#all my favourite dialogue writers

[imaginetoomuch]

finished playing i2-4. i cried so much throughout the entire thing because line after line of dialogue just kept hitting me RIGHT IN THE HEART !!! it genuinely might be one of my favourite cases from all the aa games. not particularly for the case itself (which i did enjoy, but i pinned the Bastard as the killer as soon as he was introduced purely cause he was a Piece Of Shit) but for the CHARACTERS!!! the interactions between everyone was so fantastic, edgeworth's unwavering belief in kay never failed to make me tear up (i'm weak for dadworth content), kay's sprites throughout the case really spoke to me, edgeworth's entire development across all the aa games coming to a head, the constant reminder of blaise just being a horrible person finalised by his horrific cruelty towards his son, courtney's conficting reveal that she's been trying to take down blaise... there's so much i can't even summarise, this case just had so many emotionally hitting parts that made me SOB AND SOB AND SOB!!! and to top it all off. by the end of the case you're realising this is all simply a prelude to something much larger than you could've pictured earlier on in the game... it's a wonderful case really

[moomin279]

I forget how much i adore West Wing occasionally but then i get in a loop of youtube videos and im right back in there

[bighitfics]

jungkook fics i can read all night all day seven days a week.

(a recommendation you didn’t know you needed) ₊⊹ ๋࣭ ⭑⚝

Vows Of Betrayal ౨ৎ by @tljunglebook

— contract marriage au, enemies to lovers, romance, smut, angst.

(I will never not scream about this! this is my current favourite read! the enemies to lovers really hits in this one! AND THE SMUT SCENES ARE SO GOOD THEY MADE ME PREGNANT SO I RECOMMEND!) 😩💳

Inevitable ౨ৎ by @ahundredtimesover

— exes to lovers, second chance, parents au, angst.

(this happens to be the cutest story I’ve ever read, the longing and angst is so good!) 🥺🫶🏼

Dextrocardia ౨ৎ by @jeonstudios

— enemies to lovers, fake marriage, cop au, angst.

(this story should be arrested for being so damn good! i love how intense the enemies phase is before they start softening towards each other, the way the author managed to portray the patriarchal issues through this story is incredible, i never thought i’d say this but im an anti of jungkook in this story 😤😡 he better apologise with crocodile tears otherwise he can say goodbye to y/n.

You’re Still Mine ౨ৎ by @wattpadauthour

— workaholic husband jungkook, marriage in trouble trope, second chance.

(THIS STORY IS GONNA BE MY FOREVER FAVOURITE FOR A LONG LONG TIME! NO MATTER HOW MANY STORIES I READ I WILL ALWAYS GO BACK TO RE-READ! LIKE READ IT RIGHTAWAY IF YOU HAVENT! 😤)

Four-Seven-Eight ౨ৎ by @jiminrings

— marriage in crisis, angst, more angst, fluff.

(the heartache you’re gonna feel while reading this is no joke, i really felt sad for the y/n here (and cried a river) AND I LOVE IT WHEN BOOKS MAKE ME CRY LIKE THE WORLD IS ENDING TOMMOROW 😻💋 you know its gonna be worth it)

Time After Time ౨ৎ by @hiseyestell

— doctor au, she fell first but he fell harder (but much later), fluff.

(by far the most realistic fanfic I’ve read, jungkook is so cold that you wanna smack him in his stupid head, the female oc is so smitten with him its adorable but sad at the same time) ☹️

His Clumsy Secretary ౨ৎ by @hwangguemfictions

— grumpy x sunshine, he fell first and harder, office romance, major angst.

(this fanfic is criminally good! especially the bgm, the dialogues, the way he’s just so endeared with her, this is a big smash!) 🤰🏻🫦

The Deepest Marks Of Essence ౨ৎ by @lleldey

— tribe leader jungkook, yandere au, smut, angst.

(my favourite writer for a reason! 🫴🏼 i can never stop obsessing over yer unique storylines and writing, she’s my new favourite tbh and this story will convince you as well) 🤭💕

Marrying The Vicount ౨ৎ by @taevjim

— rich man x poor girl, regency era au, smut, filthy fluff.

(my two worlds colliding fr! this author wrote it so beautifully 😍🤌🏻 jungkook as a vicount tho (im already crying between my legs) this is like a fever dream come true, this is so effing good that i think no words are fair enough, maybe you should take a look yourself! (i swear this is worth the read!!!!)

[casscainmainly]

My Top 10 Batgirl (2000) Moments

This is my list of top 10 Batgirl (2000) moments!! There were so many to choose from, but these are my personal favs :)). Counting down from 10 to my absolute favourite.

10. Volving

An absolute classic. Perfectly encapsulates what Cass does throughout the entire run, and more writers should play with Cass' use of language like this!

9. Beat Up Every Mob In Gotham

Perfect encapsulation of the early Barbara-Cass dynamic, and one of the funniest moments in the series. Just love the expressions and the way this shows so much of Cass' character.

8. Choosing to Write

The entirety of issue #2 builds up to this heart-wrenching moment. After delivering a dead man's final message to his wife, Cass sees the wife's reaction to the written message and decides to learn to write. A foundational moment for her character, and a nice motherly Babs scene too.

7. Alpha Redemption

Capping off issues 35 + 36, Batgirl unmasks herself to convince Alpha (an amnesiac villain) that he doesn't have to be defined by his past. Brilliantly displays her core belief that people can change, and the fact that her belief pays off makes this moment extremely moving.

6. For God's Sake

Possibly a controversial pick, but I really like this moment because it underscores some of the fundamental conflict between Babs and Cass. They love each other, but they don't always understand each other, particularly in regards to each other's disabilities. A painful moment that should have been explored more.

5. Fight For Your Life

My favourite Stephanie and Cass moment in this run. You can feel Cass' grief throughout this hallucination, but there's also so much hope and love (for Stephanie and for herself). It's an amazing conclusion to Cass' initial suicidal tendencies: instead of desiring death, she now actively fights to live.

4. Darknight Detectives

This interaction sums up a lot of Bruce and Cass' best moments. Cass' unwavering moral beliefs, Bruce's pride, their instinctive understanding of each other; they just get each other in a way few others do. I picked this one instead of the 'instinct/good answer' moment because it also marks Cass' development in her detective ability. From Moment 8 above to here, the confidence in her mental capacities has grown so much. She really volved!

3. Perfect For A Year

I mean of course this had to be here. These lines literally take up 90% of my brain space, it's an incredibly tense moment that illustrates Cass' desire to be perfect, her need to be useful and good. This issue is also just awesome.

2. You're... Not

Another absolute classic. Illustrates Cass' compassion and her belief that people aren't defined by their lineage, which is particularly personal to her, given her own dad. This struggle between good/bad, parent/child defines many of Cass' best stories.

1. Who Do You Think You Are? + Father's Day

What else would number 1 be?? Issue 33 is my favourite in the entire run, and the entire thing is stacked with moments that could fill up this list. I just love 'who do you think you are' because it's all of Cass' rage spilling out, and yet she still loves David Cain in her own complicated way (and he reciprocates, too). Then we have the ending, which is the BEST Bruce and Cass moment ever. The sparse, meaningful dialogue, the expressions, the reveal of the TITLE: comic book writing at its finest.

Honorary mention to the Shiva/Cass fight, which just narrowly missed out.

[winged-self-indulgence]

Why Do People Like Yanderes?

Hi everyone, my name is Diya, and this was going to be a YT video-essay-type-thing but I'm too poor to afford a mic and too busy with college to learn how to edit videos, so here's my vague exploration of the psychology behind why people like yanderes so much through the lens of my favourite Visual Novels.

TW for uh. yandere content. Mentions of sex, gore, and non-con, particularly in the last topic. This is more like the first draft of an academic paper so while it's not explicit, I do go into some detail.

Introduction

If you’re a fan of anime or visual novels, then you’re probably already aware of what a yandere is, or at the very least you’ve seen that one picture of Yuno Gasai. Still, for the sake of thoroughness, let’s take it from the tippy top. The term ‘yandere’ is a Japanese portmanteau of ‘yanderu’ – the progressive form of ‘yami’ – meaning ‘sick’, and ‘deredere’ which roughly translates to ‘loving’. Together, the word refers to someone who is – in short – extremely lovesick. Obsessive to the extreme, and with little morality to spare, the standard yandere is characterized by a dangerous fixation on a chosen target, often appearing shy and caring at first only to flip the script and become violently aggressive towards perceived threats (Kroon, 2010).

It should be noted that yanderes are not a strictly romantic or sexual trope. The Ancient Greeks classified at least six forms of love, from familial (storge) to guests (xenia). Modern psychologists may distinguish love as either Companionate or Passionate (Kim & Hatfield, 2004) or consisting of three dimensions of Intimacy, Passion, and Commitment (Sternberg & Sternberg, 2018). Realistically, possessiveness shows up in a variety of relationships. However, people are generally primed to view certain dynamics as inherently amorous. Societal norms tend to encourage the idea that romantic bonds ought to rank above all others, and therefore if Person A is bizarrely fixated on Person B, then clearly there must be an element of sexual interest involved regardless of the actual relationship between the individuals in question.

Regardless, yanderes remain quite popular in fiction. Many dismiss it as a fetish, which it can be, but that isn’t the case for everyone. While there is nothing wrong with indulging in kinky fiction, not all of us get horny at the thought of being chained up in someone’s basement, no matter how hot our captor may be. So why is it so pervasive? Why is this trope so appealing that most writers cannot help but include at least a single line of dialogue implying that – if circumstances had been ever so slightly different – my wholesome shoujo romcom might have turned into a psychological horror?

Hybristophilia

‘Hybristophilia’, also known as Bonnie and Clyde Syndrome after the titular criminal couple, is a word is derived from the Greek word ‘hybridzein’ meaning ‘to commit an outrage against someone’ and ‘philo’ which means ‘a strong preference for’. Sexologist John Money reportedly defined it as a paraphilia in which an individual is sexually aroused by a partner who has a predatory history of hurting other people (Money, 1986, as cited in Matuszak, 2017). In his book, Serial Killer Groupies, true crime and crime fiction author RJ Parker distinguished two forms of hybristophilia: passive and aggressive. The former is when an individual contacts a criminal with the intention of striking up a relationship with them, allowing themselves to be seduced and manipulated but having no interest in committing a crime themselves. The latter are far more dangerous, as the individual not only derives sexual pleasure from their partner’s atrocities but are active participants in carrying out or covering up the crime. To quote Griffiths (2013, as cited in Pettigrew, 2019):

“[They] help out their lovers with their criminal agenda by luring victims, hiding bodies, covering crimes, or even committing crimes. They are attracted to their lovers because of their violent actions and want to receive love yet are unable to understand that their lovers are psychopaths who are manipulating them.”

In some ways, hybristophilia is the nearest thing we have to a realistic understanding of why people love yanderes. I mean, much of the fantasy surrounding such characters and their media tend to be filled with posts begging to be spat on or calling the rightfully terrified main character ungrateful for being a teeny bit upset about finding surveillance cameras in their ceiling. However, enjoying fictitious immoral activity does not predict real perpetration, so what does? There exists little consensus amongst psychologists as to what sparks this particular predilection, and that was strange to me. You would think there would be more studies into this topic, in spite of or perhaps because of its controversial nature. Heck, that one dude wouldn’t shut up about white women’s obsession with Bundy and Dahmer, and I assumed he had gotten that information from somewhere, but it turns out that was just him using modifiers to justify sexism.

However, I believe that we can hedge a few guesses, and over the course of my research, I’ve organized the main rationalizations under four umbrellas which I will explore through the lens of my favourite yandere-themed Visual Novels. Please keep in mind that most of these games are rated as mature due to sexual scenes and/or gore. Additionally, in the spirit of transparency, this ramble will be focused exclusively on male or masculine yanderes. So, without further ado:

Call Me Bob the Builder Because I Can Fix Them

If you’re familiar with DC Comic’s Batman, or just happen to have attended any costume event held over the span of the last 20+ years, you may be familiar with the character of Dr. Harleen Quinzel, better known as Harley Quinn. Initially created as the Joker’s one-off sidekick in Batman The Animated Series, she was so well-received by audiences that she became a recurring character in the cartoon and was eventually given a proper origin story in the form of a one-shot titled Mad Love.

Harley’s origin story has seen some alterations over the past decades, but the core aspects remain largely untouched. In the beginning, Harleen Quinzel was a promising young woman who wanted was a degree from the university’s prestigious psychology department, which she gained through…less than scrupulous means.

(Listen, I’m not sure if the authors were leaning on the Dumb Blonde stereotype, or if they simply thought that casting her as a genuinely bad student would make her later actions more believable. Either way, the idea of Harley as someone with a legitimate PhD came later)

After landing an internship at Arkham Asylum – a half-hospital and half-prison straight out of the 1870s that might as well be built out of one-ply tissue-paper soaked with gasoline and left next to a crate of fireworks – Harleen set her sights on the then incarcerated Joker. At the start, her fixation on the criminal wasn’t remotely sympathetic. She didn’t want to help him, she wanted to use him. Harleen Quinzel wanted piggyback off his infamy and write a tell-all tale detailing what sort of messed up childhood resulted in Gotham’s Clown Prince of Crime. Yet the more she interacted with him, the more the Joker took advantage of her empathy. By the end of their sessions, Harley no longer saw him as a violent serial killer with a clown schtick, but as a “lost, injured child looking to make the world laugh at his antics.”

But Diya, you may be asking, what does this have to do with the video? The Joker never loved Harley, and it could even be argued – as Shehadeh did in a 2017 essay – that her obsession with the pasty-faced clown is more akin to Histrionic Personality Disorder. While that may be the case, I believe that Harley’s story provides one of the reasons yanderes are so popular: their backstory.

Whether they were abandoned by their family, bullied by their peers, experimented on by evil scientists, starved on the streets, died under mysterious circumstances and then trapped in a haunted VCR tape for decades, or are simply so impossibly inhuman that they frankly do not understand why it isn’t socially acceptable to imprison their crush in a pocket dimension made of meat and non-Euclidean geometry, yanderes often have fairly sympathetic or at least understandable explanations for why they are Like That. Your mileage may vary significantly depending on how much you sympathize with these motives, but the point is that yanderes always make sense to some degree. Their morality and priorities may be twisted or even completely incomprehensible, but the audience almost always knows the reason, and that can be comforting. In the real world, other people aren’t always straightforward, and we never really know what they’re thinking, but narrative coherence demands a semblance of internal consistency lest the audience end up frustrated and confused. So yanderes are not only easy to sympathize with, but also fairly predictable. In-universe they may be unhinged freaks with a blood fetish, but to you watching from behind the safety of the screen they’re just acting out the script written for them based on a prototype. And if you understand the why behind their loose gears, then you might just be able to put them back together again.

The concept of rescue romances or “I Can Fix Them” has been around in our stories for thousands of years. The Epic of Gilgamesh detailed how Shamhat essentially ‘civilized’ wild man Enkidu through ritual lovemaking, and a concerning number of religions push the idea that women are dutybound to save men from the follies of sin. Yet men are not exempt either, with one notable example being the German fairytale, King Thrushbeard. Call it what you will regardless: Knights in Shining Armour, the Florence Nightingale Effect, or a plain old case of Because You Were Nice to Me, studies have shown that human beings generally like helping [DA2] others, even when the reason doesn’t necessarily stem from pure altruism. I will delve deeper into this later, but care and compassion are deeply ingrained in human nature, and arising from those roots is the appeal of this mentality: You can save them. You can change them. You can make them better. You are special, and the way you treat this person carries a weight that has not and will never be matched by anyone else for the rest of their mortal or immortal existence.

The illusion is a delicious one, especially if the person you’ve helped turns out to be a billionaire CEO with cash to burn, a super powerful ghost king willing to raze continents to dust for you, a demon having fun on a Friday night, or just your average hot creep with a knife. Moreover, different people have different ideas of what ‘fixing’ even means. Maybe you want to single-handedly rehabilitate your yandere into a functional member of society. Maybe you’re cool with the incessant stalking but would like them to stop slaughtering your friends, family, and local service workers. Maybe you want to make them much, much worse.

Not only do yanderes provide immediate proof that your actions have a tangible impact on the lives of others, but the fantasy also includes the desire of being seen as special. Of being admired and adored by someone whose life you inexplicably made better by virtue of simply being yourself, or an idealized version of yourself. In this fictional world, in this imaginary setting, the person you are is so uniquely, impossibly irreplaceable to someone. And if that’s the case then they can’t risk losing you, can they?

The Allure of Obsession, or ‘Til Death Do Us Part (Literally)

It shouldn’t be necessary, but here is my obligatory disclaimer anyway. Ahem: obsession is not a good thing in real life. Fixating on another human to the detriment of your own wellbeing and that of those around you is dangerous, as is encouraging someone else to obsess over you. You might think you are being worshiped, but real life is not a visual novel. The outside world doesn’t come with an age rating, the author’s guiding pen, and a convenient fade to credits sequence once you’ve reached an ending. The consequences will still be there in the morning, so don’t do it. Just don’t.

PSA out of the way, it’s natural to want to be wanted. Maslow’s Hierarchy places it just above physical safety, but I’d argue that it could easily be compared to baser drives. According to many psychological and anthropological studies, much of humanity’s continued survival and environmental dominance is largely attributed to our ability to form groups, cooperate with one another, and maintain complex interpersonal networks. Social support, intimacy, and a sense of belonging are linked to emotional and physical benefits, such as more optimistic health perceptions, higher subjective well-being, increased creativity and innovation, and greater self-efficacy (DeWall & Bushman, 2011; Harandi et al., 2017; Wang & Sha, 2018). Therefore, it’s perfectly understandable that rejection of any sort would be construed as a threat.

But if someone is obsessed with you, then you have no reason to worry about that, right? No more nights spent agonizing over how they feel about you, asking yourself whether your last text made you sound too desperate, or if you’re boring them because you spent the past hour info-dumping about Stardew Valley farm layouts. With a yandere, there will never be any doubt that they care about you. Sure, they might go about it in weird, manipulative, and insidious ways that violate your physical and mental autonomy, but you can’t deny their loyalty. They do love you in their own bizarre way. You are the sun around which they orbit. When you’re in the room, no one else exists. Every single messy flaw is just another bullet point on the mile-long list of why they adore you.

In essence, yanderes are not only attentive, but their love can be virtually unconditional. A yandere might know everything about you, and still revere you. It’s unhealthy as hell and you might genuinely question their taste, but it can be tempting to pretend that all of you, right down to the ugliest parts of yourself – the traits and choices that you would never share with another living soul even at gunpoint – are worthy of understanding, if not open praise and affection.   

Attractiveness, or Okay but Have You Considered That They’re Hot Though?

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I mean what am I supposed to say here? They’re hot, what do you want from me?

No, but in all seriousness, fictional media paints an idealized version of the world, and most yanderes are hot because they have the freedom of existing purely behind that screen; artfully arranged and edited to forever appear compelling to anyone who happens to enjoy their particular style. And there are a lot of styles to choose from. Whether you want them pretty faced and disarmingly cute, or scarred up and big enough to pin you like a butterfly, yanderes come in a wide variety of shapes and sizes that are meant to pique your interest and draw you in like a naïve little fish being lured towards the mouth of an angler fish, unwilling to believe that anything bad might happen to us when the bait is this pretty.

This is often referred to as the Halo Effect, a form of cognitive bias referring to the tendency for people to assume that a single obvious positive trait must be associated with other positive traits. The go-to characteristic is typically physical attractiveness, but a nice voice, good humour, and cooking skills are also factors which serve to influence our perceptions.

So, conventional physical attractiveness is one thing, but that’s only skin deep. What about beyond that? After all, the yandere still has to talk to you before they enact their master plan of tying you up in their basement until Stockholm Syndrome kicks in.

When I showed my friend a picture of John Doe from the game John Doe, she told me that he looked like a creepy slob, and she’s far from the only person who’s ever thought so. Look at them. I feel like if I tried to comb that hair it would simply eat me, and some of the CGs really put the scopophobia in Scopophobia Studios. I love Doe, but he is not hot, and he doesn’t behave in a normally appealing way either. If the player chooses not to take a bath, Doe will immediately comment that you “smell good” before following you home, breaking into your house, and leaving a bloody organ on the floor for the player to trip over. Many yanderes can at least fake a veneer of normalcy, but from the get-go Doe doesn’t even bother to pretend he’s anything less than an otherworldly creature stuffed into a vaguely person-shaped meatsuit. In an effort to find out why so many people had latched on to Doe – including me – I shopped around social media and YouTube for answers, and what I found was a widely unanimous sentiment.

While some were drawn to his fun design and goofy personality, most simply thought that he wasn’t inherently malevolent, just very confused. In addition to being a supernatural being with a completely alien axis of morality, Doe’s meta-awareness and unbridled attempts at winning the player’s affection lends him quite a bit of support from the audience, especially if you yourself also happen to struggle with social cues and relate to his pure earnestness. In Ending 7 of the extended version, the player character has the option to tell Doe – who has altered himself to pass as more ‘normal’ – that they prefer who he truly is, at which point he grows visibly flustered and sports an adorable pair of literal heart-shaped pupils.

Whether they’re charismatic, seductive, cute, sweet, funny, nurturing, or generous, the best yanderes have engaging personalities. Even while they’re committing truly heinous crimes against God, man, and your guts, you still kinda want to hang out with them, and you want them to acknowledge you as being just as interesting. And this is all fine in fiction because you’re the one in charge, and if you ever get bored or uncomfortable or busy with something else, then you can simply close the tab or window with zero consequences, which brings us to the final and most important reason.     

Power Dynamics and Consent in Fantasy (I Couldn’t Think of a Joke Here Guys, This Is Kinda Serious)

Once again, I feel that I must preface this section just for the sake of my own peace of mind: sexual coercion and assault are vile and disgusting crimes that should never be emulated or tolerated in the real world. We are speaking purely of fictional media, specifically adult-oriented media in this case, so please be mindful.

In 2009, Bivoni and Critelli conducted a study on 355 undergraduate women with the goal of assessing the reasons behind fantasies of non-consent. At the time, there were two leading explanations of this phenomenon. One stated that women with high libidos but repressed views of sex used these imaginary scenarios to alleviate the guilt they had grown to associate with sex. Because the simulation was a purely mental exercise and they themselves were cast as helpless victims in the scenario, they were able to remain blameless while still finding sexual gratification. The second stated that these fantasies were an expression of liberation by women who were adventurous and comfortable enough with their own sexuality to engage with taboo ideas that they weren’t at all interested in performing in real life. Which do you think was more common?

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If you guessed the second option, you’d be right. The study found that of the 220 women who had experienced such fantasies, 45% found theirs erotic, 46% were mixed, and only 9% reported pure aversion. One justification for this outcome relies on psycho-biological theories, for example masochistic preferences or the unintended activation of the sympathetic nervous system and subsequent mis-attribution of arousal. Other reasons have to do with higher order thinking and are tied to the power dynamics within such fantasies. On the surface is the appeal of being so desirable to someone that they simply cannot control themselves, but then there is a deeper impulse, which the researchers referred to as Adversary Transformation. To quote the article: “[fantasies] involve a struggle between an assailant and a potential victim in which it is relevant to consider who is the winner and who is the loser. At one level, it is a struggle over sex, but the woman's non-consent may be feigned or token. At another level, the woman may be seeking a victory that is not about whether sex occurs, but about what happens emotionally between the protagonists.”

Basically, the imaginary perpetrator may have ‘won’, but the self-character need not have ‘lost’.

Media provides an extra layer to the illusion, one that you as the viewer have absolute control over. If you are choosing to engage with a piece of media that explicitly labels itself as including R18+ yandere content, then you clearly have some expectations, and that background awareness goes a long way in reducing long-term discomfort and allowing audiences to make informed decisions. If you don’t like the plot, you can simply turn it off it with the click of a button, and when the screen goes dark it’s not like the yandere is going to punish you for saying no. Strade isn’t going to break into your house with a drill, there are no homicidal clown ghosts hiding in your TV, and no suspicious pink-haired hackers watching your webcam. They aren’t real, and the consequences aren’t real either. You have all the power here.

Conclusion

In summary, Yanderes are appealing for a variety of reasons. Whether you want to save them, think they’re attractive, wish to indulge in a dream of being utterly coveted, or simply enjoy a bit of spice in your me-time, it’s obvious why the trope has persisted for so long and will likely continue to do so. If you enjoy yanderes but are worried that having a taste for the less wholesome side of things might imply something about who you are as a person, don’t be. The notion that fantasies and media preferences directly reflect subconscious desires is not only painfully out of date debunked nonsense but also indicative of restrictive ideologies wherein bad thoughts = sin. This isn’t 1984. You haven’t committed a thought-crime by having a weird kink. You aren't going to superhell for fantasizing. The human mind is hardly ever so mathematically rational, and the point of fiction is to allow us to safely engage with and explore various ideas, provided the everyone involved is mentally, chronologically, and emotionally mature enough to do so.

Thank you all for listening to me. If you learned something or were just a little bit entertained. If you're curious about knowing more, I've listed my sources below

REFERENCES

Bivona, J. M., & Critelli, J. W. (2009). The Nature of Women’s Rape Fantasies: An analysis of prevalence, frequency, and contents. Journal of Sex Research, 46(1), 33–45. https://doi.org/10.1080/00224490802624406

Critelli, J. W., & Bivona, J. M. (2008). Women’s Erotic Rape Fantasies: An Evaluation of Theory and research. Journal of Sex Research, 45(1), 57–70. https://doi.org/10.1080/00224490701808191

DeWall, C. N., & Bushman, B. J. (2011). Social acceptance and rejection. Current Directions in Psychological Science, 20(4), 256–260. https://doi.org/10.1177/0963721411417545

Flynn, F. J., Reagans, R., Amanatullah, E. T., & Ames, D. R. (2006). Helping one’s way to the top: Self-monitors achieve status by helping others and knowing who helps whom. Journal of Personality and Social Psychology, 91(6), 1123–1137. https://doi.org/10.1037/0022-3514.91.6.1123

Harandi, T. F., Taghinasab, M. M., & Nayeri, T. D. (2017). The correlation of social support with mental health: A meta-analysis. Electronic Physician, 9(9), 5212–5222. https://doi.org/10.19082/5212

Hazen, H. (1983). Endless rapture: rape, romance, and the female imagination. https://openlibrary.org/books/OL3161300M/Endless_rapture

Kroon, R. W. (2010). A/V A to z: An Encyclopedic Dictionary of Media, Entertainment and Other Audiovisual Terms. McFarland.

Matuszak, M. (2017). Hybristophilia White Paper. https://static1.squarespace.com/static/55dfd21ee4b0718764fb34cc/t/5cb7cabee5e5f00ab13be58b/1555548863275/Hybristophilia+White+Paper.pdf

Oarga, C., Stavrova, O., & Fetchenhauer, D. (2015). When and why is helping others good for well-being? The role of belief in reciprocity and conformity to society’s expectations. European Journal of Social Psychology, 45(2), 242–254. https://doi.org/10.1002/ejsp.2092

Parker, R. (2014). Serial killer groupies. RJ PARKER PUBLISHING, INC.

Wang, T., & Sha, H. (2018). The influence of social rejection on cognitive control. Psychology, 09(7), 1707–1719. https://doi.org/10.4236/psych.2018.97101

[seiwas]

ari i'm going to share some of my favourite lines from this but i apologise in advance if i end up copy pasting like 80% of the things you wrote 😭 i had so much to say with each passing paragraph i swear

ari your writing in this is impeccable, the vivid imagery you inject into it all. you go from specific to broad and it's so... how... like your brain!! i swear!!

the colour red flooding his subconscious. that cold, cold sensation — a jarring shift, chilling and ruthless, going from everything to nothing. tiptoeing the line between life and death. 

another thing i noticed about your writing is that you use a symbolism and carry it through as a theme to the rest of the sentence and that's!! also!! just so big brain... it's so beautiful and so so satisfying when you catch it

clinging to the weak flutter of his heart, a dying butterfly. clawing his way up to the skies.

now on to...everything else. honestly ari i don't think i've seen a lot of fics recounting this moment of gojo specifically (or maybe i just avoid it because it makes me sad) but for some reason, the way you've written this doesn't make it sad at all. the sky motif you weave through gojo's dying moments is peaceful if anything and i like the message that that conveys, that dying for gojo isn't scary, it isn't bad, it's... peaceful and maybe even comforting in all the blue that he sees.

gojo doesn’t think he has it in him to feel fear, anymore.

when you say that line i think about the many reasons for it: how maybe being the strongest makes him that way, or maybe just that he's become a bit desensitised to it all.

then you bring us to the airport. the afterlife. another place i haven't really seen other fics explore yet, and you tie everything so neatly, so beautifully.

gojo feels young, too, he realizes — the weight on his shoulders a little less heavy, the familiar black of his sunglasses obscuring his vision. but he can still see the flicker of suguru’s cursed energy clear as day. as if he never left.

feigning a mild displeasure, gojo makes a face. he hears himself speak, but his mind and six eyes continue to spin in circles, trying to comprehend the sight in front of him. trying to make it understandable, figure out what’s going on. 

your introduction of suguru will always ache for me. the callback to his six eyes and how it will never comprehend how real suguru feels despite him being gone—like a part of him will always live so long as satoru exists, wherever he goes.

suguru is there, right next to him, and he’s speaking. breathing. like something out of a dream, the kind that always haunts gojo in his sleep.

another thing i truly admire about your writing is your characterisation, not just through dialogue and descriptions but also through actions. you get them so well, it's crazy. the mannerisms and interactions you write for them are insanely accurate (at least to me) and i can truly see satoru and suguru (and anyone else) doing or saying whatever it is you make them do or say.

the white haired boy stretches his limbs out and huffs, pretending the sight in front of him doesn't send a tremor running through his very soul.

but what i love most about all this, is your take on satoru. you touch on so many parts of him that i love exploring and adoring, one of them being the things he values—what truly makes him happy? if he could live a life made from his own decisions, what would it look like?

the sight in front of his eyes is perfect, he thinks. absolutely perfect. a glimmer of spring, one he never quite managed to forget. a vibrant flicker of blue, one he thought he’d lost forever.

...

with a sigh, gojo stretches idly, smiling a little to himself. his joints don’t ache, his head isn’t buzzing with fatigue, and his heart feels lighter than it's been in recent memory. 

“now i’m hoping this isn’t a dream,” he hears himself mutter, allowing his eyes to flutter shut at last. he can still see suguru’s cursed energy, and everyone else’s. he isn’t alone. what a nice thought. 

i think it's so nice that you've given him this moment of rest, even when we know it won't last. the way you've dug deep into him to reach for the parts that humanise him—that allow him to want things for himself.

and i love this line:

him, and suguru, in the corner of an airport too precious for words. that one decisive slice of heaven. 

that one decisive slice of heaven is such a pretty line, ari. the ache i felt in this line was the perfect preview to the heartwrenching yet heartwarming dialogue that ensued between suguru and satoru.

however you crafted this dialogue between them, the set-up, the scene building, the conversation itself—i was completely immersed, ari, i had to remind myself that this isn't canon (though i hope it could be). there are so many layers to it and so many reasons why i love it (that i'll try to explain as i go on but just know that i don't think anything can fully capture what i felt reading it).

i like the role you've established for suguru in satoru's life—almost like his voice of reason, maybe even a moral compass; and you emphasise it so much in lines like this:

suguru opens his mouth, and speaks, and his voice has a finality to it that fills gojo with a mellow kind of dread. 

as if suguru is the bearer of bad news because he's the only one who can deliver it gently; in a way that will make satoru listen. i like how you make him firm yet kind, doing what's necessary but in ways that aren't cruel (like ripping the band-aid off for satoru).

“they’re no match for him,” he continues, unperturbed. “all of them are going to die. every single one.”

suguru leans back in his chair, still looking straight into gojo’s eyes. seeing through him, gaze filled with a certain sharpness. a little cruel, but there’s a kindness there, too. as if he’s simply ripping the band-aid off, trying to make it as painless as possible. 

...

“.. damn,” he grins, weakly. leaning back in his chair, slumping against the soft leather. “couldn’t you have kept indulging me for just a bit longer?”

suguru smiles. a soft thing, in the flicker of the light. a little too good to be true. “sorry,” he chimes. “but the plane is leaving soon.”

and the banter you included in their conversation was amazing ari, i really felt the fondness they have for eachother through it. the held back smiles, the playful bickering, how much suguru believes in satoru and knows him, to a point that i think might even be better than how he knows himself.

”haah.” a heavy exhale, fatigued. gojo slumps even further into his seat, squeezing his eyes shut. running a hand through the soft strands of his hair. ”oh, gimme a break. and here i thought i could finally relax for once.”

a chuckle flows from suguru’s lips, amused. ”you aren’t the type to go down like that,” he murmurs. ”c’mon, satoru. there are still things you need to do.”

”how?” gojo scoffs. ”i’m split in half. and i’m too exhausted to use my reverse cursed technique.”

”eh,” suguru shrugs. ”you’ll manage.”

gojo shoots him a dubious look. ”you’re acting like it’s a papercut,” he huffs, crossing his arms. ”my guts are on the fuckin’ pavement.”

”oh, quit your complaining already," suguru rolls his eyes, and shoots him an accusatory glance. "i died with a hole through my chest. at least your heart is still intact.”

the white haired boy gapes at him, offended. ”i wanted to make it painless for you!”

”well, it hurt like a bitch. so thanks for that.”

gojo pouts, fighting back a smile. he thinks suguru must be doing the same. and it’s juvenile, a little twisted — but then again, weren’t they always?

suguru cocks his head. beckoning gojo into taking action. ”you’ve still got some fight left in you,” he says, and there’s a fondness to it. ”you always do.”

...

”get up, satoru.”

there's also a line i really liked because i found it so pretty: placebos; memories ghosting his subconscious. & the way you used symbolism again to carry through a sentence: the words taste salty, on his tongue. an ocean breeze. a whisper. ”we could just stay like this.”

another thing i really liked was how you included a lil bit of the whole god theme when it comes to him. not that he has a complex, but more of the flipside of it—how do you make a god human? and i love exploring that about him. when you talk about that gap, and the solitude that comes with it. you write his yearning for love, for connection without fully saying it and i love it ari! i love seeing gojo through a lens that he can truly never escape wanting very human things.

”you want me to go back,” he hears himself say, somewhat bitter. ”you want me to go back, and then what? there’s nothing i can do. i’m not the strongest, anymore.”

...

”there’s always been a gap between you and everyone else. that’s what you said, before. aren’t you tired of it?”

gojo closes his eyes.

that’s right. that aching gap. the solitude that comes with absolute strength — a weight he’s borne all his life. doomed never to connect with others, never to be understood. doomed to always live in the sky, far away from the earth and the ocean.

...

suguru’s voice fills his mind. the flicker of his cursed energy is gentle, like an ocean wave rolling in right before the sun sets. ”you said it yourself, satoru.” gojo can hear the smile in his voice. ”you love everyone.”

love. it always comes down to that, doesn't it? the greatest curse of them all.

(but he could never bring himself to fully throw it away.)

you also manage to say the unsaid, that i think maybe a lot of us might feel when it comes to gojo. that even he knows himself. i think he really is so important that no matter how unfortunate it may seem to drag him away from this rest, people still need him. and it speaks so much to who he is that he still chooses to be that person; that he still heeds that call even when he might not want to anymore.

not just that — the world itself is waiting on him. waiting for him to pass on, so it can crumble away. waiting for him to make it, so he can stitch it back together. 

and you deliver this absolutely heart-crushing line that cements how important suguru is to satoru, like i mentioned, the only person he might listen to:

”i’ll listen to you,” he elaborates, tapping the edge of his chair, absentmindedly. eyes shining with a glimmer of something tender. ”so… it has to be you.”

serious scenes with satoru are tricky, i feel, because his character is naturally a lot joyful and teasing, a bit annoying and playful, but you manage to balance it so well while still retaining the kind of humor he does. you have such a skill, ari, really!! i'm stuck in awe!!

”so much for finally getting a vacation,” he huffs, frowning as he casts a jealous glance at his best friend. ”you dead people have it easy, you know that?”

suguru’s still smiling, but he’s not getting up from his seat. the pa system sounds, again. a little louder this time.

suguru stays right where he is. young, dead. smiling. the same smile he wore when gojo killed him, framed by the setting sun. the same kind of sunset that’s beginning to form outside the translucent windows of the airport, nostalgic and sweet, dyeing the clouds in a soft pinkish hue.

i also love the little changes in their physicalities!! what that represents to the passing of the scene!! and i think it's so healing to see them interact this way knowing full well that we didn't get to see that in the manga (suguru being kenjaku and everything).

over his shoulder, he looks back at suguru. the boy has a hand raised, and his grin is playful, brimming with warmth. except he’s no longer a boy — now he’s wearing traditional robes, hair much longer, face a little more hardened. but that grin is still the same as ever. gojo thinks he looks almost proud.

”go get ’em, satoru.”

gojo blinks.

the grin that breaks out across his lips, then, is wide. bright, brimming with youth, lighting up every corner of his face. almost overwhelmingly sweet. it envelops his very being, as he stands there, clad in his black compression shirt and baggy pants. hair a little less messy than it was in high school, face a little more hardened — but he hopes his grin, at least, looks the same as ever.

and then!! you add this little reference too: ”—, — —.” + the literary and real world tales that you parallel to akin his story to a legend, or a tragic hero. ugh! i love it: (buddha left the royal life behind him at 29 years of age, he recalls. and then he sought out enlightenment.)

and this line:

twelve years of living in the sky, and now his feet meet the ground, at last.

i love it so much because it ties in his story so beautifully. your take on what could happen is honestly so cool and so big-brained to me—a binding vow. like. wow. taking away what is most valuable to become the most powerful, just for this moment, and to bring him back down from all of it.

a part of me wonders if this is punishment or a reward, and i think that's what makes your storytelling so wonderful, ari! leaving room for the double-meaning of it, just ugh! perfection.

thank you so much for writing this ari, it was truly. truly. beautiful.

oh my destiny, how far you have sprung now ; satoru gojo

synopsis; satoru gojo chooses north.

word count; 5.2k

contents; satoru gojo, canon divergence, HEAVY jjk spoilers (for chapter 236!! but also kinda 237), fix-it fic, me coping w/ the manga for 5k words straight, canon-typical violence and death, implied stsg, probably non-canon compliant use of binding vows (but do i care? no), gojo satoru lives.

a/n; yeaaa this is literally just me coping <3 needed to write this for my mental health. he’s fine guys trust me

the experience is not altogether unfamiliar, on its own.

he’s felt it before. even now, he can still vividly recall it; a girl he failed to protect, a boy he failed to save. a man with a scar on his bottom lip.

that sickening numbness, as he lied in a pool of his own blood. sticking to his hair and tattered clothes, the colour red flooding his subconscious. that cold, cold sensation — a jarring shift, chilling and ruthless, going from everything to nothing. tiptoeing the line between life and death. 

emptiness. sinking deeper into the abyss, that all-enveloping darkness. that awful feeling of pure helplessness.

he could never forget it.

back then, though, gojo is certain he didn’t feel this way. all he could think about twelve years ago was survival — clinging to the weak flutter of his heart, a dying butterfly. clawing his way up to the skies. anything to escape that harrowing sensation, a kind of desperation all humans feel in the face of certain death, spurring him on. but now —

he almost welcomes it. nearly content in its approach. it should frighten him, but it doesn’t.

through half-lidded eyes, vision blurred by sweat and blood and dust, gojo watches the sky.

it's beautiful, he thinks. as beautiful as ever. peaceful, unchanging, soothing in an eerie kind of way. that clear blue, fading a little at the corners as his muddled mind grows just a little darker, a little more fatigued. he can barely gather the strength to keep his eyelids open. 

yet he keeps his gaze on that endless sky, as if it’s all he’s ever known.

with every passing second, the world grows just a little more blurry. pale dots spread around the corners of his vision, like grains of stardust in an ever-expanding cosmos, clouding his senses. there’s a buzzing in his head that won’t go away. everything looks as if it's spinning, and he can barely tell left from right, north from south. everything is growing darker, so fast that it’s alarming, and gojo can’t seem to even think clearly.

but he can still see that blue, blue sky. bluer than he ever remembers it being. even as snow begins to fall, descending upon shinjuku as if bidding him farewell. the sky takes on a gray hue, but that shade of blue is still all gojo can see, as he takes shallow breaths and half-heartedly attempts to remain conscious. willing himself not to give in just yet, choking on his own blood. 

and it's an odd feeling, really. one he never thought he'd meet again, but here it is, it's back — and it's all-consuming. beckoning him into a place he’s never been before. the unknown. 

it's not scary. gojo doesn’t think he has it in him to feel fear, anymore. but it's a strange sensation, as death kisses its way up his neck, sending shivers down his spine; as the numbness spreads, devouring him whole.

it’s unknown. thoroughly and wholly. and that unknown is overwhelming, all-encompassing, it’s all he can see before him, it's —

ah.

gojo takes a deep breath. the air burns his lungs.

everything's ending, isn't it?

it would be so easy. to simply close his eyes, let them flutter shut as that all-encompassing sensation takes him down to earth. to allow himself to simply rest, for a moment. wouldn’t that be nice?

it would be so easy.

gojo watches the sky. it's all he can do. 

the numbness keeps spreading throughout every cell of his body. he can barely feel the blood trickling down his chin, or the harsh bite of the winter cold, his skin buzzing with ache. he can't feel his arms or his legs, and he knows exactly why. everything in the world is closing in on him and god, he just feels so fucking tired.

ah. ah. more darkness. more numbness.

everything and nothing, all at once. slipping away into oblivion. the snow keeps falling but he can't see anything, can't hear anything, can't feel anything, anything at all.

nothing. nothing. less than nothing.

— and then, suddenly, an airport.

"yo."

gojo blinks.

a boy. a boy with black hair, tied into a small bun. a dead boy. his best friend.

suguru stands before him, and he looks exactly the same as gojo remembers. young, bright, with those awkward bangs still hanging over his face. grinning boyishly, and greeting him with youthful cheer. 

gojo feels young, too, he realizes — the weight on his shoulders a little less heavy, the familiar black of his sunglasses obscuring his vision. but he can still see the flicker of suguru’s cursed energy clear as day. as if he never left.

feigning a mild displeasure, gojo makes a face. he hears himself speak, but his mind and six eyes continue to spin in circles, trying to comprehend the sight in front of him. trying to make it understandable, figure out what’s going on. 

but he doesn’t succeed. because it’s impossible to understand. and, really, that’s answer enough. 

huh.

so this is what the afterlife is like?

he inhales through his nose, basking in the clear air, and it doesn’t burn his lungs. his chest feels lighter than it’s been in years.

that seems a little too good to be true. 

"you’re kidding me. this sucks.”

suguru makes a kind of face like he’s pouting, plopping down in the seat right next to gojo’s. the white haired boy stretches his limbs out and huffs, pretending the sight in front of him doesn't send a tremor running through his very soul.

suguru continues to speak and gojo continues to listen, all while observing the scenery in front of him.

the airport looks familiar. through the glass windows he can see a glimmer of the blue sky, and a plane waiting to take flight into the clouds. the air smells of summer and jet fuel and new beginnings. it’s pleasantly cool, a light breeze caressing his skin and coaxing a hum from the confines of his throat. 

(he remembers this airport. remembers having his arms full of vending machine snacks, trailing after suguru as he dealt with all the annoying technicalities. amanai was there, too, watching a plane soar up into the sky with childlike wonder. a little anxious, as she boarded the plane to okinawa, and then back to tokyo.

her first and last flight.)

suguru is there, right next to him, and he’s speaking. breathing. like something out of a dream, the kind that always haunts gojo in his sleep.

he breathes in, and then out. 

suguru is there. and not just him – nanami and haibara are, too. all young, all dead. all somehow breathing; he sees them inhale and he sees them exhale. he hears them speak and it’s like nothing ever changed. 

they speak of regrets, of south and of north. nanami doesn’t seem to regret a single thing, and gojo is glad. even yaga is there, he notices belatedly. even amanai, and her maid, and a certain man with a scar on his bottom lip. everyone all together again.

the airport buzzes with warmth. nostalgia, as suguru’s laughter rings in his ears. and gojo grins, in tandem, bright and childlike. wallowing in the tender atmosphere. 

the sight in front of his eyes is perfect, he thinks. absolutely perfect. a glimmer of spring, one he never quite managed to forget. a vibrant flicker of blue, one he thought he’d lost forever.

his one and only blue spring of youth, right in front of his all-seeing eyes.

a little too good to be true.

with a sigh, gojo stretches idly, smiling a little to himself. his joints don’t ache, his head isn’t buzzing with fatigue, and his heart feels lighter than it's been in recent memory. 

“now i’m hoping this isn’t a dream,” he hears himself mutter, allowing his eyes to flutter shut at last. he can still see suguru’s cursed energy, and everyone else’s. he isn’t alone. what a nice thought. 

and it’s strange, gojo thinks. it really is. he’s dead. sukuna killed him. he’s dead, his remains are lying somewhere in the streets of shinjuku, and that should bother him. he should be punching the floor and screaming, cursing sukuna’s name with every fiber of his being — it should frighten him, the realization that everything has ended.

but it doesn’t. 

gojo isn’t afraid. and he isn’t upset, either. he bears no grudge against anyone, just like that day twelve years ago.

he’s with suguru, now, and his juniors. his old teacher. the people he cares for are with him, and the airport smells so nice. everyone is young, and happy, and none of them will ever have to kill or be killed again. 

calling it anything less than heaven would be doing it a disservice. 

gojo smiles, exhaling a relieved breath. one he hadn’t realized he’d been holding til now, stuck in the back of his throat for the past decade. a tiny thought makes it to the forefront of his brain, like a spring breeze flitting in through an open window.

like this, he thinks, i could die with no regrets.

“— except that’s not true.” a voice proclaims. “is it?”

gojo opens his eyes.

suguru looks at him. everything goes silent. everyone else has already gone blurry, a little faded, as if they aren’t what’s really important. as if the entire world has narrowed down to just this; him, and suguru, in the corner of an airport too precious for words. that one decisive slice of heaven. 

suguru opens his mouth, and speaks, and his voice has a finality to it that fills gojo with a mellow kind of dread. 

they look into each other’s eyes, and both know what’s coming.

“the students are outclassed.” suguru rests his chin on the heel of his palm. ”you said it yourself — sukuna wasn’t giving it his all when he fought you. he still has more than a couple cards up his sleeve, doesn’t he? like his incarnation.”

gojo listens to suguru speak, not saying a word.

“they’re no match for him,” he continues, unperturbed. “all of them are going to die. every single one.”

suguru leans back in his chair, still looking straight into gojo’s eyes. seeing through him, gaze filled with a certain sharpness. a little cruel, but there’s a kindness there, too. as if he’s simply ripping the band-aid off, trying to make it as painless as possible. 

he clicks his tongue.

“and you still haven’t buried my body, either.”

a moment passes. then two.

gojo smiles to himself, rueful. a little saddened. 

“.. damn,” he grins, weakly. leaning back in his chair, slumping against the soft leather. “couldn’t you have kept indulging me for just a bit longer?”

suguru smiles. a soft thing, in the flicker of the light. a little too good to be true. “sorry,” he chimes. “but the plane is leaving soon.”

as if on cue, the pa system sounds.

flight to okinawa; departing in nineteen minutes.

“it hasn’t left, yet,” suguru hums, and it sounds like an inevitability. ringing in gojo’s ears. “you know what that means, don’t you?”

he does. he does, but it still hurts. gojo looks into suguru’s eyes, and sees himself reflected in them — young, transparent. blue. fading, but not quite faded. not quite dead.

and maybe it’s to be expected. maybe he was just trying to delude himself into believing the alternative, into believing that an afterlife as sweet as this could really be waiting for him. maybe it was naive, a childish fantasy. 

but still —

”haah.” a heavy exhale, fatigued. gojo slumps even further into his seat, squeezing his eyes shut. running a hand through the soft strands of his hair. ”oh, gimme a break. and here i thought i could finally relax for once.”

a chuckle flows from suguru’s lips, amused. ”you aren’t the type to go down like that,” he murmurs. ”c’mon, satoru. there are still things you need to do.”

”how?” gojo scoffs. ”i’m split in half. and i’m too exhausted to use my reverse cursed technique.”

”eh,” suguru shrugs. ”you’ll manage.”

gojo shoots him a dubious look. ”you’re acting like it’s a papercut,” he huffs, crossing his arms. ”my guts are on the fuckin’ pavement.”

”oh, quit your complaining already," suguru rolls his eyes, and shoots him an accusatory glance. "i died with a hole through my chest. at least your heart is still intact.”

the white haired boy gapes at him, offended. ”i wanted to make it painless for you!”

”well, it hurt like a bitch. so thanks for that.”

gojo pouts, fighting back a smile. he thinks suguru must be doing the same. and it’s juvenile, a little twisted — but then again, weren’t they always?

suguru cocks his head. beckoning gojo into taking action. ”you’ve still got some fight left in you,” he says, and there’s a fondness to it. ”you always do.”

”get up, satoru.”

silence. unbroken, unperturbed. if he focuses enough, he thinks he can hear the distant buzzing of cicadas, the crinkling of soda cans. the whistling of the wind. placebos; memories ghosting his subconscious. 

it’s quiet, for a while. gojo stares into space, blinking slowly. then he parts his lips.

”suguru.”

the boy in question turns towards him. but gojo looks up, instead — eyes set on the roof, like he’s trying to see beyond it. into the comfort of the blue sky. 

suguru hums, a cue for him to follow. and gojo closes his eyes.

”i think… i might be tired.”

silence. no one says a thing.

”i think i’d prefer to stay here,” he admits, a forlorn look in his eyes. tapping his fingers on his knee. ”in the past, like this.”

the scent of jet fuel and summer lies heavy in the air. gojo inhales it, greedy. as if savouring it. trying to make it a part of his being, filling his lungs with sweet nostalgia so it never goes away.

”we could just stay here. together,” he muses, barely above a whisper. there’s a kind of longing to the tilt of his voice, something soft. ”couldn’t we? never moving forward, or back.”

the words taste salty, on his tongue. an ocean breeze. a whisper. ”we could just stay like this.”

suguru’s gaze trails from satoru, down to his lap. his bangs follow the slow movement, silky strands falling over his eye. the chuckle that drifts from his lips doesn’t have much humour to it. 

”haha… you’ve never been the type to stay in one place for too long, satoru.”

gojo clenches his fist.

”you want me to go back,” he hears himself say, somewhat bitter. ”you want me to go back, and then what? there’s nothing i can do. i’m not the strongest, anymore.”

”you are.” suguru’s voice is firm, decisive. ”you can still win. you know exactly what you need to do. there’s only one way to get out of this.”

gojo sighs. one hand in his hair, tousling it. mildly frustrated. ”… it’s risky.”

”you’re bleeding out.”

”if i do this — i won’t ever be the same.” gojo turns to look at suguru. ”i sure as hell won’t be the strongest, anymore.”

”and would that be such a bad thing?”

silence. the two boys look at each other — one dead and one half-alive, both connected to the other. for eternity. suguru’s eyes are full of understanding, as they look into the blue of satoru’s. 

”there’s always been a gap between you and everyone else. that’s what you said, before. aren’t you tired of it?”

gojo closes his eyes.

that’s right. that aching gap. the solitude that comes with absolute strength — a weight he’s borne all his life. doomed never to connect with others, never to be understood. doomed to always live in the sky, far away from the earth and the ocean.

the title of the strongest. a cross he alone had to bear.

(did he ever really want it? or was he just resigned to it, conditioned from the very beginning?)

the feeling of isolation that’s been haunting him for decades seeps into his skin. the cruel knowledge that no one will ever truly know him; even worse, the knowledge that it’s all for the best. you can admire a flower, and help it bloom, but you can’t ask it to understand you.

such a cruel curse to be born with.

suguru’s voice fills his mind. the flicker of his cursed energy is gentle, like an ocean wave rolling in right before the sun sets. ”you said it yourself, satoru.” gojo can hear the smile in his voice. ”you love everyone.”

love. it always comes down to that, doesn't it? the greatest curse of them all.

(but he could never bring himself to fully throw it away.)

”there are still people waiting for you, out there,” suguru reminds him. and gojo knows that he’s right.

he still hasn’t buried suguru’s body. that thing is still inside his head, doing god knows what. and his students — they must be fighting sukuna, right now. if he’s lucky, no one’s dead yet. if he’s lucky. then there’s shoko, of course. and ijichi, everyone else from the school.

not just that — the world itself is waiting on him. waiting for him to pass on, so it can crumble away. waiting for him to make it, so he can stitch it back together. 

dying isn’t a luxury satoru gojo can afford. he knows that, he does, but —

dammit.

”suguru,” he starts, hesitant. voice more feeble than he ever remembers it sounding. ”what… should i do, from here on out?” a pause. uncertain. ”where should i go?”

suguru raises a single eyebrow, tilting his head. ”do you really need me to tell you that?” he asks, a little teasing. gojo’s reply is instantaneous.

”i do.”

the airport falls silent, again. 

”i’ll listen to you,” he elaborates, tapping the edge of his chair, absentmindedly. eyes shining with a glimmer of something tender. ”so… it has to be you.”

suguru inhales, softly. breathing out in a meek chuckle, with a soft shake of his head. ”well, in that case…”

a smile. he meets gojo’s gaze. ”then i think you should go north.”

gojo looks into his eyes. a moment passes, slow, detached from space and time. their eyes meet, and in suguru’s eyes, gojo sees a reflection of their youth.

what a shame.

”alrighty, then.”

placing his palms on his knees, gojo gets up from his seat. stretching his arms with a soft groan. a sigh flows from his lips, drifting out into the clear air. 

”so much for finally getting a vacation,” he huffs, frowning as he casts a jealous glance at his best friend. ”you dead people have it easy, you know that?”

suguru’s still smiling, but he’s not getting up from his seat. the pa system sounds, again. a little louder this time.

flight to okinawa; departing in six minutes.

a deep breath. air flows into his lungs, and then back out; soaking up the summer air he knows he’ll never quite get a taste of again.

suguru stays right where he is. young, dead. smiling. the same smile he wore when gojo killed him, framed by the setting sun. the same kind of sunset that’s beginning to form outside the translucent windows of the airport, nostalgic and sweet, dyeing the clouds in a soft pinkish hue.

it’s breathtaking. 

”will i see you?” gojo asks, before he can stop himself. eyes still stuck to the setting sun. ”when everything ends.”

…

suguru chuckles, again. rueful. gojo thinks it sounds just a bit meek, a little like he’s holding back tears. ”maybe,” he breathes, shrugging halfheartedly. not meeting his eyes. ”who knows?”

it’s not the answer gojo wants to hear. but he’ll take what he can get.

and finally, suguru gets up. slowly, methodically. elegant, in the way he moves, the way he brushes non-existent dust off his baggy pants. smiling, hair swaying softly with the breeze. gojo finds his gaze, and that smile shifts into a lazy grin. one so distinctly suguru that it can’t possibly be just a figment of his imagination. 

”don’t find out too soon,” he quips, teasingly. ”alright?”

a slap. gojo doesn’t see it coming, and it knocks him forward — he stumbles slightly, lanky legs moving clumsily, sunglasses falling off at the impact. his back stings, a little. 

over his shoulder, he looks back at suguru. the boy has a hand raised, and his grin is playful, brimming with warmth. except he’s no longer a boy — now he’s wearing traditional robes, hair much longer, face a little more hardened. but that grin is still the same as ever. gojo thinks he looks almost proud.

”go get ’em, satoru.”

gojo blinks.

the grin that breaks out across his lips, then, is wide. bright, brimming with youth, lighting up every corner of his face. almost overwhelmingly sweet. it envelops his very being, as he stands there, clad in his black compression shirt and baggy pants. hair a little less messy than it was in high school, face a little more hardened — but he hopes his grin, at least, looks the same as ever.

he turns his back on suguru, and puffs out his chest. trying to hide the sappy smile still lingering on his lips, the glassiness of his eyes. his voice comes out loud, cheery, echoing throughout the airport — but still somehow so tender.

”roger that!”

gojo looks ahead. the airport is blurred, a little hazy, but a bright light shines farther up ahead. a beacon for him to follow, one that blinds him if he looks at it for too long. blue, white, golden — the colours of the sky. beckoning him forward, to a familiar place.

he takes one step north.

”ah, satoru. one more thing.”

the sound of suguru’s voice stops him in his tracks. ”hm?” gojo turns on his heel, white hair tousled by the soft breeze. a little confused. ”what is it now?”

suguru grins. the whole airport smells like spring. 

”—, — —.”

…

one long, tender moment passes by. gojo doesn’t even breathe, mouth falling open slightly, in a way that must look comical to the man in front of him.

the airport glimmers like a marble in the sun. transparent, blurred, but still somehow so real. suguru’s words echo in his mind. 

then gojo laughs, the sound bubbling up from his throat like seafoam on a scorching summer day. hearty and deep, coaxed out from the very bottom of his gut — genuine. a little breathless. he can’t wipe away the grin on his face, wouldn’t do it even if he could. his blue eyes crinkle, as he looks at suguru, showing off his dimples and teeth.

”so corny,” he teases. suguru rolls his eyes.

”hey, don’t blame me. this is your imagination.”

a huff slips from his lips. ”yeah, yeah…” gojo waves him off. then he meets his eyes, again, still grinning boyishly. ”i’ll hold you to that, okay?”

”got it,” suguru chirps. ”good luck out there, satoru.”

”pssh. who do you think you’re talking to?”

the men exchange smiles, one final time. funny, how that’s always how their story ends; with a heartfelt smile. even if it’s coated in blood, or nothing more than a figment of their imagination.

then gojo turns around, again, and takes a step forward. not looking back this time. trusting suguru to still be there, watching over him. like always.

the bright light at the end of the airport glimmers, tantalizing, mesmerizing. suguru is right — there’s only one way to get out of this. only one way to make it back alive.

and it’s risky. very much so. it’s a gamble, the greatest one gojo’s ever made, even worse than that time twelve years ago with the reverse cursed technique. 

it’s a gamble, all or nothing.

binding vows are dangerous, fickle things. built on equivalent exchange. give something and get something, of equal value. sacrifice and gain. 

gojo’s thought about it, before. a morbid curiosity.

what could he possibly gain by offering the greatest treasure of the jujutsu world? 

he lifts one hand up, to caress his face. lingering over the skin of his eyelids, now closed. but he can still see the cursed energy around him. burned into his retinas. 

the six eyes. the blessing of sight.

a blessing. a blessing he never once asked for, one he was simply born with. born with all this power, doomed to live above the rest. all for a pair of eyes that never seem to see the things that really matter.

and, really, it’s a gamble.

gojo takes a deep breath, and then one large step forward.

(buddha left the royal life behind him at 29 years of age, he recalls. and then he sought out enlightenment.)

the light comes closer, and closer. lotus flowers bless his path. he takes seven steps forward, and his path blooms out before him; one flower blooming by his feet for every step he takes. seven steps north.

i’ll give you everything, he speaks to the someone watching the world. a god, a natural order, himself — it doesn’t really matter. i’ll give you all six. 

in exchange — 

the light is close, now. so close he can almost touch it. it burns his skin, but he doesn’t falter. he doesn’t look away, eyes seeing through the blindness and reaching out for something. something alive.

don’t let me die, he bargains. give me enough of it to kill him.

i still have things i need to do.

one more step, out of the airport —

(and satoru gojo makes a sacrifice.)

a binding vow is made.

the six eyes dissipate, like vapour drifting off into the darkness of a never-ending cosmos.

when gojo opens his eyes, he’s met with a cold, gray sky. 

the world shifts on its axis before him.

everything looks different. he can’t see, but he can, it’s just not the same as before. it’s naked, and raw, and surface-level. not enough to sink his teeth into.

he can still see cursed energy, feel the flicker of it all around him, but it’s hazy. it’s not clear enough, not enough for him to get a good grasp on — like the world lost its saturation. like everything got tilted slightly to the left. an eerie feeling that something isn’t as it should be.

and wow, okay. this is new.

but gojo parts his lips, weakly, and breathes in — and the air tastes the same as ever. cold, crispy. it fills his lungs and he exhales it through his nose. a human act. a breath of life.

i’m still alive.

it’s an odd feeling, like someone took a heavy weight off his shoulders. like someone stripped him of everything that makes him him. an strange sensation, heavy, entirely impossible to ignore. however —

the gain after the loss hits him almost immediately, embracing him with a burst of cursed energy so violently overwhelming that his sight becomes entirely irrelevant. it devours his very being.

everything becomes a blur. 

— i’ll give you everything. 

so, in exchange…

give me enough cursed energy to go on a good rampage.

the cursed energy within him spikes, so sudden and violent that gojo fears his skin might break open. buzzing like flies inside his veins, a vibrant burst of life, every colour in the universe. all the power one can expect from willingly casting away the greatest jewel of the jujutsu world.

gojo moves his fingers. he can feel them, finally — all limbs intact. positive cursed energy flows from his brain, no longer exhausted beyond comprehension. enough, more than enough to give him access to every possibility within his soul.

belatedly, he realizes that his sight isn’t the only thing that’s been weakened. the control he’s grown so used to having over his cursed energy is dwindling, and fast; that firm grip seems to have left with the six eyes, replaced by a set of shaky hands. gojo has experience, and for now, it’s enough. but he still has to concentrate to contain the nearly overwhelming flicker of his cursed energy, stinging his skin as if it can’t fully be contained by his body anymore. prickling his veins. it feels a little like trying to keep water from running through the gaps between your fingers. 

and he feels naked, in a way, suddenly living without something that defines his very being. a little hollowed out. a little wrong, like someone reached a hand through his ribs and pulled out his heart. 

but damn, does it feel good.

his cursed energy output is all-encompassing. his mind feels more clear than he ever remembers it being, and it’s like the world is at his fingertips. something similar to what he felt twelve years ago, but still so different. 

it isn’t ascension, not even close. quite the opposite. but that feeling of freedom is still so abundant. it’s all he can see before him; endless possibilities. 

twelve years ago, satoru gojo faced a certain man, and rose to the skies. he will never, ever forget it. that flicker of eternal solitude, the burst of overwhelming euphoria. that sense of everything being just right.

twelve years of living in the sky, and now his feet meet the ground, at last.

everything feels different. everything looks different. things won’t be the same, ever again — but maybe, suguru was right. maybe that’s not such an awful thing.

to be reborn. to be given a choice.

gojo opens his eyes, and finally takes in all the sights before him. everything happens in a blur, so fast he can barely catch up — his body acts before his mind, and suddenly he’s face to face with sukuna.

not megumi, but sukuna. fully incarnated.

and he looks displeased. almost frustrated.

”how?” 

the look of pure shock on his face is more satisfying than gojo could ever put into words; the satisfaction of seeing a king fall to his knees.

somewhere in the background, he thinks he hears a cacophony of voices, awfully familiar in a way that has warmth blooming in his chest. the students, he assumes — voices of shock, and something he tentatively recognizes as relief. but he doesn’t have the time to let his guard down, just yet.

(no matter how much he’d like to look back at them and give them a self-assured peace sign, bask in their smiling faces.)

instead, he answers sukuna. ”a binding vow,” he grins, and he thinks he must look a little manic, gesturing towards his eyes with his thumb. ”gave these puppies away. didn’t expect that, did’ya?”

sukuna looks at him, for a second.

then he laughs, loud and ugly, grotesque. taunting. he looks at gojo with something that almost resembles pity, something bordering on disappointment.

”pathetic,” he spits, all teeth. ”what good is living if it’s not at the top?”

gojo simply smiles.

he recalls that one question. eleven years ago, somewhere close to the ruins of the very street he’s standing in now. the question that flipped his entire world upside down.

(are you the strongest because you’re satoru gojo? or are you satoru gojo because you’re the strongest?)

a grin breaks out across his lips. his cursed energy pulsates inside his veins, eager to be let loose, and he takes on a fighting stance. parting his lips to speak, unsure of whose question he’s answering.

”well, we’re about to find out.”

the sky is gray. even so, all he can see is that familiar shade of blue, as clear as ever. even without the six eyes.

gojo smiles. 

just keep watching, suguru. 

this time, i definitely won’t lose.

[fairyspheres]

i saw that dragon age veilguard hasn't sold well (in the official statement, they specifically said that 1.5 million copies had 'reached players' so it must have sold even worse than that which. yikes) and while i'm quite gutted about that, ea and bioware also only have themselves to blame for it.

they let ten entire years pass between inquisition - a game that, for the most part, dragon age fans generally really like, at least for the lore - and veilguard. in those years, we saw them make andromeda, anthem, and heard reports of them trying to make the-then new dragon age game live service. thankfully we didn't get a live service dragon age game in the end, but a lot of the original writers were dropped, and i think that shows with the quality of the writing in veilguard.

i've never played dragon age for the gameplay, in any of the games. i despise the gameplay in origins - it's clunky and horrible and the deep roads makes me want to let the darkspawn win. but i love the story, which is why i endure the deep roads and the fade. the same in da2, which is probably my favourite of the entire series, even with the repeating dungeons (actually i love the repeating dungeons. i like knowing where things are), and the same in inquisition with the companions who feel like real people (cassandra pentaghast my beloved).

veilguard... the cuts show in the writing quality. the best character was emmrich (and assan and manfred) and from what i've heard he also had the best romance. which is another thing that suffered greatly - the romances (other than emmrich's). in a game series known for its romances, to the point where bioware was marketing the game as the most romantic as the series, how have they managed to mess it up that badly? cullen and solas' romances were late game additions in inquisition, and they're some of the best in the entire series, so it can't be an issue of time constraints.

rook's dialogue choices were essentially just different flavours of pleasant. do you want to be cheerful, lesser purple-hawke, or stoic? there's no real choice to be had throughout most of the game. even the choice between minrathous and treviso has little impact beyond what merchants might be available and a couple of later game choices. compared to earlier games, where you could let an entire village be overrun by corpses, or let fenris be taken back by danarius, the lack of choice is rather stark in comparison. the only real choices come at the very end of the game.

AND speaking of choices - the entire series has been about how all our previous choices have always mattered, about how we can always carry them over and use them to influence the world. so it was very much a slap in the face when not only could we not use the dragon age keep or import any choice beyond who we romanced in inquisition and what we wanted to do with solas, but the fact that by the end of veilguard, everything we did from origins to inquisition was all for nothing. bioware's choice to do that to varric was a kick in the teeth to long-term fans. oh, we got a little reference to the hero of ferelden in weisshaupt, how nice. pity they didn't tell us whether they're still alive or not. a shame we don't know hawke's fate.

so no, i'm not surprised that the game did so poorly in sales. i'm disappointed, but i'm not surprised because as i said, it's their own fault. i said back in november that they might not have another chance to make things right, and i hate that i might've been right about that.

this turned into an unintentional rant about all my grievances with the game.

[arabella0001]

hellooo, i’m new to writing(pls dont be mean i cant take it-please read the end of the post)

🫧-my favs

MASTERLIST (smut + smau👻)

Jujutsu Kaisen

smau1 smau2 smau 3 smau 4 smau 5

1. The strongest tease (Gojo Satoru x Reader)🫧

2. Forbidden from the start (Toji Fushiguro x Reader)

3. Missing you (Getou Suguru x Reader)

4. Yours to break (Choso Kamo x Reader)

5.Confession (Megumi Fushiguro x Reader) no smut!

Naruto

smau 0smau 1, smau 2, smau 3, smau 4, smau 5, smau 5 smau 6 smau 7 smau 8

1. Pushing his buttons (Sasuke x Reader ) - Part 1, 2, 3🫧

2. More than just a genius (Shikamaru x Reader)

3. Passion behind his mask (Kakashi x Reader)

4.Market by fate (Kakashi x Reader)🫧

5. Between two mask, beneath your skin (Kakashi x Reader x Obito) 🫧🫧

6. Unmasking desire (Kakashi x Reader)

7. One bed situation ( Sasuke x Reader)-Part 1,2,3

Attack on titan

smau 1 smau 2 smau 3 smau 4 smau 5 smau 6

1. Benearh the uniform (Levi Ackerman x Reader)🫧.

2. Comfort (Eren Yeager x Reader)

3. Nowhere to hide (Eren Yeager x Reader)

Bleach

smau 1 smau 2

1. Under their spell/ Mastered by deception ( Urahara Kisuke x Reader x Aizen)

2. Unspoken Chains (Aizen Sosuke x Reader)

3.Curiosity killed the cat (Urahara Kisuke x Reader)

Hunter x Hunter

smau 1

1. Unspoken tension / Quiet Obsession (Illumi Zoldyck x Reader)

IMPORTANT

besides the kind messages I received in the last month on tumblr/ao3, I also got a few hate comments about my stories, like “AI generated,” and even insults directly at me where i’m not familiar with.

tbh, I’ve been reading smut and all kinds of books since I was 12 (thanks dad), making scenario at night was my favourite thing to do before sleep :)) so seeing those two messages stung a little. i only started writing in november and i usually spend at least 5 hours on a story (+10k words) just to write, edit, and review. right now i have two stories I’ve been working on for 2 weeks, so getting messages like that feels surprising and shows a lack of empathy for writers.

i should mention I’m not a native english speaker, but reading in english helped me. its kinda amusing because sometimes i'm afraid i'm writing too childish/cringe or too simple. but to be clear, i also use online tools to check grammar and how smooth it sounds – which I don’t see anything wrong with. keep in mind the plot and dialogue are entirely mine. so, I’ll be blocking and report comments like that. thanks!

much love💜

ko-fi

[celestialwrites]

ˏˋ°•*⁀➷ fluffy romance dialogue prompts

@celestialwrites for more!

♡ “well you are cute, ah! i mean- you’re not cute, but you are? i’m just going to shut up now.”

♡ “um, uh-” “shut up and kiss me you big idiot.”

♡ “i hate you.” “you love me, don’t even try to hide it.”

♡ “you’re so cheesy.” “you love it though.”

♡ “i suck at telling people my feelings and all that sappy crap, but i like you, okay?”

♡ “(name) is half of me, i can’t imagine a day without them.”

♡ “stop flirting with me.” “sorry darling, i can’t, watching you get flustered is the highlight of my day.”

♡ “the second that grin spreads across their face, i fall in love with them all over again.”

♡ “you stole my heart the second you offered me that burnt pancake.”

♡ “in the words of taylor swift: you belong with me.”

♡ “(name) wrote me a letter for every single day we were apart.”

♡ “you’re my favourite.” “favourite what?” “everything.”

♡ “if you want to burn down a house or commit any crimes, darling, i’m right there with you.”

♡ “remember you love me?” “oh my god, what did you do?” “it’s a dog! i named it sparkles.”

REBLOG TO SUPPORT YOUR LOCAL WRITERS <3

[glamourscat]

¡Shidou’s hcs and character analysis!

tw// childhood trauma, violence, reference to possible SA in his past, my writing cause I didn’t proffered this

PHYSICAL TOUCH!! Friends, lovers or even just acquaintances, he has the bad habit of seeking touch, small or big doesn’t matter. From shoving to fidgeting. It’s different obviously base on the relationship you have with him. Are you two friends? Expect playful shoves, ruffling each other’s hair, if sat together legs or shoulders will touch casually. He is the type of person to laugh and slap your shoulder while laughing. 

If you two are lovers: hand holding (he does that thing of rubbing his thumb on the back of your hand), kisses, hair ruffling, legs intertwined, hugs from the back, nibbling/biting. Pressing his forehead against yours. SQUEEZES. Especially if you have more fat on you, he would *love* it. The need to hold you close and squish your rolls or chub. 

I personally see him as unlabelled. I know a lot like to hc him as gay. And it does make sense, but one can flirt with guys and it doesn’t erase the possibility of being into women too. That said, I do believe he has a preference for guys, especially aesthetically, but ultimately his choice of a partner would be base on mental compatibility and aesthetic attraction, no gender. I feel he is into someone who truly enjoys being their true self and doesn’t conform to society norms, more on this in a sec.

He is complex, as we see glimpses of this in the “egoist bible” and during his internal dialogue (like in the U20 arc). I don’t think he would be a bad boyfriend, but neither would he be perfect. Objectively speaking, he does have a rough, almost explosive side. But that’s a side he brings onto the football field. How he is outside of football we don’t really know. He is shown to be someone who values uniques, and also strength, complimenting other players strengths. He is not a demon, he just so happens to be a human with a deep complex personality. He seems to value peace in his life outside of football, which is something you don’t expect from him. Because he gets presented as this brute individual and yet he is the same who pops out this answers: “What made you cry recently?” At the end of the day when I become nothing, tears come out.

“What will you do on your last day on earth” Watch it as it reaches its end

“How would you spend your day off?” Be free from everything and become nothing

His answers are, intense, are they not? Which leads me to several thoughts. 1) He is very lonely. Using humour and anger to defend himself, a common trait of children who were abused, neglected in their childhood.

2) base on this, I feel in a relationship he would enjoy someone who has similar vibes to him but ultimately is different. Someone he can be chaotic with, someone he can laugh as loud as he wants, someone with who he can gossip and still have deep conversations at the same time. Ultimately, an artistic partner would be the best. Not only because he is into art, mostly as a way to cool down and shut down his brain, but because an artist or even a writer can see the world under different shades of colours rather than in greyscale. Classical introverted x extrovert duo, with the exception that the introvert individual becomes as extrovert as him when they are alone. His partner is his ancor. He will need to feel at peace from the turmoil inside of him. 

3)his home life was not the happy kind. Now, this has been long speculated and I will give my 50 cents on the matter. Let’s analyse his favourite movie, manga and song: 

Music > hide. Especially "Pink Spider" 

Movie > "A Clockwork Orange" 

Manga > "Chainsawman"

On the base line all three explore the darker sides of humanity, the need for personal freedom, and the consequences of defying societal norms. They create a raw and intense narrative about self-destruction, survival, and transformation.

But if we dive deeper > the movie mainly depicts SA, it’s a twist mix of violence, societal injustices and lack of free will… “Chainsaw man” it’s all about violence, power imbalance and manipulation. Denji was a tool from the start to end (again, lack of free will). The song, explored themes of internal chaos, the darkness in humanity, destruction and emotional turbulence and the psychological tool that that violence and abuse leaves on people.  I mean… can it be any more obvious? His whole character is shown to be this brute, rude, violent individual but slowly we are being feed details into his insight. Like how deeply philosophical he is, artistic and yet he is genuinely over sexualised. Maybe is a reach, but I don’t think that movie, the song and the manga choice are casual. They are a mirror image into the possibility that his childhood was pretty much terrible. That his sexual comments, which come off as almost distasteful, and feel icky in a way, are a projection of what he went through. Trying to use a distorted sense of humour and the violence he grew up with, to shield himself from what’s his personal life and past.

Like when he was locked up, his reaction was intense. He was close to begging to be set free. Again— lack of freedom, he hates not being able to be free. Something could have been taken away from him in the past. Maybe is as simple as a culture thing— as we know Japan is a rather modest country with certain unspoken rules. Its traditional outlook on things such as gender and sexuality are the total opposite of Shidou’s persona. His appearance is loud, his personality is loud and it alls screams “look at me I’m here” and yet at the end of the day he is still a lonely being.

I recently reread the U20 chapter where he enters on the field. His inner monologue he uses biology (specifically fertilization) as an analogy to scoring. Many people interpret it as him making a connection to sex, but for me, it didn’t read as such. Maybe it’s my literature student nerd ass, but, I took from his inner monologue a sense of need in terms of leaving a mark onto this world. He speaks how art leaves a mark, so does books, buildings and obviously children, showing the family legacy. Proof that something existed before them.

Shidou feels that his legacy, his needs, are validated through scoring. He feels seen, people are cheering. He is leaving a mark. Which ultimately could be validating a lack of emotional attention he received when he was a child. To me, all of these references and the constant sexual innuendos are a meaning for something deeper. We saw how each character with a heavy backstory has a trait or something in them that screams “something is not right”. Like Rin’s personality being a result of what happened between him and Sae. Can’t think of anything else to add, maybe I will add something later. If you have any opinions, I am more than willing to read them!! Feel free to reblog/comment :))

[brunnhildeps]

Wenduag from Pathfinder: WOTR is the character of all time. She is a freak who crawls around in a cave and eats flies and worms. She is a submissive and is into every kink you can imagine and is ALWAYS horny. The writers have her tie this directly to her trauma and the fact she is evil. She is a SA survivor. She is the only character in the game to identify that the commonly used word to describe her species by other races is a racist slur. The game continues to refer to her and the rest of her species using that slur in quest text, her character sheet, and even dialogue from the main character. She kills racist people on sight but claims she did it because she just loves killing people, because in her mind acknowledging that racism against her hurts her feelings is too much of a show of vulnerability and she would actually RATHER you think of her as a mindless rampant killer than a person with feelings. She comes from a moneyless society and genuinely thinks you can just walk into stores and steal shit. Her signature weapon is a bow fashioned from the spine of the demon who once enslaved her people. She is one of only two WLW romance options in the game and she will only take you if you agree to let her sexily infect you with a drug that gives you the same maniacal bloodlust that she has. She is evil and pathetic and she's my favourite character in the game and possibly of all time. She deserves more love and attention because the evil woman lovers of tumblr should be going insane over all this. She's like Catra and Harrowhark and Vriska had a child that's a deformed cat/spider/person abomination who gets turned on when you call her your "silly little cat".

[kiragecko]

Authour’s Voices

I read fic for voice before anything else. Plot, tropes, canon compliance – they all pale in comparison to the word crafting. But voice is hard to describe, and referencing certain verbal tics is more likely to make an authour self-conscious than it is to flatter. So, here's my best attempt to describe the voices of some of my favourite fanfic authours – focusing on tone, subject matter, and the feelings they provoke, in a hope that I can get across at least a hint of how they sound.

@suzukiblu / suzukiblu / Rin (I read for DCU, Young Justice TV, Avatar)

REALLY intertwines characters thoughts and feelings in compelling ways. Inner monologues are a particular strength. Digs deep into what motivates characters and then lets them be insecure and angry because of those things. Writes REALLY close third person narration – ie. we are entirely in one person’s head, but the narration is using their name instead of saying ‘me.’ And we are ENTWINED in their head. Deeply. Maybe actually more in their chest -  the emotions are visceral and immediate. Very cathartic angry/overwhelmed ranting is a feature. People learning that they have inherent value. Romance/sex that is based on strong connections, and goes far deeper than hormones. A strong understanding of canon, used to write alternate universes that are much richer for that knowledge. Stories are cathartic, and leave you washed clean and energized.

@whetstonefires / Kieron_ODuibhir (/ Kieron) (I read for DCU, The Untamed/The Other Versions Of This Story)

Thoughtful, empathic stories that feel like they’ve spent months being refined to perfection. Also incredibly strong understanding of canon, with a much higher chance of showing her work on the page. A gift for searching out the nagging, poorly fitting pieces of canon characterization, and integrating them in her fic in ways that makes rereading the original a better experience. Beautiful, haunting, sentences. Feels like poetry makes me feel. A writing style that ALMOST feels intellectual, but is actually incredibly empathic. The knowledge is the vessel that carries the ... love? Respect? Maybe respect, and care, and dignity, that she has for the characters she’s writing about. Stories leave you quiet and satisfied.

@galaxystew / galaxysoup (I read for Avengers/Thor, Supernatural)

Careful, emotional, deep stories. There is a sense of immenseness, that the story can’t go too fast or it would become unstoppable. DEEPLY moving, gut-wrenching, stories told from just enough emotional distance to avoid overwhelming the audience. But they also about taking time to rest, both for the characters and the audience. Focuses on exploring and healing damaged relationships, (and damaged people), and never goes for the easy/trite solutions. Unassuming language and imagery that grounds the sometimes epic elements of her canons. Stories leave you grateful – grateful that the characters have reached that place, and grateful you got to come along.

@teland / Teland / Te (I read for DCU)

Stories have only the vestigial remains of a narrator. Almost everything is verbal or mental dialogue, usually without tags. (Ie. things like ‘Tim said.’) This would be frustrating with most writers, but Te’s character voices are SO strong and distinct that a story can start with an unnamed person talking and you immediately know who it is. She focuses on aspects of characters that many other authours miss (though some of that could be survivorship bias – perhaps she was part of a zeitgeist that hasn’t been preserved). She gets DEEP into the psyches of the characters she’s writing, dissects them, and then has them dryly comment on their displayed innards. Excels at characters that are very disconnected from their emotions, but also at characters who live immediately IN their emotions. Strong themes of identity and found family, though not in the way ‘found family’ is usually used these days. Symbolic, projected family? Stand-in, or sublimated, or substituted family? Something in that area. A lot of sex, which is also standing in for other things. Electric, transformative stories, with extremely long chapters that are hard to escape from when the world tries to call you back. Stories leave you alive to the possibilities, and maybe knowing more about yourself.

@angel-gidget / angel_gidget / Gidge (I read for DCU)

There’s an optimism and joy to Gidge’s writing. A ... cleanness. Hmm, what do I mean? I ... I’m not actually sure? But it feels refreshing and space-making, to read a Gidge story. It feels like they SHOULD be humorous, with the effects they have, but that’s not actually the focus? It feels like they’re light, even when the topic is heavy and treated seriously. It’s a really special gift, what Gidge has. Maybe the correct term is ‘conversational’? Yeah, there’s a matter-of-fact, conversational tone to everything she creates, and it lifts your spirits every time you read it.

@vmohlere / owlet (I read for Avengers/Captain America)

Absolutely brilliant way of using humour to tackle difficult subjects. Stories are so funny and positive, that it’s hard to realize how dark the things referenced are. It helps that they usually don’t become explicit until the characters have mostly processed them, and they’ve been defanged of a lot of their power. I’ve never seen someone else accomplish this, and it blows me away. Incredible OCs. Deep empathy for character’s specific needs, and focusing on what THEY’RE ready to focus on. Boundaries are not only respected, but taught. And all of this is happening behind a wry, clever sense of humour that invites you in to hang out for a while. One of the most joyful reading experiences I’ve ever had. I’ve used scenes to walk myself through bad mental periods. And I still think about their work every time I make a grilled cheese.

[justatypicalwizard]

A scrap from your book

Bakugo x reader, aged up, college! au, quirks don't matter, no warnings, just heartwarming

Roommate Bakugo who is forced to share a room with you for about three months due to unexpected construction works in the college apartment he occupied. The whole Bakusquad was moved to random rooms. To make it worse they were all shared ones. You agreed to take in a male occupant.

Roommate Bakugo who tries to spend as much time outside of the cramped college room as possible. He feels like he's kinda invading your privacy as well as just finding the whole situation uneasy.

Roommate Bakugo who has to complete a bunch of assignments but the library is packed in the late afternoon hours, the air thick with gossip, stress, sweat and annoyance. Bakugo finally wandered off to the dorm room to find some peace for his work.

Roommate Bakugo who spotts you always turn off your lamp and tune down the brightness on your laptop when he tells you he's going to sleep.

"You don't have to do that." He grunts, already wrapped up in heavy covers.

"I don't mind, you do the same." Because he does.

Roommate Bakugo who walks on you watching a film he loves. At first he just circles the small room mindlessly, more interested in the unwrapping dialogue between his two favourite characters than the laundry he's picking up.

"You wanna watch?" You ask, pausing the movie.

"No. I was going to do my laundry."

"I can wait, I can buy some snacks in the meantime, I was looking for an excuse to do it anyway."

So the two of you ended up finishing the film together, sitting on your bed.

Roommate Bakugo who talks to you more, geting used to the situation faster than he thought he would. You both sit by your desks working on the boring college stuff. He spotted you were trying hard, not slacking around and keeping most of your deadlines. Even if he didn't want to admitt it, he was impressed. Not that he didn't do the same, it's just rare to find a person who actually cares.

Roommate Bakugo who didn't know how to phrase a sentence. He was working on a piece of paper for the last two hours after an intense day of workout and his brain refused to cooperate anymore.

"Can I ask you for a favour?" Your face appeared from behind your laptop screen.

"Depends on what is it."

"I finished a short essay and I wanted to ask if you could read it and tell me if it makes sense."

Might as well take a break to refresh his mind. Bakugo read through the text and came to the conclusion that you were a good writer. A very good writer in fact.

"How would you say that in other words?" He asked after you were happy with your work, your laptop tossed aside as you lay on your bed scrolling through your phone.

You skipped to him, read through the sentence and gave him a paraphrase, one that he wouldn't think of himself.

"Thanks."

Roommate Bakugo who was eying you book collection for some time. You had a bunch. When he asked the two of you started talking and in went on and on and on. Finally, you stood up on your bed, the sheets dipping in where you stretched out to reach the highest shelve. Picking out a book you handed it to him.

"My favourite."

So he started to read it.

Roommate Bakugo who got a text from you that you wouldn't be back in the dorms for the night. After a shower he laid down in his bed, shirtless, with your book in hand. It was definitely worth it and he was way past the half already. Suddednly the doors opened only to reveal you, eying him up and down.

"The fuck you doing here?" Suddenly Bakugo felt a tad bit embarassed about his bare chest and lose sweatpants.

"My friend cancelled, sorry, you have someone over?" A small sly grin appeared on yoru lips.

"Jeez no, I'm just half naked."

"I don't mind." You shrugged, throwing your bag on the bed.

And what was that supposed to mean?

Nevermind. Bakugo wanted to get back to the story when he spotted something horrific. His hand gripped a nice chunk of the page, torn out of the book. He must have done it when you startled him with the grand entrance. It was readable as he only torn the cream white but it still looked nasty.

"Shit, I'm sorry." He didn't even look at you, opting on eying the damage, embarassement creaping up his cheeks for destroying someone's else belonging. One of yoru favourite belongings.

You came over, looked at the book and started to laugh.

"What's so fucking funny?" From embarassed Bakugo quickly merged into defensive.

"You look as if you killed my grandma. It's just a book." You saw that it didn't make him feel better, in fact the frown in his brows deepened. "I like my books being used. Lets treat it as a memory of you reading it. Give me the torn piece, please." Your hand reached out and he put the scrap into your open palm.

You skribbled something down on it using a pen fished out of your drawer. When you gave it back to him, the paper read 'Don't stress so much, dummy.'

"You can keep it." A smile brightened your face as you turned around to do other things.

Roommate Bakugo who would never admitt to anyone that he kept that scrap in the back of his phonecase at all times.

Roommate Bakugo who would never admitt to anyone that it took you roughly two months to steal his rock-like heart away.

[breeyn]

An essay rebutting the “bad writing” claims of s2 ofmd. Spoilers herein.

I’ll preface this with saying you’re obviously allowed to like and dislike whatever you want. I am in no way opposing that. And your reasons are your reasons. Have at. (Also - this is a collection of observations from the past few days, I’m not calling anyone out)

I AM going to rebut the idea that season two was poorly written and lost the spirit of what the show is about.

My favourite movie of all time is Empire Strikes Back. It’s been my favourite movie since I was four. I’m pretty sure it’s a fave of David Jenkins, too. He and Taika have made absolutely no attempt to hide their love of all things 80’s - Prince, the Princess Bride, Kate Bush, Star Wars, etc.

I have ancient video tapes (that I can’t play because who has a vcr) where Lucas is interviewed by Leonard Maltin? Malkin? I dunno. Who cares. Maltin asks him about the Star Wars (original trilogy) story arc. Lucas says “in act I, you introduce all the characters. In act II, you put them in a situation they can’t get out of, and in act III, they get out of it.”

That’s how it works. This is how stories and literary structures work.

Of course you’re not satisfied with season two. You’re not supposed to be.

The arguments I have read on why s2 loses the spirit of s1 is because no one heals. No one learns anything. No one moves forward properly. The person who makes the biggest move towards healing dies. The two main characters end the show doing the exact fucking thing they had promised themselves and each other they wouldn’t do. Our romantic lead still doesn’t understand his value or make any headway on addressing his tragic flaw. It makes no goddamn sense.

My gremlins in weird: it’s not supposed to. In Act 2, EVERYONE LOSES. This is how it goes.

I’ve read a lot of people saying “but this felt like a series finale, not a season finale.” We all know that outside politics play a part here, the strikes make everything precarious. I remember the last writers strike. It destroyed tv for fifteen years. Anyone remember Pushing Daisies? Some of y’all have never had your fave show cancelled with zero resolution for the characters and it shows.

Daddy J did us a kindness. He softened the blow of a tough season. After the brutal cliffhanger of s1, he gave us a little softness and hope. All those things you’re mad aren’t resolved? It’s because THE STORY ISN’T OVER.

No one on earth thinks “stuff all your trauma into a box and ignore it” is good advice. A way to actually live. This show did not have enough screen time to throw out dialogue for no reason. There was foreshadowing in s1 for s2, and there is foreshadowing for s3 in s2. This is a well-crafted story by very smart people who care very much for these characters. There is zero chance Frenchie explained the box in his head for no reason. The reason people have not resolved their trauma and growth is because they haven’t done it *yet*.

And friends - it’s not thinly veiled. They straight up fucking tell us what they’re doing.

Luke Skywalker spends the first two movies fucking up and desperately trying to prove himself and just generally being an idiot. Sound familiar? He ignores the lessons he is supposed to be learning to go off and do what he feels like doing, and loses fucking badly. At the end of Empire, Han is gone, Luke and Leia wave goodbye to the Falcon that has Lando and Chewy - the rest of their crew - aboard. Everyone has lost everything they care about. Vader is undefeated. Yoda is pissed. Nothing is resolved.

You see where I’m going?

If you think I’m stretching this too far, welp, when Ed tells Stede he loves him - the climax of the finale - Stede quotes Han fucking Solo. Like - *it’s right there*. The story structure. The reason everything is unresolved.

So yeah. They wave goodbye to their ship because they have wounds to heal (like Luke’s hand). The people aboard the ship have things to find. Ed and Stede have *not* learned their lesson about whims and how not to be like Anne and Mary. It’s not stupid that they’re doing the same thing, and it’s not pointless that we were shown Anne and Mary. It’s all relevant.

The resolution comes in Act 3. None of these people are done. The story is far, far from over. And just in case the studios want to be dicks about it, David Jenkins was lovely enough to not repeat my enduring heartbreak over Pushing Daisies.

Thank you, @davidjenks 🖤

[writingwithfolklore]

3 Most Common Notes I Give While Editing

              I’ve gotten to edit a whole lot of your guys’ work (thank you for trusting me and engaging on our discord, by the way!) and have noticed a few pieces of advice that I give more often than others. So here’s the most common notes I give while editing pieces!

1. Subtext is key!

Subtext in dialogue can be really tricky, and I’m still finding parts in my own work that could benefit from it. Essentially, your character’s goal when in dialogue with someone else isn’t to be understood, but to protect themselves. Rarely do people ever say what they really mean, because saying what you really mean is vulnerable and scary. The extent someone would put up defenses against another person depends on the situation, their relationship with the person, and context of their conversation, but there are few times when you're really, truly vulnerable.

Of course, the big exception being neurodivergent characters and if your character is just the type to really speak exactly what they mean. You can decide if a certain character of yours is more or less guarded than others, and whether any of them aim first and foremost to be understood over their own wellbeing, safety, or comfort.

Read more about subtext here:

2. Show don’t tell

Classic and true! While telling is totally fine in certain circumstances, I tend to leave notes around wanting to experience something with a character, and wanting to see exposition in action rather than be told it. Consider when you need to share information about your world or characters how you can show it in conflict and action, and when your character is experiencing something—what it feels like to experience that.

Check out my Symptoms vs Affliction post for help here:

3. The beginning is critical

I always pay special attention to the hook and opening scene because how your story opens is critical to encouraging people to read it and get invested from the top.

Your hook (the first line) tends to introduce what’s wrong with your character’s life—why it isn’t perfect. That’s because their arc is the plot—how they grow is the story we’re here to read, so why things aren’t perfect for them begins the story with why we should care and what kind of journey we’re getting ourselves into.

Then, that beginning scene should contain some sort of conflict for your character to face. How they face said conflict is an effective way to show off who they are, what the norms of their world are, and leads into the inciting incident. It’s a lot more interesting to read than a page of exposition, right?

Read more about your beginning here:

Want me to look at your piece? Read the guidelines here!

[miwiheroes]

Dropping Byler Evidence Every (Other) Day Until Season 5

. ݁₊ ⊹ . ݁˖ . ݁ Day 22: The Flowers . ݁₊ ⊹ . ݁˖ . ݁

Ah yes, I can finally start analysing one of my favourite scenes heehehehe (the airport)

I have decided to split this analysis up into two sections lmaooo, um you can read under the cut down below the first part of the analysis if you want something that is very speculatory, and isn't necessarily evidence, more like something interesting.

First of all, the act of getting your girlfriend flowers is a classic, 'I know how to be a good boyfriend!' act, while still showing that there are problems underneath the surface. In this scene, the point of the flowers is to be a symbol. Otherwise, what would it be? Something to further show that Milkvan is cute and endearing? That doesn't line up with the rest of the airport scene which conveys their problems (all the lies and pretending).

The flowers are in this scene to be a symbol of Mike and El's relationship.

At first this seems like it sheds some positive light on Milkvan because it's obviously a nice gift, and she would appreciate it because they are her favourite colours. However, the things that Mike says in relation to the flowers seem extremely out of place and specific. Now, saying that he 'hand picked' them for her in Hawkins is a nice gesture that a lot of shippers really appreciate, but it is really important to the overall symbolism that he is the one who makes the choice about the colours. (more on that later)

He says some really 'random' stuff:

"I know you also like purple so I got some purples as well so I kind of did a 70/30 split kind of thing"

The 70/30 comment is so specific. The writers really like to put subtle foreshadowing into their dialogue, and being that this scene is at the beginning of the show, i believe it must be talking about how much he puts into the relationship versus how much he's getting out of it. An inequitable relationship is unsatisfying (x, xx), which may show that it's probably either Mike or El putting in the effort while getting less out of it. (Mike puts in the effort to seem normal and functioning while not getting true happiness out of it, El puts in the effort of lying and doing romantic things while not getting an expression of love out of it, which is what she thinks she needs.)

As for him handpicking them in Hawkins.... well....

The same flowers that El, EL, picks up and inspects are the ones that Mike picked out himself in the same town. By the end of the season, their relationship is extremely different than it was at the start, the 70/30 split is no longer a split, it's simply a 0, because the flowers are dead.

So these are 2 instances so far of the characters calling upon flowers for symbolism and.... there is a third one, which is right at the beginning of S4.

See this is why I truly believe that these must be a symbol of Mike and El's relationship. Mike picked spring flowers for El, which are a symbol of their relationship being inequitable, and later on, they are used to symbolise their relationship literally dying (damn). But this here is what shows that El will be fine on her own. Time and time again, Millie and the writers have said/written that El needs to find herself and who she is without the men in her life.

So: "At first I missed [my relationship with Mike], but now I [can find happiness]."

Flowers = Mil*ven. And it's also interesting that yellow flowers symbolise friendship and purple flowers symbolise admiration, and as we know, admiration for her powers is one of the main things that Mike ends up referencing when he admits his 'love' to her.

Now, the yellow flowers being in the bouquet is interesting because, as stated very importantly by Mike himself, he was the one who picked them. Meaning, he would have made the decision, however subconscious, to put 'too many' yellow flowers into the bouquet. And another thing we also know is that yellow is Will's colour.

This colour symbolism is emphasised during the season, when Will wears the colour yellow for the majority of it, and is placed under the yellow light in this scene^

Another funny thing that I noticed is that Mike says:

"I know you like the colour yellow, but now I'm realising that it's too much yellow."

Rewatching this scene makes me think it's kind of odd for him to say that he's just now realising that it's too much yellow. As if he accidentally put too much in, and kind of realises it in that moment like he's saying sorry to her about it?? But then he just takes that realisation and turns it into a 'romantic' thing, acting like he'd intended that the whole time with the '70/30' split.

That means he didn't actually mean to. The writers are trying to convey through symbolism that Mike has been thinking of Will subconsciously the past few months, which is then confirmed by the Rink o Mania scene and the Cool Cool scene. He only regrets the fact that he did it in retrospect. Aka as soon as he sees El.

SO: The flowers are a symbol for Mike and El's relationship, showing that they put in a lot of work into the relationship, but do not get an equal amount out of it, which is unsatisfying. The flowers also are shown to be dead by the end of the season. El says that at first she missed the flowers, but in the end, she's fine without them.

NOW TIME FOR THE STRANGE STUFF

So this is at the end of S1, and if we assume that there are no, throwaway lines in Stranger things, we should be able to also assume that this is meant to foreshadow something. In my opinion, this has to foreshadow S4 and S5.

In this scene, it's clear that the kids (symbolising the audience of stranger things) are talking about something that Mike (symbolising the writers of stranger things) has left out or not explained. This is what happens in S4.

What about the lost knight? -- This refers to Mike, whose DND character is obviously a paladin, but Will draws him and paints him as a knight in shining armour. He is clearly 'lost' because he does not know what to do about his relationships with Will and El at the end of S4. He has just said he loved El, but he still wants to help Will and doesn't really know his feelings until the painting is revealed. Therefore he is lost.

And the proud princess? -- It doesn't take much deducing to know that this has to refer to El, whose arc in S4 is to realise that she is not a monster for having her powers, making her proud of who she is. The audience are worried about her and her fate, because she seems at a crossroads.

And the weird flowers in the cave? -- Obviously, I've already talked about the flowers being a symbol for Mike and El's relationship. The 'weird' part about them is that they are so inconsistent and out of place on a show like ST, because of how conformist it seems in comparison to their nonconformist message. 'In the cave' refers to the fact that the flowers are dead, and now part of the UD, which is the 'cave'.

In This LAST SCENE:

El is stood in front of the others, now with her powers that she is proud of.

Mike is stood with Will, lost in relation to his feelings towards both El and Will, not truly understanding them.

The flowers are rotting. In the 'cave' (UD)

Just something to think about <3