#about how so much of what we do is driven by love

[sedumlineare]

STORIES WHERE LOVE IS THE CORE WHERE LOVE IS WHAT DRIVES PEOPLE IT’S LOVE IT’S LOVE IT’S ALWAYS LOVE

[howtodisappearcompletelyand]

20/10 stars little guy

[vv-ispy]

Ships that could have worked out if it wasn't for one (1) thing

[feline-evil]

Dick or no dick confirmation Pickles was always going to be trans to me anyways; if he's swingin' somethin that's phallo babes, if he's not then his t-dick fat. What's not to get.

[longagoitwastuesday]

I am liking Jujutsu Kaisen, way more than I imagined I would, but I foresee it will let me down and it's keeping me from enjoying this as much as I could haha

I think the characters and dynamics are well set, and I think many of them have an incredibly good and deep potential, but I would be willing to bet they'll not get a proper development, enough for them to really hit. A well assembled set of gears is not enough to make the movement go, you have to wind the clockwork.

I think Gojo and Megumi have a fascinating and very complex dynamic, but I doubt it will be given the time and care that imo it needs to actually work. And it is going well enough for now! One could see the intimacy between them was deeper than the one Gojo had with, say, Yuji and Nobara ever since the very first few episodes despite the fact Fushiguro too was a first year. But the pieces forming what they have are extremely complex, and it just wouldn't be realistic if it doesn't show, even if in a not showing way, or if it doesn't have consequences or implications.

It's one of those dynamics that shape one's life, the way one regards the world, the way one establishes or not relationships with other people. It's one of those dynamics that could be full of fondness, gratitude, resentment, admiration, trust, and that imply intimacy, the good kind or the bad, even if in just the knowledge of someone who's been a constant through your life. It could, and would, imply a myriad of feelings, and probably in such a mix it could imply contradictory feelings too. Even the nothingness would weight, even the nothingness would be significant and meaningful.

Gojo took Megumi and his sister under his wing, the son of a man who murdered him, because of both selfish and selfless reasons. Megumi looks like Toji. What does Gojo feel about this? How does Gojo deal with this? How does Gojo go about taking care of Megumi? Would he walk him to school? Make him breakfast? Celebrate his birthdays making him blow candles? Did he take him to the zoo? Does the relationship between them feel professional or is it something more? Gojo appreciates his students, but is Megumi to him just another student? When Gojo faces Sukuna in Megumi's body, did he see the kid he raised, or does he just see Sukuna in one of his students' body? Did he have one faint wavering instant? And how does Megumi feel about this? Is he resentful of him? Resentful of the situation? Of the selfishness behind his actions? Does he feel like a pawn? Is he grateful? Does he resent feeling grateful? Would he rather not? Does he love Gojo? Does he feel nothing about him other than what he could feel about a teacher that sort of annoys him but knows he's reliable in his strength? Does he think it unfair, cruel or unfeeling that Gojo is close, closer perhaps, with Yuuji or Yuta, considering their story? When Sukuna slices Gojo in two, does the remnants of Megumi's soul tremble?

And not just Megumi and Gojo. Yuuji and Nanami, Gojo and Nanami, Yuuji and Fushiguro, Nobara and the boys, or Nobara and Maki, Todo and Yuuji or Yuta, Gojo and Yuta, Megumi and his sister. Gojo and Geto, even! If the pieces are well set, the dynamics are intriguing, interesting, and have potential to be deep, but then the characters have like two plot relevant scenes that punch you hard, but little more, it's not nearly enough. Especially not nearly enough for the enormity that is shonen dynamics and situations. And the potential existing at all, and then not delivering, makes it all the more frustrating when you're left with something mediocre that could have been so good.

The development of dynamics through not only a few plot relevant gut wrenching moving scenes, but also the smallness of life, is important. The friend who recommended this to me said that those things were just unnecessary filler, but I disagree. I think there's a big difference between a large amount of anime-only filler episodes whose existence is based on the fact they had run out of manga chapters to animate, and moments of quietness. The low stakes character-driven moments of quietness can be so telling and so insightful, and they are so satisfactory when brought back later in higher stakes situations. My friend teased me there was no scene of Gojo making breakfast to Megumi, that it would be an idiotic idea, but it would be so telling. How he makes breakfast, what they eat, if he tries hard or if it's all mechanised, if they have personal bowls or if they use whatever, if he just buys them some pastry on the way to school, if the way they have breakfast changes through the years, or if he doesn't make them breakfast at all! All that would be very insightful on their dynamic and its evolution. All that would give a glimpse on how they regard each other and why, even in the present. All that could become meaningful in tense situations and high stakes scenes.

These moments also let the plot breath; if a lot is happening all the time, if every character is always experiencing trauma after trauma, the entire story is so emotionally draining that at some point you don't even care all that much. Besides, these nothing moments or low stakes plot arcs, besides deepening and developing dynamics, also let some in-world time pass, which would make the intimacy and bond between characters more believable imo; between Yuuji eating Sukuna's finger and their last confrontation in December how much time has passed? A few months? Am I truly to believe these characters are so everything to each other in only a few months?

Without some smallness, some repetition, some daily life, some low stakes not plot-centric development, the dynamics don't hit, they don't truly feel fleshed out, and dynamics as complex as the ones Megumi and Gojo have, or as supposedly meaningful as the one Megumi has with Yuuji or his sister, should be fleshed out if they're going to exist at all. Otherwise they'd risk making the writing feel awkward and fake. Besides, if the dynamics felt well fleshed out and realistic, they would shape the way the characters interact and act, and how they deal with situations, thus being plot relevant.

The shonen genre has so much happening all the time, the stakes are so high, the dynamics are so rooted in big events and the relationships carry enormous weight and implications. Yet they barely get developed, and it feels so stupid, so plain, the absence of something so important noticeable like a constant void, a shapeless nothingness present in every scene. It makes the characters feel like cardboard figures. Jujutsu Kaisen is already getting a better job than many, but I doubt it will do enough for what I've heard, and I fear I am bound to feel let down, and bound to feel unmoved.

After all, if not enough time and care has been given to develop a dynamic, I am not going to feel pressured by the high stakes; if not enough time and care has been given to develop the dynamic between Megumi and Yuuji, as good potential as it has I am bound to feel little for this last confrontation between Sukuna and Itadori, and his effort in getting Megumi back.

[benvoliotheorphan]

Me: Yeah I don’t think I can really ship Kratos with anyone. It’s just really hard for me to imagine him in any sort of romantic relationship. Yes I know he was married twice, but still-

God of War Ragnarok: Shows flashbacks of Kratos with Faye

Me, with tears in my eyes: Oh, okay, nevermind.

[badolmen]

“I don’t know why the op said this happened yesterday when this news is four months old”

This may shock you but it’s an election year in the US and even “the lesser evil” utilizes propaganda.

[pinkcadillaccas]

Anyone else feeling the relentless march of time on this Saturday night

[this-love-is-delicate]

Crying while reading the romance novel at 4am

[pastafossa]

I love this take, like YES. Both of them are motivated by these massive hearts, and the same empathy. They feel the same driving fire when seeing an innocent person's pain. If all crime suddenly ceased, they'd both hang up their batons guns kevlar devil suit tools most likely, and they would and have absolutely taken those bullets both physical and metaphorical for others. It's so important to realize that what they do is something they do in response to the suffering of others. It's not a decision they made in a vacuum, and it's not something you can just ask them to stop while that suffering continues (though we see them both try to walk away from it at least once). Because they can't. They can't stand to see that suffering, and so they both, in their own ways and driven by the pain of others, set about trying to prevent it, to save lives.

And ironically, the issue they have over how to do that is one of the oldest ethical debates around: do the ends justify the means?

One ethical side, Utilitarianism, says the ends absolutely justify the means. It's focused on consequences, on a formula: does this help more people than it hurts? If it does, then it's moral and you go through with it. That's where Frank stands. He kills a murderer not because he finds killing fun, but because he looks at the murderer and believes, 'I'll prevent more people being harmed by killing this one person.' And logically, it makes sense. If that man would go on to harm 20 other people, killing that one person seems moral. Cut the chain, and the line of suffering stops. He's preventing harm and suffering by taking out those who harm others, and the reputation he spreads discourages others from going after innocents because they know that the Punisher can't be reasoned with, can't be convinced, and he won't let them walk away. They'll just be dead.

The other side, the side Matt tends to follow, is deontology. In this category, the ends don't always justify the means. An action is judged not on potential consequences, but on whether the action itself is right or wrong. Matt will beat folks up in defense of others, send them to jail where their harm can be restrained, but all of those actions in and of themselves can be considered right. Murder, however, is always wrong to him, no matter what the potential future consequence is, because human life is inherently valuable. He clings tight to that, and to the chance for redemption - even a murderer might have a scrap of good in them, and that scrap of good is worth saving, worth giving a chance to grow. What he does is still about preventing suffering, but it's also about making sure there's always a door open for them to become good and help others. And it's just as much about preventing himself from crossing that line and potentially darkening the good inside of himself, becoming that which he fights every night.

They both see the suffering of others and refuse to accept it, which is one reason they're both so sympathetic, and why we can often find ourselves rooting for Matt and Frank regardless of the morality issue. They've both just come down on opposing sides of a long-standing ethical debate when it comes to preventing harm. But it is about preventing harm. And it is absolutely driven, openly, authentically, fully, by their massive hearts.

God I wish I could show my old college Ethics professor the scene of Frank and Matt arguing on the rooftop. He'd have a field day with it and I know for a fact that he'd show it every semester precisely to tie up students with, well they both care about people and want to prevent harm, who's right?

"You're one bad day away from being me." "The Punisher and Daredevil are two sides to the same coin." Blah blah blah.

You know what Matt and Frank's problem is? Their hearts are too big. They see pain - innocent people's pain. And they know they can't fix it, can't take it away. Can't change the past. But they can stop the source of the pain and prevent it from ever causing pain again. It's not about punishing - it's about prevention. Cause their damn hearts are too big. Because they both would happily take a bullet just to protect some child they'd never met. To protect normal people just living their lives even if they had no concept of who those people actually were.

Their hearts are just too damn big...

[aethersea]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[inkskinned]

no, actually, where is the whimsy?

my ex had a best friend named larry who asked me once: what do you think comes after irony?

we were at the bar where larry worked. it was a quiet night, and he'd hopped over to sit with us on the patron side. i swirled the lemon around my limoncello martini.

earnest positivity, i said, while my ex said, art self-destructs.

i stared at my ex. he stared at me.

his argument was the cinemasins argument: look how bad media is becoming! look at the loopholes and the dumb shit!

it was roughly 2011. galaxy print was still in. at the time, i had a favorite shirt that was a wolf howling at the moon. it got ripped in half in the wash and i honestly still mourn it. i dressed like effie stonem, because everyone did. and irony was the name of the thing. men liked MLP "ironically." the internet liked the kind of crass, "anti-mainstream" vibes of things like fuck romance, touch my butt and buy me pizza. we put cats in sunglasses everywhere, which was because we only liked things in irony.

and media had the same vibe in it: anti-hero white men would be "hard to love" and then storm off the scene. nobody was just earnestly trying to save the world: they were jaded, angry, unoriginal. mad you even asked them to try to help.

my ex ends up not being wrong. cinemasins becomes super popular. a lot of people start viewing media with this lens that is the cruelest, most jaded depiction. it's wrong for your character to have unexplained powers, even if the entire movie is about how strange it is she has unexplained powers - that is still considered a "loophole." characters make thoughtless, panicked choices? loophole. characters are actually kind people, despite hardship? loophole. features a woman doing literally anything without assistance? loophole. movies become hyper-aware of scrutiny, and now irony rules the media.

which means you go to a movie, and the character has to turn to the screen and say "beats me!!" or one of the side characters has to have some kind of quip like "are you seriously telling me that you think this is normal?" because nothing can happen in earnest. like a sitcom laugh track, we now anticipate the fourth-wall break: the moment that the media acknowledges it is telling a story. the media has to apologize for itself, or else someone like my ex rolls their eyes.

but here's the thing: i wasn't wrong either.

the difference might be that i am (and always have been) so soft-hearted that any crack in the light of this world will spear me into the ground. and i was the poet in the relationship. (he thought that was the same thing as being naïve and stupid). i was making things daily. i knew how all of us artists are driven by some strange desire to evolve. he notably liked to critique art, not to create it.

so yes, i've made things that are bitter and angry and even ironic. i've made long, sharp poems with all capital letters, and i've made poems about how the silence stretches out like a song. someone wrote once that we will spend our whole lives just circling the place we grew up. i think it's more that we spend our whole lives trying to remake a home. i think it's that as we age, it becomes less exciting to build the castle on the beach - we become aware of erosion, of windforce. we realize what we really want is to come home to our dog, castle or not.

and while art in the foreground is mired in white male violence and irony, and aggression, and not taking anything seriously - i don't think that's true of all art. i think more and more artists are leaning in to the things we love. the world has changed so much. they have taken so many things from us. the only thing we have left is love. at the bottom of the moving box - all we get is the faint sense that we have to appreciate what little we've got. i can't enjoy this stuff ironically anymore: what room do i have for irony? if it makes me happy, that is an amazing thing. there are so few happy places left for me. i want to be happy because of how leaves shiver beside each other like nestling birds. i want to be happy because of the color pink, and how magenta doesn't exist. i have spent so much of this life suffering, i have earned my right to a gentle ending. if nothing matters, i get to assign meaning to the nothing. i get to create meaning. i am an artist first and foremost, which means creation is my thing.

where is the whimsy? wherever i fucking put it. because if this is my last fucking chance to do any good in this world - i want to do it earnestly. i want to write things that make you happy. that make people feel heard and seen. what comes after irony has to be positivity.

it was close to my 21st birthday. in 7 years, i would end up writing a book about this relationship, which is hopefully coming out somewhere around May 2024. i come back to this bar scene in my memories a lot. i keep thinking of how pale my ex was. the look that crossed his face. how i looked back at him. how for a moment, both of us couldn't recognize the other person. like the gulf between us was a suddenly wide and cavernous thing. like we were alien to each other. he never took my opinion seriously, and he always seemed surprised whenever his manic-pixie-dream-girl ever broke free of the plot. like in the whole time we were together, i wasn't human enough.

this knowledge: where he said nothing comes after, my only instinct was what comes after is love.

[yandere-writer-momo]

Thinking about a yandere werewolf, but not just any werewolf… a bounty hunter. And he has it bad for his you. Cowboy Werewolf!

Yandere Shorts: Like I Love You

Yandere werewolf x fem reader

TW: obsession, delusional themes, abo dynamic, horror, gore (mentioned), death of characters, neglectful husband, betrayal, cheating husband, forced relationship, mention of baby trapping, and behavior that should not be romanticized

Rolfe was currently on a hunt… his target is a sickly preacher’s, one that should be easy enough. Her own husband had paid him quite the pretty penny to off her. Poor little lamb didn’t stand a chance in the wilderness of this world. Not when she had enemies close to her side such as an unfaithful husband and a conniving best friend. He almost felt sorry for his prey

He arrived a day later, his clawed fingers dragged through a lock of her hair as he inhaled her scent. She smelled… delicious. And she was so vulnerable too with her nape out that just begged for his teeth to be driven into…

Rolfe shook his head before he went back into a trance when she subconsciously leaned into his touch. His hand moved up and grazed her temple that felt as if it were ablaze. Poor woman had a fever…

“Darling? Did you finally come to me?” Her voice was a bit delirious with sickness as she kissed his hands. Each kiss made him feel as if he was her beloved. It took everything in him not to loudly whine like a dog. “I missed you so much James. I’m sorry I got sick again.”

Rolfe didn’t say a word before he continued to drag his rough palms through her hair. His heart hammered in his chest and his wolf clawed inside his brain to be released. It seemed this woman before him… was his fated mate.”

Rolfe bent down and buried his nose into the crook of her neck to deeply inhaled. Oh yes… this lassy was his for the takin.

Rolfe began to slowly nurse her back to health rather than off her. An action that made his employer question him. Why on earth would a monster nurse such a nuisance back to health? She was always near death’s door. What use was such a delicate woman in the Wild West?

“When are you going to off (your name)? She’s an easy target.”

“I have honor as a bounty hunter. It must be a hunt.” Rolfe snarled at (your name)’s husband, James, the man who dared to keep her sick due to his lack of care. Had that scrawny man have no pride as a man? The pastor made him sick.

“She’s easy to pick off right now. I’d really like this to be over and done with so I can marry Helen. This is why I hired a monster-“ Rolfe picked James up from the ground by his throat as James gasped for air.

“You are a foolish, greedy man. Are you sure you are truly a man of god?” Rolfe growled, showing his fangs. His dark, muscular form largely towered over James’s lithe frame. “You’re a pathetic man.”

Rolfe soon went back to the care of (your name). The werewolf rubbed his cheeks all over her bed and her body to scent her… he needed to get rid of James’s scent. Rolfe wouldn’t let another have her and hurt her again… he’d spirit her away.

Rolfe wondered how many pups she’d want. If they’d be pretty like her but strong like him… if she’d pepper him with nips and kisses everyday. If she’d beg him for his knot on the next full moon as he properly mated her?

“Darling?” (Your name) reached for his face and Rolfe was quick to put his face in them. A needy whine escaped his throat while he nuzzled her. She was his precious mate…

He snarled when he saw Helen enter. The woman scoffed at him in disgust.

“Ugh. James and I are tired of waiting. You have been here over a month! We want you gone beast. We’ll do it ourselves.”

“So you’re cancelling the contract?” He hummed while he continued to tenderly kiss (your name)‘a palms. “Are you sure? Did you read the fine print?”

“Yes. We don’t need your kind here, true love will prevail-“ Helen didn’t even have time to scream before a giant black wolf hybrid had dug it’s fangs into her throat and ripped it apart like wrapping paper. Blood splattered all over the floor and walls as Helen could only helplessly choke on her own blood.

“Yes… true love will prevail.” He muttered with a a satisfied hum. “My mate will be so happy.”

Meanwhile, James fled into the forest for dear life. That beast had gotten Helen! The two of them couldn’t believe the werewolf would turn on him.

James loudly leapt when he heard something large chase him through the underbrush on all fours. He could hear his heartbeat in his ears and feel his sweat pool down his back in puddles. He needed to get to the church! A demon such as the bounty hunter couldn’t possibly enter there-

But James was knocked to the ground as an agonized shriek fell from his lips. The werewolf began to shake and mangle his leg like the bloodthirsty beast it was…

“Let me go! Let me go! I didn’t do anything-“

Rolfe chuckled darkly. The black werewolf dropped his legs and glanced his beastly head at James. “Oh but she never did anything either… all she did was foolishly love you.”

“W-what do you mean? Are you talking about-“ James’s words were muffled by the paw like hand that covered his mouth. Rolfe shushed him.

“Shhh. You may have failed to pay me and cancel my contract but I had gotten something far more valuable from this transaction. Something most werewolves dream to find in their lifetimes… a fated mate!” Rolfe sighed dreamily. “You may have failed as a protector and provider, but I surely won’t! You have given me something more valuable than any coin could offer… yet you were neglectful to her. Such a shame really.”

“I… I’ll do anything! Just take her and let me live.”

“Ah but I can’t do that. Not when she still calls for you at night. No… you have to be eliminated. Destroyed, really. You can no longer exist on the same planet as her! You are in the way of my love!”

Loud screams of terror ringed out throughout the crisp night air and then it was silence.

Rolfe returned hours later scrubbed clean of blood while he crawled into the bed with his darling mate. He sighed in contentment when she cuddled him. Yes… it may take time to train her properly, but he was sure he could do it. He could make her love him. Just like he loved her.

[hopecorps]

lucretia adventurezones is genuinely one of the best conceived characters of all time and the tragedy that taako and by extension so much of the audience cannot forgive her for her selfishness driven by her steadfast belief in what is right and her immediate decade-long lonely punishment where thirty two years of her life were burned away from her, completely alone, makes my skin ache

i get to this point in the stolen century where lucretia is maybe 18 years old and also 100 years old, so dedicated to preserving life but terrified of living it, and i hear second-hand in less than two minutes about how she fought and ran and salvaged and nearly died entirely alone for an entire year when the six remaining people alive who have ever known her have been frozen into statues. we see her again and she is out of breath and sweaty and completely broken and relieved and changed forever and i think: of course she made that decision

of course she would do anything in the world to save her friends. of course she would take it into her own hands and be selfish and burn the world down and she would do it to save them. she would do it to save the world and she would do it to save the universe. it's so selfish and so unselfish.

and it's like. of course taako can't forgive her for making him forget lup. but i can also imagine years and years and years going by while the world descends into chaos and barry and taako nearly kill themselves and never stop looking for her and never find her. especially because if lup had made it back from that mission she would have immediately been there with lucretia trying to undo what they had done

lucretia is so beautiful and amazing and fantastic because she is the big bad the entire time. she pins them all against each other. she is who she warns them about. she got them into this situation in the first place. she cursed the entire world. she gains their trust by lying to them and she leaves them all so defenseless against the hunger until the second it comes for them.

but she was right. she was right the entire time. she loved them. she made sure they had each other even when she was all alone. she did the only thing that she knew how to do in order to save them all and she was right and she did it all out of love and it worked and some of them will never ever forgive her and she knew that and did it anyway. and i love her so much

[steddieprompts]

some years after everything and Steve and Eddie are basically the only ones left in Hawkins. They got an apartment together. They are very tight friends.

They are out together one early summer evening at Melvalds doing some shopping. Steve leaves the store first, Eddie still has his nose buried in a magazine he fully does not intend to buy.

"Steve!" Steve looks up from assessing the contents of his shopping bag to see none other that Tommy Hagan.

"Hey, Tommy. You're back in town." Steve tries to sound amicable without it being forced.

"Yeah just visiting the family. I heard you were still hanging around here. You should come visit in New York! Donna would love to meet you."

"Donna? What happened to Carol?"

"Shit, I guess I haven't seen you in a while." Tommy replied with a sharp smile that made Steve set his teeth. "She couldn't handle New York, you know. She missed her mom and didn't like how busy the city was," he explained dismissively. "She got all... moody. Depressed. She was a real downer so I told her she should just go back home and rot away if that's what she wanted... No offence," He tacked on without much remorse.

"Is she doing better? I haven't seen her around." Steve asked, hearing the tension in his voice.

"Beats me. Haven't heard from her," Tommy replied flippant, his gaze drifting off over Steve's shoulder. "Holy shit is that Munson? I should have guessed the freak would still be here."

Before Steve could figure out what to say to that besides punching Hagan in the face, Eddie was next to him, nose still in the magazine, grocery bag handing from his right elbow. "Stevie I had to buy it, you will not believe what they're saying about Ozzy... Hagan."

Steve could hear the life drop out of Eddie's voice as soon as he realized who he was standing in front of. He hated it.

"Jesus, is he crazy? Is he stalking you or something, Steve?"

"What?"

"Munson, you can chase Steve all you want, but he's not on your team, Freak." Hagan said, sniggering at Steve, like they were still in high school, like Steve was still that person.

Steve snapped.

Dredging up the suave Steve from all those years ago he draped his arm over Eddie's shoulder, making sure to give Eddie's shoulder a gentle squeeze as he did, his thumb brushing over the skin of Eddie's neck.

"I'm not sure you really know me any more, Hagan," Steve responded, cool and collected. As he said it he felt Eddie relax against him. Picking up on his plan immediately, Steve felt Eddie's arm come up behind him, his hand settling just above the hem of Steve's jeans.

"Oh, no," Tommy said through a sarcastic chuckle, "There is no way that Steve Harrington went fa--"

"If you finish that word I'll punch you so hard your freckles fall off," Steve bit out. "Have a nice trip back to New York."

With that he and Eddie turned toward his car, still holding tight to each other and not sparing Hagan another look. When they got to the car Steve pressed a kiss to Eddie's hair before they separated, Eddie's hand trailing along Steve's back.

They got in the car quietly and Steve backed out of the space, staring back toward their apartment, neither of them saying a word until they had driven a few blocks.

"I'm sorry," Steve finally gritted out into the quiet of the car.

"For what?" Eddie asked, confusion making him look over at Steve.

"For that. For him," Steve said and Eddie noticed how hard he was gripping the wheel.

"Steve, pull over." Steve sighed and pulled the car over to the side of the road; forest on one side, sleepy houses on the other. "Why are you apologizing for him?"

"Just..." Steve let out a sharp breath. He hadn't looked at Eddie yet. "Seeing him again. Hearing that garbage we used to..." Steve wrung the steering wheel like he was trying to break it "It was like I was back in high school calling Jonathan... that, and... Hagan just brought all of it back! All the shit!"

"Hey! Okay, Stevie, hey," Eddie reached out to gently touch Steve's arm, trying to bring him back. "That's him, not you."

"It was me!" He yelled, finally turning to Eddie.

"Was, Steve, was," Eddie replied, turning in his seat so he could face Steve. "You are not the same person you were in high school, not by a long fucking shot."

Steve hung his head and took a deep breath.

"And you're are not Tommy Hagan." Eddie added and then waited. Waited while Steve calmed. He gave a slight nod of his head.

"I'm sorry I used you like that," Steve finally said.

"What?"

"Pretending we were together. It was the only thing I could think to do."

"Stevie, I am never opposed to having a stud of your caliber on my arm." Eddie grinned as he watched Steve try to fight off a smile. "Besides, the only reason I didn't try to rip his face off is 'cuz your arm was around me. One more second and Carol would have needed a new boyfriend."

"He left Carol."

"What?"

"She got depressed in New York and he dumped her."

Eddie was silent for a while. "That's awful."

Steve nodded.

After a moment Eddie shifted so he was sitting straight in his seat. "Let's go, Stevie. The ice cream should be in our stomaches by now."

Steve nodded and pulled back onto the road.

"Thank you, by the way." Eddie added.

"My pleasure." Steve smarmed at him.

"Oh I bet it was. You can't resist all this, I know." Eddie said, tossing his hair over his shoulder.

"Oh, baby! Ow!" Steve hooted as Eddie cackled. "Oh I am so telling Robin about this on our next call," He chuckled.

(possible part 2 where they realize their feelings but like... don't hold your breath)

(lmao couldn't stop thinking about it, here's part 2)

[buggachat]

honestly what I love about miraculous and what I think a lot of people seem to hate about it is that the show is completely character-driven. it absolutely follows the rule of "would" rather than "should". episodes and plot lines and everything make so much sense and are so easy and engaging to follow when you understand that everything happening is because that's what the characters would do. things like: marinette would lie to protect someone's feelings, chloe would need more than just being queen bee to change her, adrien would forgive someone and try to see the best in someone who has shown him nothing but red flags. these aren't things they should do, it's just what they would. they don't change their behavior to tie up every loose end, they aren't vessels to give the audience moral lessons, their interpersonal conflicts are sometimes never addressed head-on and instead remain as a constant noise in the background of their relationship, they are all so stubborn and complicated. the plot bends to them, not the other way around. i see all the time people complaining about how the show is so bad/a failure but in the same breath say that they love the characters, as if the show's primarily goal is not to create and facilitate those same compelling characters that you love and let you watch as the story unfurls around them.

i mean, it's completely fine if you hate it. it's fine if you'd prefer every loose end to be tied, if you prefer the plot and story to take center stage, if you don't like it when a plotline seems to be forming but the characters decide against it, etc. it's a narrative choice, and not a "good" or a "bad" choice, just a choice. we all have our preferences. but your hatred of it is not any more "objective" than someone else's love for it. sometimes being a character-driven-story lover is difficult when online media criticism seems to always see it as a bug and not a feature.