#a lot of the story’s events are caused by them indirectly or directly

[saintsugoi]

every time i see a “i care more about satosugu than i do the plot of jujutsu kaisen” post i pray a boulder falls on their head

[max--phillips]

Okay here goes

First, the spoiler free stuff:

Ridley Scott knows how to make a fucking film.

If I don’t see fics of Acacius x reader x Lucilla I will begin biting

If you are going in it for Pedro, I will warn you his character is very important but kind of… idk, shallow is too strong of a word, but not very fleshed out. I don’t think that’s an issue in the greater scheme of the movie though, it makes sense in the plot and doesn’t feel out of place or bad in the universe.

If you are going in it for Paul Mescal, you will not be disappointed.

Please watch the first movie first. The story will not make any fucking sense if you don’t.

Just the right amount of flashbacks and footage from the first movie . Chefs kiss

Ridley Scott really said “all emperors and tyrants are nasty little freaks with terrible vibes”

Oh also if you’re squeamish about gore and stuff like. It’s a movie about gladiators so set your expectations accordingly. There is an instance of a disembodied head used as a prop. So y’know

Okay, spoilery stuff below the cut

Arishat was hot :( rip

Monkeys at the beginning? Terrible. 0/10 did not enjoy that. Also did not enjoy seeing and hearing Mr. Mescal BITING ONE

I love Ravi I would watch a whole movie just about him tending to gladiators’ wounds quite frankly. Give me that story

We love to see bisexuality on screen (even though that wasn’t a social identity at the time but we’re not here to talk about that) what with the concubines and drunk as fuck Macrinus

Speaking of drunk as fuck Macrinus: that whole scene was so fucking funny. They’re like that meme about people getting high. You know the one

Speaking of Macrinus—Denzel Washington stole the show. When TIME magazine pushed a story to me today headlined “Gladiator II Belongs to Denzel Washington,” I was like, pshhhh, nah. But it really does. It’s not about him? But it’s his fucking show.

The politics . THE POLITICS

It feels a little heavy handed right now but that wasn’t probably how it was intended, given it was made before. Y’know. The election. But the whole dream of Rome being a place where everyone is equal and cared for but you can only whisper it or it’ll shatter? Yeah.

Oh, right, Acacius: that dude is so tired he does NOT want to be there. Let him go home to his hot wife. Alas, his hot wife is the way she is and like… no good deed goes unpunished.

And I fucking called it with my text post a few months ago. Two (2) movies now where Denzel Washington (either directly or indirectly) kills Pedro Pascal. Brilliant

Admittedly selfishly I would’ve liked to see more of him. But it felt like the correct thing in the context of the story. If he didn’t die then, if he wasn’t the inciting event for the uprising of the people of Rome, it wouldn’t have made sense and it would’ve just been fan service and “look, we got Pedro Pascal!” at that point.

I would’ve liked to see a more in-depth exploration of the change in relationship between Lucius and Lucilla—it seems like they went from Lucius screaming at her to get out to them hugging it out without any real development between the two of them specifically. Obviously a lot had happened in the world of the movie at that point but nonetheless

Macrinus shooting Lucilla was his Icarus moment. There was no coming back from that. “But what about Geta” “but what about Caracalla” no. It was Lucilla. If she’d gotten got by the praetorian guards or something else, it would’ve been fine. But because it was Macrinus there was nowhere he could go from there other than [checks notes] getting his hand chopped off and then gutted in a dirty irrigation ditch.

Remember kids, the people in power who are causing all of the things going wrong in the world have names and addresses and are mortal <3

Also another takeaway from the movie: imperialism, religious extremism, ableism, and authoritarianism will be the end of us all <3

Anyway. Good movie. Can’t wait to watch it again in my own home with subtitles so I can actually like… process everything everyone was saying LMAO and take better reaction notes.

I’m still sitting in the theater parking lot it’s been like 30 minutes LMAO okay thanks for coming to my tedtalk or whatever

[ask-the-prose]

Building a Character Arc

Hi all! These past 8 months have been a busy time huh? I’m back and hoping to jumpstart this blog with a bit more organization. So let’s get started with our next guide!

We talk a lot about worldbuilding and plotting out stories, but there’s an important factor I haven’t seen much discussion around, and that is: character arcs.

We’ll be covering character building next week, as that will build off of this post. But building a character arc is just as important as knowing all the static facts about a character and how they react to the world you’ve built around them!

What is the character’s purpose?

We love to imagine our characters as people and real in our heads, but ultimately they are a tool to tell a story. So when building your character arc, you need to know what the purpose of this character is. How do they serve the story? How do they enhance the themes?

Characters can have tons of purposes, from the protagonist to the antagonist to cannon fodder. Characters can serve multiple purposes at one time, even. So what do you want your character to do for the story?

An example: in The Hunger Games, Gale Hawthorne serves a purpose far beyond just love interest #2. Gale helps propel the plotline in a number of ways. He spurs Katniss into action when he is whipped in the town square, he challenges Katniss’ worldviews both directly and indirectly by proposing ethical and complex questions that Katniss must later answer, and he’s symbolic of an answer to the main theme of the books. He isn’t relegated to just one of these purposes, but he does have to have one otherwise, he would be irrelevant words distracting from the actual story.

What changes within the character? What doesn’t?

Characters can be divided into two categories: static and dynamic. Static characters stay the same over the course of the story, whereas dynamic characters do not. So a good question to ask yourself when building a character arc is what, if anything, changes about the character over the course of the story?

One important factor to consider is the character’s attitude towards the world, the conflict, or the other characters. If that changes, how does it change? Why? What happens to cause that change? These questions can be applied to any number of factors you wish to include, like a character’s opinion of themselves or another concept, a character’s worldview, or a character’s feelings towards their circumstances.

If the character is a static character, why? Does it serve the story’s themes?

Is your character an active participant or reacting to plot events?

Naturally, a character reacts to events and responds to those reactions through action. But do those actions actually affect the plot? Does the plot happen to the character or does the character act and consequences follow?

These seem like plot building questions, and they are, but it’s critical to understanding your characters as well. Characters that always react to the plot and have little consequences for actual actions taken tend to be placed in the “reactive” category. While I can’t speak to every style and story structure, most traditional publishers and western audiences prefer active characters over reactive characters. They want the character to impact the plot, their actions have natural consequences that push the plot forward.

Reactive characters can absolutely be utilized to tell interesting and compelling stories, though, so don’t throw out the whole story if you find your character is more reactive than active.

Conclusion

So you’ve created the plot and the premise and you need to populate your world with characters! Remember these key points in building a character arc: purpose, change, and action. Hopefully this guide can help you get on the road towards creating a character arc that not only compels your reader, but enhances your themes and serves your story.

-- Indy

[writingquestionsanswered]

How do I handle having a group of villains + a Leader? There are so many options on how it can play out so I'm getting overwhelmed. Things like whether the Leader has the exact same goals as the others, or if they have a hidden agenda. If their alike or the Leader is manipulating them - using them as pawns for a greater scheme. Or even how they met; did the group form first and establish a Leader - or did the Leader hunt down "members" for their agenda? I'm just not sure what's best for my WIP!

Fleshing Out a Group of Villains

When it comes to fleshing out a group of villains, the "sky's the limit," really, and what's best for your WIP depends on the plot and the story you want to write.

If you don't have a conflict for your story yet, that's where you should start. Stories are basically about people who are trying to resolve a problem within their heart and mind (internal conflict) or within their situation/life/world (external conflict.) Lots of stories these days feature both an internal and external conflict, with the internal conflict being resolved parallel (and often because of) the events of the external conflict. With external conflicts in particular, the antagonist (or villain in your example) is usually directly or indirectly responsible for causing the problem in the first place. And, since the protagonist's goal is to solve the problem the antagonist's goal is to prevent them from succeeding. In an attempt to thwart the protagonist, they throw challenges and obstacles into their path, which the protagonist must then overcome. Quite often, it is the lead villain who is calling the shots, but their "cronies" or "lackeys" who do the actual work.

So...

What is your character's normal life/normal world like? What happens to turn it upside down?

In what way is the antagonist responsible for this event and why? What are they trying to get?

What goal does the protagonist pursue in order to resolve the problem?

What kinds of things does the antagonist do in an effort to prevent the protagonist from succeeding in resolving the problem? How can they use their cronies to help them create these obstacles/challenges?

Back story, like how the villainous group formed, will become clearer as their goal becomes clearer.

Happy writing!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! �� Please see my master list of top posts before asking ♦ Learn more about WQA here

[raayllum]

TDP Reflections: Strangers breakdown

So just like before with Claudia’s short story (breakdown here), I want to do a deep dive into Soren’s, not only pulling on the other short stories released thus far, but also canon and where I think it may go from here. Strap in, cause there’s a lot to (wonderfully) unpack, thanks to the density of the prose and the introspection!

Consistent motifs

First things first, the story continues the trend of having consistent motifs, this volume having a specific focus on:

Storms (water, drowning)

Hearts

Light and darkness

Trapped / chains

I’m going to be examining some of these motifs in greater detail later on, but for now I want to note a couple things:

1) Soren’s short story continues the emphasis of hearts even over storms. While many of the stories in Vol. 2 have talked about storms and water quite prominently (Ripples, Lost Child, All Storms End) not all of them have in a significant way (The Queen’s Mercy, Strangers) but all have mentioned heart. Part of this is because heart is communicative of many emotions and thereby emotional phrases, but also, I think, a more purposeful motif due to this theory I have, which is that the Key of Aaravos is a literal Key to Aaravos, and holds (or is) his literal missing heart (chest piece). 

The stranger stood up. Approached him. Soren’s heart crawled up into his throat. [...] Viren staggers backwards, his last breath shuddering through the blade. His white robes turn red at his heart. Something in Soren’s own chest shatters along old cracks, but he cannot look away.

2) Soren’s short story is the first time we’ve seen a person be directly compared and embedded in the Light and Darkness motif, concretely (although Rayla and Callum certainly come close), specifically in his bond with Ezran. This is, perhaps, the most important piece symbolically, and also provides many of the parallels between Viren and Soren we’re going to discuss.

He thudded his head back against the thick trunk of a tree and stared out into the night. The void of the Uncharted Forest seemed to go on forever, obscuring everything beyond its canopy. Even the waning moonlight struggled to pierce its veil.

Somewhere out there were his friends. His duty. His king.

Two years before, when the world had seemed darkest, Soren began to imagine Ezran as a kindling flame, a bright little light holding back the abyss. When he’d named Corvus a Crownguard, he’d told him that the young king was not only Katolis’ hope, but all of Xadia’s, too.

Soren had sworn to protect and tend that light. To nurture it. And in his darkest moments, that oath gave him a reason to feel strong again, a way to keep smiling.

How easily it had all fallen apart. How easily he’d chosen to chase the dark instead when he’d found his sister still lurking there. 

We see Ezran and Claudia juxtaposed with each other, in relation to the places they have in Soren’s life as well as in the Cycle: Ezran as a chain breaker, Claudia as a perpetuator. Ezran is now, by and large, become the most important person in Soren’s life, even if his ghosts still haunt him. And well, he’s not the only one: so let’s talk about it.

Soren’s parallels to Viren

Soren thought he was done chasing, done reaching—reaching for people who turned their backs on him, who closed doors in his face, who disappeared over the horizon and never returned.

Doors, chasing, reaching. The line of “people over the horizon line” is presumably Lissa, making this the one and only time Soren has ever thought of her even indirectly in TDP’s vast universe of material. All of this, of course, factors into the way Soren and Viren have begun to parallel each other in S4: worried for Claudia, interacting with butterflies, and Viren expressing similar doubts to the ones Soren had in 2x07/2x08 after his own physically traumatic event that Claudia steamrolled over, and then acted surprised when the emotional epiphanies continued. 

There are also the parallels, per se, with Soren and Viren having panic attacks accordingly in S4, and the parallels between Viren and Sarai coaching said sons through panic attacks. 

But more on their specific dynamic later, because... woof. 

Trapped

Welcome to subsection one of “Soren’s short story’s parallels with Callum (and Kim’dael)”, specifically: 

He struggled for a while, twisting against the thick knot bound behind him, until it was clear that not even his muscles could get him out of this one. The cloth gag in his mouth wouldn’t budge either, despite his gnawing and spitting. Soren was trapped.

Kim’dael fell back to her knees. The weight of the chain around her neck pulled her downward until she bowed her head. She pressed her fingertips to the golden metal collar at her throat. She struggled to swallow. Struggled to breathe. She was trapped.

Now, beyond the increasing emphasis on Freedom vs Imprisonment (which, delicious), feeling trapped by Viren is something that Viren has felt consistently, even when his father was literally imprisoned. While goodhearted, Soren’s view of the world, although its changed, is still fairly simplistic. Some people are good (“Ah, it’s nice being one of the good guys this time”) and some are evil (“That person is a villain. My dad is a villain”). Thus, Soren primarily ties his more negative actions (rightfully so) to wanting to follow his dad’s wishes, but assumes (wrongfully) that Claudia must also be operating under the same context. 

Because if she’s not, if this is what she wants, then in many ways, he’s truly lost his sister already. (But again, more on Soren and Claudia later.) 

Drowning as Darkness

The old man stoked the embers of the dying fire. The flames crept back to life and cast a flickering glow across his face. That face—Soren turned his focus back to the darkness. On breathing. [...] But the world spun too fast, and the face became other things, other memories in an endless torrent. His mother at his bedside. His father’s back, hunched as he read useless tomes by candlelight deep into the night. His sister, crying in her room ‘til morning. Soren gasped the darkness like water into his lungs. He could not breathe. He was drowning.

And here’s the water metaphor explicitly, conflating it with darkness and drowning directly, just like Callum’s dark magic dreams to begin with. Then, it’s exceedingly interesting that while Ezran is Soren’s light... Viren is still the one, clothed in white, who pulls Soren out of the panic attack in the first place, and this more than anything is what reaffirms to Soren that this is indeed his father, even if their bond, just like his father’s body, is broken and warped by dark magic. 

Which last but not least, let’s actually talk about....

Viren and Soren

Righting himself against the tree, Soren held his head up. “Just— get away. Get away from me.”

Something flickered across Viren’s face. For a moment, Soren thought his father would open his mouth and say something like he always did, words that hurt—ungrateful, foolish, useless—but he merely sighed and stood up.

Now, late stage S4 has only begun to hint at what novelization reading fans have known for a few years at this point, which is that Soren was a sickly child growing up and that Viren did something monstrous to heal him, which eventually fractured Viren and Lissa’s marriage. We were unsure up until S4 if it would be addressed and elaborated upon in the show, but with Viren’s “conversations with Kpp’Ar” and dark magic induced dreams, and Claudia bringing it up directly to Soren (“Without magic, you would be dead. Without Dad’s magic”), and now this short story, it’s safe to say S5 will be going full speed ahead. It’s clear that Soren does have something to be ‘grateful’ for, even if that might only be in Soren and Viren’s own minds.

Secondly, Soren referring to Viren as a monster is as loaded as it has always been (“You keep calling it a monster. Does it feel, does it think? Does it have a family?” / “You’re a monster” “You’re mistaken: I’m a pragmatist”): 

He’d conjured up another monster to hide the horrifying truth: this stranger—this man—was undeniably Viren. [...] And Viren—LORD Viren, the usurper king, the monster in Soren’s nightmares—hesitated.

But it’s something Soren has done before, albeit indirectly:

Moreover, we have Soren witness some of the more on the surface parallels between Viren and Claudia, specifically Claudia picking up her father’s mantle (literally) as well as more light and dark symbolism: 

The pair emerged from the tangled dark. Terry carried a lumpy bundle in his arms. Beside him, Claudia held up a staff to light the way. Viren’s staff. It looked too big in her hands, too heavy, but she wielded it with the same effortless elegance as her father. The sight made Soren’s gut twist.

There are also some very interesting parallels in regards to how Claudia views herself and how Soren views Viren as well:

Claudia’s reflection wavered below her in the water. Studying it, she frowned: her face was narrower than she remembered, paler against the sweeps of white hair. Even her eyes looked older somehow, as though the work of the last two years had aged something deep within her, beyond the touch of time. [...] She turned back to the water, gazing straight down into her reflection. The sallow skin, the stolen time behind her eyes… A moment later, she blinked into the pond; her reflection beamed up at her. Her eyes brighter, her face fuller, more color in her cheeks. Small changes, but still—There I am, she thought.

Those same firm hands took Soren’s face and lifted it. He opened his eyes to see the stranger’s face frowning down at him, lined with age and hardship and years without a smile. Soren realized he’d imagined all of it it—the sagging skin, the hollow eyes, the corpse-like rigidity. He’d conjured up another monster to hide the horrifying truth: this stranger—this man—was undeniably Viren.

Even if, as a final note, while Soren can accept that Viren is indeed alive again, he refuses to believe that he’s changed in any meaningful way: 

For a moment, the man was a stranger again, someone unfamiliar, reborn and new and changed and—Viren must’ve sensed his stare. He turned to look at Soren again, his gaze cold and piercing. No, Soren thought. He’s the same. He’s my father. He glowered back, making himself cold, too. Like steel. Like a blade.

What is it building up to?

So like, what is the potential point of all this, then, going into S5? A few things, I think. 

1) It confirms that Soren and Viren’s relationship (and interwoven backstories) are going to be a more prevalent focus this season. This was already set up in 4x07 with Claudia’s remark about Viren saving Soren’s life, and basically confirmed since we know Viren is having dark magic related dreams that include Kpp’Ar (a mentor he disavowed precisely because Kpp’Ar wouldn’t help him save Soren). This focus makes sense for a lot of reasons, I think, since...

2) It seems more likely than ever that Viren is going to defect, join Soren, and that they will work together to bring Claudia home once his ‘abandonment’ sends her off the rails. Viren sacrificed his son to keep his daughter in 3x03 (“If you tell her the truth you will lose her. You will need her soon”) and now S5 is set up to show just what he sacrificed to save the son who would one day kill him as well. Furthermore, it makes sense, as “Soren chose Dad” (2x09) and now for Viren, spurred by his memories and second lease on life (and growing fear of Aaravos using Claudia) to now choose Soren. This allows them to work on figuring out their fucked up dynamic, as well as giving Soren an extra reason to have faith in Claudia even as she gets worse, because if their dad can change then why not her? It also means that her family works to save her, after a lifetime of her always saving them to her immense detriment, which is just... nice, y’know?

It’d be neat, and it’s looking pretty likely, IMO. 

Misc

There were other thoughts and parallels I had that I adored, such as the Eyes, Smiles, and Almost parallels, for lack of a better distinction: 

Claudia leaned forward, shaking the homunculus’s bony shoulder hard—harder than she’d meant to. Its wings fluttered and it whined in surprise, but looked up and met her eyes. Something in its gaze made her breath catch. There was something wide and curious there, simple and yet almost familiar, almost… knowing. 

The gentle flames caught his eyes and made them somehow warm. “Soren, I—”

Zym pressed against her, warm and brilliant—his magic a thousand colors. Zubeia let it comfort her. Lightning struck again. For a moment, its sharp light gave the Dragon King’s form a gentle smile.

However, my favourite non-mage fam related parallel had to undoubtedly be the Hesitation parallel between Viren and Rayla (my beloved foils). 

R: And before I know it, I’ve failed. 

And Viren—LORD Viren, the usurper king, the monster in Soren’s nightmares—hesitated. [...] Soren stared at Viren’s back, his heart thudding against the cage of his ribs again. He had never, not once in his life, seen his father hesitate. 

Which, given the fact that Viren’s hesitation is precisely what’s pushing Claudia deeper down the path of darkness and desperation, further into Aaravos’ clutches, it seems Viren will be too late to know that he’s failed, too, at protecting/saving his daughter. 

[somekindofsentience]

the relevance of arcs in the DreamScape AU, or trying my best to make predictions

WARNING: SPOILERS FOR THE OMORI DREAMSCAPE AU - THIS ANALYSIS ASSUMES YOU HAVE READ UP TO THE CURRENT LATEST CHAPTER (14) PLEASE READ IT!!! ITS GOOD!!

CONTENT WARNING: MENTIONS OF SUICIDE.

READING-THIS WARNING: I'M STUPID AND MISINTERPRET THINGS SOMETIMES, ITS ALL MY ANALYSIS AND DO REMEMBER THAT IT CAN BE WRONG/BAD/STUPID SOMETIMES

*cracks knuckles*

Let's do this.

Determining the Goal of Each Arc

If a story is formatted in a particular way, typically it has a specific goal for that. You learn this back in the years of High School English, when you start to understand the point of plays being separated into acts. They have somewhat different stories, but ultimately link to the same final goal, or final climax of the story.

In DreamScape's instance, it is split into three arcs. An arc (in other contexts) typically refers to the development and eventual resolution of a particular theme or aspect - such as a character arc, which portrays character development over a period of time. I tend to use arc when referring to characters, so I'll capitalise when referring to the actual in-text arcs.

I believe that it is possible to use our understandings of the current Arcs to determine where loose ends might be tied up in Arc 3. We know for certain the ending is "bittersweet" - somewhat good, somewhat bad, not unlike the original game.

Arc 1

The first Arc provides us with the most understanding, since it's complete, but it's relatively easy to miss the goal of the Arc, considering how much is going on. We gain understanding of DreamScape as a location and a plot device, and begin to understand the characters centered around it, which is a lot to process.

The importance of the events that occur is obvious. Sunny fucks with the program, revives Mari, and causes a shit ton of problems, including seriously injuring Basil. Basil knows the truth of Mari's weird online activity, and Sunny is trying to fix the problem he made, causing more problems on the way. In the meantime, Kel and Hero wrestle a dysfunctional relationship, and Aubrey and Basil aren't on good terms.

Despite all this, the finale of the Arc is focused on Aubrey's relationship with Sunny, and it deliberately doesn't end with the creation of the Mari virus - that's the beginning. Having it as an ending would be a relatively reasonable ending for a beginning arc, so why wasn't it?

I believe the goal of the first Arc revolves around Aubrey/Kim/Kel discovering what Sunny has done, and also reader discovering the "truth" about Mari's death, as well as the way Sunny's life rotates around it. Rather than a journey of creation, it is a journey of discovery.

Mari's suicide is first directly described in Chapter 10, and so is Sunny's suicide attempt (mimicking his sister's). We also see Sunny's direct involvement in Mari's death - while her legs breaking was already mentioned, here we see Sunny curled up in the corner, sitting with Mari's dead body, when Aubrey finds him. We see Sunny mimic Mari's suicide, and we get one of the most key lines of this arc-

From this, we learn more about Sunny as a character before the events of her death, and the nature of the destruction of Aubrey and Sunny's relationship, indirectly destroying Aubrey and Basil's relationship at the same time. Similar to the original game (except actually explicit), we watch how the friendship group broke up. This is the goal of the first Arc - much like the Truth Segment of the original game, we are understanding what happened in the past.

The first Arc also introduces Kel and Hero's clashing personalities, and also introduces Kim, to act as "Aubrey's Hero" (at least for this section). Kim and Hero are third-parties who don't like and rarely interact with DreamScape, although they are later required to. I believe setting up these characters makes them more relevant later.

Arc 2

As of current writing, this Arc is incomplete, which makes it difficult to determine its main goal. However, we can look at the current state of events and determine a potential conclusion from there.

Arc 2 has us understand more about the Mari virus, and its interaction and storage of memory. It also introduces Sweetheart, as well as Hero's bargain with her, and it foreshadows/demonstrates severe destruction of DreamScape.

The sequences wherein Sunny enters Mari's memories are very reminiscent of several Truth sequences in the original game. Even the images reflect this, depicting Sunny falling through a red sea; or the hospital. It depicts a continuum of Mari's memory, which also foreshadows the destruction of the way Sunny perceives time.

Despite the horrific nature of it, we know Sunny enjoys being with Mari or acting as her, in her memories - his obsession with his sister has driven him to insane lengths to see and feel her again, punishing himself . In this way, Sunny now acts as an antagonist, where his goals are somewhat beyond reader empathisation and understanding, pivoting them to want him to get help. It may be that we rarely see Sunny as the main perspective onward, but it's perfectly possible for that to not happen as well.

It is likely the game will be immensely broken from here on, or at least somewhat changed. I also predict Sunny will break free from Sweetheart's weird little lab to cause further destruction, because it would ultimately lead to a more interesting future climax.

Considering Loose Ends for Arc 3

The Potential Ending of DreamScape (as a game): Considering the best possibility for a bittersweet ending, the destruction/abandonment of DreamScape as a game would tie up Sunny's grieving and acceptance character arc. Though Hero's focuses on the use of DreamScape to heal grief, Sunny is more relevant and requires more support. Either the virus itself will ruin the game, or Sunny will choose to leave it.

Understanding the Mari Virus: At the present moment, Sunny (and everyone else) has a very limited understanding of the virus - we understand why it is there, and somewhat understand what it can do, but nothing of its extent. Surprisingly, we also understand little about its creation. Either another character will introduce a better understanding of it and its potential, or we learn from Sunny's experience.

A Possible Sunny Final Boss Fight?: Could be an interesting avenue to go down as complete corruption threatens the game, but also threatens Sunny's safety. Aubrey has already fought Sunny before, so it's not impossible. However, that fight also didn't achieve any goals of the other parts of the main cast.

Kel and Hero's relationship: I feel absolutely confident it won't stay this way forever, and we can already see slight change. This also goes for Aubrey and Basil. Whether or not the entire friendship group is revived is debatable, and potentially unlikely, considering Sunny's apparent differences.

Kim as a Character: Putting this here because she's apparently going to get more relevant. This may be because she knows something we do not, or perhaps to understand Aubrey more.

Sweetheart and her Crew: These characters definitely know more about DreamScape than the reader, as is evident by their relevance in the second Arc, as such I believe they might be beneficial to keep around for the next Arc.

Sunny's Eviction/Expulsion Threat: While stated to be five months away, time has been slipping from Sunny's grasp recently, meaning that this is definitely going to become relevant again soon.

Sunny's Physical and Mental Wellbeing: Need I say more?

Basil and Unrequited Love: The pining is probably going to get worse from here, especially considering Sunny's current state. It is possible Basil will have an internal strife between his desire to see Sunny happy and what is best for him.

There's definitely more. It's like, insanely early. I stopped having a train of thought twenty minutes ago. But I hope you enjoyed this!

[sleepy-aletheas]

Well, it's 3am. I have a lot of thoughts as I'm just running around in Divergent Universe, so I might as well just free-style my gripes with the game's plot-related messiness that hopefully one day they can fix.

(It's a bit of a long tangent with no real point??? Just something to toss into the ether to stop fixating on it so I can go to bed later with a lighter head)

The thing about Star Rail's story writing is that they got good ideas, some golden thought-nuggets one can ruminated over even long after the story beat, and enough materials (direct and indirect) that one can just construct theories from different angles for many moments. Star Rail being set as a space odyssey, really, leaves so much room for creativity and plot potential, it easily becomes detrimental if they don't convey it carefully enough.

My major gripe with the writing is not really in the plot holes, or unresolved stuff (not necessarily at least, unless I think too deeply about it and crave answers), especially since these can be filled out and explained later down the line by returning to places or new areas that expand on it; but it's in the setup and no pay off. It's not even necessarily about the later either, if they made the pay off in a patch way down the line, it would be okay, but they set everything up too much like "this is urgent now" and then left it hanging, or resolve stuff behind the scenes without many threads that we can follow to double check the logic.

Their biggest weakness is the rush of story telling. The plot moves too fast to really indulge in the ideas and the emotions, the characters do behave more naturally, but the plot is moving on before they even get a whole sentence out (hyperbolic as what I'm saying is, they speed through too many things at a breakneck speed to really digest and feel something about it). The only time we get a breather is when the plot of the patch is over.

Right now it's very noticeable in Penacony, because we just played it through, but looking back, Belobog and the Luofu had their pacing issues in certain areas too. Hell, them releasing Herta's Space Station, Belobog, and the Luofu at the same time probably was one of the messier decisions in the story telling department they made.

Belobog came out of this actually pretty well. We jumped a bit too fast into the whole "oh no, we're wanted now????" plot, but the story became more reasonable in the Underworld and then the various character quests and events made it also more lived-in and gave enough threads to emotionally attach to the place. It was like they wanted to get to the good stuff, so they sped through the first 20 minutes to give a conflict and plop us down to Boulder Town with Bronya, so she can have her character development as soon as possible. The various events and casual interactions with easter eggs made it more fun and filled in the spaces with life and meaning, but still, the main plot was a bit too fast at the start to really ease us into the story.

The Luofu was...a mess. The main plot jumped from one point to another, never really lingering on anything or anyone, and Tingyun's betrayal (can we even call it that?) came a bit too strong too fast with minimal foreshadowing (I mean, her probing through the text messages about TB's opinions about immortality and stuff was kinda giving it away, since she would dance around the talks of taboos too freely, but it was pretty uneventful and then it felt weird when the reveal snapped around). Yukong's character quest was one of the better ones, cause we actually got to know something about her directly (even if indirectly from her), and we got a chance to know more about her life as a pilot, a friend, and a mother. But the others like Yanqing or Bailu were pretty much side tracked and just thrown together as some fighting events with minimal plot or emotions. I learned more about Bailu in Aarum Alley's event than her outing with Dan Heng and TB. Truly, the most interesting story lines on the Luofu are about the NPCs, which is fascinating to see (I'm like one of 5 people that loves NPCs in games and gets probably too unreasonably attached to them, often more than the PCs). They can probably fill out the gaps and dissatisfaction with events and more characters and their stories, but the first playthrough of the main quest leaves a lot to desire, and that's a shame.

And then we got Penacony, which has a lot of ups and so much buildup, and then they didn't go anywhere. Not really. They set up stuff about the physical real planet where Penacony sits, and they hinted and put allegories about the past. They introduced a lot of characters, and conflicts, and motives, and relationships, and possible future events and alliances and plans. But a lot of these don't have a resolution. Which again, wouldn't be bad, if they didn't make it out to be as an urgent matter that needs to solve during this present plot, only for it to never be addressed again. Can that change any patch they want? Yes, of course. But in the current time it's unsatisfactory and could have been presented better to not leave everything up to guess work and anticipation of anything coming out of it right now.

I didn't really go into the story of Herta's Space Station, because it was more of a tutorial space that doesn't have any pressing matters (well, except the Antimatter Legion, but shhh) that need to be watched out for. It's really a good space to just introduce characters, events, possible plot for other places. It's a neutral space that can do a good amount of heavy lifting for the story, even if it would be used as a setup.

Even through all of this, I still enjoy the game, the story, the characters, the gameplay. I have my hangups, my huffs and puffs over stuff that could have been fixed or worked on more before release, but that can be said about any media depending on what a person seeks out of it. The game gives enough to go ham on theories, leaves enough breadcrumbs to go on wild goose chases between patches, and it walks the line between comedic adventure and serious talk enough to not discourage enjoyment.

The game is just over a year old, there is a lot of room for improvement, for change, and for fun. I just would rather they take their stories and work them through slowly, and give it to us later with all parts making sense and explained enough to not confuse than rush through good ideas and suffer the consequences of poor presentation where story beats and lore get muddled in vague foreshadowing that can be too easily misread.

[kylo-wrecked]

sooooooouuuuuu...Spider Ren AU? c: Tell us more about whats going through your mind, pleae? c:<

sooooouuu... there's not a lot going through my mind. butter-brained here. LOL.

edit- 'not a lot':

i like to think spider-ren would retain most of kylo ren's story with a few caveats. there being no (and being no need for) jedi/sith/knight equivalents. there would be the inspideying incident, though i have a soup of vague ideas about how that happens. is he bit by a radioactive spider? maybe. but how does that spider get there? he's obviously not going to visit an entomologist's lab on a school trip. it would have to happen to him while he was doing something he was not supposed to be doing, or it'd have to be unleashed on him. maybe snoke is a bond-style villain who keeps radioactive aminals as pets. he hangs out in a gold robe in his tiger king mansion.

ren's more vigilante at first. he'd probably be a lot like (year one) batman. in his head he's the hero but his idea of justice falls outside the law. and unlike batman (the ones who make sense, not all-star batman or batfleck (bless him)) is brutal. the death of his father, which he causes either directly or indirectly, idk, would be the event that leads him to change his approach. his uncle ben moment, but instead of 'with great power comes...' it's 'don't ever let the other guy shoot first.' (han, dying: 'at least the kid's light on his feet.')

*as for why he chooses to punish 'bad people...' that's another mysterious soup. maybe he goes to uncle luke (living and well) because he can't approach his parents about the white stuff and the fur—IT ISN'T WHAT YOU THINK—and luke convinces him to do something meaningful with his new abilities. this could be the 'with great power...' moment. but then luke lives and becomes spider-ren's secret familial compatriot. (leia: 'you knew about this and you ENCOURAGED IT?? my son's getting shot at by a police militia with LASER BEAMS.')

the setting? new york. futuristic new york, a coruscanti new york. very batman beyond, very johnny mnemonic. no flying cars but sky-high interstates. very fun to swing around.

there are definitely lizard people in spider-ren's new york (possibly the real one too). one of them might be curt connors.

[bluberimufim]

Happy STS! 💜💌 What role does symbolism play in your WIPs, if any? What symbols relate to certain characters, events, or emotions? How do you decide what symbols to use, or what these symbols mean? Are they intentional, or do you notice them after they've appeared in the story? :) - @liv-is

Happy STS!!

Sorry to have procrastinated this ask but I wanted the answer to be good because of all the different parts the ask has. I'll split it into parts. The answers are about "Black and White", my beloved main WIP.

This is gonna be Lengthy.

What role does symbolism play in your WIPs, if any? What symbols relate to certain characters, events, or emotions?

Colours are very important in B&W. The whole circus is like a colour wheel with a big black and white tent in the center (each colour zone has a distinct Vibe but that's a post for another day). This mirrors how the story has a lot of pieces, with each side character being represented by a different colour, but they all ultimately revolve around Darius and Diedrich, the two protagonists, represented by black and white respectively.

In truth, Diedrich (white) is the original here, and Darius wants to define himself by contrast, while also being a foil to Diedrich, his kinda-mentor. Diedrich carefully guarded the secret of having sold his soul for his magic, while Darius tells everyone he did the same, despite no one believing him. Diedrich took Darius as an assistant and, in turn, Darius says he'll never take on an assistant in his life. He wears black suits and Diedrich wears white suits. But there's still many similarities between the two: their names start with the same letter, they use similar-sounding intros for their shows, and, when Markov joins Darius later on, he can't help but think of him as "his" Johann (who is Diedrich's best friend and travelled everywhere with him).

The Thing I wanted to get to is that both of their love interests are associatedwith the colour red. August (Darius's (ex)boyfriend), wears red almost every day as part his costume, and Lucille (Diedrich's wife), says her favourite colour is red. Hugo, who is Darius's other ex-boyfriend, also has slight associations with red. This is because all these lovers have one thing in common: they are tossed aside by their significant others in exchange for success. Although it's much more prevalent in Diedrich, on account of him being in the story for 38 years, Darius also does this. Diedrich has abandoned his wife three separate times because he just can't quit being a magician. (One of these times was when their son had just died, something indirectly but kinda directly caused by Diedrich, and he just didn't want to be with his wife bc it was depressing.) In the very first chapter, Darius leaves Hugo to go work under Diedrich, knowing full well this will probably land him in poverty. Then later, he basically says to August "come with me or we're done" (slightly better than straight-up abandoning, I guess, but still messed up), and August says "let's break up then".

How do you decide what symbols to use, or what these symbols mean?

The use of colour came to me very easily. I'm an artist, so I give it a lot of importance. For me, it's always one of the things that better defines a character's design in my mind. I'm a very visual person, so it ends up being the most obvious symbol for me, more than actual images.

I also have a Thing with Veera and Alexis's colours in the dystopia WIP, but I feel like I need to develop that more, but also because this post is already enormous. The dystopia WIP has a lot of colours.

Are they intentional, or do you notice them after they've appeared in the story?

Mostly they're accidents. Like the tent thing? I just realized that while writing this. The red thing has been around for a biiiit longer but it was also accidental.

But when I do notice a nice parallel or symbolism, I double down on it.

There's this parallel I completely accidentaly established between Anna (Diedrich's sister) and Johann's romance and Alphonse (Diedrich's son) and August, and I only noticed because I repeated a sentence in two dialogues (it was along the lines of "I want to love you in the sunlight"). Johann and Anna are obviously straight but their romance is taboo just as much as Alphonse and August's (which is gay) because Johann is married, but the marriage was forced upon him by his parents - kinda like, for queer people, society decides what your love should look like with no regard for what you truly want. Johann and Alphonse have just as much fear of disappointing their families, despite their difference in sexuality, because they've been told their love is unacceptable.

Aaaaaaanyway this was a very fun ask! I love rambling!!

It was also huge tho. I went off the rails.

[lovehealgrow]

What is Vicarious Trauma and How It Could Be Affecting You

Sometimes it seems like it’s impossible to get away from the bad stuff. Our world is complicated, and while there’s a lot of good and beautiful things, reality can be very disturbing. You might find yourself constantly exposed to images of distress, whether it’s scrolling through social media or watching the latest headlines on TV. Images of war, natural disasters, or acts of violence can stick with you long after you’ve turned off the screen. This constant exposure can affect you in ways you might not even realize. Vicarious trauma, a term used to describe the emotional residue of exposure to the pain and suffering of others, could be taking a toll on your mental and emotional health.

Understanding Vicarious Trauma

Vicarious trauma is the emotional impact that occurs when you hear about or witness the traumatic experiences of others. It’s most commonly discussed in relation to professionals like healthcare workers, therapists, or first responders who frequently encounter trauma in their work. However, this type of trauma is not limited to those professions. In today’s media-saturated environment, anyone who regularly consumes news or follows events like those in Gaza, Ukraine, or domestic events of violence like mass shootings can experience vicarious trauma.

When you’re exposed to traumatic events, even indirectly, your brain can begin to mirror the emotions and stress of those who are directly affected. This isn’t just feeling empathy or sadness for others; it’s a deep, emotional reaction that can influence your thoughts, feelings, and even your body. Vicarious trauma can develop gradually, as repeated exposure accumulates, and it can have significant effects on your well-being.

How Vicarious Trauma May Show Up in Your Life

Recognizing vicarious trauma isn’t always straightforward, as its symptoms can be subtle and varied. You may not immediately connect your feelings or behaviors to the traumatic content you’ve consumed. If you recognize these common signs, it may indicate that vicarious trauma could be affecting you.

Emotional Numbness

You might notice that you feel detached or numb when confronted with new stories of suffering. This could be a way your brain tries to protect itself from being overwhelmed.

Increased Anxiety or Worry

Constant exposure to traumatic news can heighten your overall sense of anxiety. You might find yourself worrying more about your safety or the safety of your loved ones, even when there’s no immediate threat.

Physical Symptoms

Stress from vicarious trauma can manifest physically, as trauma impacts the nervous system. You might experience headaches, fatigue, insomnia, or digestive issues without a clear medical cause.

Changes in Worldview

Repeated exposure to trauma can alter your perspective. You may become more cynical or fearful, struggling to find hope or positivity in the world around you.

Difficulty Concentrating

Vicarious trauma can make it harder to focus on daily tasks or responsibilities. Your mind might wander back to the traumatic images or stories you’ve encountered, making it difficult to stay present.

Increased Irritability or Anger

You might notice that you’re more easily frustrated or angry, particularly when faced with situations that remind you of the traumatic events you’ve seen.

These symptoms can interfere with your daily life, affecting your relationships, work, and overall sense of well-being. It’s important to recognize that these reactions are normal responses to abnormal circumstances, and acknowledging them is the first step towards managing vicarious trauma.

What Can Help: Strategies for Coping with Vicarious Trauma

If you’ve noticed signs of vicarious trauma in your life, know that there are steps you can take to care for yourself. Managing vicarious trauma involves both addressing your emotional needs and finding ways to limit your exposure to distressing content. Here are some strategies that can help:

Set Boundaries with Media Consumption

It’s important to stay informed, but constantly immersing yourself in traumatic news can be harmful. Consider setting limits on how much time you spend consuming news or social media, and be selective about the sources you follow. You can also designate “media-free” times or spaces in your day where you focus on other activities.

Practice Mindfulness and Grounding Techniques

When you feel overwhelmed by the emotions triggered by vicarious trauma, grounding exercises can help bring you back to the present moment. Simple techniques like deep breathing, focusing on your senses, or even taking a short walk can reduce feelings of anxiety or distress.

Engage in Regular Self-Care

Taking care of your physical and emotional needs is crucial when dealing with vicarious trauma. Make sure you’re getting enough sleep, eating nutritious meals, and engaging in physical activity. Additionally, find activities that help you relax and unwind, whether that’s reading a book, taking a bath, or spending time in nature.

Seek Support from Others

You don’t have to navigate vicarious trauma alone. Talking about your feelings with friends, family, or a therapist can help you process your emotions and feel less isolated. Support groups or communities, both online and offline, can also provide a safe space to share your experiences and learn from others.

Develop Healthy Coping Mechanisms

It’s important to find healthy ways to cope with the emotions triggered by vicarious trauma. This might include creative outlets like writing, painting, or playing music, which can help you express and process your feelings. Avoid unhealthy coping mechanisms, such as substance abuse or withdrawing from loved ones, as these often just make things worse.

Consider Professional Help

If you’re finding it difficult to manage vicarious trauma on your own, seeking professional help can be a powerful step. Therapists who specialize in trauma can provide tools and strategies to help you cope and heal. Cognitive-behavioral therapy (CBT), for example, can be particularly effective in addressing the thought patterns that contribute to vicarious trauma.

Taking the Next Step

Vicarious trauma is a real and significant issue that can impact anyone who is regularly exposed to the suffering of others, whether through their work or the media they consume. Recognizing the signs and taking proactive steps to care for yourself is crucial for maintaining your mental and emotional health.

If you’ve been struggling with the effects of vicarious trauma, remember that help is available. Talking to a therapist can provide you with the support and guidance you need to navigate these challenging emotions. At Love Heal Grow, our trauma-informed therapy team is here for you to help you work through the impact of vicarious trauma and build resilience. You don’t have to face this alone; reach out to schedule a session with one of our therapists today.

[explorer-of-art]

Varius & North's Friendship

The two are each others' first friend in NRC. They're in the same class so it was only a matter of time before they interact and get close.

Long post under the cut.

On Day 1, North was the first Ignihyde student Varius saw outside of class time. And Varius was the first student to talk to North. So the two get attached over the semester.

Varius wants to become an engineer like the first and youngest Royal Engineer from a certain kingdom long ago who he happens to resemble. So outside of school hours, he works on his many projects. He never had a beta tester, partner, or someone he could ask for help. This becomes relevant later on.

By the way, one thing to know about North is that she is from another world. She has seen Disney media, including "Tangled: the Series" which means Varius reminds her of Varian A LOT in appearance and personality. She knows they're separate people but it's like seeing a ghost. She does come close to calling him "Varian" a few times but he doesn't notice... yet.

Anyway, the days roll on, classes go by, time passes. The two gradually become friends and study together. During Alchemy and Potions classes, Varius does fine on paper but has a hard time with labwork. He makes many mistakes which is why Alchemy and Potions are not his best subjects. In pair work, he has a doesn't work well with most students but does fine with North, and the two always gravitate toward each other when able to choose partners. Crewel notices this but he lets it happen because there's always less explosions when they're together.

They become partners after Varius messes up one too many times doing labwork in Alchemy class and gets chewed out by Crewel. He goes to North and they have a talk. Varius tells her his problems, and eventually mentions the Royal Engineer he resembles along with the projects he has been working on. Because of how attached they are and work together, Varius asks her to make a promise. North, remembering the one time his look-a-like had a promise broken, goes "NO. NO PROMISES. OR ELSE I'LL BREAK IT RIGHT HERE RIGHT NOW. YOU CAN'T BREAK A PROMISE IF YOU NEVER MAKE ONE IN THE FIRST PLACE". So they don't make a promise. They make an agreement that North will be his partner/confidant. Part of it is that she helps him with his projects that he does outside of school hours by critiquing them, helping build and test them, and other things. Varius has a lot to gain from this while North doesn't directly gain from it but having Varius improve is enough for her. Varius does return the favor but indirectly.

Their close bond is what causes Varius to invite North to go with him to the Floating Lights Festival several months later. Story-wise, the event is where we learn about Varius' background and how much he has developed when juxtaposed with his current state.

In a not yet fleshed out what-if where Varius overblots, their friendship plays a role in his despair. On Varius' end, he feels that he is too dependent on North which piles onto his self-doubts. To North, she feels that despite how much he has improved with her help, she is hindering him by having him rely on her to the point of being overdependent. Like idiots, the two don't talk it over. Varius instead doesn't call her for help and tries to work on his own. North notices the radio silence so she attempts to reach out only for Varius to dodge the question. When Varius does overblot, yes, North beats him up. And heals him after hopefully without anyone noticing. They remain friends but take a break from the partnership and projects for some time.

[maleyanderecafe]

Ordinary Yanderes

Yanderes come in all shapes and sizes, but what exactly causes someone to become a yandere? Often it's a tragic backstory, such as abusive parents or in other cases, they are supernatural beings that were born with obsession or born to be obsessed. But what exactly can cause an average person to become a yandere? Today we'll be talking about ordinary yanderes, those with perfectly average lives that become obsessed with a particular person. This analysis idea came from my friend who I played the Mazm: Phantom of the Opera, and also someone who is going to make a yandere vn, so thank you, Cherry for the analysis recommendation!

One of the most common ways that a regular person can turn into a yandere is after they have some sort of trauma. This is actually something that can cause a lot of different changes to anyone since the trauma is something that is hard to process and go through. I actually had a conversation with my friend Coyoda about this topic while helping Cherry with her vn idea, but the idea is that trauma can often cause a lot of different ways of coping, and the example given was that many survivors of the 9/11 events often become flat earthers sort of as a way to cope. This is actually how a lot of stalkers in real life come to be as well, with someone showing some sort of kindness after they have experienced a traumatic event. This is also a pretty common way that yanderes in media are created, even if before the event they had a pretty regular life, trauma can really cause someone to change completely. This can often be a death of a family member or even a pet or could be something like being forced to be homeless or losing a job. In general, though, a yandere with this sort of origin experiences trauma and then directly is helped by someone (they usually perceive this as kindness, even if it's just a basic gesture), which they then become infatuated and obsessed with.

This is often the origin story of a lot of protective yanderes as well, especially if it involves the MC being in danger. A good example of this is the series Kimi ni koisuru satsujinki (or Killer in Love in English), where the main character, Suzuki, must constantly protect Kokona from the stalkers that are trying to kill her. In this case, Suzuki is a more or less normal person, if not a bit depressed about his life, and it completely gets turned upside-down when he meets Kokona. The general idea for these kinds of protective yanderes is that they are placed in a situation where they have to protect their s/o, but often have to do immoral actions to do so. This usually means that they have good intentions but the wrong way of handling things, however, often they are placed in a situation where they have little to no choice in the manner. A lot of times, these will be life and death situations, but it can also be situations that might cause their life to be worse (for instance, something that can cause their reputation to be ruined or for them to be suddenly bankrupt), though in all of these cases they do something that can be traumatizing or at the least something that leaves an impact on them. The intention/reason has to be related to the s/o, whether it be directly or indirectly, though there can also be other stakes as well. Another example is Ramaru from Your Turn to Die, specifically in the route where Kanna dies instead of Sou. In this version, Ramaru becomes afraid of dying, even as a doll, and while paired up with Sarah, suggests killing off the others to save both of their skins. Sarah basically accepts this idea, manipulating Ranmaru into killing the others, specifically either Alice or Reiko before getting caught. In this scenario because of the dangerous game, they're in, Ramaru becomes so scared that he's willing to kill off the other players just to get him and Sarah to victory, and it's very likely that if he weren't caught, he would have tried to kill off the others. While Ramaru was never necessarily a "normal" person, the change he had was very drastic due to his fear of death within the game, and his condition for winning essentially forced him to protect Sarah for his own safety, even if it meant killing off others. In essence, for this kind of yandere to go from normal to overly protective, they must have some motive to protect the MC from danger, whether fatal or not.

Similarly, instead of the MC being in danger, the MC could become the yandere's "savior". There are a couple ways of doing this. One of the more common ways is to have something bad happen to the yandere that the MC is able to fix or alleviate for them. It can be something simple as again, showing kindness, or something much more like giving the yandere a place to stay. In this stage, the yandere is usually not in the best state of mind as they've often gone through something that is difficult or traumatizing. When the MC "saves" them, the yandere will become endured towards them and will often end up worshipping them as a result. Pulling someone out of a difficult situation might make the yandere become obsessive or view them as someone who is always in the right, even when they're not. They may attempt to drive others away or hurt anyone that might hurt their savior. Another way to do this is through a sort of addiction process. Say for instance, a person has an extreme urge that they can't satisfy, someone who loves to be violent, or someone who is really masochistic, but because of society and the fact that its considered "strange" or "creepy" they don't have a very good outlet for it. This can be something that they've always had but were able to repress or something that can be developed suddenly. If someone, such as the MC were able to provide a proper outlet for it, they would have the power to take it away, forcing the yandere to be come addicted to it, especially if the MC were to give and then suddenly take it away from them. So in the example with the violent yandere, the MC might have a way for them to fight as much as they want, but takes it away from them to control them and forces them back into their original life. However, if the addiction is strong enough, its likely that the yandere will come back for more. While this doesn't necessarily mean that they will become a yandere (especially if someone else is able to help them through their problems more), I think that it is a way to make a more reluctant yandere, one that can't hold back from something that they've been holding onto for their lives. Another variant would be an MC who is able to coax out the bad parts of a yandere (again, something like violence or obsession) and make it seem "okay" for them to do these actions, only for when the world to turn on them, the MC to comfort them and isolate them, making the yandere believe that they're the only one who can save them. This can be done intentionally or unintentionally by the MC in question, since there are ways of making the MC unintentionally bring out specific sides of the yandere.

Another way is to have the yandere learn about love in the "wrong" way. This is probably actually something common in the real world, as often media has romanticized the idea of love and many people often have the wrong conception of what love is. This is something that might be useful for an "ordinary" yandere, as it means that they can have a more or less normal life, but their definition of love is skewed due to other influences. For instance, this yandere might believe that the definition of love is their "soulmate" someone who can never part from them and can never be torn apart. Assuming that this is something that they believe in strongly, its very likely that if this yandere were to ever experience a breakup, they would not react to it well, probably desperately trying to fix what they might have done wrong, or even outright refusing to break up with the person, believing that they are mistaken. This can also be the start of a delusional yandere, especially if their lover is someone that is less than perfect, and the yandere can't fathom why the two soulmates would be able to separate. Another example might be the idea that the yandere believes that lovers must care for each other above everything else. When in a relationship, the yandere is very likely to be the kind of person who will literally do everything to place their lovers relationship first and expect the MC to do the same. It's likely that even if the MC tries their hardest to love the yandere, it may never end up reaching up to the yandere's level of "love", and may even get angry when they feel as if they are putting in more than their lover. This can branch off into a lot of things, such as the MC attempting to work harder for their MC's love to the point of hurting themselves, or even getting angry and threatening the love out of the MC. Generally these kinds of things are something that the yandere builds up because of a specific belief, and they have to be the kind of character who refuses to let go of what their idea of love is and never really learns what love is really about.

The final idea I have is that the yandere was able to learn specific actions from someone close to them. This sort of overlaps with the Parent Yandere and the Generational Yandere, but the idea is that the yandere actions are learned from someone. The more common ones are how the parents act that eventually is transferred down to the children or in the case of generational yanderes, something that is actually within the bloodline. In terms of family, this can also be attached to uncles or aunties who have more of an obsessive streak, especially if they are close to the yandere and teach them about love (for instance, a yandere uncle might tell the yandere that lovers need to be possessive over each other, something that might carry over in the yandere's love life). It can also be someone that isn't directly related to the yandere, such as a friend. If the friend for instance exhibits some sort of yandere traits (for instance, taking pictures of their loved one when they're not looking) the yandere might believe that its a normal action and might end up taking it to the extreme when they have a lover or crush. This might be used to more comedic effect as the yandere takes something that's normally sweet and pulls it out of proportion, or similarly scary depending on reactions and what they do exactly. For this, its often their misconception on how love works and how they viewed it that might end up causing the yandere to become a yandere.

Anyways, there are some ideas on how to make a normal person into a yandere, or at least have someone with a relatively normal life eventually fall into yandereness.

[incoherentbabblings]

Hi!

I love your content, your love for TimSteph, and I was actually going to ask what you love so much about them. I, for extra credit for English, decided to write an analysis of Stephanie (and why I love her so much), but I just got into comics, and cannot really put my feelings for her in words ... which is odd, considering how much I love her and writing. Also, I was going to do a section on why TimSteph is narrative genius, and I needed help elaborating on that too.

Could you help me out, please? Thanks!

(I feel the need to mention that I have read quite a lot of comics with Stephanie in them, though not all. I'm not much of a comic book fan, but I'm really interested in the Batfamily!)

I'll be very happy to write out bullet points that you could talk about, and feel free to go through my ask and I'll babble/TimSteph meta tags for anything that you think may be worth discussing in your own words - there's like four or so years of stuff there to spark your brain.

HOWEVER!!!! Keep in mind though that much of what I have written is half based on textual evidence and half me just writing what I like/wish would crop up in canon.

For example, yes I like to draw comparisons between Tim being cold and Steph being warm, moon and sun and so on, but there's genuinely nothing in text to hint as this being an actual character trait or symbolism. If anything Tim's stated to be warm several times, more than Steph.

So, and I am sorry to be so blunt, but if I take your request in bad faith for a moment, don't use either directly or indirectly what I've written for your work. Especially without actually going and reading the arcs I talk about. A lot of the time it doesn't hold up under genuine textual scrutiny, and we want to be good academics here! There's Death of the Author and then there's me making crap up because I want to include it in a fanfic. Not the same thing! My blog is called IncoherentBabblings for a reason after all!

I will therefore say this: If you want to write about Steph as a character, I would use the below video as a point of reference. Using the below, you can then go into why she resonates with you the way she does, or why her relationship with Tim is so interesting to you.

If I were you: focus on her dynamic character development: cynical to idealistic. And use three points in her publication history to do this: her introduction in Detective Comics, War Games, and Batgirl. I am sorry to recommend War Games as something to read but it is important to her character. Use the Stephanie Brown Wiki to help!

That lends itself to a biography of her character, a look at her motivations and values, her role within the batfam, and so on. You can also use this to make comparisons with her peers, specifically Tim moving in the exact opposite direction development wise; Babs and Cass in their approaches to Batgirl; and the other Robins through her similar character progression as Dick, which in turn allows her to be a good mentor to Damian, and finally how her character arc runs perpendicular to Jason's. Does that make sense?

Anyway, let's get going! If I were to write an academic piece on Stephanie, these are the main points I would work through. In other words, this is what I would do. You probably will not need nor want to go into this level of depth, and you will want to make it much more personal about why she resonates with you, which may be different to why I love her. So don't worry about touching base with all of them. This is like... 10,000 word essay level stuff. And don't get overwhelmed. I've taken your request far too seriously is all.

Again, I can't write it for you! You gotta do the reading and writing I'm afraid.

...But I still wrote 1,500 words anyway. Gosh darnnit.

Steph’s Character Development

Always keep three points in her character history in mind – her aged 14/15 in her introductory arc in Detective Comics, her aged 16 in War Games, and her aged 18/19 in her Batgirl run.

How does she change? How does she grow as a character? What events caused these changes? Compare that angry 14-year-old trying to choke her father, to the 19-year-old crying happily on the roof. A lot happened between those two points! Outline the main plot beats.

Steph's Role as a Batfam Character:

Protagonist or Antagonist: Supporting Protagonist

Static or Dynamic: Dynamic (think of her character development - angry to alturistic; she softens in her life outlook and in the way she treats others as the years go by)

Minor or Major: Minor and we all mourn that fact :(

Foil or Symbolic: A foil to Tim Drake (and to a lesser extent the other Robins, specifically Jason Todd)

Importance of the character/Position in Society: Fourth Robin, third Batgirl, own superhero. Tim's girlfriend, Cassandra's best friend, one of many of Bruce's 'children'. Initially introduced just as a one-off character for a small arc in Detective Comics, brought back with the intention of being a supporting character to Tim Drake, and eventual love interest. Eventually gained enough popularity on her own terms to support her own solo comic, but has since returned to a supporting role. The character she supports, at the end of the day, is Bruce Wayne.

Motivation

What influences their decisions?: Stephanie's dynamic characterisation comes in here. Compare her motivations during her introductory arc, versus why she does what she does in War Games, versus why she dresses up at Batgirl - Stopping her father, getting Batman's approval, need for redemption.

What do they value?: Values emotional openness, vulnerability, second/third/fourth chances.

Goals/Hopes/Dreams: No long term goals/hopes/dreams in the domestic sense... Continue to be vigilante. Be respected by her peers. Continue to improve self worth through deeds. Graduate college?

What are their views: Views the justice system and police as corrupt, but still trusts in the inherent goodness of people. Focus is usually on the individual, rather than societal or structural.

Actions

Behaviour, Attitudes, Impact on Story and other Characters, Internal Struggle (Wants versus Needs): This is why I think you are best to look at three points in her story - Intro Arc, War Games, Batgirl. Focus on her Wants versus Needs - Steph's take a very long time to align, but they finally do in Batgirl.

Character development is usually driven by the conflict between what a character wants. The plot forces them normally to confront the fact that what they want is not gonna work out, and what they needed instead takes priority.

Everything usually goes tits up for Steph when she is in the driver's seat of the narrative because what she wants from a situation is rarely what she actually needs to happen. See every time she seeks Bruce's approval. She wants it. She absolutely does not need it. And only as Batgirl do we get that acknowledgement, which coincides with her being at the healthiest point in her life emotionally. Look at what she wants as Spoiler during her introductory arc, as Robin/Spoiler during War Games, and then as Batgirl. Why is she so unhappy in the former two? Why have her wants finally aligned with her needs with her time as Batgirl?

Character Traits

Personality: Cynical but perky. Sardonic but sincere. Think about how she changes over the time. This can be attributed to her different writers, but - for example - is there a universe reason for why Batgirl Stephanie is so much more socially awkward than Spoiler Stephanie?

Strengths & Weaknesses: Link these two together because Steph is a very good example where her strengths as a character can simultaneously be a weakness. Her determination can lead to her making ill conceived decisions. Her empathy can lead to her putting her trust in the wrong people. Her forgiving nature can lead to her being taken advantage of. Her temper, whilst landing her in hot water, can also just as often get her out of it.

Relationships

How do they interact with others: Focus on which characters pop up in all three arcs – Steph and her parents; Steph and Bruce; Steph and Tim. I am chucking Cass out the window here, sorry Cass, but if you’re focusing on these three arcs, Cass doesn’t really fit in.

How others view them: Conditional love/affection from her father and Bruce. Unconditional love/affection from Tim and her mother (though both are not without serious pitfalls).

How they view others: Stephanie has explicitly never loved her father. She has also never explicitly hated him either. What does that say about her? Look at her changing closeness with her mother. What changed between them, and again, what does that say about Stephanie? Crystal got sober, supported Stephanie through her pregnancy, Arthur was removed from their lives, Stephanie makes a conscious effort to be closer to her after returning ‘from the dead’, though continues to lie consistently to her. Stephanie admires Bruce, whilst also right from the get go insisting she does not answer to him. She never quite lets go of wanting that approval.

How does society view them: Her outsider role within the Batfam. She never quite belongs, and at points her closest relationships are actively discouraged from seeing her. Which Tim specifically never entertains. This outsider nature bites literally everyone in the butt during War Games. Her outsider status is still in place by the time Batgirl concludes, due to its largely self-contained nature as a book, but this is less being an outsider more having earned to right to operate independently. Trust has been given and earned.

Dialogue

What does she say and how: A teenage girl in New Jersey from a working class background has a very distinct voice. She does not mince words, nor does she hide what she is feeling. If she is happy, she will say so. If she is annoyed, she will say so. What she won’t do is ask for help when she needs it, due to her background formulating a need for her ‘to do things on her own’.

Think of famous/important Steph quotes from the three arcs I keep talking about – the excuse me if I don’t jump when you bark, the I really was part of the legend, the only variable you can control is yourself. These show how Steph views others and herself.

When I was writing I Would Have Loved You, I literally made a spreadsheet where I have picked out what I think are pertinent quotes from every New 52 issue featuring Tim or Steph along with a synopsis that explained what they were up to/what the main theme of the issue was. Not saying you should do the same because I’m just that goddamn anal when it comes to this sort of stuff, but the point is – look for quotes by/about Steph which highlight the above things we’ve talked about. You have thirty years to go through!

Author Intention

What purpose does this character serve?: A character that young female readers could get attached to – the every girl/girl next door archetype or a character that young boys could have a crush on – the kind of girl who’s into the same sort of stuff as you, I think Chuck Dixon once said of her, from her initial appearance. Fodder for Bruce and Tim’s man pain in War Games. Batgirl it’s a combination of filling the void for a female lead solo character in the batbooks, but also tonally taking on a much lighter and self-contained book that new readers could jump into very easily, directly compared to the more lore heavy Batman, Detective Comics, and Red Robin books.

What is the author trying to communicate: Steph’s character shows that determination can only get a person so far, a support system and doing things for the right reasons (again remember that want versus need argument) is the only way a person will genuinely succeed.

What is her main theme?: Balancing cynicism and idealism – doing acts for the right reasons, and discovering what these reasons actually are.

...

Is this even usable for anyone but myself? Possibly not!

Still... Go write! And good luck!

[a-queer-seminarian]

Hello, you seem to be knowledgeable about god. Do you know where to find him and what his weaknesses are? I have dedicated my life to hunting him down and killing him for the indescribable amount of suffering he has directly or indirectly caused.

cw: violent language, including about fighting / killing God; as well as discussion of the Shoah / Holocaust later on in the post

(gonna start this long-ass response by saying that yes, i know this anon is probably joking about dedicating their life to hunting down God, but i’m gonna answer it like they’re serious because that’s the kind of person i am haha)

honestly anon, all power to ya! it sounds like my own understanding of God is quite different from yours (for instance, i would claim that God’s main weakness is actually Their best strength, which is compassion and steadfast solidarity) -- but the question of why God allows suffering is one i come back to all the damn time.

if you do track God down -- if God turns out to be a Being that can be tracked down to one location and time -- please do deliver my regards and my sincerest “WTF??”

you’re not the first to demand God answer for the suffering that’s happened on Their watch --

for if God is truly omnipotent, and truly all-loving, why don’t they do something about all this pain??? Indeed, the Bible is rich with similar demands -- from the psalmists to Job to Jesus himself from the cross (quoting a psalm, he cries, “My God, my God, why have you abandoned me??”).

You might already know all this, but if not, the question of God’s place in suffering is often referred to as theodicy, at least in Christian circles.

That term comes from the Greek for god + justice, so what it literally means is “justifying (or vindicating) God”....which I’m not a huge fan of, because it implies that when we explore this question of where God is in suffering, we already know the result will be that God will be proven innocent (or at least “not guilty”).

But do we know that?? See the bottom of this post for an example of a time people of great faith found God guilty!

Anyway, theodicy describes intellectual efforts “to jerry-rig three mutually exclusive terms into harmony: divine power, goodness, and the experiences of evil.“ - Wendy Farley

If you want to learn more about theodicy and the way some theologians have “made sense” of suffering, check out this introductory post I’ve got.

Or wander through my whole #theodicy tag over on my other blog.

I invite you to explore theodicy not in any attempt to convince you of anything, but so you know some of the arguments you’re up against! Honestly, the more i explore theodicy, the less satisfied i am with any justifications for why God doesn’t intervene in the face of so much suffering...so if you do the reading and still conclude God is guilty, i’m not gonna tell you you’re definitely wrong.

Anyway. Like i said, you’re not alone in wanting answers for why God -- however, i don’t know that i’ve seen anyone else with your determination to find and kill God!

(Except, and i hate that i know this lol, that’s apparently the plot of the final season of Supernatural -- they find out God’s a total ass who not only is guilty of negligence but also directly responsible for a lot of suffering for his own sadistic enjoyment. so. they kill the bastard.)

Still, while i don’t know that i’ve seen too many people who want to take God out, the idea of wrestling God is pervasive -- especially within Judaism, but also among some Christians.

i’m very into wrestling God, myself, finding it far more faithful to the God who gifted us free will and invites us into true, mutual relationship than unquestioning obedience.

i have a whole #wrestling God tag over on my other blog.

For the most intense example of wrestling with God i’ve yet seen, with God put on trial and found guilty, keep reading.

_________

cw: discussion of the Shoah / Holocaust below

You might connect to Elie Wiesel’s play The Trial of God, or the movie that was made based off it. Wiesel survived Nazi concentration camps but ceased to believe in God after what he suffered. His play was inspired by something he witnessed while a teen at Auschwitz:

"I witnessed a strange trial. Three rabbis—all erudite and pious men—decided one winter evening to indict God for allowing his children to be massacred. I remember: I was there, and I felt like crying. But nobody cried."

Robert McAfee Brown wrote more about this trial Wiesel witnessed:

“The trial lasted several nights. Witnesses were heard, evidence was gathered, conclusions were drawn, all of which issued finally in a unanimous verdict: the Lord God Almighty, Creator of Heaven and Earth, was found guilty of crimes against creation and humankind.”

Note that in 2008 when commenting on this event, Wiesel clarified that “At the end of the trial, they used the word chayav, rather than ‘guilty.’ It means ‘He owes us something.’”

In the chapter “No God, Only Auschwitz” of his book Embracing Hopelessness, Miguel A. De La Torre comments on this verdict by explaining that if God wasn’t going to intervene, then God must at the least speak -- but instead, God was silent:

“God must be held accountable for refusing to speak to those yearning for God’s voice. Something. Anything. A note of solidarity. A testament of love, accompaniment. But they hear and receive nothing. The trial...ends with God owing us something.

De La Torre goes on to describe the play Wiesel wrote based on this memory, which actually takes place in a 1649 Ukranian village, rather than at Auschwitz. The Cossacks raid the village and kill all but two of its Jewish residents.

“In Wiesel’s play, he has the inkeeper Berish voice the same questions those sitting in death camps centuries later asked, if not audibly, then silently:

‘To mention God’s mercy in Shamgorod [Auschwitz] is an insult. Speak of his cruelty instead. ...I want to understand why. He is giving strength to the killers and nothing but tears and the shame of helplessness to the victims. ...Either he is responsible or He is not. If He is, let’s judge him; if He is not, let him stop judging us. ...

‘[I] accuse Him of hostility, cruelty and indifference. ...Either He knows what’s happening to us, or He doesn’t wish to know! In both cases He is...guilty! Would a father stand by, quietly, silently, and watch his children being slaughtered?’”

De La Torre continues with his own thoughts on all this:

“The horrors humanity faces indict God as being less loving and attentive than sinful parents. I hesitate to make any pronouncements as to the character of God because in the final analysis, I lack any empirical knowledge upon which to base my study. Still with all my heart and being I want to say: my God is the God of the oppressed who incarnates Godself among the least of these.

I want to make this bold claim based on the testimony of the gospel witness. But in the midst of the dark night, I confess this hopeful belief is at best a tenet accepted by faith, lacking any means of proving the truth or falsehood of the claim. In the shadow of Auschwitz, though I am not Jewish, nonetheless I am left wondering if the precious Deity who notices the fall of a sparrow is blind to God’s children crushed in the winepress. Do I dare wonder if God is the God of the oppressors?

...Or maybe this is a God who really wants to do good, but lacks the power to do anything in the face of inhumanity. ..."

There’s one more piece to this tale of Wiesel’s witness of the trial of God at Auschwitz. And that is that, after declaring God guilty (or chayav)...

...after what Wiesel describes as an "infinity of silence", the Talmudic scholar looked at the sky and said "It's time for evening prayers", and the members of the tribunal recited Maariv, the evening service. (McAfee Brown)

...That ending is the part that astounds and awes me. These Jewish prisoners at Auschwitz find God guilty -- and then proceed to pray as they always do. I am reminded of what my Jewish friends as well as various Jewish scholars have told me: that Judaism is totally compatible with wrestling with God and even with disbelief. Whether these Jewish prisoners believed God even existed, they prayed -- because that tradition of prayer is what unites them to one another, to their people.

As De La Torre closes his telling of Wiesel’s story,

“At the conclusion of the movie God on Trial, based on the events Wiesel described, shortly after the barrack inmates find God guilty, and those chosen are marched to the gas chamber, they cover their heads and pray. ...

Believers and unbelievers who took the audacious act of placing God on trial do what is totally illogical -- in the midst of their hopelessness they demonstrate their faith as they march toward the gas chambers, or they defiantly embrace who they are while still remaining in heated conversation, damning God. It matters not if God still hears their prayers, or if there even is a God to hear; they still pray, they still debate -- not for God’s sake, but for their own.”

And that brings me to the one bit of actual advice I’ll give you, anon:

If you want to spend your life “hunting God down,” as I said, all power to you! But I do suggest you ponder for whose sake you do so -- and whether you do so for justice or just revenge. What good does such a quest do for those who are suffering now? Are their other paths you could follow that would bring more good? What about your own healing? I imagine you’re not interested in repairing any relationship with religion -- would walking away from God rather than hounding God be a more healing and fruitful path for your finite life?

I’ll close with one more quote from De La Torre, from the very end of his chapter:

“As I stroll through what was once the concentration camp of Dachau, I am cognizant that this space witnessed the unspeakable horrors that befell God’s children at the hands of Christians hoping for a better, purer society and future. ...So do not offer me your words of hope; offer me your praxis for justice. ...In the midst of unfathomable suffering, the earth’s marginalized no longer need pious pontifications about rewards in some hereafter. Nor do they need their oppressors providing the answers for their salvation. What is needed is disruption of the norm to push humanity toward an unachievable justice.

When there is nothing to lose, when work does not set you free, not only are multiple possibilities opened up with new opportunities for radical change unimaginable to those playing it safe; but also a venue is provided by which to get real with whatever this God signifies. ...”

[egopocalypse]

21 + 22

21) Favorite pairing to write for? (platonic or romantic!)

Oh god, I don't necessarily have a favorite pairing, but moreso favorite trios. I love working within those trios to develop all the different dynamics within them and have them clash against each other. For example, Gone Away focuses on c!Tubbo, c!Sam, and c!Dream as the main trio that the story revolves around. It's those dynamics that push the story in its intended direction and are the main causes of every event in the story (though we haven't seen much of c!Sam and c!Dream alone in Gone Away due to it being solely in c!Tubbo's POV). Side characters do have their own agency and make their own choices, but they are mostly influenced (whether directly or indirectly) by one of the main trio. You'll see what I mean when those side characters actually show up. ;)

However, currently Gone Away's story has been this: c!Dream forces c!clingy into the Disc War Finale and Wins, c!Dream then uses the revive book for fun (and other purposes) on c!Tubbo, c!Tubbo escapes, c!Sam takes c!Tubbo in and tries to help him heal/learn the truth, and c!Sam and c!Tubbo organize c!Tommy's funeral. All those actions have been facilitated by at least one of the three people I mentioned, and that will continue as the story grows in future chapters.

And honestly, even though I called them the trio, c!Tommy's an incredibly important character as well, despite his suspended state in the story. All of the main trio's actions are influenced by his absence, and while he may not be an active character, he is still at the heart of the story due to the importance the main trio place on him. It's something I'm really looking forward to exploring more, especially as the funeral and first act of Gone Away progress.

22) Do you listen to anything while you write?

All the time. It's how I focus during writing sprints. I don't have any specific playlist I choose, though. Often I'll just pick what I'm in the mood for (whether it's a single artist or a mix), start the timer, and go. Right now, I listen to a lot of Nothing More, MCR, and Starset!

I will make playlists if I do find songs I love that connect with the story I'm writing, but they're often not very long. I'm on the pickier side when it comes to making character/story playlists. They really have to fit. I do have one for Gone Away, but it's literally only eight songs long, and I think all of them are Starset. I really need to update it.

Ask game

[mollymarymarie]

20 questions Writer’s Edition

Thanks @blitheringmcgonagall for tagging me in this! 

1. How many works do you have on AO3?

34

2. What’s your total AO3 word count?

696,047

3. How many fandoms have you written for and what are they?

Harry Potter (Marauders Era) Marvel (Stucky, Bucky/OC, Pietro/OC) And then one about Sam Kiszka from Greta Van Fleet (that I wrote as a commission, sort of) and one I wrote about Lee Pace (cause I saw it in a dream lol)

4. What are your top 5 fics by kudos?

The Lad That Loved You - sort of canon Hogwarts-era fic with a twist on The Prank (Remus and Sirius pretend to fight to cover up their relationship)

When It Counted - Remus gets spiked with Veritaserum and makes Sirius (and everyone else) believe it was Amortentia to cover up the truth

Vow Under the Covers - Remus is getting married. And not to Sirius. And Sirius has to decide if he can live with that.

Save Me, Save Me, Save Me - Remus thinks Sirius is in love with his neighbor and offers to help cook her dinner (Sirius and Marlene have to pretend to be attracted to each other, despite being VERY GAY, to cover up Sirius’ feelings)

Heavy In Your Arms - Sirius is the Slytherin prefect and has to nurse Remus Lupin back to health after a vicious full moon 

5. Do you respond to comments, why or why not?

ABSOLUTELY - comments make my whole day, my whole week, I want people who take the time to comment to know that I LOVE THEM DEARLY

6. What’s the fic you’ve written with the angstiest ending?

It’s a one-shot, but the angstiest ending is definitely in Where The Willow Don’t Bend (the story is about Remus becoming one of the ghosts at Hogwarts, so it’s OBVIOUS that it is not going to exactly end ... happily)

7. What’s the fic you’ve written with the happiest ending?

Generally, I tend to write all my fics with happy endings? Real life has enough terrible endings on its own AND I’M HERE TO ESCAPE FROM THAT OKAY 

But honestly, I think the ending in Heavy In Your Arms is QUITE happy :)

8. Do you write crossovers? If so what is the craziest one you’ve written?

I’ve never written a crossover! I don’t write for enough fandoms to have done that, I guess. Mostly just HP and Marvel and there isn’t a lot of room for crossover there, lol (besides, I haven’t written for Marvel in ages)

9. Have you ever received hate on a fic?

Somewhat. In Show Me Everything I Missed, I had someone tell me they were disappointed with how I made Remus be the emotional weight-bearer of the fic. But it was DIRECTLY after Sirius had gone through a VERY traumatic event, so of course Remus would be trying to help him through it. I get where they were coming from, and I guess I should be honored that my characters made them upset? isn’t that kind of the point of angst?? 

10. Do you write smut? If so what kind?

I do. For me, I went to private school (read: religious), so it was heavily instilled in me that sex is bad and disgusting and dirty, but then you get married and suddenly it’s beautiful and holy and important? So it took me a long time to be comfortable with sex in general, even more so with the idea of writing it down, but the idea of “smut��� is kind of nonsensical to me. We go through all these things as human beings and those are all okay to write and to read and to experience, but a BASIC HUMAN NEED for most people is something to be hidden?? I’m going on a rant, but basically, I’m tired of the stigma, I guess.

11. Have you ever had a fic stolen?

Not ... directly?? I have had people tell me, after the fact, that they posted my fic on a site outside of AO3 but it was still listed as being written by me, but I didn’t have an account with that site. I was still sort of weirded out by that one. 

12. Have you ever had a fic translated?

yes! I had someone ask my permission to translate to ... Italian? I think? I can’t quite remember, but that was kind of cool, I guess. Again, it’s sort of iffy with those things because I think this was on a third-party site, too, so I was kind of indirectly attached to it.

13. Have you ever co-written a fic before?

I never have! I have a problem with deadlines and working as a group looool I think i have control issues?? hahahahah 

14. What’s your all time favorite ship?

Wolfstar, hands down. I’ve been writing Wolfstar for, gosh, almost ten years. Which, comparatively is not that long, but it’s longer than any other ship for me

15. What’s a WIP that you want to finish but don’t think you ever will?

I have a couple WIPs for characters that are NOT Wolfstar that I’d like to finish (mostly the one about Cassidy from Preacher, because I have a MASSIVE Joe Gilgun crush) but I haven’t written on it in YEARS so it’s probably not happening

16. What are your writing strengths?

oh gosh. okay, so i’m not good at answering these. I think I write smut relatively well? I do pretty good angst I think?? My characterization is usually something people enjoy? (honestly, i just write them as MY own versions of the character, but people seem to agree with me for the most part??)

17. What are your writing weaknesses?

I FOUND THIS OUT RECENTLY - i am not always good at following through with a plan for a fic and also i am not good at writing down what i see in my head. for example, if a character has black hair and glasses in my head (but maybe not necessarily in canon), i often have to go back and add these details because halfway through, i’ll be like DID I EVEN TELL THEM WHAT HE LOOKS LIKE AT ALL??? 

18. What are your thoughts on writing dialogue in other languages in a fic?

oh i’m SHITE at it. I wish I could speak another language well enough that I could incorporate it into my fics, but I doubt that will ever happen for me! (I had quite a bit of French dialogue in We Can Pretend and it went okay, but I did have someone tell me I had a grammatical error because I just used Google Translate lol)

19. What was the first fandom you wrote for?

this is going to be a HILARIOUS answer, but ... the Good Charlotte fandom. I never posted it, just my friends read it (I had quite a few fics about boys in bands back then, I was sixteen) but yeah it was a total soap opera. Like. outrageous.

20. What’s your favourite fic you’ve written?

They all have uniquely special places in my heart, but I have two favorites:

We Can Pretend - Remus and his father are the butlers for the Black family, and Remus has to figure out how to take care of Sirius while hiding his feelings

Heavy in Your Arms (the Slytherin!Sirius one, and also Ravenclaw!Remus!)