop of it) and thank you for all your hard work!!

I hope this is okay! 😅

Crushed

Warnings: Drugs/Alcohol, Inebriation

"That's what this is, isn't it? A drive by?" he says, standing, and putting his clothes back on. 

You're on the couch in the club's green room, after the best sex of your life. The party ended hours ago, and in your E induced haze, you'd taken his hand and dragged him down here. 

"What? No! Why would you-?" You swing your legs over the side of the couch and walk over to him a little unsteadily, "Mike, no..." He doesn't look up at you. "I mean... is that what you want it to be?" You ask, hesitantly.

"That's what it is," he says simply.

You swallow and inhale, tears threatening.

He finishes putting on his belt and looks up at you, he tries to ignore the tears in your eyes. Regret, that's all it is, that you ever let him touch you. It didn't matter, it was almost sunrise, "That's what it is," he repeats, "That's always what it is."

You hear it, the bitterness, the acceptance in his voice. He just doesn't have it in him to hide it tonight. It breaks your heart. "Michaelangelo, please..." 

"Look, it's almost morning. I gotta get back underground. I'll see you Wednesday," he said, not really sounding like he was looking forward to the next party. He leaves before you can protest further. 

He knows what you're going to say. He's a great guy, but he's not exactly normal, you know? He's not exactly someone you can bring home to meet the folks. And he really doesn't need to hear it. He gets it. He does. And he feels like shit would be a lot easier if he didn't. If he didn't know *exactly* how unwanted he is. Only good for a good trip, and a decent fuck, if you're feeling adventurous. He snatches a bottle off the empty bar as he makes his way out into the alley. 

It had to be you tonight. He already hadn't been in the best place when the party started, so there was no resistance when you took his hand. On a good day, you could lead him into hell, and he'd follow with a smile on his face. On a night like tonight, he'd thank you. You're friends, but in these circles the line between friend and lover blurs easily. You've slept together a number of times and he always leaves right after. You mean everything to him, so he'd let you do anything to him. Use him however you like. As long as he doesn't have to hear you let him down easy.

You dress quickly. You know what's happening. It keeps happening. He's shutting down. Shutting you out. He assumes you got what you wanted, end of transaction, and honestly the sex was great, it's *always* great, but what you want is him. Not sex. And your not letting him run away. Not this time.

You follow him down into the sewers, and find him sitting against the wall of one of the tunnels, knees curled up to his chest and tears staining the fabric beneath his eyes. You startle him and he tries to get up to face whatever might be attacking him, but stumbles, drunk. 

He sits back down once he realizes it's you. Now everything is so much worse. He never wanted you to see him like this. He didn't need you to feel bad for him. You ask him what's wrong and he doesn't want to talk about it. You say that's okay, and move the bottle out of reach, sitting next to him. 

You sit together in silence for a few minutes. You're terrified that saying the wrong thing will send him running from you faster. 

"Mike-" 

"I don't wanna talk about it, okay?" He gets up to leave, taking the bottle with him, and has to catch himself on the wall when he sways. 

You sigh and stand, but don't move to follow him, "Why not?"

"Because there's no point." 

"Why not?"

"Because you..." He looks at you and his heart clenches, he sighs, "forget it." He stumbles a few steps away and stops with a heavy sigh, "I can pretend all I want, and so can the rest of you, like I'm normal... I'm not," he turns around to look at you, his face a mask of escalating pain and injustice as his fists clench tight, "I'm not. I'm not normal. I'll never be normal..." he shakes his head with a sickening smirk, "It's just a game. Everyone gets dressed up to be freaks for a night and we dance and drink and trip and fuck, and at the end of the night, everyone else gets to stop playing and go home because they can. But I can't take the costume off," he says, grabbing his plastron where it meets his chest, "This isn't fucking make up. I can't even walk around in the FUCKING DAYLIGHT!!!" He roars, hurling the bottle he's holding against the wall of the tunnel, a shard of glass ricochets back and cuts his cheek. "I'm not a person. I'm the fucking party mascot." He spits, venomously,

You take a step forward, "Mike, you know that's not true." 

Bitter laughter echoes in the enclosed space. "Funny. That's... That's funny. Really. Because I've been coming to these parties, meeting people, for seven years now. I've watched *seventeen* people end up just like Sarah and Ben." Your friends had been celebrating their engagement tonight, Michaelangelo had introduced them at a party three years ago. 

"I don't get to have that... I'll *never* get to have that," he chokes, "even as a joke. Honestly, at this point I'd take a joke. I'm already pretending to be a person, wouldn't be that hard of a jump to pretend to be loved, too. I'd just have to find someone willing to lie to me..."

He trails off and the silence that hangs in the air once the echoes of his voice fades is heavy and oppressive. 

"Like I said, there's no fucking point..." He turns around and starts walking down the tunnel towards home, one hand on the wall for support. "Don't worry, I'll be back to all smiles by Wednesday. We can pretend like this never happened. This doesn't have to be a thing and you don't have to pretend whether or not it matters if I'm okay." He hears you take a step toward him, "Go home, Y/N," he calls back without turning around. 

Fine. If he's going to leave anyway, you have nothing to lose. "No." 

"Okay, fine," he sighs continuing down the tunnel, "do whatever you want." 

"Okay," you say, simply, as you begin to follow him. 

He stops, shoulders tight, face toward the ceiling, and sighs heavily, "What are you doing?"

"Whatever I want?" you reply, closing the distance. 

He turns to face you, tired and hurting. If you want to go another round, he isn't exactly in a place where he can say no. At the very least, he could use the dopamine. He used to imagine it would be different with you. He should have known better. Jaw tight, he sighs before reaching for his belt.

Your eyes widen as you realize what he thinks you're implying, your heart shattering all over again. You bring your hand up to rest gently on his, stilling his movements. His eyes meet yours. Hesitant. Guarded. Unsure of what you're playing at. Your hand tightens gently around his as you step forward, and he tenses as if he might run. 

You reach up, and pull him down into your arms. He stiffens for a moment, he's already hanging on by a thread, but he can't help it, it's you. Instinct takes over, wrapping his arms around you and buying his face in your hair. 

You feel his grip tighten as the dam breaks, and despite his best efforts at keeping his shit under control, a ragged sob rips through him. 

You hold him as he cries, moving the two of you back to sitting against the tunnel wall. Eventually, the tears dry up, and he pulls himself away. He quiet for a long time, and looks down at his hands in his lap. He can't even look at you, ashamed and embarrassed. You didn't deserve that. To feel obligated to take care of him. You have better shit to do than this.

You reach up and twist one of the tails off his mask around your fingers, tugging once, gently. It draws his attention, and he meets your eyes, begrudgingly. You reach up and wipe the blood from his cheek, meeting his eyes again. "I'm sorry," he whispers, "I'm sorry, I..."

You hush him gently and sit up on your knees. Taking his face in your hands, you bring him down to you, kissing his forehead. 

He doesn't get it. Why are you being so nice to him. You got what you wanted, why did you follow him? Why are you comforting him? Why do you even care? He looks at you in bewilderment. 

"Tell you what," you say, "I'm not super comfortable with the idea of leaving you alone right now, and it's going to rain, and I don't want to get flooded out down here, so... What do you say we head back to my place. I can order us a pizza, and we can watch a movie, and you can head home once you're feeling a bit more sober stable..." You smile, you hope persuasively. 

"Yeah... Okay..." He says, as you help him to his feet. You aren't wrong. It is going to rain, and as fucked up as he is, traversing this set of tunnels in particular will be a little iffy if the storm drains start to flood. 

You bring him home. You do exactly as you say. Pizza. Movie. Ice cream for good measure. He's not sure what to do. He's usually the one doing the entertaining, and now here you are making sure he was happy and comfortable. 

It takes time, but by the end of the movie, Mikey's mostly sobered up, both physically and emotionally. You even get a genuine smile out of him as sunrise looms and he begins to make his way out. 

"So... thanks... for this," he says, looking at you softly. It was probably the nicest thing anyone had ever done for him.

You smile, walking him to the window. "Anytime," you say, taking his hand and turning to face him as you come to the window, "and I mean that. Next time you get into that headspace will you do me a favor and try to reach for a phone instead of a bottle?" 

He smirks, nodding, "no promises, but I'll try."

"Thank you," you say as he reaches for the window. You touch his arm, gently "hey, one last thing," he steps back from the window to face you, and you stand up on your tiptoes and kiss him softly. It's simple, sweet, honest, "there's no reason you can't have what Sarah and Ben have," you whisper, before pulling away. 

He freezes. He's misunderstood. There's no way you're saying what it sounds like your saying, because it's what he wants you to be saying, so there's no *way* it could actually be what you're saying... Right?

You watch the torrent of emotions play out in his eyes, and you reach up to tug n on his mask. "Sunrise, Sunshine." You say. 

"Sunrise..." He repeats before he blinks, shaking his head, "Right. Yeah. Sunrise. I, uh, I'll see you -

"Wednesday."

"Tomorrow."

You say at the same time, before you laugh nervously under his gaze, "If, you know, you're not busy." You don't want to have to wait until Wednesday.

Hope flickers in his eyes. It's tiny and buried under so much hurt and insecurity, but it's definitely there, "I, uh, yeah... I mean, I gotta work, but I'll be wrapping up around two... so, if you're still up..."

"I'll be up," you say quickly, and he can't help but smile as both of your faces grow warm and you laugh gently. 

"Okay... I guess I'll see you tomorrow, then," he says quietly, almost in disbelief. Is this... What? What is this? He doesn't know, but it feels... better. Warm. Comforting. The things you said, the things you did for him tonight, this... He wants more of this. He'll do whatever he has to to have more of this. 

You can't help the grin that brightens your face. "Until tomorrow, then," you say, and kiss him one last time before he slips out into the desaturated predawn light, and is gone. 

.....

Tag list

@thelaundrybitch @the-cauldron-witch @fyreball66 @ninnosaurus @tmntngl @thegirlwiththeninjaturtletattoos @zagreustomb @ramielll @silverwatergalaxy @gornackeaterofworlds @daedric-sorceress @sophiacloud28 @iridescentflamingo @milykins

[childrenofthesun77]

There is something about mahiru and touma hating each others guts while also being father and son that is extremely funny to me and I can't really explain why.

Like, re-reading the C3 arc with the knowledge that they are related and that touma knows that mahiru is his son makes me laugh at this moment

because touma is literally his dad, nobody knows that he's mahiru's dad and in perfect absent father fashion the spell turns him invisible.

[imaginethathaikyuu]

because im curious

[lit-in-thy-heart]

people leaving not glowing reviews in ao3 bookmarks my unbeloved

[pygmi-cygni]

writing tip - research

research is one of the pillars of writing. a poorly researched fic, essay, short story, novel, etc is immediately apparent because of several things:

lack of depth

stagnant plot or development

confusing or inconsistent setting

it doesn't matter what genre you write, if it's original or fiction, whatever. you need to research. depending on the relevance of your writing, the depth of research may vary, but it needs to happen. you do not know everything.

Fantasy

I see a lot of writers and authors use fantasy as an excuse to avoid research. Shut the fuck up. Every good fantasy is based on a real ocurrence or social dilemma. That's why we like it so much.

'but pygmi, fantasy is made up! it isn't real!'

SHUT UP. Even if you don't realize it, your story will have elements that readers are intimately familiar with. If you flub something, it will be noticed.

Besides, just because you make stuff up doesn't mean you can be inconsistent. You'll just have to fill in the cracks with made up stuff, which will even out to being about the same amount of effort. Pick your poison, either way you're gonna feel it.

Research is not everybody's favorite. I like it, personally, I think it's like going on little side quests for knowledge. But I understand if you wanna skip all the business and get to writing your baby. No shame.

Let me give you some pointers to make sure the time you spend researching is relevant and well spend.

Lists! God I love lists. after you have outlined your story and your characters and everything, make a list of all the things you need to have a deeper understanding of. This means determining priorities. - How important is The Thing? Will it majorly affect plot or character development? Is it a focal point of the setting? If the answer is yes to any of those questions, it's important. research.

Big picture, little picture. How important is The Thing (again)?. How much detail do you need to know? Especially when it comes to royalty or a hierarchal system, I see research being misguided. There are so many nuances to royal interactions that I could give a rat's ass. Big picture, general outline. I don't need to know everything, just basic courtesy, terms of address, appropriate convo. done. but if your MC is a coroner? might wanna put more detail into that; you'll be talking about the job a lot. determine how much the element will affect your story and go from there.

Don't fudge it for the plot. You'll have a preconceived notion of a certain job description, and then research it and think 'oh that's actually boring.' Don't muddle up the rules just to fit the aesthetic. It's sloppy, and your readers will notice.

To practice researching, pick your topic and after learning a bit about it, try teaching a powerpoint to your parents or friends. if you feel comfortable enough with that knowledge to do it successfully, I'd say you have a good enough understanding.

Setting

researching location is a big one that often gets overlooked. You don't always need to memorize maps, but get a general idea of the city/country layout so when you say "they drove 20 minutes from A to B" it makes sense, rather than having a reader think "Uh, A to B is closer to four hours, wtf?"

if you are making up your city, make a list of important streets and locations in relation to each other. This will help you keep it straight and organized in your head.

Get a feel for flora and fauna. Palm trees don't grow in Alaska. Don't write an Alaskan city with palm trees.

Weather? what's it like? Let me tell you, Portland doesn't get higher than 102F. rainy, cloudy, all that stuff.

Atmospheric details really add a lot, especially if your audience is from that location. It adds another layer of relatability. Also, use weather/plants/animals to your advantage! symbolism, possible curse, all that stuff.

Eras

Oh my god stop fucking this up. Baroque, Elizabethan, Edwardian, Middle Ages ARE DIFFERENT FROM EACH OTHER. STOP SLAPPING FANCY CLOTHES ON PEOPLE AND CALLING IT THE OLDEN DAYS.

get an idea of when electricity was widespread in homes. when was the refrigerator invented? did they use the word 'hella' in 1950? this kinda stuff is important for not breaking the illusion of a time difference. If you are writing a period piece and someone is chatting with a neighbor like it's 2015, we'll have some questions.

Unless it's doctor who. you guys can do literally whatever.

Plot and Character Development

If plot and characters are poorly researched, you are limiting the opportunities for growth. In researching your MC's occupation, you may discover a cool side effect that connects to a plot device. Stagnant, stale characters can be spruced up with a more developed backstory.

All in all, research is really important for your story. regardless of how professional it is, tumblr or the new york times. Do your research. As a writer, you are representing the community in your own way. Do us proud.

xox love you

[drtanner]

You know, I think I'm starting to understand why the sharing culture on this site is such dogshit now.

As I mentioned earlier in the week, I spent several solid hours going through my art and writing tags as far back as 2012 and manually deleting everything I found, including all of my own reblogs, because I don't expect my opt out from having my blogs' data scraped to be honoured, and seeing the difference in the way people interacted with my work back then and the way they interact with it now (or the way they don't interact with it at all, more specifically) was deeply and tragically enlightening.

tl;dr, despite having had a fraction of the followers back then that I have now, as well as being an objectively better artist and writer than I used to be 10+ years ago, my work travelled further and people engaged with it more, and they also sent me asks with drabble prompts and questions about my OCs all the time, whereas none of that happens at all anymore. This place was a lot more communal back in that pre-2016 era and generally a lot more rewarding and fun.

There's been plenty of posts going around over the last few years begging people to reblog because that's how this site works, but every one of those posts always winds up lousy with people saying they just click "Like" on things because they like them but not enough to put them on their own blog, or because they don't want to clutter their blog, or because tagging things is too much effort or whatever, and I'm noticing a pattern. There's something that all of these common responses have in common:

All of these people are wholly concerned with themselves and the way their blog looks, or what their blog is supposed to be for, or some other similarly entirely self-centred point of focus.

Listen. Other people have already tried to explain to you that that's not what this place is about or what this place is for or that you can make as many sideblogs as you want if you're trying to curate something specific, and they've had little success in emparting understanding to you, so I'm going to try a different approach.

Here are ten (10) benefits of reblogging that will make this site more fun and engaging for you, personally! ( b ._.)b

You get to keep the thing for yourself, but you also get to pass it along for other people to play with, too! Best of all worlds. How often do you get to keep a thing and share it?

Look in your Activity after you reblog something you enjoy to find other people who like the same things that you do! This is a terrific way to find new people to follow.

Sometimes you'll make a comment when you reblog something and later find that an awful lot of strangers are reblogging it from you directly for some reason. This is usually because someone else later down the line made a much stupider and worse comment and those strangers are now all clicking on your reblog so that they can reblog the post without that other person's stupider and worse comment on it. I like it a lot when this happens. You can get a lot of new followers this way, too!

Even if you don't have the time or spoons to play with jpegs like dolls yourself, your reblog can put the post in front of those folks who do. Playing with jpegs like dolls is half of what makes this site function; give it a bit of time, and the jpegs will cross your dash again with new additions. As it is with anything you love, set it free, and the love will come back to you one hundredfold. 💜

Look in your Activity after reblogging some art or writing to see people going nuts in the tags. You can also go nuts in the tags if you want; everyone loves seeing this when it happens, especially the artist or writer themselves.

Commenting with your reblog is like raising your hand to share your opinion with the whole room, whereas reblogging with your comment in the tags is more like whispering to the person next to you and keeping it between yourselves. Contrary to what you might have been told by others, both are perfectly fine and good and they each have their place. You can do both on the same reblog, even! Take part in the conversation!

If you're too shy to talk, reblogging without commentary is a lot like parallel play. You're all enjoying the same thing quietly together!

When you reblog things a lot, you'll start to see the same people popping up in your Activity feed all the time. These people are your friends whether you actually talk to them or not.

Stuck for something to say? Point out something you liked about the post! It can be something small! Acknowledging things that make you happy out loud is good for your mental health and also your soul.

Reblogging also invites other people who are doing all of these things to find and follow you!

There's so much to do on here beyond checking your dash and occasionally looking at the For You tab. You can discover all kinds of people and things by making a bit of an effort and having a poke around in your Activity feed and on the blogs of people who interact with the posts you're seeing and passing along! I promise you don't need an algorithm to do this for you; the action of exploring the landscape around you on this website is fun in its own right!

Get out there and see who your neighbours are. 💜

[theotherbuckley]

Im in love with this fic and i need more

🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵

You're an amazing writer btw 🩷🪱

Thank you! I'm glad people are liking this fic 🥰

Here's 900 more words just for you <3

🦵 - Buck and Tommy meet at physio after the truck bombing

Tommy isn’t there at his next physio appointment — now only seeing his physiotherapist once every two weeks, unlike Buck who still has to see her every week. The session feels slower than normal; it always does when he’s alone. Bobby promised him that next time he would be able to come with, but today, there’s no one, not even Tommy, to chat with afterwards. 

Dr Mistry seems to sense his subdued mood and has taken to being far more cheerful than he can ever recall.

“Why are you so happy?” he asks, slumping down into his chair after she had given his leg a deep and rather unpleasant massage. 

Dr Mistry turns to him, shooting him a look which he doesn’t care to decipher. “You are quiet. It’s unsettling.”

Buck opens his mouth, closes it, and opens it again, staring at his doctor. “Hey, I don’t talk that much.”

“You haven’t even complained one time.”

And okay, that’s fair, but still. 

“I’m just tired,” Buck tells her. It’s not even a lie. He is tired. He’s always tired. He’s just a little spacey today. He’s been feeling quite defeated lately. Sometimes, it feels like all of his hard work is for nothing. His leg still aches like bitch whenever the weather changes, and he only just managed to complete the full length of the bar unaided last session, far behind where he should have been at this point. He’s trying so hard to get better, to work again, but it doesn’t matter how much effort he puts in, it’s never enough. He’s never enough. 

And when there’s nobody with him to tell his brain to shut up, he gets stuck inside his head, and he doesn’t quite know how to get out of it. 

It’s exhausting. 

So he’s tired. He really, really is. 

It’s just a type of tiredness that he doesn’t think he can recover from. Not until his leg is recovered, at least. 

Dr Mistry looks at him for a moment, her eyes scanning over his face, hyperanalysing his expressions as though she can see right down into his soul, see all of those helpless thoughts running around in his head. “There’s doctors for that,” she says, and Buck doesn’t have to ask what she means. 

“I don’t need therapy,” Buck says back, a little too defensively. He’s probably lying, but he doesn’t want to see anyone. He’s fine. He will be. It just takes time, isn’t that what everyone keeps saying?

“It’s not healthy to keep everything stuck inside. Sometimes it is good to let it all out,” she continues, ignoring his slight outburst. 

“I have people. It’s just— It’s hard when they’re not around.”

She nods in understanding but hands him a card anyway. “Just think about it.”

He takes the card begrudgingly and sticks it in his wallet, where he knows he’s not going to touch it again. He doesn’t need help. He just needs to be able to walk— to work. He’ll be fine after that. 

As soon as he gets home, he takes the card out of his wallet and stares at it. 

And then he texts Tommy. 

Buck: Have you ever seen a therapist?

Tommy: Hi Tommy how are you

I’m great thank you for asking

Buck: Yeah yeah

Answer the question

Tommy: I have

Buck: And? 

My doctor wants me to see one

But I don’t want to

Especially not after last time

I’m not that guy anymore

Tommy: Not what guy?

Buck: Not the guy who sleeps with his therapist

Tommy: I’m not sure if I should ask

Buck: Probably best

So..?

Tommy: Therapy helped me

I wasn’t a great guy before

Buck almost scoffs at his phone. Tommy the guy who drove him home and helped him up multiple flights of stairs, whilst injured, on their first meeting, wasn’t a good guy?

Buck: You? Be honest

Tommy: I wasn’t

Turns out repressing my sexuality and listening to what my father taught me is not a good combination

Hurt a lot of people because of it

But therapy helped

I’m comfortable being myself now

Buck has to pause at that. It’s not like there’s anything wrong with it, he just didn’t really expect it. Maybe that’s not a good thing to say. He’s an ally, actually. The rainbow flag in his bio every June proves that. 

Buck: Wait

You’re gay?

Tommy: I am, yeah. Is that a problem?

Buck: No of course not! Men are hot.

Tommy: Mmhmm  

Buck: So you think I should do it?

Tommy: Do what?

Buck: See a therapist

Tommy: I don’t know, Evan

That’s up to you

But if your doctor suggested it, maybe you should listen

Buck: And I don’t need to sleep with them?

Tommy: You definitely do not.

Even after the conversation, Buck can’t bring himself to dial the number on the card. His stomach rumbles after a while, and Buck looks at his watch, mildly surprised to find it past 3 pm. He drops the card on the coffee table, and hobbles to the kitchen with his cane to make himself some food. 

When he sits back down, his mind is focused on queer history, and he finds himself googling pride and forgetting all about therapy. It wasn’t like he needed it anyway.

[billythesimp]

hello wonderful writer! may i humbly request a fem reader who's very independent and strong-willed cow!thiren with lycaon? she works with the victorian housekeeping crew, and generally takes combat related jobs.

I'm so sorry if I butchered this. I could not for the life of me figure out how to write this. But Cow thirens sounded so cute wahhhh!

Watch the Horns, Master

⋘ 𝑙𝑜𝑎𝑑𝑖𝑛𝑔 𝑑𝑎𝑡𝑎…

I love thiren's they are all so cool. I think my favorites from the game are these two office ladies who you can find in the afternoon in front of the flower shop in Lumina square. They are like sister's kinda and are just full cats. I think they are cats at least.

Lycaon x Cow-Thiren-fem!reader

𝑃𝑙𝑒𝑎𝑠𝑒 𝑤𝑎𝑖𝑡…⋙

tw: none

✦ Being a cow thiren, people consider her to be very cute and very fragile, just one glance of her and people don’t assume anything other than a sweet, little maid who only wants to please their master. When in reality, the horns on your head are nothing more but a part of your deadly weapon, turning cold and stern once her true purpose is revealed. Her whole personality is what draws Lycaon in. 

✦ Lycaon adores how efficient and committed she is with her commissions. No matter the mission, the client, or the hollow, they never back down and hold themselves on a higher pedestal that nothing can hurt them. Just because they are smaller and more vulnerable, they aren’t a being to look down on. No upset guest who threatens their work or filthy ethereal who hungers for her life will stop her as she is an impenetrable force. So Lycaon puts many expectations on her, having them take up the more complicated tasks at her own request. 

✦As a reward for her well done jobs, he often treats her to her favorite snacks and obviously a well-off paycheck. He’s taken time to get a better understanding for his employees, but with her he takes the time to make her feel welcome and included. Despite her denial of having no interest in joining the crew in their daily interactions and activities, he can tell that she does long to be included and join in the fun, drowning herself in work and managing Corwin and Ellen as a supportive older sister figure. 

✦ In combat, she makes an effort to ensure everything goes to plan. Keeping a close eye on her team while providing a shield of sorts that will protect the girls and man from any danger. She’s very much a more physical fighter as once again, benign a cow thiren makes her a lot tougher than most so she’s worked out to gain that sleeper build. A routine that she’s sometimes worked with alongside Von in the gym or their own private sparring sessions. So every battle, she gives it her all, fighting hoof and nail to take out any imposing figure in her path, in a graceful manner if you will to upkeep the image of what a maid from Victorian Housekeeping is really all about.

[starlight-archer]

@netflix

Greetings,

I am writing to you with hope in my heart, to implore you, from the bottom of my heart and with the utmost sincerity, to please reconsider your decision to cancel your critically acclaimed new show Dead Boy Detectives.

This show has touched a lot of people's hearts and souls, my own included. It has generated countless rave reviews, massive online buzz and an amazingly active and dedicated fan base that continues to grow.

This series has done something truly incredible and meaningful, and I think you have something remarkably special with Dead Boy Detectives. I have so many reasons why this show is worthy of your investment, faith, and more than worthy of a second season. In this letter, I will attempt to narrow it down and list a few of them.

Firstly, a fantastic foundation has already been laid down from the start with it's incredibly compelling and well-rounded characters. Each of them feels very nuanced, natural and whole in a way that succeeds in making them all widely relatable despite their distinct individuality and complex differences.

There is a rare kind of beauty to the way that these characters have all been written and then brought to life by the cast in such a genuine and heartfelt manner.

Secondly, the natural and loving way in which POC, women and queer people are represented is second to none.

You have an amazing example of a strong and powerful female lead in Crystal. She is layered and does her best to be better than she was in the past. She is realistically flawed and so resilient that it is impossible not to root for her. She is smart and empathetic, and puts in effort to understand her friends, even when they butt heads.

The fact that her powers can never truly be taken away and that she can always connect to them through herself and through the support and live of her female ancestors is a thoroughly wonderful detail that leaves you with a deep sense of hopefulness.

Niko, who is far from home and starts off all alone after losing her father, finds kinship and courage through the support of her friendships with Crystal, Edwin and Charles,and shows her unwavering strength through her continual acts of natural kindness. She is sharp and observant, and she utilises that yo be amazingly caring.

Charles' story is also incredibly relatable and meaningful. The way that he overcomes his painful history with his parents through kindness, and does this again and again, despite still dealing with so much trauma and hurt is astounding. I, and many others long to see his story at continue.

Now, Edwin and his relationship with his queer identity...

The way in which the queer representation has been handled in Dead Boy Detectives is leagues above the vast majority of other shows that share its target audience. It feels so authentic. Something which is unfortunately hard to come by, which this show pulls off spectacularly.

Edwin's personal journey with his sexuality is done with so much care and raw honesty that it is impossible not to appreciate everyone in the writers room who was responsible. George Rextrew's portrayal of Edwin in this aspect (and frankly all other aspects) was simply phenomenal. The way that he discovers more of himself through his relationships with his peers is done so incredibly well. Charles, Crystal, Niko, Monty and The Cat King all play a significant role on his self-discovery - be it directly or through showing their support - in a way that I am sure many of the queer viewers long for and relate to.

There are so, so many people who feel seen because of Dead Boy Detectives, myself among them, and that is something that is immensely and inherently valuable.

Furthermore, the realistically nuanced way in which the show depicts the characters dealing with different kinds of grief and trauma is unbelievably refreshing. To show each unique situation and natural, emotional and internal responses in a way so grounded in reality is a true achievement. One that every member of the cast and crew should be celebrated for. As someone who has experienced tremendous loss, I can confidently say that the way these things are depicted in the show is highly accurate and resonant.

Aside from these aspects, I am of the firm belief that timing and lack of appropriate promotion harmed the number of streams in its initial days of release. It was put out right before/during exam time from American viewers, meaning that all of the teens who might have been binge-watching, were stuck cramming for tests. Additionally, while I do think that focusing so much fantastic promotion and marketing on Tumblr was a stroke of genius, not matching that across other platforms such as X (formerly Twitter), Instagram, and TikTok was a gross oversight that significantly limited reach and harmed viewership.

All of this on consideration, please, please reconsider the cancellation. Dead Boy Detectives has so much potential and deserves a real chance to grow and succeed.

There are thousands of people who share my sentiments of devastation and disappointment, but also hope and massive amounts of love.

It is well evidenced that sharing this show has created a wonderful communuty and brought droves of people together. Drives which I am sure that you have seen sharing their sorrow, frustration, and their dedication across social media.

Saving Dead Boy Detectives is worthwhile and just makes sense at this point, especially given it's role as an extended part of your well-established hit IP The Sandman, and the current proximity to Halloween, when a show about ghosts will be so seasonally and culturally relevant.

I am begging you, alongside thousands of others to bring Dead Boy Detectives back for a Season 2. Please hear our voices and restore our faith in you as a platform.

It is not too late.

#SaveDeadBoyDetectives

Sincerely, one of countless dedicated fans.

"It's not what you did, it's what you do that matters." - Edwin Payne (to Crystal, The Case of The Devil House)

[mazzystar24]

I hope I can ask you this because I don't want to ask in the tags, I'm scared 🥹 but I've seen a lot of discourse about why tommy isn't good for buck, he's cold, the relationship is toxic etc and I was wondering why people think that? Is there anything specific that started it?

I fully believe eddie is buck's true love, endgame, whatever we want to call it and I'm sad we don't have that (yet) but I thought bucktommy was kinda fun in the meantime. I just want to understand 🫶🏻

Oh hey darling! you were so sweet and genuine in your response so please know I’m just answering what I’m asked and if you wanna enjoy and have fun with bt that is completely your prerogative but I’m just offering my perspective on it

And i am warning you this is gonna be long because I feel a constant need to go really in depth in my thoughts

Okay so idk how I’m gonna break this down but maybe I’ll do it in like main points?

Also if you’re new here whenever I use bullet points I’m just doing it cos I find it easier to chunk up my thoughts not cos I’m being curt or anything with you

1. The chimney and hen begins episodes

He wasnt just passive in the episodes and letting Gerard get away with his racist and misogynistic behaviour he ACTIVELY participated in it

This includes:

• Asking if they forgot to tip the delivery guy WHILE THEY WERE EATING CHINESE FOOD when chimney first comes up despite the fact that 1. Chimney had a big ass lafd bag 2. They were probably already told a probie would be coming 3. Probably would’ve seen the actual delivery guy 4. I would bet my absolute life that question would not have been asked if buck or bobby had walked up those stairs this wasn’t an innocent comment it WAS RACIST intentionally like the entire point of the episode was to show how bad they had it

• the New York bitchiness comment

• throwing his tools down along for hen to clean up

• going out of his way to treat them like outcasts and hating chimney before he even knew him despite chimneys efforts

• the way each of them had to “earn his respect” in some way before he acted like a normal coworker to them and this was never in the typical ‘oh it’s a new person’ type of way it always had to do with their race or in hen’s case her gender too

A defence I see a lot for this is “oh he was closeted” and honestly to me that is such bullshit because 1. Eli was perfectly capable of not participating in the racism and taking chimney under his wing without getting any shit for it and chimney is quite literally a Korean man (something he literally can’t hide) and he had just got his head above water with Gerard’s racism when hen came and he STILL was a friend to her 2. Again tommy wasn’t passive in it and just letting Gerrard be racist (which would’ve been one thing) no he actively participated in it to be part of the boys club 3. Let’s say that somehow not being a dick would’ve meant that that was a threat to the closet he was in- that is still in my opinion a fucked up sense of preservation if you spare yourself the possibility of bigotry (despite having inherent social capital by being a white man in that job) by inflicting others to bigotry

Now when Tommy was first reintroduced I was like keeping an open mind and saying okay it’s been a lot of time and maybe he has genuinely made amends because I do believe in redemption but imo they have made no attempt to show us that and had him honestly put more of the blame on Gerrard for his behaviour or the writers flat out avoiding mentioning it to retcon tommy a little and hope we forget

Another defence I see is “oh chimney and hen became friends with him so they must’ve forgave him”, hen went no contact the moment he left (something the writers went out of their way to include that line) and chimney didn’t even invite him to his wedding which was quite big after the Buckley parents got involved so it’s not like it was cos it was such a small and intimate wedding and he only called him as far as we know in those years when he needed a favor, which all means that most likely they had kinda just put it behind them and kept up a coworker relationship with him, but no actual friendship or actual forgiveness or redemption had taken place

Oh wow all that was just point one and I can probably talk more on it but I’ll just leave it with saying that Lou’s comments about it being teasing or how Tommy genuinely didn’t know hen or chimney were capable etc just makes for a worse case than saying it’s cos of being in the closet (and that is genuinely a large part of why idk much abt Lou but those comments are enough to make me hate him) and I’ll also say that poc (myself included in that) have these situations so often- situations even as specific as gay men being racist to them to fit in - and we understand the nuance and shit to it but we also understand on a deep level how it feels to be on the other side of that

And getting toxic bt fans try to come up with ways to downplay or minimise racism honestly pisses me off so much cos believe you me we have heard every excuse and downplay under the sun and I for one am sick and tired of it

2. Why he’s viewed as cold and his jokes

• literally from the small parts we saw of him and Eddie hanging out we have seen the man is in fact capable of joking and being light and having fun but around buck in particular he’s like 🧍‍♂️😐 and the occasional 🙂 like it just feels very stiff and just plain in a way

• his humour consistently falls flat and feels passive aggressive more than anything like blunt or sardonic humour DOES work like I personally love it but it’s not being written OR executed right

A. It’s always in response to genuine moments or questions such as buck talking abt the award or the daddy kink joke or henren questioning him

B. It’s the the majority of what we see from him, there is not enough balance for it

C. Lack of rapport, when friends or couples make jokes that can come off the wrong way if said to anyone else it’s cos of the rapport built already, this rapport is not established with the characters OR with the audience for these jokes to come off right

D. I gotta say this one too but the execution just isn’t right from writing to acting, it’s the same reason sardonic humour lines from Sandra oh as Cristina Yang or hugh Laurie as house still lets you like the characters and find them funny but Tommys lines come off as annoying to a lot of people

3. I think fandom discourse probably has something to do with it but not in the way you think

I’m not saying like oh ppl who ship buddie just hate him cos of the ship no I’m saying that like what takes him from an annoying disliked character to a hated character is most likely the fact that his role stirred so much drama and caused so much damage to how the fandom used to be that its turned the dial up

4. A lot of his development, lore or redeemable factors or cute things are just not canon

This may be blunt and I am sorry for that but I think his character has been blown up to such a degree that it’s genuinely shocking

Like I look at posts or get sent hate and I’m like where did any of this happen this is just not canon this is just not a show like at times I’m genuinely convinced it’s a social experiment where different ppl saw a different show like some spiderman multiverse situation

Listen I’m all for headcanons genuinely like if you wanna take extra number three and make a whole backstory and lore and cute stuff abt her I’m all for it but it’s when it’s said as if it’s fact or canon that I’m like hold up a second rewind

I think this is kinda a result of Lou’s cameos (which honestly deserves its own post but you asked why the tommy hate so imma stay on topic) and also this like need to defend the character but not having much material to work with

Like if we look at canon we can literally break down the entirety of Tommys appearances this far in the show and what we learn about him:

• chimney begins- he makes a racist comment and he tries to suck up to Gerard, there is a little hint abt his gayness with the gf comment, Eli says to chimney that’s just how they are and tries to reason it could be fear of losing friends but we see tommy having friends in the firehouse while eli says this, chimney tries to make friends with him and tommy makes no attempt to get to know him and says he’d hate him anyways, chimney saves Tommys life thus earning his respect

• hen begins- she’s met with the same racism chimney is but also met with misogyny (and homophobia but that’s not relevant to the tommy of it all), we find out chimney is still isolated from the rest despite having earnt that respect, chimney befriends hen and again tommy still doesn’t try anything like that until hen proves herself and earns his respect, ppl reported Gerard but it’s never actually stated tommy was one of those ppl so again that’s not canon that’s speculated

• bobby begins- chimney and hen both seem to be like coworker friends with tommy and Sal, Sal throws hissy fit bobby “fires” him tommy says it’s an overreaction bobby reveals it was a transfer, they all seem to make nice, tommy leaves to 217

• chimney calls tommy for help and tommy helps

• we see nothing from tommy,then cruise ship he helps the team but also in this we find out hen cut off all contact since he left

• buck takes tour of harbour, Eddie and tommy have a friendship and we find out some of Tommys interests and that he was in the army, basketball scene and the subsequent apology and kiss

• dinner date, Tommy explains how he was in the closet, Buck has his little awkward moment (which will be elaborated on in my next point) , Tommy says nothing abt it till the Uber arrives and he leaves buck

• buck reaches out and apologises and asks for a second chance inviting tommy to the madney wedding

• bachelor party and the issue of the lack of costume and not just taking the day off for neither wedding nor bachelor party (which you can reason is reasonable but also I feel like this deserves its point for the narrative choices)

• tommy shows up straight outta work they kiss buck has the soot coming out award ceremony - buck being happy abt the reward to which tommy sardonically says enjoy it while it lasts enter bigoted cunt gerard then chimney comes and insults gerard and they walk away

• we don’t see tommy again till the dinner date after Bobby nearly died and when buck tries to explain Bobbys significance to his life tommy throws the your dad is still alive which is just honestly one of his worst moments imo and I made a whole post abt it but can’t find it and then we all know the rest of that convo and I could make a bullet point for it but actually I made a whole post before so I’ll link it: here

AND THATS IT

Like all this comes down to what maybe like 30 mins screentime? If that?

5. The leaving buck on their first date

The defences people use for this are:

• buck was trying to shove him back in the closet

• buck was obviously not ready

• people angry abt this are just babying buck like he can find his own way home it’s not that big of a deal

• buck was at fault there and tommy would’ve been justified in being angry and not giving him a second chance

And honestly every last one of these are bullshit imo and lemme go point by point

• buck panicked, I don’t think that what buck was feeling in that moment can be properly described because unless you’re a queer person and you’ve experienced that like bone deep panic that like brain overload then you won’t get it

Like one it’s his first queer date

Two he doesn’t even understand his own sexuality atp

Three his closest friend just walked in in a situation that’s already putting him on edge

So he’s not only panicking he’s not understanding why he’s panicking he’s trying to make excuses eventhough part of him knows he doesn’t need one but also he doesn’t even understand this side of himself yet so he doesn’t want to have to potentially explain it

Like it’s a million things and a million emotions and no one can claim they would behave rationally or appropriately in that situation and if you say that you would you’re lying simple as that

Also then we find out that Eddie thought tommy was straight anyways

• the reason I love the buddie coming out scene is because of Eddie’s “and what do you think” line because it’s not up to tommy or anyone else whether a person is “ready” enough in their queerness to date. Full stop.

Also tommy knew it was Buck’s first date with a man and was still down so why is he using that as some sort of out

•it’s not about babying buck and it’s not about him finding his own way home it’s the fact that Tommy could’ve done it with much more grace and he could’ve been a lot nicer with it but he wasn’t, and this is again bucks first date with a man even if it doesn’t end with a second date it should at the very least not end up with him feeling like a screw up on the side of the road

• to the ppl who say that- kindly shut up cos again see the first point but also I wanna point out that somehow the ppl saying this are also the same ones saying that Tommy was justified to be RACIST for a prolonged period of time due to being in the closet yet Buck what? Panicking for a few seconds and being a little awkward? is somehow this giant inexcusable thing

5. The narrative choices with him have been reasonably clear and tbh if they had been made with a woman it would not be up for debate:

• tommy leaves buck on their first date then he comes back and gives buck a chance- we as a fandom have been unanimous in saying for years that Buck’s endgame would be the one that doesn’t leave him cos this pattern has been something we saw over and over with him

• tommy not dressing up- again you can rationalise it but it’s a narrative choice and it’s glaring when contrasted with Eddie suggesting the duo costume

And if we had this scene with Taylor so many ppl would be saying that it’s once again showing that her and Buck’s personalities don’t align

• him being on standby for the wedding and bachelor party- again you can say oh buck invited him last minute or oh he couldn’t taken the day off (which lbr he could’ve he’s not the only firefighter pilot in la) - but again narrative choice

If it was Taylor everyone would’ve been like SEE? Again they’re showing the audience that her work is this looming presence in their relationship

Anyway I’m gonna shut up now cos this is A LOT

I’m so sorry it took me so long to respond tho and sending flowers in apology💐💐💐💐💐💐

Love ya for being so genuine when asking and hope all this didn’t come off too strong and that it was idk helpful?🫶🫶

I realise my response is abt to have toxic bt fans scurry to my inbox like rats to send hate and to that I say go fuck yourselves I’m responding to a question here

[aduck8myshoes]

I know the writers won't give us an endgame wlw sibling, but think about the bridgerton family comedy they could milk out of that! Imagine:

In either a cold open cut-off or a cliffhanger, Cressida impulsively kisses Eloise and runs away, leaving Eloise completely blue screened. Eloise has no idea that lesbibabs exist, bc regency, and she is having lots of feelings she doesn't understand. She needs knowledge which to her means books, but where would one even find such a publication?

Cue Eloise trying to casually ask her two most worldly brothers where to find books about girl kissing. B and C spend a good 20 seconds looking back and forth from her to each other and going on just incredible face journeys. She's like, I just overheard some stuff and was curious this is not about me at all ahahaha, and they all suddenly have very important things to attend to that are not this conversation.

(Read more because this got long lol)

Colin has seen women have sex with each other in brothels, but he is an oblivious mfer that just discovered complex emotions last season, and probably had no idea there could be romantic feelings involved. So of course he goes to his wife about it.

Penelope is like, wtf, where is this coming from?, and Colin manages to not blurt out that it's about Eloise for a whole 10 seconds. Pen, who actually has a modicum of emotional intelligence, has heard her recently reconciled best friend complain for years that she doesn't understand why women want husbands, and is like, oh, some things suddenly make sense. She tells Colin to not worry about it and go to sleep.

Bi-nedict, who does know what a lesbian is, has heard his darling sister complain for years that she doesn't understand why women want husbands, and is like, oh, some things suddenly make sense.

Being the selfless brother he is, he heads over to the nearest artist orgy and asks around for some literature. They're like, oh yeah for sure, we have a zine club! (And then gets dicked down/pegged like he deserves.)

A few days later he gets a discreet delivery of underground pamphlets with names like "A Treatise on Human Sexuality" and "Like Yearns for Like: Observations on Attraction" as well as some he will NOT be giving to Eloise. (Zine club is very educational)

The less salacious pamphlets get awkwardly passed off to Eloise before bed and she spends all night in a montage of reading, recalling memories of Cressida (or possibly just women in general) being attractive, and working her way though her mini identity crisis.

At breakfast Violet sees her be like "Thank you for your... help. It was very... helpful" while not making eye contact with B, and mentally steels herself for whatever nonsense her kids are up to now.

For the next several episodes we watch them stumble upon Eloise as she attempts to get Cressida alone to talk (and then "talk") and have to try to keep anyone from finding out about the gal pals.

(Benedict going to duck around a corner only to see his sister sucking face and ducking right back out: Hey Colin and Penelope why don't we spend this entire ball standing right here blocking the entrance to this side hallway for no reason.

Penelope, who hasn't seen E in like an hour, putting 2 and 2 together: Ah yes, what an excellent idea brother-in-law! The view of everything in the opposite direction of that hallway is most splendid from this exact spot.

Colin, looking around, probably still oblivious: did Eloise go home?)

Anthony and Kate could be dragged into the effort as well at some point when they see something they shouldn't while looking for their own make-out spot.

And then when the drama hits and the relationship is revealed, they all put on their best shocked Pikachu faces while Colin finally gets it and is like, "oh wait is that why she was asking about-" before Pen stomps on his foot.

Violet lets herself give up for a full minute and just bang her head on a table.

[house-of-vandernacht]

To everyone freaking out over NM S2 premiering a wee bit later than expected. The amount of time/effort R&F put into this is colossal. They constantly and consistently pull 60-70 hour weeks. Week after week with no break, upwards of a year and longer, to the point they flirt with burnout like Leo/nore flirts with Annabel. That to me is the exact opposite of lazy. Over the last year, I and others have witnessed this mind-blowing work ethic first hand. Its insane the amount of work they put in. Often eps are well over the minimum panel amount, they don't have to do 10-20 panels more than the minimum, but they do it as they want to tell a good story with each episode ending where it feels natural. The next thing: Nobody is entitled to any creator's time, or gets to dictate how they spend their personal time off. A hiatus is merely an opportunity to create buffer. R&F are under no obligation to use it that way. It is their choice to. It is also a time for them to regroup, recover from fatigue -- as any artist or writer knows headspace is important to the creative process -- attend to the shop, catch up on any admin that needs doing, and a litany of other things that people need to do to go about their daily lives. This break -- because lets call it what it is, if this were a normal 8-6 we'd call it UPTO -- is for them to take time to themselves, same as any other job. If they want to play Star Dew Valley to relax or decompress or ruminate on an idea, who the heck are we to deny them that? They're two human beings, not machines.

Thirdly: Please consider: There is so much more that goes on behind the scenes of a comic of this calibre that we as readers don't see. (Think of an iceberg, how they are so much bigger than the tip that pokes above the ocean's surface.) R&F don't just make it up on the spot. There's script writing, planning, research, editing, more planning, rough storyboarding, more research, tests, and probably a heck of a lot more pre-production stuff than I can even guess at before sketching can even be considered commencing. We don't know their creative process, nor are we entitled to demand an explanation of their process, or that they use their personal time differently. (Personally, I listen to music and walk but what is one person's jam, might not be another's.) Nevermore S2 premiering a little later than expected is not some big drama its being made out to be. Its perfectly normal. I cant count the amount of times I've heard some comic/ book/tv series/movie has been delayed for whatever reason. (I've been waiting seven years for one book I won't mention here, as an example.) I don't know about you, but I know Id much prefer to read something that has been well thought out, with attention to fine detail applied to it than something rushed and shoddy. Give them grace to cook! I know we might be a wee bit disappointed, especially when we're so eager to find out what potential horrors might befall characters we've grown to know and love on the eve of one heck of a tantalising cliff hanger, but I ask that you all show a little patience and, more importantly, understanding.

[sinswithpleasure]

Addressing My Ask Box

Hey guys, Sins here.

I'm sorry if this might seem rude and/or entitled, but I feel that I have to get this off my chest.

First of all, I really appreciate the flood of asks just off today. I like that you readers are actively willing to engage me and reach out in any shape or form, but I have to set some ground rules.

Nearly every ask since my last fic in July has been the same variation of "idol and idol cuddling" and "idol x idol sex", and I'm really getting burnt out on these. Don't get me wrong, I appreciate that you all have put in the time to type all of it out, but I'm really not sure if you want a fic, you're just dumping random things, or...?

I've seen my fair share of "top 5 idols whose pits u wanna lick" to just, pure statements that i can't reply to, such as "i think chaewon has great tits" or "wony can't stop eating gaeul's cunt". Most of the time, I'm actively not sure what to do with this—I'm very lost on your intentions and would prefer more clarity.

I've actually said this privately to a lot of other writers: low effort ask means low effort reply. Any ask I don't understand either gets deleted or answered with one word only. I really don't want to give low effort replies because to me, being a writer is akin to being a customer service representative—my job is to serve up stuff that makes you enjoy yourself, and part of that is giving you good replies to the asks that you put time into to type into my ask box. However, there's really not much I can work on with one liners without context other than "nise" because I really don't know what to do with them, and I do not want to delete asks so readily since you have put effort into them.

I've always found how sapphics send asks to wlw blogs here, as well as on platforms like CuriousCat or Retrospring so wonderful. For example:

kmj saying on live that the other members would be different baseball positions and she would be the cheerleader...three way gang bang for mj in a tiny little skirt please

was a literal ask a friend of mine on twt got about aespa, and it's stuff like this where I can expand on and help you realise a fantasy. Not only that, it's also fun for me because there is context. I need more than sex to build up any piece of a fic for you—idea generation is not as easy as it seems. The example above at least has a setting I can imagine, characters that I can explore, and all in all has space for inspirational expansion.

Tldr—Help me help you. Give me more context, give me something more than the sex acts. This goes for a lot of suggestion-type asks—the more effort you put into an idea to suggest, the more receptive most writers will be.

Thank you.

Sins.

[soppingwetrat]

I've been seeing a lot of people complaining that tmagp isn't independent from tma, as in, you need to have watched tma in order to understand what is going on in tmagp, but i don't really think that's the case. for example:

- when Sam got and emali from "Jon", tma fans understood that this is a ref to Jonathan Sims. non-tma fans don't have that understanding, but they understand that this is clearly weird, as no one with that name works at the OIAR. the effect is the same

- when Gerry and Gertrude appeared, both non-tma fans and tma fans understood that Gerry used to be in the institute as a kid, and that Gertrude is reluctant and untrusting of Sam and Celia. there is no additional context from tma needed to understand that scene

- the character of Celia is suspicious regardless if you've seen tma or not, her weirdness is very well established outside of the fact that she also appears in tma (keen interest in the incidents, waking up in random places, weird questions etc)

- Gwen's last name (Bouchard) is also something that tma fans would recognize immediately, but recently they specifically mentioned the "Cheshire Bouchards", clearly trying to draw attention to her last name. tma knowledge is no longer needed to understand that her name Means Something

- all the other characters from tma that appeared have (so far) been completely different people. they're an alt version of themselves, so knowing them from tma is not required to understand any of their scenes or dialogue

the only thing that you could make a case for is Chester and Norris' voices and connecting them to Jon and Martin, but even that could be easily solved with a quick google search. all u need to know is that they were 2 main characters from tma, whose faith is left ambiguous at the end of the show, and now their vas are voicing Chester and Norris, the 2 ai programs

so far all tma references have only allowed tma fans to catch on that something is sus quicker, but it's clear that the writers put effort in dropping different clues other than just "this character used to appear in tma too!" and I'm sure there'll be even more as the series goes on

if anyone knows something i missed, feel free to point it out, im very interested! but from what we've seen so far, i really don't think a tmagp-only fan would be confused by the direction of the plot, as i feel that things are well established outside of their connections to tma

[linkspooky]

"And we don't have the luxury of thinking of ourselves. We just got to save people. So start by saving me, Itadori!" This actually shows Megumi has somewhat of an agency as a sorcerer. Ater all he vowed to get stronger after Yuji's apparnet death. He doesn't think of giving up being a sorcerer to be a kid. Now, Megumi's rejecting Yuji's help, the very same thing Yuji did to him. Plus, refusing to even try to 'wake up' means the death of other characters (Gojo, Higurum probably more others soon) will be for nothing... because Megumi's being selfish by giving up in the eleventh hour. That's why the fans are all mad at him."

Hello, friend I thought I'd use your post as a jumping off point to continue our discussion. I'm not necessarily trying to argue with you, just further explain my point and why Gege made the story choices that he did.

So one of the reasons I chose Killua as my comparison to Megumi, besides the obvious inspiration Mgumi takes from Killua's arc, is that despite the fact that Killua has many of the same character flaws and setbacks as Megumi he's much more well-received in western fandom spaces.

Killua also has a pretty straightforward arc, he still has character flaws, he idolizes Gon way too much and that makes him incapable of calling out Gon's flaws, or getting Gon to listen to him in his worst moment during the Neferpitou fight where Gon gives up everything to destroy Pitou pointlessly. However, even in those moments where Killua is failing Killua is still portrayed incredibly sympathetically. The audience reaction when Killua is failing is vastly different to when Megumi fails. When Killua is at his lowest point in chapter 241, there's no "get back up loser" it's "awe Killua."

That's because again Killua's arc is so clearly telegraphed. When Killua is at his lowest point, you in the audience understand that he is there and why he can't get up instead of yelling at him in frustration. At his lowest point he's still presented as being selfless towards Gon and chiding himself for not being of use to Gon, he's not giving up because he's too weak to keep going like Megumi is.

Killua on the whole is a lot more likable than Megumi too, but I think this stems from the fact that the narrative of Hunter x Hunter paints him in a better light, he has a mostly positive character arc where he learns to stand on his own two feet and forms a healthy relationship with both Gon and his sister - whereas Megumi has a negative / corruption arc which goes in the opposite direction of Killua's.

However, I would argue because Megumi is painted as more selfish, and allowed to be more unlikable that he is better written in Killua because there's an element of ambiguity that's not there in Killua's arc.

Megumi reaches his lowest point where he can't move similiar to Killua, but instead of spending his last moments thinking about how much he wanted to be of use to Gon, instead he's begging for death and drowning in his own self-pity not even looking up to see Yuji right there in front of him trying to save him.

You're right that he comes off as selfish, and a lot less likable to the audience and rightfully so. I feel like we're supposed to be frustrated at Megumi here for not seeing how much effort everyone is putting into saving him.

However, sometimes characters are unlikable on purpose!

Sometimes character writing and what a characters actions means for their story and themes is more important than whether or not the audience finds that character likable. Sometimes a writer might even have the character make an unpopular choice that the audience will disagree with, in order to make the audience angry and frustrated with them on purpose. After all, you yourself are saying you're worried about all of your other favorite characters getting harmed now that Megumi doesn't want to be saved - that creates tension in the scene. The scene is more complicated now and there's more at risk, because now things aren't as easy as Yuji reaching out and saving Megumi.

Gege is also using a tactic called delayed gratification here. Delayed or deferred gratification is the resistance to the temptation of immediate pleasure in the hope of obtaining a valuable and long-lasting reward in the long term.

Instant gratification would be Yuji's first attempt at reaching out to Megumi working, Megumi reaching out his hand, Sukuna being defeated, Megumi and Yuji hugging and everyone going home happy.

Of course, then the story would be over as well.

By delaying gratification and not giving the audience what they want right away, the effect when Megumi is finally saved, or in my opinion, what should happen when he decides to save himself will be even greater.

As I was trying to illustrate above Megumi's arc is in my opinion better than Killua's, because it doesn't follow a handy dandy roadmap on where Gege is going to go with his character. Things aren't as clear cut and there's an element of ambiguity. Ambiguity in this context meaning what the author wants, Megumi's thoughts and his wants / trauma, and where Megumi's arc is going are not as clear cut.

Gege cited Nasu's writing as a major inspiration on his because they skip explanations and instead let the audience try to explain things and put the pieces together for themselves.

I think when writing gets really good, we reach a point where "What's written is just as important as what's not written." That doesn't really make a lot of sense so let me explain it. Good writing does not spell out everything for the audience, but instead relies on audience inference to fill in the blanks, because then the reader becomes an active participant in writing the story and has to draw their own conlclusions instead of remaining a passive reader.

Megumi never thinks out loud that he didn't want to be a sorcerer and that he wanted to be a kid like Killua did, but there are things in story that implies Megumi thinks that way. The way he thinks he can never live up to Gojo's level or reach Gojo's heights. The way he doesn't even seem to want to. The way that personal connections like his connection to Yuji and Tsumiki is way more important to him then his duty as a sorcerer.

The way that Megumi doesn't ever seem to believe that he's as capable as being strong of as Gojo, and doesn't even seem to want to try either. This passive resistance Megumi shows to becoming what Gojo wants him to be, is basically the only way he ever grasps for agency.

Megumi is kind of like a really lazy smart kid, who never turns in his homework but manages to pass classes anyway because he's good at taking tests. He's so naturally talented that unlike characters like Yuji who are newcomers who have to give it their all - Megumi can just coast on being born with an extremely strong technique and not having to put the effort in for most of the story.

Megumi's choice to coast though is like I said - passive resistance. Megumi never says out loud that he doesn't want to be a sorcerer, but we can analyze from his behavior, his constant habit of half-assing things that maybe there's a reason he can't put his all into being a sorcerer. I mean someone on reddit put this entire collage together on how unmotivated Megumi is to put the work in to develop his talents.

The question is why in the manga where everyone is trying to be stronger, does Megumi keep half-assing things and not put his full effort in, why doesn't he seem to enjoy getting stronger the way say, Maki, and Yuji does. The answer isn't directly given to us, but all the way back in the third chapter Yaga says that sorcerers can't use other people as their reasons for being a sorcerer. It's an incredibly deadly and terrible job and if you don't know your own reason for why you want to be a sorcerer, you won't perform as well and you'll begin to doubt yourself.

Yet, here's Megumi doing that exact same thing that Yaga warned about. Megumi didn't become a sorcerer because he wanted to or for his own reasons. He was groomed into being a sorcerer by Gojo, his options were 1) starve, 2) go to the zen'in and be a sorcerer anyway and your sister will most likely be abused 3) be a sorcerer under Gojo but Gojo will leave your sister alone.

Megumi convinced himself that he wanted to become a sorcerer for Tsumiki's sake, that he was sacrificing himself so Tsumiki could at least continue to live a normal life but he's not even able to protect Tsumiki. When she becomes cursed, he's robbed of his entire reason for becoming a sorcerer under Gojo in the first place, but he has to just keep going on the vain hope that Tsumiki will wake up one day. Perhaps that's the reason that Megumi immediately grew so close to Yuji too, because Yuji reminded him of Tsumiki, but while he failed to save Tsumiki Yuji was still around and someone he could actively want to save.

Megumi doesn't want to be a sorcerer, but he has to be one and so in order to convince himself that he wants to do his job he tells himself he's doing it for the sake of Yuji, or Tsumiki. If he thinks that his sacrifice is somehow helping the people he loves either directly or indirectly then he can keep going.

That small amount of selfishness is the only agency he's able to reclaim for himself, that he's not sacrificing himself for the greater good or trying to save everyone like Yuji is, he's only trying to save a small group of people so he doesn't have to exert himself too much.

However, even that is basically just lipservice to being selfish, because in the end Megumi doesn't really benefit from his own actions. He does everything he does for other people. Even if it's for his own selfish reasons - to give him a motivation to keep going in this really shitty job of being a sorcerer he was forced into, even if he's using other people as an excuse to keep doing his job he's still not really a selfish person. He's not allowed to be selfish because he's not allowed to think for himself or make decisions for himself b/c he's been so thoroughly undermined by Gojo's grooming of him.

This is the paradox that is Megumi Fushiguro. He is presented to us as a very selfish character, especially in contrast to the all-loving hero Yuji, he's much more childish, prone to angst and failure and yet Megumi isn't really that selfish. Because true selfishness requires agency and the decision to decide for one's self and Megumi doesn't have that.

Sometimes, characters will make selfish and unlikable decisions in order to serve a greater story purpose even if the audience doesn't approve of them.

Megumi's character is better written than say Killua's, or even other characters in Jujutsu Kaisen because as a complex abuse victim he struggles internally with his issues, and growing past them instead of immediately getting back up on his feet to do the right thing. It's really easy to sympathize with Killua not wanting to be a murderer, because that's easy to understand. When Killua goes he wants to make friends not be an assassin the audience is immediately on his side. When Megumi doesn't want to be a sorcerer, a job that everyone else in the manga including characters like Yuji and Maki are fine with being and don't question whether or not they want to be sorcerers or get stronger then he looks selfish and weak-willed in comparison.

Megumi's internal struggles to form his own identity and grasp at agency are probably the most complex and best written character work because it's not immediately gratifying. Megumi's arc is not a straightforward arc, things have to get worse for him before they get better.

It's like in season 3 of avatar with Zuko. Zuko looked ready to change sides with team avatar at the end of season 2, but he regresses and sides with Azula instead when he thinks he's getting everything he wanted on a silver plate. It might seem more frustrating to not get what the audience wants, Zuko joining team avatar right away, but by delaying that immediate gratification the payoff for when Zuko does join team avatar is greater. Sometimes it's better to be less straightforward, because then characters feel like people with internal struggles and not pieces you are moving down a pre-determined path.

Let me compare Megumi to a character in story who's arc is pretty universally beloved, but I will argue is less complex than his. You could say for Megumi, well Maki's sister died and not only did she get over it she used that death to climb to even greater heights and she's now one of the most powerful characters in the manga.

This seems to be what readers want for Megumi, for him to get over Tsumiki's death and then live up to the potential that he's been foreshadowed to have. If the audience had their way, the same way that Maki was destined to become the next Toji, Megumi would step up right away after Tsumiki's death, become the next Gojo and become as powerful as Maki.

However, here's my question do we as readers really feel Maki's mourning for Mai? I mean if you were a fan of Mai you probably feel sad at her death because she was a character that you liked, but does the narrative ever take the space to have Maki struggle to come to terms with the loss of Mai?

No, because Maki pretty much immediately gets a power up afterwards. We don't really feel Maki's loss for Mai, because we get that immediate gratifaction. Maki never lays on the ground and wallows, she never gives up, in fact we get some pretty immediate catharsis too because Maki goes on to murder all of Mai's killers.

Mai's death doesn't seem like the tragic event that it is, because it's not played as a tragedy, but as Maki coming into her own power. There's nothing wrong with this I suppose, but it's less emotionally complex because we take no time for Maki to internally deal with the loss of Mai, to feel that loss. Tsumiki is way less of a character than Mai, but her death is an unequivocal tragedy because nothing good comes out of it, Megumi doesn't get to avenge Tsumiki's death, it's only a tragedy, it's only suffering.

If you're satisfied with Maki's arc that's fine, but like I said it's a lot like Killua's in that it's very clearly signposted where we are going. It's narratively convenient. Like, when Maki is at her lowest point, a sumo guy shows up out of nowhere to give the exact words to encourage her and lead her character to the conclusions she's supposed to draw.

Megumi and Maki are both victims of abuse but Megumi's allowed to be a lot more unlikable, he's allowed to stumble, to do things the audience wouldn't approve of. He's not shown to be more virtuous than his abusers, to rise up and get revenge against his abusers, he doesn't immediately free himself through the power of his hard work and determination alone.

In fact compared to Maki Megumi's kind of just a loser.

Yet, sometimes the road less traveled is the better one. Megumi doesn't follow the paint by numbers abused child overcomes their abuser and finds their own strength / freedom / agency arc and because of that he doesn't come off as a character with a character arc, but rather a child struggling to grow up properly in a world where he has no positive adult figures to help grow and nurture him. Just like a child Megumi has no idea how to be an adult, and unlike Maki there's no path to adulthood clearly laid out for him.

In fact when he does try to take steps or reclaim his agency for himself, someone usually appears either Gojo or Sukuna to rob him away of his agency and further sabotage him. Megumi's arc has a pretty clear pattern of one step forward, two steps back. Megumi bonds with Yuji, Yuji dies. Megumi promises to get stronger for Yuji after his death, Yujhi turns out to be alive and also he finds out that his decision to save Yuji after Yuji ate the finger led to fingers all around the world awakening more people dying. Megumi decides to keep this fact from Yuji to spare his feelings creating a wall between him and Yuji.

Megumi creates his domain for the first time, but then in Shibuya he's put into a corner by his father stabbing him and takes two steps back using Mahoraga as a suicide move again another curse user. When he does that too, he thinks about how he'll never be as strong as Gojo wants to be five seconds before calling Mahoraga.

Megumi comes out of the culling games with a plan to save Tsumiki, manages to defeat one sorcerer using his domain expansion and pushing his limits again like he did in the death painting arc, only for Tsumiki to turn out to be possessed and Sukuna to take his body.

One step forward, two steps back.

However, the complexity from Megumi's character comes from this fact, the fact he doesn't just walk down the path the audience wants him to, he doesn't simply do what Gojo laid out for him to make him the next Satoru Gojo. He doesn't find meaning or reason in being a sorcerer, he doesn't get stronger as a sorcerer because he doesn't want to be there.

There's no convenience there, no one pops up with an inspirational speech the moment that Megumi needs it to keep going instead it's the opposite the narrative keeps robbing Megumi of his agency agian and again, pulling the rug out from under him when it looks like he's gotten the strength to stand out on his own two feet and Megumi has to keep going. The narrative rewards Maki and gives her what she wants her arc is basically over, whereas it punishes and denies Megumi at every turn. Maki's arc isn't bad but it is basically already over and it's a lot simpler and more straightforward than Megumi's.

Megumi is also called on to do a lot more than Maki is, because Megumi's issues can't really be solved with a power-up. This quote "let fate toy with you before you die like a fool" is probably one of the most important quotes when speaking about Megumi, because Megumi really is the fool in the fool's journey.

The Fool's Journey is a metaphor for the journey through life. Each major arcana card stands for a stage on that journey - an experience that a person must incorporate to realize his wholeness. These 22 descriptions are based on the keywords for each major arcana card. The keywords are highlighted in the text. A card's number is in parentheses.

The Fool's Journey is different from the Hero's Journey, because the Hero's Journey is the standard narrative for how a character rises up to become a hero, whereas the fool's journey is how a person goes from being an innocent but empty child a fool, a zero, into being a whole, and well rounded person. In Tarot the Fool (0) is basically a newborn, with no identity, no opinions, an empty vessel.

We begin with the Fool (0), a card of beginnings. The Fool stands for each of us as we begin our journey of life. He is a fool because only a simple soul has the innocent faith to undertake such a journey with all its hazards and pain. At the start of his trip, the Fool is a newborn - fresh, open and spontaneous. The figure on Card 0 has his arms flung wide, and his head held high. He is ready to embrace whatever comes his way, but he is also oblivious to the cliff edge he is about to cross. The Fool is unaware of the hardships he will face as he ventures out to learn the lessons of the world. The Fool stands somewhat outside the rest of the major arcana. Zero is an unusual number. It rests in the exact middle of the number system - poised between the positive and negative. At birth, the Fool is set in the middle of his own individual universe. He is strangely empty (as is zero), but imbued with a desire to go forth and learn. This undertaking would seem to be folly, but is it?

Megumi is the most underdeveloped and childish character in the series. He is as people have constantly referred to him, immature and selfish. He doesn't see things for the greater good, because he's ego-centric like a child and can only see what's around him.

What Megumi needs to do is to become a whole person, to develop an entire identity on his own, that's not dependent on Yuji or Tsumiki. He needs to be able to stand on his own two feet.

Now, how does Megumi go about doing that while he's also asked to be a sorcerer, people who aren't allowed to be selfish, who are asked to be identity-less cogs who exorcise curses for the greater good.

Megumi's arc is a lot harder, and a lot more difficult because it's not resolved by him getting a power up. That wouldn't fix his central issue because the problem isn't that Megumi's weak, it's that he's weak willed and doesn't think for himself.

Megumi can't become the next Gojo or the next Toji, he has to become himself.

Yet, Megumi and the audience at large don't know exactly what that means yet. That ambiguity, will Megumi be able to save himself, how exactly will Megumi save himself if he's not taking the hands that Yuji offers him. How exactly will he find the will to live with Tsumiki gone, and with no reason besides himself to keep on moving? It's that ambiguity that makes his arc more compelling.

Also, if Megumi were to resolve his arc by just getting a power up that kind of just means that Gojo was right all along. Like I hate to borrow from Homestuck of all things but this quote heavily applies to megumi and the way he was raised by Gojo.

So in the context the character Dave was raised from childhood by his brother to go through some super ultra ninja training, where he was basically forced to spare with his brother with swords every single day and put through the ringer with training, and that training didn't make him stronger it just made him afraid to fight. Dave can't see himself as strong or as a hero, because he's number one constantly feeling inferior to his brother who has like destroyed his entire childhood and number two because he didn't have a childhood he has no solid basis to build his sense fo self around. There's no strong foundation for Dave because he was robbed of the childhood years that help us form our identity. He never formed an identity, the only thing he could do was try to passively resist what his brother wanted him to be. That's not really forming an identity though, that's saying "I don't want to be that." Dave in his arc is continually reluctant to be a hero, and to go through the steps of a straightforward hbero's journey, because he doesn't want to be like a hero, because his brother was a cool brave heroic hero and his brother abused him.

Dave's character shines in his reluctancy to be a hero, because if he just sucked up all of that abuse and then decided to be a hero anyway then wouldn't that just prove that his brother was right? That his brother was right to put him through all that abuse because look it made him stronger in the end.

Gojo took Megumi's childhood away from him with the intention of turning him into a stronger sorcerer, but it had the opposite effect. It didn't make him stronger or into another Gojo Satoru, it made him not want to become a sorcerer, it made him weak willed and made him cowardly and made him want to run away from danger and made him unable to believe himself to be strong enough to win.

Even Maki's arc doesn't ever suggest her abusers were right. If anything it's the opposite, Maki wanted to be a sorcerer, she would have willingly become one but her family sabotaged her at every chance and denied her the opportunity to become one - only to show that Maki was right all along that she had more potential than anyone else in the family and her family should have given her that chance. That if from the beginning the Zen'in accepted and raised Maki then the tragedy at the end of her arc could have been averted. The child who is not embraced by the village will burn it down to feel it's warmth... etc, etc.

So Maki's arc may be way more straightforward than Megumi's, but her arc doesn't suggest that her abusers were right to put her through what they did. However, Megumi just being told to suck up all his abuse and get stronger would be doing just that, because it would mean Gojo was right all along to do what he did, Gojo stealing Megumi's childhood would be right because look how much stronger it makes him.

However, Gojo's actions didn't make Megumi stronger, it made him the opposite, it made him never want to fight, or see blood, or be near danger. It made him passive and cowardly and selfish rather than active and brave and selfless.

Sometimes a writer may have a character make an unpopular choice in service of the story and themes.

You're not wrong friend for pointing out that Megumi comes off like a hypocrite for giving up, when he called Yuji selfish for giving up on his own before the beginning of the culling games. If anything it's worse, because Megumi has chosen to give up at the moment when everyone is basically making a group effort and risking their lives to help him instead of going for the more tactically solid strategy of killing Megumi alongsde Sukuna. Megumi is not respecting the feelings of those who wish to save him, nor is he thinking about how much the others are risking their lives just for the chance to save him.

However, this intentional parallel of Megumi being able to reach Yuji at his lowest point when he wants to give up, and Yuji not being able to reach Megumi illustrates the difference between their characters.

Yuji became a sorcerer by choice. His ideal of wanting to help people is something he chose for himself, and apparently according to Sukuna he believes down to his very bones which is why it's something he'll never waver from. Yuji is the outsider who became a sorcerer by choice, he wants to be in this world - even if it wasn't a total choice like he chose to eat the finger but he didn't think of the ramifications and afterwards his choice was like "die now, or die after eating 21 more fingers." Yuji still views it as his choice though.

Megumi on the other hand never had a choice. All of his justifications and reasons and "I selfishly choose who to save" those are all lipservice, ex posto factor justifications, lies Megumi tells himself to cope with the fact that this life as a sorcerer was forced upon him.

That's why Megumi doesn't have the unshakable determination to get back up at his lowest point that Yuji had, because Yuji at the end of the day is kind of like the embodiment of the ideal sorcerer the way Nanami is, he's decided to give his life to be a sorcerer and live up to what sorcerers should be so he can make the world a slightly better place and then pass the torch to the next sorcerer.

Yuji chose that for himself, and for better or worse he keeps making that choice over and over again. He's resolved to live and die as an ideal sorcerer, and carry on the burden that Nanami left for him.

If Yuji's arc is to figure out what kind of sorcerer he wants to be and then be that person to the very end, then Megumi's arc is the opposite. It's to find out who he is outside of being a sorcerer, because being a sorcerer wasn't his choice it was something that was imposed upon him. That's what Killua's arc is too, Killua's arc is not him learning to live up to his full potential as an assassin because that would once again validate his family's abuse of him. No Killua can't grow up into what his family wants him to be, he has to figure out for himself what he wants, and try to grow into that person.

However, Megumi has that added layer of difficulty in that Megumi doesn't get to use "I want to grow strong enough to protect my sister" as an answer the way Killua did. Megumi unlike Killua gets the crutch ripped out from underneath him. He's not allowed to live for Tsumiki anymore, because Tsumiki is gone.

Now Megumi has to find a way to keep living for himself without Tsumiki, and show that life is worth living even if you lose your loved ones or he sinks. Which as I said again is harder and more complex o Megumi because he doesn't get the simple answer "I want to grow strong to protect my sister" he's called to do more than that and stand entirely on his own.

Finally, Megumi not immediately taking Yuji's hand when it's offered to him adds complexity to the story in another way.

Again we are asking the question, is it possible to save someone who does not want to be saved? It's repeating the same conflict in the past between Gojo and Geto now with Yuji and Megumi. Can Yuji really do anything to save Megumi if Megumi himself has decided to give up and that he's beyond salvation. If Megumi does not want to be saved then what does Yuji's attemps to reach out his hand amount to?

One last thing is I think Yuji's attempts to save Megumi were always going to fail, because as it's already been stated above by Gojo you can't save those who aren't willing to be saved.

In broader story terms though, if Megumi's arc is about reclaiming his own agency then how is getting saved by Yuji a proper end to this arc? Megumi being rescued like a passive damsel is not giving his character any agency, if anything it's robbing him of agency because it's reducing him to a victim to be saved by Yuji.

This is why I bring up delayed gratification, because if Megumi was saved here then his arc would be over and it would also be brought to a pretty unsatisfying conclusion. There would be no real moment where he learned to stand up for himself, he didn't find the meaning in living past the death of his loved ones for himself someone.

Not only is Megumi not letting Yuji save him, but story-wise it's kind of impossible for Yuji to save him because what Megumi needs narratively to complete his arc isn't to be saved.

What Megumi needs is to save himself. So no matter what Yuji did, no matter what heroic speech he gave, no matter what lengtsh Yuji went to to free Megumi's soul for Sukuna it would not have worked anyway, because that's not what Megumi needs.

Megumi needs to become himself. Megumi needs to save himself.

The fact that Megumi doesn't want to be saved, that he doesn't want to keep living, is the struggle he's going to have to overcome in order to achieve these things in the end.

And it will be much more gratifying when he does save himself, because the manga didn't go the easy route and just have Yuji save Megumi.