#am i doing this write? are people-

[butchfalin]

the funniest meltdown ive ever had was in college when i got so overstimulated that i could Not speak, including over text. one of my friends was trying to talk me through it but i was solely using emojis because they were easier than trying to come up with words so he started using primarily emojis as well just to make things feel balanced. this was not the Most effective strategy... until. he tried to ask me "you okay?" but the way he chose to do that was by sending "👉🏼👌🏼❓" and i was so shocked by suddenly being asked if i was dtf that i was like WHAT???? WHAT DID YOU JUST SAY TO ME?????????? and thus was verbal again

[inkskinned]

this is just my opinion but i think any good media needs obsession behind it. it needs passion, the kind of passion that's no longer "gentle scented candle" and is now "oh shit the house caught on fire". it needs a creator that's biting the floorboards and gnawing the story off their skin. creators are supposed to be wild animals. they are supposed to want to tell a story with the ferocity of eating a good stone fruit while standing over the sink. the same protective, strange instinct as being 7 and making mud potions in pink teacups: you gotta get weird with it.

good media needs unhinged, googling-at-midnight kind of energy. it needs "what kind of seams are invented on this planet" energy and "im just gonna trust the audience to roll with me about this" energy. it needs one person (at least) screaming into the void with so much drive and energy that it forces the story to be real.

sometimes people are baffled when fanfic has some stunning jaw-dropping tattoo-it-on-you lines. and i'm like - well, i don't go here, but that makes sense to me. of fucking course people who have this amount of passion are going to create something good. they moved from a place of genuine love and enjoyment.

so yeah, duh! saturday cartoons have banger lines. random street art is sometimes the most precious heart-wrenching shit you've ever seen. someone singing on tiktok ends up creating your next favorite song. youtubers are giving us 5 hours of carefully researched content. all of this is the impossible equation to latestage capitalism. like, you can't force something to be good. AI cannot make it good. no amount of focus-group testing or market research. what makes a story worth listening to is that someone cares so much about telling it - through dance, art, music, whatever it takes - that they are just a little unhinged about it.

one time my friend told me he stayed up all night researching how many ways there are to peel an orange. he wrote me a poem that made me cry on public transportation. the love came through it like pith, you know? the words all came apart in my hands. it tasted like breakfast.

[letmetellyouaboutmyfeels]

I am incredibly serious right now when I beg you all, please, and if you have Twitter or Tiktok or whatever to please spread the word: click on an author's profile on Ao3.

You want to know if an author has written more? Want to know if they're still writing? Want to see more from them? Want to know if they've written a trope or kink or sex scenario you enjoy?

Click on their name. And look at their profile.

I cannot tell you how many times in the last six months someone has read a new or newer fic of mine and said they (a new reader who has read nothing else I've done) "can't wait to see what you do next!" I've written 50+ fics and over a million words already.

"I don't know if you're still writing..." click on my profile. I am. I literally wrote a 128k+ fic for that ship last month.

"Would you ever do X?" "Please do Y!" I already did. Click on my name and look at my works.

Archive of our Own is a library. It's an archive. Not social media. It is your responsibility to fight back against the laziness that corporate algorithms have trained into you.

Click my author name. Just click it. Just click it.

Before you demand more, or ask if a writer will do XYZ, or wonder if the author still writing, or anything - click on their profile. Click on the author's profile.

I'm not trying to be mean or condescending or anything like that. I'm just exhausted. It's disheartening and frustrating to repeat myself ad nauseam, because someone couldn't take thirty seconds to do the tiniest bit of work to see if I've written lately, if I've written more for their ship, or scan my works to see if I've written what they're asking for. Please. Please. I'm begging.

Click the author's name, and explore before you ask.

[anneapocalypse]

So, just curious how many writers and creators will have to be forcibly outed by relentless harassment before we acknowledge that "This queer characters was written by a cishet person and that's why they're bad" is not good criticism.

[somanywhatifs]

[mamawasatesttube]

the whole "jason rules crime alley and none of the other bats are allowed there!!1!" thing is so funny like. tim LITERALLY lives in the theater where bruce's parents died,

[technically-human]

Ooh, now that we’ve seen N!Edwin and DP!Edwin talk about Feelings could we see the same with N!Charles and DP!Charles?

As simple as that.

Edwins version

ko-fi

[lucabyte]

A belief in Nominative Determinsim

[laundrybiscuits]

(ETA: now edited and up on AO3)

Look. Eddie knows he can be a little uptight about these things, but. There are rules. If you become a vampire, you don’t need to go full gothic Count Von Dickhead or whatever, but you absolutely cannot just wander around in a puffy vest and light-wash jeans. 

“Why not?” says Steve. He’s leaning back in an armchair, sipping on a bloodbag like it’s a goddamn juicebox. “What, are the vampire police going to arrest me?” 

He pauses. “Wait. There aren’t vampire police, are there?”

“No,” says Eddie. “Probably not. I don’t know. But there are standards which you are refusing to uphold, Steven.”

“Thought you were all about hating conformity, Edward,” Steve says. He’s got an obnoxiously cocky little smirk, the smug undead fucker. 

Eddie grimaces. “Don’t call me that, asswipe. Don’t you feel, like—the call of the night? The siren song of life coursing through fragile human veins? A hunger for destruction that those paltry plastic bags of blood can never truly slake?”

“The bloodbags aren’t so bad,” says Steve, around the straw. “Better than protein shakes.”

“I actually hate you,” Eddie tells him. “Vampirism is wasted on you.”

Steve noisily slurps the last of the blood out of the bottom of the bag. “Come on, you can’t really picture me in some Dracula getup, can you?”

The problem, of course, is that Eddie really, really can. When Robin had read him in on the whole situation, obviously he’d been horrified and concerned—but also, a whole wing of his brain had immediately been cordoned off to work overtime imagining Steve in elaborate Dark Prince regalia, maybe leaning elegantly out of a castle window on the moors, gazing into the foggy dusk. Velvet might’ve been involved.

“...guess not,” says Eddie. It doesn’t sound incredibly convincing to his own ears, but Steve just shrugs and gets up to throw the bloodbag away. 

“There you go, man,” he says, clapping Eddie on the shoulder as he passes. “It’s the 80s. Vampires can be whatever we wanna be.”

———

It gets way too easy to forget about Steve’s condition, until Eddie ends up having to haul him out of a bar in Indy before they get banned for life.  

“Simmer down, buddy,” Eddie says, pulling him into the shadow of the van. “Let’s get those fangs packed away before any of the nice villagers wander by with torches and pitchforks.”

“I’m good,” pants Steve. “It’s all good. Don’t worry about it. It’s fine.”

Eddie lifts an unimpressed eyebrow. “Sure, that’s why your eyes are glowing red and you’re, like, fully vamped out. Which, by the way, looks extremely dumb with the whole clean-cut vibe you decided to rock tonight.”

“Fuck you, I look great,” says Steve, pushing a hand through his hair. He’s not wrong, it’s just not relevant to how he also looks extremely dumb like this, wearing a pristine henley with fangs hanging out in the parking lot for anyone to see.

“So what the hell happened in there, man? I was finally starting to get somewhere with Todd, and…” Eddie trails off in dawning realization.

“Holy shit, am I—I’m like your territory, aren’t I? Your stupid vampire brain got all screwy and decided to loop me in with Robin and the kids as part of your freaky human coven.”

“Uh,” says Steve. He looks unhappy in a shifty kind of way. “Something like that, maybe.”

“Wait, so, are Nancy and Jonathan—are you okay with them because they’re both already in the vamp pack? Is Vickie gonna have to be inaugurated before she and Robin can bone down?” Eddie perks up. “Shit, is there a ceremony? We could totally do a ceremony.” He bets he can get the kids to liberate some velour curtains from the drama club. With a few candles, they could get some serious atmosphere going.

“No, shut up, nobody’s doing a damn ceremony,” Steve groans. “Vickie’s fine.” 

“Okay,” says Eddie. “So…you gonna tell me what all that was about, then? Do I have to start running guys past you first so your vamp instincts don’t wig out? Or…hm, maybe Argyle’d be down to mess around sometime.”

Steve lets out an actual snarl with weird animal echoes, then claps a hand over his mouth.

“Sorry,” he says, muffled. The shadows around them seem darker somehow. 

“So I’m just not allowed to get laid ever again,” says Eddie slowly. “For vampire reasons.”

“Do whatever you want, man.” Steve’s still got his hand pressed tight over his mouth. 

“And it’s…just me?” Eddie peers at the tightness around Steve’s eyes; the way he’s scowling stubbornly at his feet. “Huh. Kind of…possessive, Harrington.”

“It’s—weird,” says Steve miserably, dropping his hand at last. “I know it’s fucking weird.”

“Maybe.” Eddie shrugs, biting down on the grin he can feel tugging at his mouth. “Lucky for you, I’m into that shit.”

“What?” Steve frowns. “You’re…”

“Always wanted a vampire boyfriend,” says Eddie. “Like, are you kidding? I would’ve sold my fucking soul at 15 for something like that.”

“I’m starting to feel a little objectified here,” says Steve, but he’s smiling, and he reaches out to snag Eddie’s belt loop and tug him stumbling closer. “Just in it for the fangs, huh?”

“Well, you’re kind of a shitty vampire, actually.” Eddie drapes his arms over Steve’s shoulders. “So I guess I must just be in it for you.”

Steve hesitates, searching Eddie’s face. Stray red lights are still sparking like embers in Steve’s irises. “Okay, but—you’re in it? Right?”

“Couldn’t get rid of me if you tried, Bunnicula. I’ll send the vampire police after you, just watch me,” says Eddie, and kisses him.

[tea-cat-arts]

Shen Yuan getting transported into pidw isn't "the system punishing him for being a lazy internet hater," but instead representative of "step 1 of the creative process: getting so mad at something you decide to go write your own fucking book" in this essay I will

[crimeronan]

i've seen a couple people in the notes of this very good post about fictional polyamory by @thebibliosphere say things along the lines of "oh, i've been doing it wrong :(" or "how do i know if i did this right??" or "i should probably give up and start over, i wrote this badly :(" and. no!!!!

(i AM seeing far MORE people say "oh, this clarified and helped me so much, i think i know how to fix issues i've been having with my own story" which. YES!!!!)

listen. if you're a monogamous person who's writing a polyamorous relationship, and you've been focusing mainly on The Triad and All Three Together All The Time as the endgame, that's literally fine. that's a perfectly acceptable and strong starting point for your plotting, imo. you do not need to give up on a story that you've started like this.

but the things discussed in the post Can and Should improve your execution!

you can keep the same plot beats and overall relationship arc 100%. polyamorous relationships are infinite in their formations, every one is unique. "basically a monogamous romance but with three people" Does exist, as a relationship type. you're not hashtag Misrepresenting (TM) poly people with it

BUT i do think it will help to read up on some poly people talking about how their relationships Differ from monogamous ones.

so i have outlined some basic important concepts about polyamory.

MORE IMPORTANTLY though, i've broken down some questions that you can answer throughout the writing process to strengthen your individual dyad relationships, your individual characterization, & your characters' individual feelings/experiences. this is a writing resource have fun

future kitkat butting in to say i spent over two hours writing this and it definitely needs a readmore. it is also NOT comprehensive. but everything should be pretty simple to follow! feel free to reblog if you find it helpful yourself or just want to reward me for how gotdan long this took KSLDKFJKDL.

i've grabbed quick links for a couple of the important concepts, some have SEO pitches in them but the info largely seems to be good. (if i missed anything Egregiously Gross on these sites i should be able to update the links with better ones later, since they're under the readmore.)

sidenote: this is NOT meant to be overwhelming, despite the length. if you can't read all of this, that's Okay. you do not need to give up on your writing.

here we go:

compersion!

compersion is a BIG thing in a lot of polyamorous relationships. it's joy derived from seeing two (or more) of your partners happy together, or joy derived from seeing your partner happy with someone else.

compersion is really important as a concept because it highlights that every individual relationship within a polycule is different -- and that that's a GOOD thing. it's sort of the inverse of jealousy.

by the "inverse of jealousy," i mean that instead of feeling left out and upset and possessive, you feel happy/joyous/content.

i can use personal experience as an example: it's a Relief for me when my partners receive joy/support/sex/romance/etc that i can't (or prefer not to) give them. and i love seeing my partners make each other laugh and be silly together.

it's 100% okay for a poly triad not to be together 100% of the time, it doesn't mean that the third member is being left out or not treated equally when two people do things alone together.

(i have individual dates with my partners all the time! PLUS larger 3-and-4-person date nights.)

if the third member DOES feel jealous or left out, then the polycule can have a conversation to figure out what needs/wants aren't being met, and solve that. this happens semi-regularly in my polycule, as it will happen in any relationship (including monogamous ones)! it's just part of being an adult, sometimes you have to talk about feelings.

metamours!

a metamour is someone who is dating your partner, but ISN'T dating you. this may not be relevant for people writing closed three-person romantic sexual triads, but it's a super helpful term to know.

the linked article also lists different types of metamour relationships with some fun phrasing i hadn't heard before. the tl;dr is: sometimes you'll be domestic cohabitation friends, sometimes you'll be buddies with your own friendship, sometimes you might not interact much outside of parties, every relationship is different.

there's no one-size-fits-all requirement for metamour relationships. sometimes polyamorous people will end up dating their metamour after a while (has happened to me), sometimes polyamorous people will break up with one partner for normal life reasons, but remain friendly metamours.

the goal of polyamory is NOT for EVERYONE to fall in love. it is 100% okay if this happens in your story, it happens in real life too! but it is also 100% okay for characters to be metamours without ever becoming "more than friends."

(sidenote: try to kill any internalized "more than" that you have when it comes to friendship. friends are just as important and special and vital as partners.)

of course there are a million ways for messiness to occur with metamours within a complex polycule, exactly like with close-knit platonic friend groups. however this post is not about that! there's enough "here's how polyamory can go wrong" stuff out there already, so i'm focusing on the positives here :)

open versus closed polyamorous relationships!

i'm struggling to find an online article that reflects my experience without directly contradicting at least SOME stuff. so i'll give a quick rundown

google has a bunch of conflicting definitions of open relationships and whether open relationships are different from polyamory. the general consensus seems to be that an open relationship prioritizes one partnership (often a marriage), but that each partner can have extraneous flings or long-term commitments (most often sexual in nature).

this is not typically how i use the term wrt polyamory. the poly concept is pretty simple. a closed polyamorous relationship is one with boundaries like a monogamous one. there are multiple partners in the polycule, but they are not interested in having anybody new join said polycule.

an open polyamorous relationship tends to be more flexible -- it just means that IF someone in the polycule develops mutual feelings for a new person, it's fine for them to become part of said polycule if they want to! the relationship/person is open to newcomers.

some groups will need to negotiate this all together, others will just go "haha, you kids have fun." just depends on the individuals!

with open AND closed polyamorous relationships, the most important thing is making sure that there's respectful communication and that everyone is on the same page. but there's no one-size-fits-all way to do that.

i wish i could give you guys a prescriptive "You Must Do It This Way" guide, but that's.... basically the opposite of what polyamory is about, HAHA.

feelings for multiple people!

i was gonna tack this on to the previous section but decided it warranted its own lil bit.

a defining feature (....i'm told?) of monogamous relationships is that a monogamous person only has feelings for One individual at a time. they only want a relationship with one individual at a time. or, if they DO have feelings for multiple people simultaneously, they're still only comfortable dating one person at a time & being exclusive with that one person.

this is perfectly fine!

the poly experience is generally different from this. but once again..... polyamorous people all have different individual perspectives on this.

for me, i have never been able to draw hard boxes around romantic vs sexual vs platonic relationships, & i love many people at once. my personal polycule lacks many strict definitions beyond "these are my chosen people, i want to forge a life with them indefinitely, whatever shape that life takes"

some poly people feel explicit romantic or sexual attraction to multiple people at once, some poly people feel almost no romantic or sexual attraction at all. i'd say that MOST poly people feel different things for different partners, which is not a bad thing!

some poly people are even monogamous-leaning -- they have just chosen one romantic partner who is themselves part of a larger polycule. (so this monogamous-leaning person has at least one metamour!)

or alternatively, they might have one romantic partner AND a qpr, or other ways of defining relationships. (this is a factor in my own polycule!)

i made this its own point because if you're writing a straightforward triad, this is unlikely to come up in the story itself -- but it's worth thinking about how your characters develop/handle feelings outside of their partnerships.

like, is this sort of a soulmateship, 'these are the only ones for me' type deal? in which they won't fall in love with anyone else, and can be fairly certain of that?

that's pretty close to typical monogamous standards but you Can make it work. just be thoughtful with it

alternatively, can you see any of these characters falling in love Again after the happily-ever-after? and how would the triad approach it, if so? what would they all need to talk about beforehand, and what feelings would everybody have about the situation?

it's worth considering these questions even if the hypothetical will never feature in your actual canon, because knowing the answers to these questions will help you understand all of the individuals & their relationship(s) MUCH better.

i've been typing this for nearly two hours and there's a lot more i COULD say because... there's just a lot to say. i'll close out with some quick questions that you can ask yourself when developing the dyad dynamics within your triad

first, take a page and create a separate section for each individual dyad. then answer these questions for every pair:

how does each pair act when alone?

how do they act differently alone compared to when they're with their third partner?

are there any elements of this dyad (romantic, sexual, financial, domestic, etc) that these two people DON'T have with the third partner?

if so, what are they?

are there any boundaries or hard limits within this dyad that aren't shared with the third partner?

if so, what are they?

partner 3 goes out of town alone for a few weeks. what are the remaining two doing in their absence?

(doesn't have to be anything special, it's just to get a sense of how the two interact on a day-by-day basis without the third there)

what is something that each partner in the dyad admires about the other -- that they DON'T necessarily see in the third partner?

what problem do These Two Specifically need to solve in the story before their relationship will work?

how is that problem DIFFERENT from the problems being solved within the other two dyads?

doing this for ALL THREE dyads is VITAL imo. that way, you develop complex and nuanced and different relationships that all have unique dynamics.

those questions should be enough to get you started, i hope

then After you've charted the differences in relationships, you can start to jot down similarities in the overarching triad. what does one person admire in Both of their partners? what are activities that all three like to do together? what are boundaries or discussions that all three share?

but the main goal is to figure out how to Differentiate each relationship!

a polycule is only as strong as the individual relationships within it. if two people are struggling with their own relationship, adding a third person won't fix that.

(UNLESS the third person is the catalyst for those two to, like, Actually Communicate And Work Their Shit Out. i just mean that the old adage of "maybe if we just add a third-" works about as well to fix a miserable non-communicative marriage as, uh, "maybe if we have a baby-")

AND FINALLY.

if you're not sure whether your poly romance reads organically to poly people, you can hire a sensitivity reader with poly experience. if you can't afford that, you can read up on polyamorous resources like a glossary of terms & articles actually written by poly people. (and stories written by poly people!)

you can also just.... ask poly people questions, if they're open to it. i like talking about polyamory and my own relationships so you're welcome to send asks if u want, i just can't guarantee i'll answer bc my energy levels fluctuate a lot and i don't always have time.

polyamorous people are in an uphill battle for positive representation right now & so the LAST thing i want to see is authors giving up on their stories bc they're worried about getting things Wrong. well-meaning and positive stories that treat this kind of love as normal, healthy, & aspirational are So So So Needed. even if you guys end up with some funky-feeling details.

seriously, if you're monogamous then you probably don't have a full idea of Just How Nasty a lot of people can get about polyamory. i wish it DIDN'T mean so much for you guys to want to write nice stories about us, but it does mean a lot. and it means a lot that you want to do it WELL.

in conclusion. this is not a prescriptive guide, it's just a way to raise questions. and also, you all are doing FINE.

[rottmnt-residuum]

Hi, I've read the Residuum comic, and I think the characterization of the boys is really good. I was wondering if you have any tips on how to write them? Especially Mikey, please.

I'd actually recommend re-watching the show with one character in mind. All my notes on the turtles come from doing separate re-watches for each of them. The key is to ONLY watch the character you are focusing on.

In the end, you'll probably be happier with your own personal interpretation. As we are with ours lol

TL;DR

Massive post under the cut

To preface: we'll be contrasting (this Mikey) against the fandoms version of Mikey, as our interpretation is very different. Don't worry if you prefer the fandom version, there's nothing… wrong per se with writing him this way. We just find him flat and uninteresting. (Main author: not me, I just hate him, lol).

Every reader or fan comes into a story with their own biases and experiences. A ton of our view of Mikey is based on how our siblings acted. We see Mikey as the young sibling that got preferential treatment from the whole family, simply due to being the youngest, but is now aging out of the privilege. Which all youngest siblings do at some point or another.

The fandoms version of Mikey is empathetic, naive, vulnerable, co-dependent and quite often a door mat who cries at the drop of a hat. And as much as the fandom like to say that people love him… when this particular character archetype is in other media, they seem to attract the most criticism. Mable pines, Bolin from Korra, people rag on Aang all the fucking time, and Steven Universe is a whole other bag. These characters don't deserve it, and yet it happens anyway.

To flatten Mikey to simply 'the baby' is a disservice. We don't see or write Mikey as the fandom “baby” version (cinnamon roll uwu). Part of this comes from having multiple siblings, so we interpret the times when Mikey does the puppy dog eyes as typical younger sibling bullshit, mostly by the way that the other turtles rarely react to it, if at all.

The other turtles traits can also get projected onto Mikey. Mikey being the fandom therapist is in the same category as this. He isn't a therapist, he's a psychology nerd who likes to psychoanalyze people and meddle in their relationships. (Donnie and Shelldons relationship, Splinter and Draxums...) he's not trying to resolve your emotional issues. Of the turtles, the character that cares the most about people's feelings is Raph. And Leo is more of a consoler than Mikey ever is. It flattens all the turtle's characterizations when you start doing this because you are ripping out parts that are integral to another characters' complexity.

Co-author has told me that they've seen people become confused when going into the show after only reading fan fiction or coming from the movie. They see his characterization as inconsistent and become upset when their view of him is contradicted. This also happens when a fandomized version of him becomes the primary characterization that they use. Sometimes when this disconnect happens (or if they just don't like the character), Mikey characterization is swung in the complete opposite direction.

They make him manipulative and abusive, or someone who is hyper violent and avoids being held accountable for anything. This is an uncharitable interpretation of him and can come off as pretty racist depending on the circumstances. (like if someone considers the turtles black or not)

Every version of Mikey is a shithead (affectionate), even this one. Especially this one, really. When Mikey not doing the "baby schtick" hes mean. If you pay attention to what he's saying, and just not his tone of voice, he's consistently saying pretty mean or condescending stuff. (You could take this as simply naïveté, but he still says mean shit pretty often regardless)

The times he does say genuinely nice stuff the turtles don't exactly expect it from him, at least, in the early season. And while he is mean, and seems to find saying mean things to be funny, Mikey isn't cruel. Nor will he ever be.

This shit-headery behavior is found in both 2003 and 18 Mikey. They have a degree of social intelligence that lets them use it to annoy people into doing what they want. 18 just has the advantage of being baby faced and having better tonal control. He's good at using people's perception of him to get what he wants.

Let Mikey have his problematic traits, but don't overexaggerate them. He doesn't revel in fooling people. He loves doing character bits, and the baby faced one just happens to be one of them. However, to infantilize or to deem him incompetent is to piss him off, he wants to be viewed as a competent part of the team and competent as an individual. He's not insecure about being young, he just doesn't want to be treated like he can't do anything.

Mikey above all is an optimistic character, he sees the brighter side quite often and is conscious of the harm his actions have on people. Mostly after the fact, but he consistently attempts to rectify the harm he has personally done to peoples lives. (Todd, Bullhop, Draxum). Food and shelter seems to be a thing that he considers to be a right. He doesn't cross a boundary twice once he learns of it, and he never pushes people too far (if he likes you, that is. if he doesn't know you or doesn't like you, he doesn't give a singular shit. But that is standard to most people.). He doesn't care about people's stuff, though. He breaks things all the time.

Mikey understands boundaries, but he doesn't automatically recognize them. He needs them to verbalized or for there to be a very obvious reaction to the boundary being crossed (unfortunately, for Todd and Donnie). Sometimes people mess up (esp. younger people), and it can take a while for teens to learn where boundary is, but he fully respects the boundaries he does know about. He doesn't act petulant when he's told about boundary, he apologizes, accepts it, and moves on. He doesn't dwell.

Mikey doesn't hold on to distressing emotions. He bounces between emotions quickly, but isn't effected in the long run. One thing Iv'e seen people often conflate is the difference between sensitive and vulnerable. Mikey is sensitive, but I have never seen him vulnerable to others. To be sensitive is to be easily influenced by the current situation. To be vulnerable is to hold that influence for a long time. Characters can have one, both, or neither of these traits. But Mikey is not vulnerable. It is the difference between compressing memory foam and a piece of metal until they deform. One will pop back, the other does not.

Those who are vulnerable but not sensitive will take longer to effect, but once you do, they will hold on to that emotion for a very long time. The vulnerable, are grudge holders. (leo). But like I've said, Mikey bounces back. What a character does has an effect on his emotions, but it doesn't make a lasting impression.

Forgiveness is another thing people like to push on him. It is not that Mikey forgives people easily, it's just that he doesn't hold grudges. He neither forgives nor forgets, but he does not ruminate. He's generally affable, first impressions seem to be a big part of how he views people. He is idealistic, and doesn't assume people are unchanging and/or evil, but he's not a mark.

Mikey isn't so much as naive or overly trusting… it's just that he's inexperienced. He doesn't get fooled by anyone in the series except meat sweats, and that's because Meatsweats is on Todd drugs. Mikey just didn't notice when he started faking. He's not… actually all that aware of people's emotional states, passively. He has to tune in to notice things like that.

Mikey isn't someone who really tries to regulate others emotions, either. The fandom like to make Mikey afraid of his brothers fighting and others being upset, but Mikey doesn't actually care. The most distressed we ever see him in a fight is in the movie, and he's not SCARED, he's just concerned (and then alarmed once it turned physical). If anything, outside extenuating circumstances (like the movie), Mikey actually seems to find their fights annoying.

(Mikey actually seems to have a pretty short fuse, but his bounciness doesn't really let it linger very long, lmao)

(One pet peeve of fandom Mikey is the constant crying, crying at fights, crying at insults, crying for no reason all the time. Sure, he tears up when he gets emotional, but when Mikey is genuinely crying It's when he's desperate, like when he's hungry, or when he's trying to save Leo from certain doom. Same thing, really.)

Mikey respects no one (we love him for this). He admires people, he admires his family: April, the turtles, his dad, Lou Jitsu. He admires Rupert Swaggert, but he respects none of them. No one is sacrosanct to the Mikey.

Above all, the way we write characters is to give them a past that informs how they act now. We view Mikey and the other turtles as teenagers that were kids, and that will be adults. Yes they all have “problematic” traits, but 1) good characters need flaws, and controversial traits are one of the best to use, and 2) they're teenagers, don't expect adult behaviors from them, also don't expect them to be kids. They're minors, not toddlers.

This is getting as long enough as it is, so we'll stop here, but this is a very broad overview of how we characterize him. There's a lot we didn't cover here, but if we even started on hobbies, or the real minutia of his quirks and ticks, or even how he feels about other specific characters... we'd be here all day. So I hope this is good enough lol

If there was something you wanted to know in particular, you'll need to get specific. Feel free to ask again ahahh

[inkskinned]

at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"

like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.

"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."

... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.

and i'd still keep writing.

i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.

i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley

"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"

and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.

it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.

you create because you're greedy.

[teaboot]

you're so like. inspiring. or i wish i could be inspired. you reblog that post with the blue critter and you're like "im glad i was born on this planet". how do i manage to get that mindset. how do i manage to not want the pain to stop at any cost and enjoy what's still possible to enjoy

It's my first time here and I'm never coming back

[blueskittlesart]

in the nicest and most non-confrontational way possible. i feel like some of you think that anything that isn't directly openly spelled out for you within a story is "missed potential" or "unexplored." like. sometimes there are implied narratives. sometimes the point is that you as the reader are supposed to think and draw your own conclusions and participate in the story. the writers not directly spelling every little detail out for you doesn't mean that the story is poorly written or missed its own plot details somehow. PLEASE.

[shorthaltsjester]

i truly am baffled by some of the cr fandom when it comes to the topic of the gods and c1 and death in general because. the raven queen didn’t kill vax. in fact she gave him more time. she Does get the blame from keyleth and some from vex but even those two by the end were more so just holding grudges wrapped up in their own issues that were exacerbated by vax’s choices. but it was always vax’s choice. which, y’know, i’m aware of a portion of the cr fandom’s propensity for dismantling every interesting choice a character makes into something forced upon them, but the role of fate in exandria has never been like bad faith you must adhere to the path chosen for you, it’s much more like what brennan has spoken about wrt specificity: as one makes more choices they become more particular to a given outcome. but that’s not some curse by the gods that dooms characters that’s literally just. what living is.

and of course death is a complicated thing that everyone approaches differently but. god the amount of people who view vax’s dynamic with the raven queen as an injustice or his death as some unforgivable thing the raven queen caused some how? in the words of laura bailey, Were We Watching The Same Orb? it isn’t an injustice that vax, completely willing to pay whatever it cost him to save his sister, was bound to the Deal He Agreed To. his role as the champion was one he found meaning and purpose in. further, it was the raven queen that allowed him to be resurrected later in the campaign. like, it isn’t fair that vax had so little time but it is time he chose and time he was given, but vox machina tends to fall on the reaping the benefits side of unfairness of power in exandria. if what makes the gods — particularly the matron of ravens — irredeemable is that they have the power to make choices that mortals can’t like denying someone’s resurrection, how irredeemable must the group of heroes called vox machina (whose members drop like flies to be revived moments later) be to the everyday person who just has to watch the people they love die and make peace with it?

of course it sucks that vax could not have a happy ending or epilogue like the rest of vm, except of course, vex has a family and is happy and loved, and keyleth is strong and alive and protected, and i think that looks a lot like what vax wanted most.