#There are so many more examples than these three

[retiredteabag]

learning together

• parental Gojo looks after an ill-attached Megumi with abandonment issues

〰・♡・〰〰・♡・〰〰・♡・〰〰・♡・〰〰・♡・〰

Megumi is a secretive boy. It seemed to Satoru that he hid everything. If Satoru wanted to know anything he would have to go through Tsumiki, the boys sister, to learn even the smallest of details. And even then, she rarely had anything but a smile to share.

For example, Satoru had been looking after the two little kids for months before he learned that the two of them only had one worn pair of shoes each, that and only a few articles of clothes.

"Well, why didn't you say anything?" He had scolded after seeing the blisters on Tsumiki's feet one night while watching Blues Clues.

He had realized that he would have to become all the more observant to see if there was a need in this household because he knew hell would have to freeze over for those two little kids to admit they could use help. Especially the young boy, Megumi.

It took three incidents before Satoru needed to have an intervention with the boy.

And oddly enough, they always occurred when it was just the two of them, alone.

Megumi always insisted on walking home from school. His sister was all too happy to take part in after-school activities, but the little introvert he was, he just wanted alone time.

This day had been no different from the others, he had been walking home, considering what he would have for dinner, when he saw it.

He would never admit, too ashamed of being called a liar, but the boy often saw things, strange, dark things, things nobody else saw out of the corner of his eye.

And there, right before him was something, watching him in the bushes, it was one of them, he knew it had to be.

Tsumiki always told him to be careful walking home. The woods of this area housed many of the homeless, and it tended to be no place for a child.

But here he was. Frozen still, the shadowy monster seemed to come his way, unspeaking, but threatening non the less.

Megumi threw his backpack to the front of his body, maintaining eye contact while frantically searching for something to defend himself.

There was nothing the boy hated more than being helpless.

His heart pounded in his ears, his fingertips burned with something he didn't recognize. But stronger than anything else, he was afraid. He wanted his dad. He wanted to hide.

He pulled out a pair of scissors, the same he used in art class, his arms trembled. He couldn't bring himself to make the first move so he was forced to wait until the curse came at him. He wanted to cry.

It did not take long.

He didn't even feel the ache in his bloody knees until the burning in his throat superseded all else.

He had rushed back to that apartment the white-haired man had arranged for them without a break in his step. And when the realization occurred to him of what had just happened, be felt the tearful nausea again.

There was no blood on his hands, but they shook with the fury it took to bring that monster to its knees. He had fallen to the ground with the beast, but the plunge of his scissors had gotten rid of it. Even if he was safe, however, he would never believe it.

It took a while to find the key he kept in his backpack. Fumbling fingers kept his keychain escaping his grasp. He was so encompassed by the afternoon's events that he did not even notice the tall man (boy) in the living area.

Satoru came by at least once a week, and recently even more than that. He tried to help the kids with their homework, stock their cabinets with snacks, and ensure their health. Megumi hadn't been expecting him that day.

"Oh! Megs! I've been waiting for you all day, you know, you're never home so late, don't tell me you've made a frien-" Satoru spun around so fast, the air around him seemed to make a noise with the motion. "What have you been doing?"

Put on the defense, Megumi shrunk back, "None of your business." Even after saying it, he worried he would get in trouble, worried he would be punished for talking back, despite Gojo's response to his snark always having been a chuckle, he knew adults hated disrespect.

The taller boy did not laugh now, "Oh, it's not? Megs you make me sad, what's going on? You seem tense."

The man was coming around through the common room and Megumi shuffled his bag to hide his bloodied knees. He didn't understand much of the man but he knew his eyes could also see things others could not.

"What's happened there?" Satoru pointed at the boys backpack.

"Nothing." Megumi murmured, trotting past Satoru and attempting to hide in his room. (His very own, though he often slept with his sister when he felt afraid)

"Ah, ah, ah, you shouldn't go fumbling around when you're hurt, Megumi. Come back here."

No, no, no, Megumi continued on, just about making it to his room when Satoru appeared before him. Megumi didn't know why he wanted to hide so badly, even so, he was frustrated to see the smile on the man's face. He was bent in a funny angle to look at the boy.

The boy would never understand how Gojo moved so quickly.

"Oh my, that looks bad." He made a bleh face, "How did you make it home on those knees, Megs? Hmm... I should give you a pager, shouldn't I, I don't want you running into trouble again without me. That must have been scary. Ugh, no fun at all.” All in one motion, Satoru grabbed Megumi and swung him around his hip.

"Stop! No!-" The boy flushed in embarrassment, but unbeknownst to him, Satoru could see the cursed energy encircling the boy.

And even if he didn’t say anything, he knew that something would have to change so this wouldn’t happen again.

After that day, Megumi did not walk home alone.

---

Satoru had been busy as of late, what felt like mission after mission, he was embarrassed to say, with how busy he was, he sometimes forgot he had two kids in his care.

He felt guilty, but the kids never asked for anything anyway. If they wanted something, he would get it for them. No questions asked.

It had been late one night, coming back after a mission that he saw his calendar and noticed with a grunt what week it was.

The middle schoolers were at camp according to his scribbles. Tsumiki was at camp and Megumi was all alone.

Why had he written this down? Could it be because he had insisted that Tsumiki go, promising to look after her little brother?

Satoru sighs. Did Megumi need anything? He was just a boy... but self-reliant as a man. He had been sure the little guy would be fine, even so, he couldn't deny the tug on his conscience.

Satoru almost went to bed that night before he decided he needed to check on the boy. God knows he wouldn't call - even if it was an emergency.

The sight he saw when he opened the door would stick with him for years. Mainly because he found it amusing.

Little Megumi, face flushed, wobbling on his feet, a blanket around his shoulders, and a kitchen knife in his hand.

"What are you doing!" Satoru yelled from the front door.

"Wha-" cough "-at are YOU doing!" cough "You're not here tonight!"

"Yes, I am! Put the knife down, it's just me, Megs." Satoru folded at his hips and leaned in close to the boy. It was strange, Megumi never let him get so close. "What's going on, were you scared because your sister wasn't here?"

Satoru reached out and pulled the knife out of the boys grasp. His little hands were hot, and when Megumi sniffled, he sounded congested.

"'M not scared..." It takes a staggering moment for the boys' hands to drop. Noticing he had nothing to hold.

"You sick?" And for the first time, the boy doesn't flinch when Satoru reaches a hand to his forehead.

He is, however, quickly swatted away. "No. Why are you-" cough "-here."

Satoru felt bad now, Tsumiki had probably left three days ago, how long had Megumi been sick? And why did the stubborn kid never just ask for help?

Prefacing his care he began, "I'm here because I want to be." Satoru finally lets out. Once again, he scoops the boy up, blanket and all, and is careful to set the knife back in the kitchen before using his now free hand to swaddle the boy. "Have you been sleeping on the couch?"

"Mhmm."

"Alright. No more of that. I'll be here so you just go to sleep."

Megumi didn't have anything to say. He missed his sister. He wanted to sleep in her bed. He wanted to feel safe. He wanted to feel better.

"I have a doctor friend, okay? You'll feel spick and span in no time." Satoru ruffled the boys hair.

"No, I don't wanna see them..."

Satoru furrowed his brows, "Ya know kid, you're not very convincing, I can tell you're definitely running a fever. All sweaty… like a big ball of sweat..."

"Jus' go away." Megumi said as he nuzzled his face deeper into Satorus's shirt, "I don't wanna see them."

"Sorry Megs, I'm perfect in may ways, but healing is not one of my many talents. She's really good, you'll feel better."

"I don't need help. I don't want you-"

"Alright, Megs. Go to bed." Satoru manhandles the boy like a doll, tucking him in so aggressively tight, he would have to put in real work to come free.

The next morning, Megumi had never felt so indebted to someone, and it made him sick, despite having just been healed

---

It was only a year later that Megumi called on his cursed technique.

Deep down, he had always known there was something different about him, something pulling at the surface of his being, but now, looking into the dog manifestation before him, he could finally feel purpose.

"Nice job Megs, that little dog is one of your Shikigami." Satoru grinned down at the boy sitting on the carpet of the family room.

The puppy rolled around on the floor before Megumi, and the boy's heart raced.

"She's mine?" He reached out and the puppy, sure it was a dream, she toppled over herself to nose at his hand.

"Sure is!" Satoru smiled. "And there's many more to come. Haven't you listened to me at all, Megumi? You're gonna be super strong."

But the boy wasn't listening. Blood was whooshing in his ears, saliva was pooling in his mouth, his heart was beginning to thump, but before him was a little friend. He couldn't let her go.

"Alright. You'll probably start to feel light-headed so let go of that energy. You'll be able to call her back again soon.”

Megumi was feeling woozy, that’s for sure, but there was no way he would leave her.

The puppy flickered like a mirage. Blinking slightly, she sat up, wobbling toward Megumi.

He wanted to hold her in his arms but a rush of bile was forming in his throat. His head pounded.

The puppy licked at his hand.

uh oh...

"Stop that Megumi." Satoru placed a hand on his shoulder. "Let go. She's taking too much."

Megumi's throat clenched and he swallowed thickly. Holding onto his new friend tightly.

"Stop, Megumi! Enough!" Satoru grabbed the boy by the shoulder.

The puppy faded from the boy's grasp. Megumi lurched forward, barely catching himself, and puked all over the carpet.

Satoru's hand faltered, but just a moment thereafter, he began to pat the boy comfortingly. "It's okay." He spoke gently, "That’s alright."

The boy's shoulders shook, not with tears, but with the adrenaline rush that comes with the throwing up/fight-or-flight response. He was mumbling, a hand covered his mouth.

"'m sorry. Sorry." He trembled.

Satoru sighed, unsure of how to console the boy. “Hey, 's alright. She was siphoning off your energy too quickly. You'll learn to manage it." Satoru patted the boys back but he was stumbling to his feet now.

"Carpet...sorry about the carpet." He was saying.

Satoru jumped to stand, "What? No, I don't care! It's okay Megumi. You go sit down, I can clean up."

The boy looked angry. "No. I'm fine."

He always seemed to say that.

"Seriously, I don't care about the carpet, just go take a second to calm down, that was probably a lot."

"I don't want a second!” Megumi spun, elbow covering his mouth, uncalled-for anger in his eye. "I don't need help. Just go! I can do it on my own."

There was a surge of annoyance in Satoru before he realized the boy was probably just embarrassed.

Shoko had long since told him about attachment issues and the lack of trust to expect from the boy. He just wished he could get Megumi to let his guard down.

"Megumi." He called firmly. "Stop that. I'm not upset with you, and I don't want anything in return. What I do want is for you to take some deep breaths and drink some water. You're over-exerting yourself."

"Ergh!" Megumi grunted angrily, tears in his eyes, and fled from the room.

When Satoru found the boy again. He was hiding in the coat closet. His face in his hands.

Satoru had to remind himself that the boy was hardly six, and clearly had trouble regulating his emotions. He wanted to have a real discussion with the boy, but he couldn’t do that if he wasn’t comfortable.

Gojo leaned down, slid between the coats in the closet and closed the door.

“W-what are you doing.” Megumi scooted back on the narrow floor.

Satoru sighed, “I want you to talk to me, Megs, can you do that?”

In the dark, it was hard for Megumi to see, but his benefactor could make the boy out perfectly. “What…”

Satoru sighed, considered how to say it, “I know there’s a lot of pressure on you, and I know that doesn’t feel good. But don’t go forcing yourself, okay? Take things with stride, accept help, I don’t want anything from you, Megs, and you don’t owe me anything either.”

Megumi rolled his feet around, tapping his shoes together, “I know you don’t believe me yet, but I’m not gonna leave. Your stuck with me for a while, so let’s try to get along, alright?”

The closet was silent. Satoru felt stupid, his words too plain, his mind scattered.

“Gojo…” the boy stretched his ankles out. “It gets cold at night... I wanna change the therma-thermostat.”

It took all but a second for Satoru to grab hold of the metaphorical raft Megumi was giving him. “What? All this time?!! That’s unacceptable! That’s why you should tell me these things, this is your home Megumi, touch the thermostat all you want!” Satoru pouted, stood, and stretched.

He bent down once more after cracking the door open, the bright light shining into the little boy's eyes.

“Okay, what else should I know?” Satoru reached out to pull the boy to his feet,

And for the first time, Megumi took it.

〰・♡・〰〰・♡・〰〰・♡・〰〰・♡・〰〰・♡・〰

This is just a little drabble, I feel like this is some of my worst writing because sadly I have several more ideas about Satoru parenting Megumi

[eternal-echoes]

“Your child says she's trans. Now what? Many parents are frightened that if they don't affirm the child's declared gender identity, they could lose their child. In fact, some trans activists openly discuss how they train family court judges to view parental hesitation as a form a "medical neglect."(2) As a result, some parents can lose custody of their children if they don't consent to hormones and surgery.(3) Therefore, what should you do if your child claims to be trans? If you don't affirm her proclaimed gender identity, are you rejecting her?

First off, here's what not to do: Don't freak out, be dismissive, tell her it's just a phase, try to win a debate, convince her she's immature, or remind her that the frontal lobe of her brain isn't fully developed. Upon reading this, some parents might think, "Okay, I already managed to do all of that during our first conversation, and now she's locked in her room with her earphones on, not answering the door, and probably staring at her cellphone screen again. Any suggestions for damage control?"

When the dust settles, approach her gently and say, "I want to apologize. I'm sorry I didn't handle that very well. I honestly wasn't sure what to think or what to say. Do you mind if I could try to listen again?" Although teenagers often have a short attention span when listening to their parents, they have a surprisingly long one when parents offer a sincere apology. Nonetheless, if she spouts off a snarky reply, give her a pass this time. Let her air her grievances.

Should she be willing to reengage in a conversation, here are ten tips for your initial discussions:

One: Express gratitude that she has shared this information with you. Odds are, these feelings have been brewing in her mind for quite some time, but she was afraid to talk to you about them. She might have privately navigated through stages of initial awareness about her gender dysphoria, followed by waves or confusion, shame, exploration, self-rejection, resignation, and acceptance. For her to confide in you more deeply about where she's at in this process, she'll need to feel safe.

Two: Express reverent curiosity. By the time she talks to you about this, she has probably spent countless hours learning about the subject online and discussing it with others. If you don't understand concepts or terms she uses, invite her to explain what she means by them. If some of them strike you as absurd, unscientific, or theologically unsound, now is not the time to debate. Listen and learn what she's thinking. If you show her that you're willing to listen to her, in due time she'll value what you have to say in return. If she's open to sharing with you some of the sources where she's learned about the topic of gender, take the time to explore what they are saying, so you can better understand what she's thinking. In time, as she sees that you're willing to learn more about what matters to her, she may be open to reviewing resources you could share with her, that charitably call into question some of the ideologies she may have internalized.

Three: Be empathetic. Don't try to disprove her feelings. Rather, find places where you agree and might be able to affirm her ache or discontent. You could say, "I can see why you would feel constrained by the way the world expects people to fit into stereotypes. That makes sense." Although you might not agree on what it means for her live as her "authentic self," you can affirm her desire to live authentically. You could also affirm that this must be difficult to experience and acknowledge that you realize she didn't choose to feel this way. It's possible to validate her feelings without validating her reasoning, beliefs, and ideology. You could add, "I can see this has been very hard on you. I hear what you're saying, and I want to help. Thank you for trusting me with this."

Four: Rather than interrogating her, ask thoughtful questions. For example, "Can you tell me more about this? I want to understand." "What can I do for you?" "What has it been like to tell me about this? It must have taken courage." As your conversations deepen with time, you might be able to gradually map out the history of conflicts she has felt with her sexual identity. For example, "When did you start feeling this way?" "What was happening in your life at that time?" "When does the discomfort feel most intense?" For some individuals, gender dysphoria is like a white noise always playing in the background of their lives. For others, it fluctuates in intensity, and certain things such as formal attire and events (where individuals are expected to dress in a strictly masculine or feminine way) could trigger dysphoria. Another female recalled, "I felt the most dysphoric in my teenage years just in my bedroom.”(4) As you learn more about her experiences, you can discover ways to avoid triggering some of the distress.

Five: Don't debate her memories, even if they seem embellished. Parents of gender dysphoric teens often note that their child often reinterprets their childhood history through a transgender lens. Rather than trying to disprove her recollection, listen to her perception.

Six: Be humble. If she points out some of your flaws and the hurts that you have caused, own what you can without blame-shifting. Seek forgiveness where it is needed. Often, parents worry that if they admit blame, they empower their children to hold things against them. The opposite is true. When children witness authentic vulnerability, they learn from example that ownership of one's shortcomings is a trait to be emulated.

Seven: Remind her that she is loved. Reaffirm that you will never leave her, no matter what. Explain that God loves her unconditionally as well. Perhaps you could take this moment to also apologize on behalf of the Church if she has ever been alienated by members of her faith community. Reassure her that God loves her, that He desires a personal relationship with her, and that the Church is her home. Assure her of your prayers and encourage her to have a genuine prayer life as well.

Eight: Listen for deeper motives. Drs. Yarhouse and Sadusky write:

What motivates their gender atypical behavior varies. Teens may engage in atypical expression to manage gender dysphoria, reduce anxiety about body image, express a sense of "true self," experience sexual arousal, seek entertainment, or respond to boredom. Moreover, some teens do appear to be in a search for identity and community.(5)

Each person's motivation is their own. But by listening well, you can gradually discover that there are often motives that run much deeper than simply the profession, "I'm trans." What might appear on the surface to be a feeling of inadequacy could have a layer of shame beneath it, and self-hatred at the core. Insofar as these or other deeper factors surface, try to help them distinguish how they feel from who they are. Your unconditional love will help her to explore difficult emotions such as resentment, anger, hurt, and self-loathing, so that the deeper unmet needs can be addressed with healthy strategies.

Nine: Don't pull away from your child. The topic of gender can cause so much relational friction that some parents opt for a "flight" response, hoping the difficulty will spontaneously resolve if they ignore it long enough. One young woman recalled that as she was wrestling with the idea of gender, she felt as if she were being pushed in a "confused and desperate head space" by her parent's isolated attitude toward her. Speaking of her mother, she wished that she "would have shown a bit more understanding and asked me some questions and talked to me like I was a human being going through a struggle rather than a problem to be solved."(6) So, rather than viewing her as a problem to be solved, consider her to be a mystery to be gradually revealed. According to existing research on the well-being of LGBT-identifying young people, the best predictor of their well-being over time is the quality of their relationship with you, their parents.(7)

Ten: Buy yourself time. You could say, "To be honest, this is a lot for me to understand. But I can tell that this really matters to you, and so I want you to know that I take this seriously because of that. I need some time to process our conversation and learn more about this." Telling her that you need time enables you to avoid making any major decisions or promises (other than love) in your initial conversations. It allows you time to strategize how to help them manage their dysphoria in the least invasive manner possible. Further, it models the type of thoughtful discernment around complexity that you hope your child would emulate.”

-Jason Evert, Male, Female, or Other: A Catholic Guide to Understanding Gender

—

Work cited:

2) Julian Vigo, "Capitulating to Bullies: Brown University and the Transgender Lobby vs. Science," Public Discourse (October 7, 2018).

3) Cf. Ryan Anderson, "Parents Denied Custody of Child for Refusing Support of Transgenderism: Here's What You Need to Know," Lifesitenews.com, February 19, 2018.

4) "DETRANSITION Q&A (#1)," https://youtu.be/kxVmSGTgNxI.

5) Mark Yathouse and Julia Sadusky, Emerging Gender Identities (Ada, MI: Brazos Press, 2020), 67.

6) "DETRANSITION Q&A (#1)," https://youtu.be/kxVmSGTgNxI.

7) Cf. Yarhouse and Sadusky, Emerging Gender Identities, 66.

—

For more recommended resources on gender dysphoria, click here.

[chocodile]

Amaranthine Magic System PART III: Spellcraft for… Everyone Else (Including Unicorns)

This is Part III of a three-part worldbuilding set.

Part I - Part II - Part III (you are here)

So, we’ve now established how magic works and how it can be manipulated by a wizard. But wizards aren’t the only ones capable of using magic... as mentioned in Part I, even a tree can do it. How does THAT work? Surely it must be pretty rare, right?

Well, actually, a number of plants and animals have evolved to harness magic. Something about them—either a physical organ, body part, or some sort of instinctual behavior—is able to warp magic in a way that happens to be beneficial. Some examples:

A predatory cat that can use magic to bend light around itself and appear “invisible” thanks to the molecular structure of its fur

A mole that can vibrate its claws in such a way that they increase the charge of magic in the earth around it, causing solid stone to temporarily liquefy

A flower whose roots absorb magic from the earth and use it to resist freezing, allowing it to bloom all winter long

A bird who sings at a strange, disorienting, warbling song, the vibrations of which interfere with the magical frequencies used by its most common predator

A carnivorous plant that paralyzes its victims not with venom, but with numbing bolts of magic produced by a specially evolved structure whenever it detects nearby movement

You may notice that, with the exception of the carnivorous plant, all the other examples are simply using magical energy already in their environment rather than producing it themselves. Which brings me to the next detail… magic can be “cast” from two types of sources:

“Enchantments”/Ambient casting/passive casting: Happens by gently shaping the background radiation of magic already in the environment, like most of the examples above. It is typically done by passing the magical energy through some sort of physical structure in order to alter its frequency. Most enchanted jewelry functions on this principle. Studying animals that perform passive casting can be useful for wizards to learn new casting and enchanting techniques themselves, and many methods of spellcraft are based on patterns of magic wave manipulation first observed in nature. 99% of animals and plants that use magic fall into this category. Also, this sort of magic waxes or wanes in power depending on the ambient background magic radiation levels of the area… your magic locket may fail you at the worst possible moment if you take it someplace with very low magical background radiation levels.

Active casting/”Casting spells”: Magic where the power source comes from within the creature itself and can be actively turned off or on, such as the carnivorous plant example above. Animals and plants that are capable of active casting are typically quite dangerous indeed, though their bodies tend to make for incredibly valuable spell ingredients and materials for crafting magical devices. Luckily, this ability is extremely rare in nature… the ability to truly “cast a spell” is found almost exclusively in wizards.

As a half-celestial, Ambroys sits at sort of a weird position. He technically is an active caster, as he has his own magical field and he can summon his abilities up at will (or, more often in his youth, accidentally) using his mind/will as the primary trigger. However, half-celestials and half-infernals have the shape of their magical “filter” predefined by their heritage and physical anatomy—it is not consciously shaped the way a wizard’s is. They may be able to choose which of these predefined forms their magic takes, and may even discover new variations on their powers throughout their life, but they can never consciously teach themselves brand new spells from scratch, and will never be able to switch fluidly through several different types of similar magic without interruption the way a wizard could.

To Hyden, this makes Ambroys closer to a beast than a person, magically speaking (no offense, of course). He can’t talk spellcraft with him because he’s not doing anything on purpose… he’s just brainlessly clicking his silly little claws together to dig through rock like the mole mentioned in Part II. He will never truly understand all the complex mental hoops Hyden jumps through every time he conjures up a flame to light his opium pipe, even if Ambroys can do the same exact thing by just thinking “ok, fire time now”. It’s just not the same, you know?

Aaand that wraps up the Amaranthine magic guide! This should hopefully provide a clearer view of how everything works in this setting. :)

[maybe-boys-do-love]

Love You Teacher looks good, actually, and too many people are just jumping to conclusions.

Nowhere in the trailer does it suggest age-regression kink play, only a traumatic response exaggerated for dramatic purposes that, by all indications, inhibits the established couple’s sex life. (Let it be known, though, sexual exploration between consenting adults is chill.)

More casual age regressive tendencies is kind of the norm in relationships, and y’all y-series fans love it. There are so many edits with one part of couple acting cutesy and being taken care of by their supposed faen. ‘Baby’ is a common endearment for a reason! When we’re in relationships, we pout, we act more cutesy, more vulnerable. Love You Teacher looks to be dramatizing this element to spark conversations about balance, mental heath, and care, both for one’s self and in relationships.

This isn’t some weird romance trope that BL’s pulling from the shady corners of the internet cuz it’s kinkier than het romances. Traumatic regression that leaves one partner simple-minded to some extent has been a part of some really silly and also some really profound Western movies. You’ve got dubious films like Big with Tom Hanks or Adam Sandler’s approaches, but Elf, Thirteen Going on Thirty, or even something more indie like Lars and the Real Girl, with a young Ryan Gosling, (P’Dome seems to be a bit of a cinephile so I wouldn’t put it past him as a reference point) reveal the sweet sincerity that can emerge when these kinds of stories are done conscientiously.

Perth and Santa seem beautifully cast in this. Both have worked in BL for some time now (just with other companies—check out baby Perth in UWMA!) and are listed as one of three leads in Perfect 10Liners, so they accusations of them jumping the seniority queue are a bit misplaced. Even if that were the case, that point would be moot after what they delivered in the mock trailer.

Santa’s adorable energy finds great use in both the role of the ideal primary school teacher and the character’s reverted 7 year-old mental state, and it lends itself as a response to actor Barcode’s recent complaint regarding the infantilization and limited mature roles for those who are established as a like in a partnership. I’m excited for the industry to address and push for conversations and roles that allow these actors to age. Sometimes that means letting them take on gritty characters that we might ignorantly assume are against type, but it could also acknowledge the youthful energy some of these actors and plenty of people in the world take into their adulthoods that shape their life. A kindergarten teacher is a prime example of job that attracts that kind of person!

I could not have imagined a character that used Perth’s disposition, simultaneously aloof and warm, so well. A teacher too-cool-for-school with no passion except for his partner? There’s our aloof guitar playing boy. Who must learn to roll with the punches of life and laugh at how ridiculous and precious it is? And there’s our warm cuddly teddybear.

The chemistry between the two in the trailer was eye-opening, too. They appeared spontaneous and familiar with one another, easily conveying live-in boyfriends in love. Even most of the naysayers for the show, admitted their initial excitement for the pairing’s intimacy. If the show plays well, it ought to be breakout success for both of them.

Give me ALL the Sammy. Everyday. Girl has been shining since BL day one (the og Love Sick, baby)!

The colors! This show looks lovely and lively. The primary school wall decorations. The costumes. The face paint in the trailer is so cute! Sammy’s hair color is genius! It just has so much vibrancy during a presentation when multiple dark, brooding shows were announced.

Director P’Dome has earned my trust. Peaceful Property was quirky, intricately plotted, and endlessly compassionate. I was crying almost every weak! I’m not surprised in the slightest to see him with a show like this. The premise of Love You Teacher is a bit out there, a bit provocative, and has the potential to have such a huge heart. The closest comparison tonally in GMMTV’s history I’ve seen so far is with the work TayNew did right before PP, Cherry Magic! Let me tell you about the boxes of tissues my happy tears went through for that series!

Basically, Imma be fighting tooth and nail for this show until it actually offers a reason for me to not support it. With what we received in the trailer, Love You Teacher has revealed only green flags, gold star stickers, and A pluses!

[lady-menrva]

It turns out that I'm pretty foolhardy, so here we have a fleshed-out critique of PJO! Percy:

Characterization:

Let's start with his flaws. As I've mentioned. before, PJO!Percy has a rather small set of flaws which are quite inconsistent in nature, or played for shits and giggles.

For eg- his 'silliness' is just a gag. He's quite practical in normal (that's a relative term) situations. Similarly his recklessness is invoked largely to move the plot along. Percy, in general, is actually really calculating, and a good planner. As for the fatal flaw, even the diehard Percy stans would agree it was an informed flaw for telling', and never quite made it to 'show'. The protagonist having actual flaws? Ho!that's writer's sin. /s

Arc & Development:-

When speaking of development, it's vital to remember that many factors like impact and weightage need to be considered. Anyways, development can occur in 2 main ways: (This is a very simplified explanation of course)

Intrinsic- A change in core personality traits.

Extrinsic- A change in worldview, goals, ambitions etc.

Both of these types tend to go hand-in-hand & influence each other.

The intrinsic part is easy to argue- Percy, at his core, does not ot show a change proportionate to his role as the primary lead. Changes in his personality are rather imperceptible. He remains rather static in this regard with regards to the page time & scope he had, which is important context.

As for the extrinsic part, things become a little moce tricky, as we have a semblance of extrinsic development:

You could argue that "All titans are not bad" is an important shift. On paper, certainly. But the way it was executed ruins a lot more than it fixes. (One word: Calypso.) Honestly, even if we ignore all my mythological context (not recommended) her interaction with percy was certainly very manipulative and a had an unnerving undertone to it.

"Oh, I supported the Titans because they were family" doesn't quite cut it, Calypso.

Even if we overlook this issue, I believe Percy's new found shift in world view should've had a greater focus. It should've influenced his thoughts(for example: made him wonder if he was acting for the greater good, or the lesser evil) & since that doesn't happen, this part seems anti climatic.

Now, moving on to the character arc analysis, i'd like to start with the opinion that his arc was more similar to wish-fulfilment than anything. I chalk this up to the opinion that his development was weak; to ensure that a character arc is noteworthy, development is very important.

To clarify this let's take a look at Meg & lester from ToA:On a surface level, Both of them mirror Percy's 'underdog to hero' journey. Yet the pivotal difference between the three is that the former two receive development leaps and bounds more than PJO!Percy, which is proportionate to their role in the narrative as protagonists.

Conflict of Interest:

I think that the overarching reason as to why Percy's character fell short is a conflict of interest between PJO's narrative, & Percy's existence as a character of his own. In my opinion the narrative's purpose (and Rick's wish) was to create of the perfect self-insert, a vessel so well- crafted that the reader feels the story in more than one way. As a result, Percy becomes a glorious self-isert - a charming hero, a journey of wish-fulfilment. Unfortunately, his own character remains in the background, with countable moments of true depth. A good vessel, after all, needs to be atleast somewhat hollow for use (i.e self-projection)

@cynicalclairvoyantcadaver a Percy critque

[traintrainingmontage]

I saw some posts recently about "just let them be friends/mentor & mentee! They don't always have to be family units!!" That is absolutely true. However, the reason why I feel compelled to emphasize the found-family/sworn brotherhood of the Skarloey Railway is because their dynamic runs deeper than friendship and mentorship a lot of the time, in ways that I think are best expressed in a brotherhood-in-arms/sworn family kind of way.

First of all, the obvious example: Sir Handel and Peter Sam calling Duke "Granpuff." It's clearly a term of familial attachment, meant to be analogous to "Grandfather," or more likely, "Grandpa." The fact that three of the engines who come to make up the Skarloey Railway already have this sort of sworn family bond is quite notable; it indicates their interest and willingness to have those sorts of bonds and hierarchies in the first place. Duke isn't their friend, or even really their mentor; he's family. And more importantly, beloved family, as evidenced not just by the moniker but by Peter Sam's reaction throughout the story Duck and Dukes (Very Old Engines).

However, let's move beyond that to the more subtle examples. Skarloey and Rheneas are listed as brothers in the RWS ("[Edward] remembered Skarloey and his brother Rheneas, because..." [Four Little Engines]). That said, given the loose definitions of familial "biological" relationships that we've seen, they're more like cousins, in that they are from the same workshop and have the same designer/builder but are of two distinctly different builds (and neither are an iteration or variation of the other). Thus, the fact that Edward thinks of them as brothers means that someone, very likely the engines themselves, told him so, meaning they're also brothers by choice, a closer relationship than the term "cousins" implies. Now, while the two never specifically call each other "brother" in the RWS, there's a few moments where they're talked about in the context of friends: "But Rheneas was happiest of all in his own place that night, next to his friend Skarloey (Gallant Old Engine)." "We'd learned sense, and we've been firm friends ever since (Very Old Engines)." What's significant about this is that many siblings/relatives of similar ages don't get along as well as these two do, and in fact, they had a whole character growth arc about it. They are brothers, and take great pride in that, but are also friends, and equally proud of that fact, if not a little more so. Anybody with siblings knows that it can be difficult to consider yourselves friends in any meaningful way for a number of reasons, and the fact that these two do means that both their friendship and their brotherhood are choices that they consciously made about how they define their relationship. Brotherhood and friendship are not mutually exclusive, and often enrich each other when both are present.

So, let's move on to Sir Handel. After Skarloey pulls his train and gets the coaches in order, Sir Handel "is longing for Skarloey to come back. He thinks Skarloey is the best engine in the world" (Four Little Engines). High praise from an engine who'd called Skarloey "rubbish" earlier in the same story! But while this sort of interaction would normally lend itself to a mentor/mentee relationship--and I do think that relationship IS present--I think that Sir Handel and Skarloey's relationship is also best defined by something more brotherly. This is because mentor/mentee relationships imply a certain sense of distance backed by experience-based authority, in a similar vein to teacher/student relationships. Mentors and mentees, if that's the only defining relationship, very rarely allows for a peer relationship to develop later because the mentor/mentee divide is so foundational. No matter how accomplished Character X becomes, they tend to always think of their mentor, Character Y, as their mentor, even if they become peers on a social level. The relationship still feels very subordinate. The addition of something brotherly, however, allows a certain closeness to seep in, one that helps bridge that stark distance. Skarloey actually pranks Sir Handel twice, once with George and once with Culdee's story. (Not to mention that Rheneas gives him some passive-aggressive ribbing that causes him some embarrassment.) In both cases, it's for the purpose of checking his ego, but that's not really something widely associated with "mentor" behavior.

Besides that, though, the reason why I think a sworn brotherly bond feels appropriate is because Skarloey actually watches Sir Handel grow up and mature, and helps guide him as he does so. That's very "older brother" behavior to me; Skarloey is invested in Sir Handel's growth as a person, in a way that feels closer than friendship or mentorship necessarily imply, and is integral to that growth happening. When mentorship comes to an end, what will they be? Peers? Somewhat. Friends? Certainly. But sworn brothers, found family, feels more correct for how they act around each other: there's a certain informality and comfortableness that accompanies the respect that speaks more toward a family of choice dynamic--with mentorship, the respect tends to win out. With friendship, the informality often wins out. But a brotherly dynamic allows for both, in a way that feels natural.

Duncan and Skarloey have a vibe like this too. Skarloey actually calls Duncan "my engine" in Gallant Old Engine, which at worst, is analogous to "my friend". The fact that Duncan is anything that warrants a "my", the way one would say "my dear" or "my dude" or another such endearment, speaks to those bonds already being formed. (And yes, we sometimes use turns of phrase like "My ___" for people we don't know/don't know well to indicate strong disbelief or disagreement, but I don't get that vibe from Skarloey's words here. He's talking to Duncan from a place of care, and they're far from being strangers at this point in time.) I'm sure that Skarloey thinks Duncan's a piece of work at times, and he is, but Skarloey's also seen him apologize to Rusty and those two get along. Duncan's stubborn and has been known to be argumentative for the sake of it, but generally has a reason behind the things he does and the way he feels, and isn't too proud to change his opinion or apologize. Skarloey knows that, hence why he uses the story of Rheneas to illustrate his point, and lo and behold, Duncan does, in fact, admit that he was wrong. Again, mentor/mentee relationships bolstered by and that transition into found family dynamics are just what's needed to bring Duncan into the fold, such that by the time we get to the Chris Awdry stories, Duncan has mellowed out CONSIDERABLY.

(Small shout out to Peter Sam loving Skarloey's stories and asking to hear them. That's rather family-coded too.)

This isn't even to mention the fact that they all sleep in the same sheds, wake up together, and spend large amounts of time together in general, unlike most of the NWR engines. There are no branch lines. All (eventual) nine of them are always there, all together, all sharing the same house.

Even though a lot of my focus has been on Skarloey and his relationships with the younger engines, I do feel that many of the friendships between the younger engines has that found family dynamic at its base. There's no bad blood between any of them, not really. They tease each other, but once Duncan and Rusty make up, there's very little evidence that any of them have serious interpersonal issues that need to be addressed. And with the evidence that some of them have already decided to lean into those sworn family bonds, I think it makes sense that after a time, they all do.

It's true that family bonds are not always appropriate for all relationships in all scenarios, but in the case of the Skarloey Railway, the sworn/found family just hits right, at least to me.

Suddenly in the mood to talk about my Skarloey Railway relationship headcanons, so here they are! (This ties into my previous post on engine relationships, so please read that if anything seems confusing!)

-Skarloey is the Eldest. Rheneas and Duke are his brothers (Rheneas being his brother, Duke being his sworn brother/brother-in-arms, but to engines, the difference is often negligable). The other six engines, collectively, are his younger brothers, with Ivo Hugh and Fred being the youngest. Thus, he feels a lot of responsibility towards all of them. "Eldest" is often used as a title of respect/great endearment.

-Skarloey takes a lot of care in teaching Sir Handel the ropes. Sir Handel is the eldest of the younger brothers, meaning that he'll take over when Skarloey, Rheneas, and Duke finally run out of puff. Unlike Duke, who tends to coddle Sir Handel and Peter Sam somewhat, Skarloey and Sir Handel have a firm older brother/younger brother bond, and Sir Handel has never lost his respect for Skarloey. In fact, when he has a problem, he's more likely to go to Skarloey than Duke--he still cares about his granpuff very much, but he's not a glossy-painted new build anymore and Duke still treats him like that sometimes because he missed out on how much Sir Handel has matured over the years.

-Interestingly, Skarloey and Rheneas tend to go to Duke with problems or issues that they can't talk about with each other. Some of these things involve moments during the war, some involve hidden regrets... While the two brothers love each other dearly, there's certain things that are impossible to express, such as Rheneas feeling like he owes Skarloey a debt that he can never repay and Skarloey feeling like he has failed Rheneas in certain ways. Duke respects both of his new brothers-in-arms very much and appreciates the level of trust that they put in him. He also has to admit that it's kind of nice to be taken care of; the SR is run remarkably well, and they care for his well-being as more than a tool. He doesn't have to deal with a poorly-managed railway and trying to protect his granchuffs and all of that. He can lay his own burdens aside, and both Skarloey and Rheneas are more than happy to lend him a listening ear in turn.

-Much like Sir Handel, Duncan tends to get along best with Skarloey from an older/younger brother standpoint. He respects Skarloey a lot, and appreciates his "teaching style" over Rheneas, who tends to give lectures.

-Also interestingly, Rusty finds that they get along particularly well with Rheneas. Their personalities tend to be rather complementary, and Rusty can see just how much Rheneas cares for all of them and the railway as a whole beneath his sometimes-stern-yet-often-cheerful exterior. Rheneas shows Rusty all of the most beautiful, hidden-away spots on the line, and Rusty relishes in it.

-Peter Sam is close with all three of the older engines. He's started forming a mentor/mentee relationship with Ivo Hugh, who seems eager to learn.

-Sir Handel and Duncan have a rivals to friends relationship. They often bicker and clash, but over the years, the edges have smoothed out, and they have a friendly rivalry going. They push each other to do and be better, all while trading good-natured jabs.

-Sir Handel and Peter Sam are partners, as are Rusty and Duncan. Peter Sam and Rusty are very good at being the grounding and comforting presences that their partners need, although they aren't above telling them off if they're being ridiculous. The older engines love to see it and get a good laugh out of the younger engines' antics.

[patheticblorbloscholar]

Im a sucker for the outcast. The misunderstood. It's my favorite character archetype.

[mel-loly]

Dont mind me:3

I- Tsu.. You didn't need to... But.. Yeah, uh... Thanks..😅💛

(no pressure, but if you can read the tags, I'd be happy! and that doesn't just apply to tsu but to everyone)

[shithowdy]

this is your periodic reminder that for all the artifacts and errors and "tells" one could possibly list, the only reliable way to actually determine if an image is ai generated is to investigate the source. it is becoming increasingly common for "fake classical paintings" to circulate around curative aesthetic blogs, and everyone should be using this as an opportunity to not only exercise their investigative skills but also appreciate art more in general. you're all checking out the artists you reblog, right? 🫣

so what are some signs to look for? let's use this very good example.

what a lovely late-impressionist piece blended with evocative leyendecker-esque themes! why haven't you ever heard of this artist before? surely tumblr would be all over an artist like this. who is justin brown?

your two options from here are to do a search for the name, or a reverse image search. i prefer reverse image searching, particularly when it comes to a common name like "justin brown". so what does that net?

Immediately, without looking at any text, something is wrong: it barely exists. an actual historical piece would turn up numerous results from websites individually discussing the piece, but no such discussions are taking place. Looking at the text, though, does show the source-- and at least in this case, the creator was honest about their medium.

But let's also look at the "exact matches", in case a source doesn't make itself apparent in the initial sidebar results like this.

This section will often tell you post dates of images, and here it can be seen that the very first iteration of the image was posted 15 days ago. It did not exist online prior to that.

Seeing how long an unsourced image has been floating around is a skill applicable to more than just generative images! See a cool image of an artifact or other intriguing item with a vivid caption? Reverse search it! If all the results are paired with that caption and only go back a few months, you might just have viral facebook spam.

Sometimes generative creators are dishonest about their medium and do not tag it like in the example, so that's when establishing "jpeg provenance" becomes important. While it can be a little trickier to determine if someone is using generative images and not admitting to it if they aren't trying to pass it off as a classic, something to consider is the age of their account and the frequency with which they post. Here are some account red flags:

-Did they only start posting art after 2022, or if they did before, did their style/skill level WILDLY change? Not gradual improvement-- I'm talking amateur graphite portraits straight into complex digital renders. Everyone starts somewhere, newness is not a red flag alone; it's newness combined with existing in a vacuum away from any community.

-Do they post fully-finished paintings several times a week? -Do many of these paintings seem iterative of a similar theme or subject matter ("three well-dressed young men face each other under shade and dappled sunlight")?

-Does their style change in inconsistent ways? An artist that can swap between painting like Drew Struzan and Hokusai should be pretty well known, right? Why is no one hyping this guy?!

-Do they have social media besides the source instagram? If so, what are they posting about? Are there any WIPs? Doodles? Interactions with other artists? Gallery dates? 3am self-doubt posts? Or is it all self-promo? Crypto? Seemingly nothing art-related at all for someone pushing out 3 weekly paintings?

Basically, if it's important to you to omit this stuff when you curate, please don't just smash reblog if the source doesn't seem to be the OP themselves. Seeking out sources was important even before this became an issue, now it is more than ever.

peace n love

[drdemonprince]

If you’ve never been all that disobedient before, you can and should start really, really small. For example, you can wear the slightly revealing or gloriously trashy-looking garment that makes your mom roll her eyes and sigh despondently every time she sees you put it on. You will feel judged and disapproved of when you put it on, but that is fine. Your goal is to sit with the uncomfortable feelings and continue with your desired behavior anyway.  Saunter down the steps in that highlighter-yellow Garfield crop top with your chest hair flowing over the neckline, and harness as much courage as you can muster. It’s okay if you feel like a beacon of sin. Just keep it moving. Your emotions are not the target here. Your behavior is. You can feel however you are feeling in the moment so long as you keep acting like you’re free.  Do you have a favorite TV show that a partner or roommate vocally hates? Try watching that show around them without apologizing or defensively joining them in mocking the program. At first, you probably won’t be able to enjoy the show while in their presence. You’ll feel self-conscious about everything they find annoying or cringe-inducing about the show, and so focused on their reactions that you can’t relax. That’s okay. Allow those feelings of embarrassment and guilt to exist and pass through you without giving up. In time, you will be able to ignore these reactions more, and enjoy the activity.  You want to see the needle of discomfort moving down just a little, like Link’s body temperature meter in Tears of the Kingdom when he puts on a breathable outfit in a hot climate. You’re not gonna go from roiling hot to frosty cold in an instant. But after a certain point, you won’t be actively in pain anymore. Things are just gonna slowly suck less, bit by bit, until they are finally okay. That’s true of most major life adjustments, I find.  Probably the best way to develop self-advocacy skills while growing in your distress tolerance is simply by telling other people no. Do this without explanation or hedging. Nitpicky aunt wants to hear all about your dating life? “No, I don’t want to talk about that.” Unreliable ex-friend wants you to do them the tiny favor of moving their entire home gymnasium into a new third story walk-up? “No, I’m not available.” Manipulative shift supervisor wants to cajole you into sticking around for another three hours to close? “No.”  As many advice columnists smarter than me have already intoned, “no” is a complete sentence. “No” requires no explanation. “No” is not subject to debate. “No” can be repeated over and over like a broken record if a disrespectful person acts like they can’t hear it. And you can walk away at any time to make your “no” physical and impossible to argue with, when someone has proven they don’t respect your boundaries. 

you can read or listen to the full piece for free here

[whirlybirbs]

— CAN'T WE BE SEVENTEEN? ; shoto todoroki ; 焦凍

summary: he's loved you since he was seventeen. pairing: f!reader x pro hero!shoto ; reader was a 1-A student tags: mutual pining, heavy make-out, thinly veiled sugar daddy shoto, reader does not go pro, touya might be a dick but he's a hero now, shoto is bad at feelings wordcount: 5.6k a/n: i do not fucking know what came over me, enjoy your food my little todorokinas. yes the title is what you think it is. no i will not elaborate.

You never did go pro.

Truthfully, you thought there would be more pushback when, in your senior year, you announced your plan to pursue a degree in early childhood education with a focus on non-conforming quirk development. 

The War changed a lot. It changed you, your classmates, and the world. But, through it all one thing stuck with you:

What if someone helped Tenko Shimura?

How different would his life have been? How different would history have spun? 

You graduated at the top of your class and joined the faculty at Chiba Prefectural Preparatory School for Quirk Specialties two years ago. 

Chiba Prep was opened eight years ago in response to a societal cry for more infrastructure around what was dubbed "non-conforming quirks": a nice way to say quirks that can injure, maim, or kill. Maybe even all three on a bad day. Some parents still see their child being labeled as a non-conforming quirk user in the national database as akin to social suicide. 

You see it differently.

Your quirk allows you to manipulate emotions — anger, sadness, betrayal, love, hatred. If you can feel it, you can sink it into another's psyche deep enough to drive them to act. You can even imbue things with feelings. For example, a cup of warm milk can transform into more than just a simple comfort, now it can hold the feeling of home and safety, or even exhaustion strong enough to put even the biggest foe to rest. 

You could easily use your quirk with nefarious intent. 

You could steep hatred in someone's bone so deep it drives them to harm themselves. You could sew fury so solid into someone's mind it drives them to violence. 

Just a touch and you can control others with something so intrinsically personal it only exists within themselves: their feelings.

What makes you any different from little Asuke, a shy little girl with a quirk that allows her to see people's greatest fears, and then manifest and control them? You're convinced she can use this for good, if only with practice. In your mind, her future is bright and glimmering. Perhaps she will become a therapist, focusing on exposure therapy? Or, maybe the most prolific horror novelist in their time? 

Or, bright and sunny Tao — a transplant whose parents sought out Chiba Prep's specialized education — whose heteromorphic quirk makes his bodily fluids, namely saliva, eat through nearly anything but his own biologics. A sneeze is quickly the most dangerous thing in the world for the cheery, lizard-bodied class clown. 

He's just a boy given a quirk that needs more care. 

He isn't a villain-in-training. 

None of them are.

It's important to teach them that young — and as their teacher for Year 3 of their elementary schooling, you aim to hammer that in as much as possible. They deserve to feel normal. To feel loved and supported. They aren't scary, they're children. 

So, you take it upon yourself to insist on pushing for privileges like field trips. There aren't many public spaces that welcome the classes of Chiba Prep with open arms. Over the years, there have been plenty of incidents. But, a day trip into the city to visit Tokyo's Hall of Heroes is green-lit with bubbling excitement from both faculty, the children, and their parents. 

You usually keep your history as a graduated member of Class 1-A quiet. 

After all, you never did go pro.

And even still, Shoto Todoroki never stopped thinking about you.

He remembers that weekend everyone moved back in for their last year before graduation. He remembers you smiling at him, and helping him drag up a duffel of luggage from the common room to his dorm. You made a joke about how you're sure he got taller over the summer, and how his hair is longer now. You said you liked it. 

It was the beginning of the end, then.

His crush was a silent, smothering thing. It made it hard to think. Shoto had enough on his plate thanks to Touya's acceptance into the Villain Rehabilitation Program and his father's insistence on staving off retirement. Not to mention his parent's divorce — no matter how amicable, it was still a separation. Add on training, tests, studying, finals, and j-term classes... And a desperate, writhing, burning crush on the nicest girl in class? 

Touya's elbow digs into Shoto's side.

It drags him back to reality — to the stifled quiet of the historical Hall of Heroes. 

Suddenly, the doors to the wing squeak open, and a tour guide ushers in the elementary school class. The buzzing excitement and wonder are visible on each of their faces as the attendant — one of the HoH's lead tour guides — excitedly explains the newest, in-progress addition to the Hall:

Endeavor's wing. 

There's a whisper of awe that ripples through the children as their teacher and co-teacher follow, and as the class moves through the large, open space. They're staring up eagerly at the gilded statue in the center of the room. It's larger than life and intimidating. Years ago, Shoto might have had to fight the odd tremble in his knees at the reminder it brings: to be small in his father's shadow again. But, things are different now. 

Very different.

Touya scoffs. "I thought this wing wasn't open to the public yet."

"They're just children," Shoto hums, turning his back on the gaggle across the way to inspect the large mural winding along the back end of the installation, "I'm sure it's—"

"Oh, ho, no way!"

Shoto quirks his brow at his brother's outburst. His elbow digs into Shoto's ribs again. 

"Ain't that the pretty girl you never got the balls to ask out your senior year?" comes the rasped drawl of his older brother's voice. Touya is clearly amused, his white hair hanging in his eyes as he leans forward to squint, "She is cute, Sho'—"

"Shut up," Shoto grits, turning his head over his shoulder; he tries to bite back the flurry of nerves that ignite in his gut, "Stop talking."

It is you.

You look... good. 

Happy. 

You're crouched by a small, timid girl in the back of the crowd. Your hand is in hers, and you're pointing upwards at the large paneled screens replaying Endeavor's most historic fights. You're explaining something to her, your knees bent as you squat. You look... the same. As if in the six years since they graduated, you sat still in time. 

For a second, it's like he's seventeen again.

It's his senior year, and he's stuck at the corner of the gym's edge with a half-empty glass of punch in his hand. The lights are low, and there's slow music playing. His tie feels too tight. Bakugo keeps telling him to 'ask her to dance already', and Kirishima is considering bashing his head through the wall. Even Midorya is trying to persuade Shoto. 

"It's prom, man! C'mon, this could be your last chance—"

Touya is about to be a real pain in the ass — his favorite pastime — and make some comment about your ass, but when he turns to lob the one-liner at his baby brother, Shoto's gone.

Shoto is on the move.

The crescendo of gasps draws your attention first.

Then, the cry of "WOAH, IT'S SHOTO!" leaves you dumbfounded. The rippling murmur of excitement bleeds into the children as their eyes — and the eyes of the tour guide — widen at the sight of the approaching Pro Hero. 

Shoto Todoroki.

He looks... good. 

Really good.

He's a bit older, and a bit more filled out than when you were both teenagers. You can see the strength in his arms and shoulders — it's a distant echo of his father's physique, though Shoto is so much more elegant and much... prettier. He's always been.

For a second, you're seventeen again.

It's your senior year, and you're sprawled across Momo Yaoyorozu's bed.

They had finally wrangled out of you who your crush was: something they hadn't been able to do in all their years as classmates.

There's a sticky, Miss Midnight-themed face mask clinging to your expression as you try to flip through the large magazine in your hands as nonchalantly as possible. Mina's voice, as she paints Ochaco's nails a bright pink on the floor, is sweet and saccharine as she looks up at you.

"I think you and Shoto would be, like, the cutest couple ever." 

You're still crouched when the tour guide nervously — like she was caught doing something naughty — introduces The Pro Hero Shoto to the already-aware crowd of elementary school students and their teachers. It's like igniting a match; the uproar of excitement leaves you laughing as three of your boys push forward to bombard him with questions about his quirk. 

Asuke is smiling shyly, now. That's a small win. She's intrigued by the appearance of a real hero, not the "scary statues" — and her big, fat tears stopped rolling the moment you laid a gentle hand on her to quell her anxiety over the new environment with a push of comfort through your quirk. She unhooks her pinkie finger from yours as you guide her towards your co-teacher. 

"Boys," you call with a crisp air of authority as you stand and lead Asuke toward the bulk of the field trip group, "What have we learned about personal space?"

"It's fine, really, Insight," comes Shoto's voice; as warm and placid as you remember. 

"Insight?" mutters your co-teacher at the presumed hero-name; a look of confusion plasters itself on her face, and her big, feline ears perk up. She leans in to whisper in a way that borders on conspiratory, "Do you two know one another?"

"Old classmates," you confirm, not daring to get into the finer details.

Shoto's attention is entirely rooted in the way you manage the kids. There's something beautiful about the ease with which you handle the bouquet of students; you quell the excitement into a manageable decibel like it's as easy as breathing. 

"Shoto," you start as you gesture to him, "Has a very special quirk — Toyamai, he has ice like you. And, fire like Tojiro. He can regulate his temperature. Can anyone tell me what that means?"

There's a wave of hands shooting up, a few me, me, me's rise from the gaggle. 

You're using him as a teaching moment.

Shoto's smile is soft.

You nod at Ogomi, excitedly nodding as the reserved child speaks up. Normally, he hates public speaking. But, recently, he's started working with the speech pathologist during lunch. The boy bounces a little as he answers. "He doesn't g-get too hot, or too c-cold."

"Exactly! Isn't that cool?" you grin at the lazy attempt at a pun, "This is why it's important to learn about our quirks as much as we can!"

Touya thinks this whole thing is just too cute. 

You're different than he remembers — but, granted, things were sorta different last time he saw you. He was a little too busy tryna kill his old man and lil' Shoto. He's different now, too. A changed man! A real licensed hero. Support items and all. 

He hangs back. 

He... I mean, he is a jack-ass but he isn't gonna ruin this for Shoto. 

...It's kinda cute.

Just about as cute as Fuyumi said it was. 

Apparently, Shoto had opened up to her and Natsuo about his feelings after graduation — about how he regretted not doing anything about it. Fuyumi then told their mum, who then off-handedly mentioned it to Touya... and well Touya dug in because, duh, he is a whore for good gossip. He might be the family's black sheep, but Shoto is the glue that binds. 

And he deserves to be happy.

Your co-teacher is ushering the kids to the next installation — a viewing of All Might's Legacy, a new documentary following the retired pro's teaching career. It will be a good wind down for them, in comfy seats and the dark. It's hardly the sort of content an elementary school student would find riveting, but it is All Might. And they love him.

You hang back. 

Shoto's heart is hammering in his chest.

"Hey."

"Hi," you greet back, closing the door to the theater and stepping forward as you weave your arms around you, "Long time no see."

"Yea," Shoto breathes, his hands in his pockets as he meets you halfway across the museum's marble floors, "I... I see you're teaching."

His eyes are as pretty as they were back then. Slate grey and piercing turquoise. "I'm in my second year," you confirm softly, fiddling with the material of your sweater, "Congrats to your old man."

You gesture up at the statue, then wave around to the rest of the installation.

Shoto inhales, then nods; he's staring at your face, blissfully realizing you're just the way you were all those years ago. Kind. "I'll pass it along."

"How's he handling it?" you ask, your eyes raking across his expression and trying not to stick to the sharp slope of his jaw, or the bob of his Adam's apple, "Retirement, I mean."

"He's happy, I think. Touya and I are working together and... things are...  good."

Last month, Endeavor finally retired. He cited his age, and his dedication to passing his legacy to his two sons: Shoto and Touya. Shoto has planted himself firmly within the Top Ten in the last year or so, and shockingly, Touya isn't far behind. People love an underdog's redemption story, you suppose. 

And the underdog in question can read a room. 

This is getting a little too sexually tense for even him.

"Heeeeey, girl," he rasps out, staggering backward with a thumb over his shoulder, "Nice t' see ya. I'll let you two catch up, yea? I'm gonna go pop my head into the theater, see how the kids are handling the snooze fest on screen—"

You jump.

How long has he even been there?

"Hi, D— Touya," you strain, wincing a little; the rehab'd villain doesn't seem to mind.

"Hi, teach'. That cool with you?" he asks, wobbling his thumb and quirking a pierced eyebrow; it's comical, like he's trying to disarm you with humor, "Don't want you thinkin' I'm corrupting your youths—"

"It's fine," you breathe, ignoring the sting of age-old mistrust. You know better. Shoto wouldn't be here, with him, if Touya Todoroki hadn't changed. Endeavor wouldn't be entrusting his legacy to the ex-League of Villain member if he didn't believe in his capacity for good, "Just don't be disruptive."

Casting judgment on someone whose life was nearly destroyed by his own non-conforming quirk would go against everything you taught the kids anyway.

"Touya's whole thing is being disruptive," Shoto grits as his oldest brother slips silently through the doors, "I apologize for him—"

"No," you wave him off, laughing a little, "Don't. It's... nice to see you two together."

Shoto's expression is soft as he wanders a little closer. "It took time — and a lot of therapy — but we've all managed to come out the other side."

"That's great to hear, Shoto," you breathe, your eyes flitting across his face, "I'm really happy for you."

There's a long silence, then — and you can't help but ignore the roil of butterflies in your stomach. The eye contact is heavy with some unspoken thing, and both of your tongues are weighted by secrets-never-turned-confessions. 

It's like finally this dance you've been doing around one another for years breaks — and the two of you throw caution to the wind at the exact same moment. 

"Would you like to—"

"Are you free—"

Hesitant, slow grins bloom on both your faces.

"Dinner?" is all he manages after a sweet moment of soaking up your soft smile, "If you're available...?"

You make yourself available.

Yaoyorozu almost dies when you call her that night — winded from tearing through your entire wardrobe. You explained you had nothing to wear a-and you needed something nice, and you only have an hour to get ready, because Todoroki — yes, stop screaming, Todoroki — is picking you up at 8pm.

Little bro is nervous. Touya can tell. 

From his spot on the sofa, the white-haired ex-degenerate scoffs. Natsuo is digging around for some cufflinks in Shoto's dresser.

"Seriously, Sho'? A suit?" 

"It's a nice restaurant," his brother says tightly, adjusting the collar of the black button-down, "I booked the upstairs dining room for privacy." 

"Who the hell told you t' do that?" Touya quirks a skeptical brow.

"Father was the one who suggested it."

"...That old dog." 

Natsuo rolls his eyes at the exchange before throwing his hands as he emerges from the closet. "Do you have any links that aren't emblazoned with U.A. High School's crest?"

The ones in Natsuo's hands have his graduation year on them.

Shoto winces.

"Want me to ask dear ol' dog of a dad?" Touya snarks from the corner, his posture becoming less and less upright as he scrolls on his phone.

"Already did," comes the soft voice of Fuyumi; she's smiling, padding into Shoto's room with a velvet box, "He offered up his nicest pair. He also says not to screw it up with Insight. He likes her."

Of course, he likes her. You worked under Endeavor for a brief work-study period during your third year. Shoto remembers hearing grumbled praise over dinner one night about your talent for de-escalation.

"You told him who I was seeing?" Shoto asks incredulously, taking the box and working the cufflinks on. He's starting to feel exasperated.

Fuyumi nods, popping down beside Touya. 

"He asked. I'm not gonna lie to him."

"Did y' tell ma?" Touya rasps, peeking up over his phone to inspect Shoto's outfit. Not half bad, honestly. He looks good in all black. A man after his own heart, "M'sure she's gonna be real excited—"

"Yes," Shoto grumbles, "I called her earlier—"

"Chiba Prep is a really good school, y'know," Natsuo buts in as he tries to find a tie that matches Shoto's outfit. Ultimately, though, the middle brother decides against it and tosses the options over his shoulder, "They're, like, on the leading edge for quirk therapies."

"Hey, nerd? Quiet down. The big kids are gossiping," Touya shirks, turning back to Shoto, "What did mum say?" 

"She wants me to call her after—"

"One, you're gonna call mum the morning after," Touya raises a finger, "Because if you don't get laid, I'll be so fuckin' disap—"

Fuyumi slaps Touya's chest. He lets out a pained yelp at the solid smack.

"Uh, ow," he rubs his sternum. "An' two, take a deep breath. You look like you're gonna shit yourself. Those are my pants and they're expensive."

Shoto lets out a long breath. 

Fuyumi's smile is sweet like honey. "Aw, Sho'! It's gonna go great. You two have known each other for such a long time, and catching up is going to be amazing. Just be yourself! Confident and kind—"

"—Hold the door open for her, and pull her chair out," Natsuo adds as he adjusts Shoto's collar for him, "Car door, too—"

It's Touya's turn. He's dead serious. "—And do not chicken out on kissing her at the end of the night. I swear to god."

Easier said than done.

You never did go pro.

Those years of hardened battle instincts have lost their edge. You try to remind yourself this is just Shoto, not The Shoto — but you're a little lost in the whole celebrity of it all when he picks you up in a very nice, sporty little car with ENDVRplates. 

You answer the door and he forgets how to breathe.

He has flowers for you. They're blue and blooming and beautiful. 

Fuyumi's contribution. 

You settled then you were going to kiss him at the end of the night.

The restaurant is... nice. Really nice. The sort of nice you could never aspire to experience on your teacher's salary. Even the valet is a concept that has your head spinning. But, Shoto handles it all with cool ease. The entire time, his hand is settled on your lower back. 

It feels like you've been lit on fire.

You're glad Momo was able to create a dress fitting for the occasion. It's sleek and black. Comfortable, too. Not much can be said for your heels on that front, but it's fine. 

Somehow, Shoto managed to book the entire upper floor of this place in all its glimmering glory — it's just the two of you alone in a sea of tables. 

The waiter is pouring you a glass of the chef's suggested pairing of sake.

You thank him, smile, and take a sip as Shoto unbuttons his suit jacket and watches you. 

For a second, you're seventeen again.

Sero and Kirishima were always in cahoots when it came to parties back then — somehow, between the two of them, they always managed to smuggle enough booze onto campus to obliterate any semblance of promised sobriety from even the most stoic members of 1-A. 

You remember one night, after a lot of hounding, you finally gave in and joined a few of your classmates on the back lawn for a few drinks. 

A few beers turned into a cup or two of wine, and then another big gulp of whatever deranged jungle juice concoction Kaminiari managed to cook up. It tasted terrible, but you were too drunk to really care. Shoto was no better. He was nursing his fourth drink of the night — a rarity he was even drinking at all — and seemed completely fine with the way your arms brushed as the two of you sat close in the grass. 

He was always so nervous around you. Now, he just seemed... happy. 

"I can't believe there is only one week left until graduation."

Graduation day was the last time you saw him. 

Until this morning, that is. 

You smile into your drink. 

"What?" you ask when his eyes never leave your face.

His fingers twitch towards his own glass. Shoto blinks, then rolls his jaw. He was caught staring. He clears his throat, looking a bit shy. "Nothing."

"Nothing?" you press playfully, cocking your head to the side.

"You..." he starts, then bawks. You're stunning, and it's making it hard to even think straight. He thought these feelings might have mellowed out over the years but seeing you again has just reignited everything. He feels like a hormonal teenager again, "You look beautiful."

Your expression falters into something lovesick. You chew your lip. "You're not so bad yourself, Todoroki."

He manages a half-smile. "Touya had me worried the suit was a bit much."

The idea of Touya offering him advice on his outfit strikes a chord in your heart. It makes you smile even bigger than before. "Well, you can tell Touya that I like it. A lot."

You rake your eyes up and down him. On purpose.

He notices.

Shoto's face feels hot. 

He tries to shake the bone-deep want that has swept his entire body up in its grip, but it's difficult when every single word out of your mouth reminds him just how in love he was with you back in school. You explain, excitedly, why you chose to teach at Chiba Prefectural Prep and catch him up on where you've been living since graduating. He's pleased to learn you're still in the area, living in the city, and decidedly in love with the commute to the school. 

Shoto's always been a good listener — but you can see how much he's changed when he begins to speak about his career. He seems so much more sure of himself than he was all those years ago. It wasn't that he was... unsure... but, no. He was shy. Quiet.

Now, less so. 

It's adorable. 

Dinner comes and goes with conversation over sushi that is far too good for you to even process. It's easy talking to him. It was easy talking to Shoto back, then, too but... Things are different. You're both different. Not in a bad way, but in a way that feels like coming home. 

While you both wait outside for the valet, Shoto shrugs his jacket off and puts it over your shoulders without a single word. Suddenly, you're cradled in a warmth that's very Shoto — his cologne clings to the collar and you bury yourself a little deeper into it. 

Shyly, you step closer and steal his hand. It's calloused and warm. He laced his fingers with yours as if practiced. You bite back a grin. You give his hand a little squeeze when you spot the car coming around the corner.

His silence is calming — and he squeezes your hand back. When you look up at him, you realize he's already looking at you. 

His face is close. It's so... intimate. Very. Nearly better than a kiss. 

But, you've wanted to kiss Shoto Todoroki since you were seventeen. 

The valet driver interrupts the moment with a respectful call of Shoto's name and offers the keys with a shake of the hand. With a little bit of hesitancy, Shoto remembers the thing Natsuo said — the car door, too — and moves around the passenger side to open the door for you. 

It's sweet.

Really sweet. 

The car ride back to your apartment is punctuated with easy conversation — you ask him about Bakugo and Midorya, and you're pleased to hear they're both doing well. He asks about Momo, and if you still keep in touch with Mina and Ochaco. He smiles to himself when you admit you did call Momo for help with an outfit. 

"She did a beautiful job," Shoto breathes, a palm moving from the gear shift to brush over the dress' fabric on your thigh.

His hand settles there. 

Your stomach does a flip. 

You chew your lip, swallow down a sudden burst of nerves, and let your hand rest over his. You squeeze it. Shoto tries to focus on the road. His gaze drifts for a moment at a red light, his heterochromatic eyes dancing across your figure. 

Keep it together. 

He isn't seventeen.

He's twenty-five. He's a Professional Hero. One of the Top Ten in all of Japan. He's more than capable of keeping it together in the face of physical touch from the woman he's dreamed about for years. 

...Right?

Green light.

His hand is still on your thigh when he pulls up to your apartment. 

The touch is relinquished in favor of putting the sports car in park. 

It makes your chest ache.

Shoto swallows thickly.

Do not chicken out on kissing her at the end of the night.

He'll never forgive himself. But, admittedly, he's bad at this. He's not good at reading body language, or even knowing himself enough to realize he looks mildly terrified as you blink up at him in the passenger's seat. His heart is hammering a mile a minute.

What if you don't want to kiss him?

When would he even kiss you? Now? Or at the door?

Why does he feel like he's going to die?

"This was really... Shoto, are you okay?" you ask as you unbuckle your seatbelt; you pause, your brows knitting tightly. 

"What?" he asks, blinking back to the present moment. The look of fear disappears, "Sorry. Yes. I'm fine."

You're working his jacket off your shoulders, gently leaning to fold it neatly in your lap. Your voice dips low, into something playful. "You didn't look fine..."

"I—" Shoto clamps his mouth shut as he leans an elbow on the center console, "Sorry. I suppose I'm just nervous."

"Nervous?" you grin, a little giggle punctuating your words as you wriggle in the red, leather seat, "Why?"

Your expression makes his expression crack. He ducks his head as he huffs out a laugh. You continue to egg him on via expression alone. "I... Stop it."

"Stop what?" you push some more, your back pressed to the door as you face him in the car, "You're the one being weird—"

"I'm not being weird—"

"Then what's wrong, Shoto?" you tease in a sing-song voice.

"I'm nervous because I want to kiss you."

His words are punctuated by a slow look that takes in every inch of your face. Butterfly wings kiss your stomach walls. And your knees. You feel a little tremble in your chest. 

It feels like someone has sucker punched you square in the sternum. Shoto's no better. He isn't entirely sure what the expression on your face means. Is that... good? Are you happy?

Your voice is a little quieter now. You duck your head and fiddle with his suit jacket as you lean back against the seat, a little closer now. 

"You don't need to be."

Shoto's breath catches at that.

So, he makes his move.

His hand comes first — his calloused palm settles nicely against your face, his thumb brushing your cheekbone as his pointer finger brushes the underside of your jaw. Shoto is slow. Methodical. It's like he's trying to ground himself in the moment. 

Truth be told, he thinks he might be blacking out.

Your eyes flit up his wrist — a dark leather band around his wrist with an expensive watch face, a dark dress shirt with glimmering cufflinks, strong arms and a broad chest, and you can see the dip of his collarbone where the top two buttons of his shirt remain undone. 

He looks so damn handsome with his sharp jaw, pretty eyes, and his trademark white and crimson hair. Even his scar is beautiful. 

The touch pulls you in like he's got his own personal orbit.  

Your elbows are braced along the center console, your eyes flicking across his face as his fingers continue to brush along the soft expanse of your cheek. You wring your fingers together. 

Then, his eyes stick to your lips.

"Can I kiss you?" he whispers, his breath fanning across your face. 

You never did go pro.

But, Shoto did. 

It shows. 

Because, at this moment, all you can do is nod feebly before you're swept into the sort of kiss people go to war for. It's the sort of kiss that sticks to your ribs, that feels like warm, fresh food. It's the sort of kiss that would drive you to the brink, that would make you nod and agree sure, let's get married and have three kids, let's name one after your father, and paint the house blue like your mother's favorite flower—

His mouth is eager, but not in an overbearing way. It's gentle. Slow. As if he needs to remind himself this is real and not some midnight fiction that leaves him aching and alone. Shoto reminds himself to be tepid, pliable, and easy, which is easier said than done when somewhere deep inside of him there's a seventeen-year-old screaming in victory. 

It's better than anything he could have ever imagined. 

And then you whimper. 

It's a sound tied between bliss and relief and it's muttered against his mouth as you lean in and let your fingers brush the fabric of his dress shirt. The tips of your fingers brush his abdomen and he flexes, the feeling foreign and warm. It warrants his other hand to drift to your face and you break for a breath; he doesn't care that there's lipstick smeared across his mouth. He's kissing you again — this time a little bit more feverish, a little bit more aching. 

You melt against him, this time your hands trembling to grip his wrists.

He needs to slow down.

He is not having sex with you in his father's car.

That's shameless.

He needs to slow down.

He has to, or he'll lose himself in this and he refuses to fuck this up. 

Shoto's breath is ragged when he finally peels himself away, his lip parted and eyes half-lidded. His grip on your face is still so soft, so gentle. It's very him. 

You're glad you didn't do this when you were seventeen.

It would have permanently altered your brain chemistry, you're sure of it. How could you ever kiss someone else again after that? 

He's rubbing your cheek with his thumb. You swallow, and try to level out your breathing. It's hard when he's still so close, when he's so... perfect. 

"I've wanted to do that," he murmurs against your cheek, "Since our last year at Yuei."

A well-kissed smile breaks across your face. You reel back, your nose wrinkling as you shake your head in disbelief. Shoto is smiling. A real smile. The sort that's so rare you can count on one hand the amount of times you've ever seen it in person. 

"Are you serious?"

"Very," he says, chastely pressing another to your other cheek as he leans back.

"Me too," you admit shyly, "Can we... do it again sometime?"

Shoto's eyes widen incrementally. Then, his smile eases back onto his face. 

"Are you free this weekend?"

"I can be," you reply easily with a honeyed look, "And I will be. For you."

"I get off patrol on Saturday around seven," he explains before asking timidly, "We could... do dinner again?"

"Works for me," you breathe as you move for the handle of the car door, "After all, I never went Pro. Weekends are free."

Shoto scoffs. 

Then, as you open the door and swing a leg out:

"Oh, and tell Touya I thought the suit sexy."

Shoto's laugh is dry. You leave his jacket on the seat and scurry into your apartment with a lovesick wave. He swears he sees the silhouette of a familiar ponytail greet you at the door, but he doesn't dwell on it. He waits until you're inside and the lights to the front door are shut off.

Then it hits him. He has another date with you this weekend. 

Not so seventeen anymore, Shoto Todoroki. 

[nexus-nebulae]

quick question. if someone says they're "trying to change" but still after 5+ years has shown zero effort (like, even when called out in conversation about it they still have the excuse "sorry i wasn't thinking about that" EVERY. TIME). are they actually trying

[fading-event-608]

Help Falstin's family survive and escape genocide in Gaza and win hand-made Palestinian thob!

What can you win?

A Palestinian thob made by Palestinian hands, tailored for you. Thobes are traditional dresses worn in Palestine and are embroidered with tatreez patterns of various colors (usually mainly red) on black cloth - you can see the example in the poster.

Who will you help?

24 people trapped in Gaza who desperately need funds for their survival and evacuation. Falastin's family already has a lot of martyrs and they were displaced more than 20 times leaving them with very little possessions. It has been extremely hard for them to meet their basic needs, and they need all the help they can get to purchase food, water and medicine (which are incredibly expensive as there is very little aid entering Gaza) as well as shelter, fuel and clothing as it's getting cold.

Gofundme donation link

PayPal donation link

Please fill out this form after donating: https://forms.gle/1JPkqoab55bxC3iS8

More detailed info under the cut:

We accept both PayPal and Gofundme donations: 50 USD for one PayPal entry; 500 SEK for one Gofundme entry (500 SEK is around 47 USD so it's a slight discount!)

Only donations done after the raffle start (October 19th, since making this post) will count for entries. Additionally, every three weeks starting from today, one winner will be chosen and all entries for that period will be reset. The winner will be given 48 hours to respond and if they do not then we will choose another one from that time period.

Dates for raffle resets:

1) 9th of November - first winner 2) 30th of November - second winner 3) 21st of December - third winner

The winner announcement will be done on those Saturdays at 15:00 (3 PM) GMT (that's 10 AM EST).

Right now we are a little over 12k USD (counting both PayPal and Gofundme) but most of it came in the last several weeks. So we aim to get another 12k USD/126k SEK (again both PayPal and Gofundme) by the end of the first raffle round.

You can enter as many times as you want and can stack entries over time (so one 2000 SEK donation will be 4 entries, or two donations 75 USD and 25 USD will count as 2 entries). Because there will be 3 rotations, if your donations fall short of the minimum donation in the first/second rounds, you can still qualify for the next until your total exceeds the entry cost. For example, if you donated 40 USD in the first rotation you will not enter the first raffle round but can still enter second one if you donate another 10 USD. Another example: if you donated 120 USD in the first time period you can donate another 30 in the next one for one entry. You can enter second or third time even if you won previously.

After you have made the donation(s) required for at least one entry you need to fill out the form: [link]. You will be asked to provide a proof of your donation, your email address (or discord handle) and (optionally) Tumblr/Instagram username. An email address or Discord is required for contact purposes, as there is a possibility that either me of Falastin could be restricted or suspended on Tumblr, but we will contact you on your preferred platform if we can.

One thob will roughly take 3 weeks to complete so please be patient - you will be contacted by your preferred method for any questions after you won and when the shipment starts.

Shipment is covered for Europe, but if you are living outside of that region you will need to cover the shipment cost yourself.

You also need to be comfortable with sharing following info with us privately if if you win the raffle:

address and name for the shipment;

your measures or general size (S, M, L, etc) for tailoring.

You can ask any questions me here on Tumblr or send an email to fadingevent608@proton.me.

Vetting info: #282 in El-Shab-Hussein and Nabulsi's spreadsheet [here], #957 in the Butterfly Project spreadsheet [here] Falastin's account: [link]

Donation links again:

GOFUNDME:

PAYPAL:

[physalian]

How to make your writing sound less stiff

Just a few suggestions. You shouldn’t have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.

1. Vary sentence structure.

This is an example paragraph. You might see this generated from AI. I can’t help but read this in a robotic voice. It’s very flat and undynamic. No matter what the words are, it will be boring. It’s boring because you don’t think in stiff sentences. Comedians don’t tell jokes in stiff sentences. We don’t tell campfire stories in stiff sentences. These often lack flow between points, too.

So funnily enough, I had to sit through 87k words of a “romance” written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didn’t tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.

2. Vary dialogue tag placement

You got three options, pre-, mid-, and post-tags.

Leader said, “this is a pre-dialogue tag.”

“This,” Lancer said, “is a mid-dialogue tag.”

“This is a post-dialogue tag,” Heart said.

Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.

They help break up long paragraphs of dialogue that are jank to look at

They give you pauses for ~dramatic effect~

They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.

It also looks better along the lefthand margin when you don’t start every paragraph with either the same character name, the same pronouns, or the same “ as it reads more natural and organic.

3. When the scene demands, get dynamic

General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if you’re in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.

Like, in horror, you can use a lot of onomatopoeia.

Drip Drip Drip

Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.

You can toss out some grammar rules, too and get more poetic.

Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesn’t look, it’s not there. If she doesn’t look, it’s not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. It’s gone.

4. Remember to balance dialogue, monologue, introspection, action, and descriptors.

The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like they’re notecards to be read on a stage is higher than I expected. Don’t forget that though you may know exactly how your dialogue sounds in your head, your readers don’t. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.

If you’ve written a block of text (usually exposition or backstory stuff) that’s longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narrator’s feelings on what they’re saying and whoever they’re speaking to’s reaction to the words being said. Otherwise it’s meaningless.

—

Hope this helps anyone struggling! Now get writing.

[mothman-etd]

I have talked a few times about Psychological Operations or psyops on here, but I would like to point out a real world example of a PO Operation that was found out recently by the Department of Justice.

Before that though, If you would like to read more about the actual position of a PO soldier, you can look no further then the PO benefits page on the US Army special operations recruitment website (https://www.goarmysof.army.mil/PO/).

Personally I feel like many people still believe psyops to be some kind of conspiracy theory instead of a fairly standard military division in almost all modern militaries, anyways onto the example.

The US Department of Justice is going after (indicting) two RT (Russian state media) employees for committing fraud and violating the Foreign Agents Registration Act.

Basically they created a front "media" company in Tennessee, translated russian propaganda videos into english, then paid right-wing influencers to promote (reblog/retweet/talk about on streams) said videos.

Three of the named influencers that I could find were Tim Pool, Dave Rubin and Benny Johnson.

I honestly have no idea who these three are, but supposedly their platforms have millions of followers. Also, some of these influencers were paid up too $100,000 a week to promote their videos and messaging.

So to summarize, Russia setup a fake company to pay American influencers to repeat their lies so that their followers would interpret those lies as legitimate since their were coming from a source they trust.

When people talk about election interference this is what we are talking about.

$100K a week is insane money for most, I am sure many people would be hard pressed to not sell their soul for that much money. Many of the videos from this media company were lies about the Ukraine war, and looking into Tim Pool it seems he also has a very anti-Ukraine stance (Audio from one of this podcasts https://v.redd.it/41xgvuri0vmd1/DASH_AUDIO_128.mp4)

I generally do not talk about my job on here, but corporations used to pay me to run seminars to help train their employees on spotting these types of attacks--mainly targeted psyops attacks from nation states to hack into their company via end user interaction.

Or in layman's terms, to help companies protect themselves from Russian Ransomware Thieves and Chinese Intellectual Property/Information collectors. Both of these being extensions of the Psychological Operations military divisions of each country.

I am really not sure how to end this post other than I am just trying to show people how real it is that the militaries of the world are spending obscene amounts of money in trying to influence your opinions and day to day life via your internet consumption.

Surf responsibility, be very wary of anyone telling you not to vote and don't believe everything you see/hear on TikTok/youtube/twitter/Insta etc etc

[anexperimentallife]

Project 2025 would ban anything the far right considers pornography. The far right considers anything queer-positive to be pornography, and they WILL encode that into law if given just a TINY bit more power.

Have queer fanfic (or trad published literature) or pics of your transition, or of two men kissing, saved to your hard drive? If the GOP get their way, you'd be guilty of possession of pornography. Did you share any of it? You'd be guilty of distribution of pornography. Have a sweet coming of age story with a queer protagonist? That'd be child pornography.

Even now, states are trying to make it a crime to be openly queer in public (by, among other things, classifying dressing as the "wrong gender" anyplace kids might see as a sex crime against children). Oh, and Florida tried (and thankfully failed) to impose the death penalty for the above.

This is just one example of the horrors awaiting us if the project comes to fruition.

And the far right is already screaming that any adult who mentions around kids that queer people exist is "grooming" children. Wear your Pride shirt past a playground? You're now a child groomer. Think they won't put that into law if allowed? You're naive.

The GOP currently controls the Supreme Court (which is how they overturned Roe v. Wade) and has a majority in one branch of congress. Imagine what will happen nationwide with the GOP controlling every branch of government, including supermajoroties in both houses of Congress.

Oh, and top GOP officials have also announced their desire to NUKE Gaza, so don't come at me with, "but I can't vote blue because Biden..." Or tell me how you think Gaza would somehow be better off with Trump and the GOP.

In France, the left and center joined together--even though they disagree vehemently on many issues (get two leftists together and they'll have three positions on any issue)--to stop the far right from totally taking over, because the one thing they ALL agree on is that fascists dictatorships are BAD.

Much the same with the UK finally kicking out their own neo-fascist party, the Torries, to install 400 Labour MPs. Not everyone loves Labour's policies, but virtually everyone with a brain cell recognizes that the Torries are fascists, and that FASCISM BAD.

"Every election, they tell us this is the most important election if our lives!" Yeah, because each election over the past several decades has been more important than the one before, until we are now at a tipping point between remaining a fucked up oligarchy with SOME resemblance to freedom, and an outright neo-fascist military dictatorship.

Trump has literally stated publicly his intent to criminalize dissent, use US armed forces against protesters (Kent State, but multiply it by thousands), purge all agencies and stuff them with those personally loyal to him, and use the DOJ to go after anyone he perceives as a threat to his political power, among other things.

And remember the things he did in office, like pulling the teeth of federal workplace protections for queer folks (which Biden reatored).

I don't care if you don't like Biden or Harris. Neither do I. But the alternative is Trump, and anyone telling you not to vote in 2024, or to vote third party, is rooting for Trump, and for Project 2025. Anyone telling you not to vote does not give one single solitary flying fuck about vulnerable populations in the US or anywhere else in the world.

"You're just being an alarmist!" Right. Like I was being alarmist when I predicted the failed Jan 6 coup attempt. Like I was being alarmist when I said the GOP would try to use control over SCOTUS to overturn Roe v. Wade.

Fucking vote.