#and someone got suggestions for characters

[mistresscitrusslice]

The Season 2 Opening. We Must Discuss.

First of all, small beans. Instead of static, lifeless statues, this time we get moving humans. Mel features significantly more than I expected, so she'll probably be a much more major character than I expected for a non-champion character and I'm so happy for her. I believe the use of moving people instead of statues signifies that immense change will be happening. What we thought was literally set in stone in Season 1 will be turned on its head in Season 2.

Okay, on to the really concerning matters.

Yuhuh. Jinx moves too fast for me to get a good screenshot, but she gestures like this around her face a lot. I think we all already know about the Caitlyn-Jinx parallels, but my sister suggests it could be a red herring for the actual resemblances she has to Silco.

Sis gets credit for the following observation, but Caitlyn's daydream sequences about shooting Jinx are controlled and clearly separated from reality unlike Jinx's.

However, sis has not seen ep 2 yet, where Caitlyn does have that moment in the arcade where she shoots her vision of Jinx among the wooden dummies. Not only does this more closely resemble Jinx's hallucinations, it also parallels Jinx shooting the harmless crow in s1 e5. By the time the strike squad are about to leave, she can clearly tell that what she thought might be Jinx was really just a harmless wooden standee. Startling, but harmless. She shoots it anyway.

Caitlyn is totally gonna spiral more, and maybe she'll start losing her grip on reality too, but for now, she has more in common with Silco than she does with Jinx. Did anyone else get reminded of Silco's coat when Ambessa put the supervillain cape on Caitlyn? The collars don't look similar but they still eerily resemble each other, you get me?

Ok back to intro stuff

Vi wipes off her name from her face. That's two tattoos that are rendered impermanent in this opening theme. In the Fenty x Arcane video, they mention that Mel's golden freckles are tattoos. Later in the intro song, we also see her golden freckles gone. Change, impermanence. That seems to be a theme here.

Vi is literally erasing her name from her face. In any normal circumstance, I'd say that means she wants a change of identity, a desire to start over. However, I know that Vi's League lore involves amnesia. Does she really drink herself into that bad of a stupor? Jkjk. I assumed that her amnesia was replaced by the Stillwater imprisonment to explain how she got topside and with the enforcers, but perhaps I was wrong. Maybe they do still intend to go the amnesia or partial amnesia route with her.

The teasers implied that Vi shares the genetic trait that has Jinx predisposed to hallucinations. It's possible that this eventually contributes to her loss of memory, but I wouldn't call it quite yet. However, if this happens during her emo era when I'm assuming she has no support system, she'll be very vulnerable, unlike if it were to happen while she was still partnered with Caitlyn, in which case they could easily fill in most blanks in her memory.

I have no idea what to make of this. It's clear as day what they're paralleling, but why? Why the flashlight scene? My best guess is that they're trying to draw on déjà vu, implying a repetition of history, but why this particular moment? They could've easily chosen anything else in Jayce's s1 arc. He has many more memorable moments than this. Let's see, I'm literally making this up as I go.

This meeting was a pivotal moment for Jayce. Both his meeting with Viktor and his meeting with Mel changed his fate. The Viktor one is pretty self-explanatory, but without meeting Mel, they would've both just gotten exiled or locked up again. With Mel, they had someone in power who could vouch for them.

That begs the question, is Jayce meeting someone new? Or is this a reintroduction to someone he's already known before, a new meeting after a long time apart or after a significant change, maybe a change in them both. I believe it must be someone who was involved in the original hallway scene.

Jayce is either looking at Mel again or at Viktor. Given the amount of Viktor/Mel parallels in Season 1, I believe Jayce is looking at Viktor after he's undergone his likely final evolution. That'll obviously be another pivotal moment for him... but will it be a good one like it was with Mel? Viktor has power now. He's performing miracles. He's, like, two steps away from parting the Pilt River like it's the Red Sea. He seems to hold a grudge against Jayce, though, for *checks notes* saving his life? Jk I know he feels like he's losing autonomy and like Jayce didn't respect his wishes with the Hexcore and Jayce obviously couldn't let Viktor die when he'd fought so hard to stay alive before.

Anyway, I feel like this could easily be both a good omen and a bad omen for Jayce. More than anything, I feel like it'll be an epiphany. He is quite literally seeing the light. The light at the end of the dark tunnel? The light of the heavens at the end of his life? The light of a revelation sent by a god he once knew as a man?

Seeing Mel screaming bloody murder during the opening, this was the first place my mind went to. The pose doesn't match up exactly, and Jinx/Powder's screams are definitely wilder, but I feel like there's definitely something here. Is there anyone else who screams like this, thrusting their head forward and keeping their arms back?

We also see the shadow hands from this earlier shot:

I'm thinking of the Black Rose (is that their name?) kidnapping her in thin air, incorporeal hands reaching at her and snatching my joy the love of my life Mel away. It could also represent people grasping at the power Mel wields, both as the wealthiest Council member and as a Noxian princess, one of the closest people to Ambessa, the one wielding the most power right now.

Mel is really out of her depth right now. Her power and influence is up for grabs if she dares to blink and let her guard down. I'm also surprised that we don't see her fight back at all when there's danger around. I thought she might have more battle experience as she was raised by Ambessa. For those people wondering about her magical powers, I think she would've used them by now if she had them. Council attack aside, which could've been Viktor's magic, she wasn't able to do anything about the memorial attack or her own kidnapping. I think they're trying to show us that Mel is not as untouchable as she presents herself. Under the right circumstances, she's just as vulnerable as any civilian.

The sliver of light? My sister pointed out that it looks just like the crack of light between two double doors. Almost closed... or barely open? It appears in pretty much everyone's shot in the opening, but it's right down the center of Mel's face here. Is she torn between two sides? Is this about an impossible choice she has to make?

The spotlight is also on her. That's two sources of light. It looks like a red sun. All eyes on her as the surviving voice of the Council?

And her expression... shock, fear, horror. The heavy breathing, the look on her face... I feel eerily like I've seen it on someone else before. I can't place who, but I'm getting déjà vu from this. Does anyone else recognize this expression and these mannerisms?

[darkficsyouneveraskedfor]

Family Matters

Inspired by this post; in the same universe as this

Warnings: non/dubcon, cheating, and other dark elements. My username actually says you never asked for any of this.

My warnings are not exhaustive but be aware this is a dark fic and may include potentially triggering topics. Please use your common sense when consuming content. I am not responsible for your decisions.

Character: Thor Odinson

Summary: your new husband's brother surprises you with a visit.

As usual, I would appreciate any and all feedback. I’m happy to once more go on this adventure with all of you! Thank you in advance for your comments and for reblogging ❤️

The doorbell rings again and you barrel so quickly down the stairs, you nearly topple off the bottom step. You catch your breath and grab the post at the bottom of the banister to steady yourself. It’s a splendid house but you told Loki it’s too big for just the two of you. He didn’t like that so you didn’t mention it again, even though it feels empty with how much he’s not around. 

You let those worries slake off of you and hurry to the door. It could be another surprise! Loki hates leaving you for so long so he tries to fill the void with gifts. Sometimes, they make you feel better, other times, you’re just sad. You’d rather have him there. 

It’s not a courier but a familiar face. Your brother-in-law. It’s official as of one month ago. You’re family. 

“Oh, hi,” you deflate, trying not to show your disappointment. You’re not upset it’s him, you just hate being the one to say, “Loki’s not in.” 

Thor smiles. He’s rarely unhappy. “Ah, that’s unfortunate. Where is off to, then?” 

“Work,” you grumble the repetitive explanation. “Important project or something.” 

“Important enough to leave you alone?” He wonders. 

“I... guess,” you try not to mope. Loki says it make you look childish. 

“Well, I am much in the same boat. Alone,” he laughs hollowly. 

“Oh, yes, I... how are you doing?” You ask. “I didn’t get a chance to thank you for coming to the wedding. Really, I know it must’ve been difficult.” 

“I couldn’t miss my brother’s special day,” he shakes his head. “It was a day for love. Wasn’t your fault mine decided to leave...” 

Your heart breaks for him. The day you were married, Frigga told you what happened. A hug fight right after your rehearsal dinner. Jane left before the morning. Despite all that, Thor didn’t show a hint of grief at the wedding. 

“It’s too bad. I liked Jane.” 

“Needless to say, I did too,” he smiles thinly. “Well, I hope I didn’t disturb you very much. I suppose I could come calling tomorrow and hope my brother isn’t too busy for the likes of me.” 

Your heart rents for him. Here you are, a new marriage, a husband to long for, and he lost his girlfriend of five years. You don’t have much else going on, it would be nice to have someone there. 

“Did you wanna hang around for a bit?” You ask. “Not much going on but... this place is eerie when you’re all alone.” 

“Hm, did Loki say when he would return? Wouldn’t mind waiting around a bit,” he suggests. 

“I hope soon but he didn’t say,” you shrug. “Yesterday he wasn’t home until midnight.” 

“Midnight? He would make you wait so long? A lovely young wife like you?” He scoffs. “Well, that is just terrible. I will not commit the same crime as my brother. I’d love to come in.” 

“Alright,” you smile. “I... we could put something on? I was going to watch the new season of the true crime show.” 

“Ha,” he enters as you step back to let you through. “That wouldn’t help being alone, would it?” 

“I guess not,” you giggle. “We could watch something else. A comedy. I’ve been rewatching Friends. For the hundredth time.” 

“Whatever you like,” he slips his shoes off and puts them on the mat. “The only words a woman like you needs to hear, eh?” 

You laugh again, “do you want snacks? I got some caramel corn and gummy bears.” 

“My brother let you bring those in his house?” He wonders. 

“It’s our house,” you face him with a pout as you stand in the broad archway to the front room. 

“Yes, you are correct. My apologies,” he follows. “You know, he only hates those sugary treats because he is weak to them. Be sure to hide them well or you might find some missing.” 

“No, he never wants any,” you continue into the front room. 

“So he wants you to believe,” Thor counters. 

“How about drinks? We got a bunch of wine from the wedding. Some scotch?” 

“I only really indulge in lager and I'm not of the mood for it,” he assures. “I could help with the snacks.” 

“No, no, sit,” you grab the remote and hold it out to him. “Find something to watch. I’m so indecisive I just flick through the menu for an hour.” 

“I will do my best,” he accepts it. His hand dwarfs you own as his fingers brush across yours. Loki’s hands are long, but not as thick. 

You push your shoulders up and spin around to flit off to the kitchen. You scurry away and slide into the kitchen. You go to the cupboard and take down the bag of caramel corn. You pour some in a bowl then grab the package of gummy bears and a box of cream cookies. 

As you come back to the living room, Thor leans forward to set the down the remote. You put the treats on the glass table and sit on the other end of the couch. You only realise then how awkward it is. You’ve never really been alone with him. 

“Thank you. So sweet of you to have me,” he says as he twines his fingers together. “I feel as if everyone has been avoiding me since Jane. I fear I might be a bit... melancholy.” 

“Oh, uh, yeah,” you glance at the TV as it plays an intro to a show you don’t know, “well, how can anyone blame you? You’re going through so much.” 

“I’m an adult, these things happen,” he says. 

“Sure, they do, but I mean, it still hurts. It’s not easy,” you insist. “I can’t even imagine what you’re going through.” 

“Ugh,” he puts his elbows on his legs and cradles his head. “I don’t mean to bring my dark cloud in here.” He rubs his temple. “Truly, I think I’ve been trying to outrun it but... what else can I think of with only an empty home to go to?” 

“Oh, Thor,” you sidle closer on the cushions. You gently touch his arm. His bicep is a lot bigger against your hand. “It’s okay. You can’t hold it in forever. It's good to feel these things. Once you get through that, you can move on and I’m sure you’ll find the right one.” 

He sniffles and you flinch. He quakes against your touch and your chest knots. You never imagined him crying. Especially not a man his size. You don’t know what else to do but comfort him. You rub his shoulder and he huddles over further and wipes his face. 

His long blond locks conceal his tears as he mops his sadness away with his knuckles. You hum and get even closer, your hand trailing up his back. 

“Thor, I'm sorry. It feels so cruel, I know. Especially the timing of it--” 

He startles you as he leans against you. You let out an ‘oop’ as he turns to embrace you, curling his shoulders and hunching to put his head on your shoulder. You have no choice but to let him. 

“Oh, it’s been awful,” he snivels. “I’ve been so lonely.” 

“Shhh, let it out, that’s okay,” you rub his back and stare at the wall. You certainly didn’t expect the night to go like this. 

He holds you tight as he cries against you, his body heaving. You know Loki isn’t the best for these sorts of things so you’re happy at least he trusts you enough to listen. That’s about as much as you can do. 

“You won’t believe how cruel she was,” Thor rasps. “She just yelled and yelled. She shoved me and—she just kept accusing me.” 

“Accusing you? Of what?” 

He’s quiet for a moment. He lifts his head to look at you, his arm across your back. “Of wanting another.” 

“Oh?” You blink in surprise. 

“I told her no, no, I did not, but she kept saying “I see it! I see it in your face!” And I swore to her, no, no,” He wipes his face with his other hand, “but now I’m afraid she might have been right.” 

“She... who?” You frown. 

His arm wraps around you, his fingers dipping into your side and in a moment, the couch shifts beneath you. You cannot resist as surprise paralyses you. Thor lifts you easily onto his lap, turning you and sliding you to sit on his thighs. 

“Woah, uh, whaat--” You press your hand to his chest. “Please, Thor, you’re emotional--” 

“She was right, kitten, you are so soft, so gentle, and I could not look away. She caught me--” 

“No, no, you can’t-- Loki--” 

“Loki leaves you alone. He would rather work than stay and adore his precious wife,” He cups your chin and forces you to look at him. “He would abandon you...” he leans in as his eyes fall to your lips, “and leave you unkissed.” 

You try to pull back but you’re trapped in his embrace. He squeezes you close and crushes his lips to yours. You squeal and struggle against him, finally turning your head so his mouth smears across your cheek. 

“Untouched,” his hand trails down your neck and you clasp onto two of his fingers, straining to keep him from going lower. “Unloved--” 

“Thor, stop, let me go--” 

He leans over so your back is on the cushion, his arm beneath you as your legs are folded up over his. He is on his side next to you. His large hand comes back to frame your face and he squeezes to keep you from squirming. You tug as his shirt and whine. 

“Thor, please, stop. We can forget--” 

“I can’t forget,” he growls and nuzzles your nose. You whimper and push against his chest again. He is stone, he is unmoving, and you know you cannot stop him. “I will never forget how you feel against me, kitten.” 

[writetheidea]

Too Much to Be Enough

Hello, I had another idea for a fan fiction. In this one, I tried writing with an unnamed character after someone reached out to me suggesting that I shouldn't tag "x reader" even if the character had a short name. They were not this polite in their wording. Kindly let me know if you find this more enjoyable and if you have any advice or feedback.

Pairing:  Franco Colapinto x female character

Plot: everyone thinks she's too much—too loud, too affectionate, too overwhelming—but as long as Franco loves her, she feels enough. When a painful betrayal forces her to question everything, she’s left wondering if even his love can truly be unconditional.

Tag: hurt/no comfort, angst.

Word count: 2077

Disclaimers: english is not my first language - I feel like you could tell from my writing style - so I apologize if some of the sentences structures are off, or if I use outdated or inappropriate-for-the-context words, I used a synonym dictionary to try and stop myself from repeating the same words, I still did do that though.

Franco Colapinto had become a rising star in Formula 1��his unexpected debut mid-season with Williams brought attention, intrigue, and the buzz of fans enamored by his unfiltered charm and skill on the track. To the world, he was a formidable talent, sharp in his focus and strategic in his every move. But to her, Franco was simply her Franco—the person she adored with every fiber of her being, the man who lit up her world with his easy laugh and grounded presence. She never tried to share him with the world; her joy was simply in being there. To Franco, she was a grounding force. To her, he was the brightest point of her life.

Their relationship had always been natural, filled with the kind of closeness that felt both unbreakable and safe. She loved to be near him, to catch the quiet smiles he reserved just for her or hold him close, her arms around him like a shield. She had a way of finding him when he was deep in conversation, slipping her arms around him or perching on the arm of a chair, just listening, watching him with eyes that spoke of adoration. She adored him openly and shamelessly, kissing his cheeks, bringing him little snacks between meetings, and laughing at his every story as if it was the first time she'd heard it. It was how she showed love—boldly, sincerely.

In public, her spirited affection sometimes drew raised brows. She was quick to laugh, unrestrained in her warmth, the kind of person who got excited over the little things. When she spoke, her voice had a way of filling the air, especially when she became passionate, her laughter rich and booming. Franco’s teammates would sometimes tease her for it, not unkindly, but she felt Franco’s protective arm settle around her back, his voice lowering to gently bring her back to the moment, a silent reminder that she was safe, that she didn’t need to hold back. She never felt like too much with him; she felt like enough.

When Franco got his F1 call-up, the world saw his potential, his brilliance. He went from a promising driver to a star almost overnight, and with that came the scrutiny, the endless, dissecting gaze of the world. There were new pressures, new challenges—he was praised and criticized in equal measure, and with him, she found herself swept up too. Fans adored him—his directness, his humor, his daring spirit. He was the next big thing, and with that title came every word spoken about him, every inch of him magnified. And suddenly, they wanted to know her, too. Who was Franco Colapinto’s girlfriend?

But their adoration of Franco didn’t extend to her.

She’d never been the kind of girl who worried about attention, but the way the public spoke about her… it was like a slow, smothering weight pressing down on her heart. They saw only a girl who seemed too clingy, too loud, and too unfitting of someone they had put on a pedestal. Her open affection was criticized as immature, her laughter labeled as attention-seeking. They dissected her every move and labeled her a distraction, tearing into her with the kind of brutality she’d never experienced. It felt like strangers were peeling her apart piece by piece, tearing away the person Franco had always loved.

She tried to ignore it at first, comforting herself with the knowledge that Franco didn’t seem to mind, that he even loved her as she was. Franco was all that mattered; his opinion was the one she trusted. He was the only reason she could keep her head up, brushing off the hate as long as she knew she had his love. And when Franco looked at her, his smile never wavered. She held onto that—the belief that he loved her as she was, even when the world made her question it.

But then came Brazil. She’d been watching from the paddock, her heart leaping every time he turned a corner, nerves twisting as he went head-to-head with some of the most seasoned drivers in the world. And then, the crash. It was terrifying, watching him collide and skid, helpless from a distance as her heart stopped, praying he was okay. Her relief was overwhelming when he emerged unharmed, but Franco’s face had been pale, his expression distant as he made his way off the track. She could see the weight of the moment pulling him under, the strain and pressure breaking through his usually calm demeanor. She wanted to reach for him, to pull him close, tell him she was there for him, that she would carry the weight if she could.

But he’d pulled away from her, muttering that he needed a minute to gather himself. Respecting his space, she’d wandered to the restroom, splashing water on her face, telling herself he’d come around, that he just needed time. She returned to his room, pausing outside, not wanting to intrude if he still needed space. And that’s when she heard it.

“…but don’t you think she’s a bit much?” The voice was that of his engineer, a man she’d thought liked her, someone she’d shared a few laughs with before. “She’s always there. Always talking, always needing to be… close. Must be a lot to deal with when you’re under this kind of pressure.”

She waited, her breath frozen, trusting that Franco’s response would ease her worry, that he’d brush it off as nonsense, defend her like he always had.

But his voice—the voice she trusted, the voice that had always assured her she was enough—spoke words she could barely stand to hear. Franco responded quieter than she’d ever heard it. “Yeah… I mean, sometimes. It’s a lot, too much, you know?”

She could hardly breathe, the words sinking in slowly, one by one, like sharp blades against her skin. He thought she was too much. A lot. The one person she thought she could be her fullest self with, the person who had always made her feel safe to love so openly, to be unapologetically herself—he was overwhelmed by her too. She was his burden, the weight that followed him. Tears began to blur her vision, but she stayed frozen, rooted in place as she listened to them continue, laughing and talking about her as though she were some trivial inconvenience, as though her love was suffocating him.

She backed away from the door, her heart breaking with every step. The tears came fast and hot, her whole body trembling with the force of them as she stumbled back into the restroom. Locking herself inside, she slid down against the wall, burying her face in her hands, feeling her heart shatter into a million pieces. She had fought so hard to believe in her own worth, to convince herself that she was lovable and that her affection wasn’t too much for him to bear. But he agreed. He agreed with them, with the strangers who hated her, who thought she was too loud, too affectionate, too clingy.

She had tried so hard to believe that Franco saw her the way she saw him—as irreplaceable, as the very air he breathed. But hearing his quiet agreement, the confirmation that the one person she thought she could trust didn’t love her as she was… it left her feeling hollow, like a fragile shell of herself.

---

When Franco found her, he looked at her with that familiar softness, his arms coming around her as he held her close. She clung to him, not because it made her feel better but because she didn’t know how else to act, didn’t know how to pretend it was all okay. He asked her why she was crying, and she forced herself to smile through the tears, saying it was because of his crash, that she’d been worried. He looked at her with relief, gently pulling her closer, and she let him, even though his touch felt like fire against her skin, burning with the memory of his words. For the first time in their relationship, being near him didn’t feel safe.

In the days that followed, she withdrew into herself, letting Franco slip away piece by piece. She stifled her laughter, kept her voice low, spoke only when necessary. She still brought him snacks, still sat beside him as he debriefed with his team, but now she was a shadow, a shell of the girl she once was. She didn’t touch him as freely, didn’t drape herself over his shoulders or pepper his face with kisses. She gave him what the world wanted, the perfect, silent partner, standing just behind him, looking at him only when he looked away.

Fans noticed the change, taking to social media to praise her for finally learning her place. They called her refined, mature, supportive. They praised her “new maturity,” applauded her for “knowing her place.” They liked her better this way, in the background, quiet, subdued. For the first time, she fit the image of the F1 girlfriend they wanted her to be. She was a supporting character, there for Franco when he needed her but silent, never in the spotlight, never drawing attention.

But Franco hated it. He missed her laugh, the way her hands would find his at every turn, the way she’d rest her head on his shoulder while he spoke. He missed the way she’d light up a room with her excitement, her laughter like music that chased away the shadows of his stress. He tried everything to bring her back, brushing his fingers along her cheek, whispering little jokes, pulling her close. But she stayed quiet, her smile polite but hollow, her laughter a pale echo of what it used to be.

She wasn’t his girl anymore. She was someone else, a stranger wearing her face.

---

One night, after a particularly grueling day, Franco found her alone in their hotel room. She was sitting by the window, staring into the dark night, her reflection in the glass a ghost of the girl he had fallen in love with. He crossed the room, kneeling beside her, his hand finding hers.

“Please,” he murmured, his voice breaking with the weight of his worry. “Tell me what’s wrong. Where did you go?”

She looked at him, her eyes full of a pain he couldn’t understand, couldn’t reach. “I’m here, Franco,” she whispered, her voice soft and fragile.

“No, you’re not,” he said, his voice thick. “You’re… you’re gone. The girl I love is gone.”

Her lips trembled, and she pulled her hand from his, wrapping her arms around herself as though trying to hold herself together. She was quiet for a long time before she spoke, her words barely audible. “I heard you… that day in Brazil. I heard you tell your engineer that I was too much. That I was a lot.”

Franco’s heart dropped, a cold shock of realization rushing through him. He remembered the conversation, the way he’d laughed along, never thinking his words would reach her. “I didn’t mean it,” he whispered, his voice raw. “I never meant it like that.”

“But you said it,” she replied, her voice breaking. “You agreed with them. You agreed with everyone. You were the only person who made me feel like I wasn’t too much, like I was enough. But if even you… if you think I’m too much…”

Her voice trailed off, her shoulders shaking as she hugged herself tighter. Franco reached for her, his heart shattering as he saw the pain he’d caused, the light he’d extinguished. “I love you,” he whispered, his voice breaking. “I love everything about you. You’re not too much. I need you, all of you.”

He reached for her, but she drew back, her body a closed door, her eyes filled with a sadness that cut deeper than anything. “I love you with everything I have,” she whispered, her voice barely audible. “I would have given anything to be enough for you.”

He could feel his own tears burning, the agony of realizing that his careless words had stripped away the light from the woman he adored. “You are enough,” he said desperately, his voice thick. “You’re everything to me. I love you just as you are.”

But she only shook her head, her hand lifting to his cheek, her fingers brushing his skin one last time. “I don’t believe that anymore.”

[quibbs126]

And this here is today’s attempts at drawing Transformers, specifically TF One

I had this idea when I started today, since I knew the faces and noses were giving me trouble yesterday, to try this paintbrush style. The logic in my brain was that the movie was made in 3D, so logistically a more lineless style should work better, right?

I do admit, I think that the lineless style works far better in terms of the eyes and noses being the right shape, but I also admit my lines are probably a bit too soft and I may need to darken them. As well as get something good for the actual thin lines, since the paint brush on its own feels too thick, even at the lowest size

And you know what, since we’re here, does anyone have any Procreate brushes they can suggest for this sort of style? Right now I’m just using Flat Brush, but I wonder if I should use something else

Anyways, so this canvas was supposed to be more D-16, but partway through I figured I should try someone else to draw as well, so I decided Orion, so we could have the yaoi

Honestly my big problem with Pax here is that I don’t have a good comprehensive reference for him, while I can get by just fine with D-16. These were about the best I could get, and that last one I only got because these other two weren’t cutting it

I need high quality references of these characters, or at least specifically their faces. And I’m gonna need even more if I plan to draw Megatron and Optimus as well

But yeah, Orion’s here, and I was also having trouble getting the correct colors for him, because I’m stupid and used to flat colors. D was pretty easy considering he’s just greys, and a yellow tinted grey works just fine there as a grey (though I do admit I’m struggling with his eye color), but I feel like blue tinted Orion looks too blue by comparison. But I don’t know how to give him his proper face coloring without it being the same shade as D-16

I feel like my words aren’t making sense. But just get that Orion colors are a struggle. And still are, because I still don’t think that other grey is the right color

Also Orion has a significantly more complicated helmet than D, so that’s fun

I really wasn’t planning on Orion taking up so much of the space, but I needed to actually practice how he looked so that I could draw him easier. I had numerous attempts at D-16 prior, I could sort of understand his look, but I was flailing in the dark on Orion and needed the practice

I think another problem is that I don’t make him wide enough. But sue me, my character designs usually don’t have their bodies that wide/their heads that small. I’m working on it

I capped off this canvas by just deciding to make a small doodle of Orion kissing D, since why not and also I was too lazy to think of anything else to add

Where do we go from here? I have no clue, but hopefully it’ll go good

[m-says-hi]

Hello!

I have more sampo thoughts! Surprisingly, not about the recent event but an old event. Or not even the event itself, but something from after it

The memory bubble you get after Aetherium Wars.

Couple of things about memory bubbles before I bring up Sampo or this particular bubble’s contents. After some (admittedly brief) research on bubbles, I’ve learned they’re created by Memokeepers to preserve memories and are usually stolen from the original memory holder. In the game there are 21 memory bubbles. 20 of them belong to Herta and can be found around the Space Station. The last one is the one from after Aetherium Wars and is found on Jarilo VI.

I haven’t interacted with any of the memory bubbles myself, but I have read through all the dialogue and descriptions on the wiki. The 20 belonging to Herta all seem to put you in the pov of the memory holder. It tells it more like a story, kinda similar to Simulated Universe?

But the Aetherium Wars Bubbles only gives dialogue (very similar to Sampo’s character stories) making us more like an observer and not part of the memory. Unless we’re watching the memory of someone who was watching the conversation, but I feel like there’d be more description of the setting if that were the case.

I could go on about the content of the conversation, but I think we’ve all read through it multiple times. What really caught my attention was the beginning and end dialogue of the bubble.

(taken from the wiki. I haven’t done aetherium wars yet ;-;)

Four things stick out to me right away:

The game/The trailblazer’s thoughts notes this feels different

As I mentioned before, there is no description of the scenery showing up before you, but just two figures. My guess as to why is that this bubble wasn’t created by a stolen memory, but was made by the memory holder (or at least the memory holder was involved in the process). The memory holder being Sampo

2. There’s an implication that this bubble was left on purpose

This only adds to the point above. There’s a strong implication that Sampo left this for the Trailblazer to find. You also get an achievement for finding this bubble called Confessions of the Mask which. That kinda says it all.

But now I have two questions, the first being how? It's not said explicitly, but in a conversation with Herta it's implied that Memory Bubbles are only made by Memokeepers. So, if this was left by Sampo, either he got a memokeeper to help him (extremely possible) or he has the power to do it himself (extremely interesting)

My second question is why? 

Why would he tell us? Why is he telling us in this indirect way? My guess is it has something to do with his mask. The conversation in the bubble mentions Penacony and Sparkle. So,this was probably around the time Sampo started planning to go to Penacony to get his mask. I discussed this with a friend, and she suggested it might even be some sort of warning, which is why it’s done with a memory bubble. 

That sort of reminds me of the recent event, where Sampo spills a lot about the Fools and the Tavern, information that you would only really know as a Fool, but said it in a way that implied he wasn’t a fool. That he heard it from somewhere else, someone else, not that he knew it first hand. I wonder if his mask is sort of.. Making him unstable? (He grew increasingly dark every day) And the 7 day event was another warning. Warning of who he might become when the mask fully takes hold and a warning to not become like him

3. The game/the Trailblazer’s thought recognizes that there are multiple mysterious things about Sampo

Maybe this isn’t as important as I’m making it out to be. After all, we all know something is very Off about Sampo. But the Trailblazer recognizing it feels significant to me. It feels like further confirmation that eventually we will unravel these mysteries. Eventually.

4. “When talking to one who wears a mask, always keep your wits about you.”

This. THIS. This statement has been driving me mad since I first saw it. When I read those words I immediately thought of the translated statement from Topaz’s trailer:

“One who is unaccountably solicitous is hiding evil intentions”

(if you have no idea what I’m talking about, it’s one of my first posts)

The statements are not the same. But they feel so strongly similar, like they go hand in hand. Both are warnings. Both tell you to be careful about people who are not how they appear, people with masks and people who are falsely sincere. Both are talking about Sampo. Looking into this made me realize just how many times we've been warned about Sampo. Half of those times being Sampo himself

Something about it just makes my brain light up with possibilities and I feel like I keep pushing the statements together waiting for something to make sense and explain everything else, but I’ve yet to figure it out. So I’m left here just kind of going insane

But that’s all I have for now! Maybe someone else will have something

[squibsformers]

Miscommunication

Rodimus x Human Reader, Drift x Ratchet x Human Reader

Summary: After Rodimus tried looping you into something you really weren't into, you sought out your other partners to complain about his reveal of character.

Word Count: 1,128

AN: NSFW suggestive talk, no outright smut. Also hi this is my first tf writing soooo lmk what your thoughts are, i love comments. I'm already working on a reader insert series and wanted to start with a few one off bits. Enjoy! tagging valveplug just in case.

Drift looked up when you entered the medbay, his greeting dying on his glossa as his field just PINGED with the waves of displeasure coming off you.

“Jeez… what's got you all wound up, huh?” He straightened his backstuts as he stood up more from the desk he leaned over, messing with Ratchet temporarily set aside.

You hissed a rush of words under your breath as you strutted in, something that he couldn't TELL what was said but he understood it wasn't very polite. Even the older medic bot lifted his head to address you.

“I only managed to make out Rodimus in all that. What did our oh so brilliant captain do to piss you off?”

 “I thought this whole time we were leading up to something… fun. But it turns out I misread every step. He thinks he's BETTER than me.”

“He's the captain, he is better than you.”

You whipped your head around to glare at Ratchet. “Better enough that I deserve to clean the dirt off his kibble with my tongue?? Because I feel that's pretty fucking degrading.”

Both bots stilled, and the medic's “Wait, what-” was interrupted by Drift stalling briefly and talking over him. “That doesn't sound at ALL like something Roddy would say.”

“I thought so, too.” You huffed before your attitude melted into something a bit sadder. “I mean… I've been flirting with him for so long, and he's been receptive towards it. You even told me he said he likes me. So I don't know where this came from…” 

Groaning, you put your face in your hands, and idly Ratchet patted your back while working (and half listening). 

“I didn't even think that would be a thing with you guys, making someone tongue-polish your like, plating and stuff.”

“That sounds like something Megatron would have had Starscream do back in the day,” Ratchet groused, making Drift mock gagging.

“I'm going to purge my tank, don't make me think about those two like that.” A shudder wracked the ex ‘con's frame. “Eugh. No it's not really a thing with us. Is…is it a human thing?”

“Ah…” The question made you pause to think. “Not… really? I mean, kind of. It's usually an extremely exaggerated form of punishment from someone who wants to uh… show superiority while demeaning the other. Though it's shoes or boots for us, not armor spikes. The idea is to polish the dirtiest article of clothing with their tongue - or glossa - so they feel... sub-human. Though there's always exceptions, and some people are into that kinda thing as like, a kink? But it's really not…what I'm looking for.” You wince.

….Ratchet paused his comforting as he listened, before turning to look you over. “Hold on, back up. Armor spikes… kid, what did Rodimus say to you?”

Drift leaned over the autobot's shoulder, studying you closely. The samurai looked both confused…and disbelieving.

Alright, fine then.

“He said ‘Y’know… Maybe you can put that glossa of yours to use and… clean my spikes with it.’” They let out a grumble. “I didn't peg him for the degrading type…”

The two mechs went oddly quiet and still.

“Spikes… plural?” Drift pressed.

You thought back more, mulling the memory over, of the captain of the Lost Light leering down at you with that heated smirk and his thumb on your cheek…and shook your head.

“No, sorry. Just spike.”

“PFFT-”

You looked up to see Drift looking away, one of his servos clamped over his intake as he cackled. His limbs shook and he held onto Ratchet to steady himself. The medic was looking away, face buried in his hands. His shoulders shook.

He was also laughing at you.

“What. WHAT! HEY?? HELLO!!”

“Kid…Kid, Sp..spike is another term we have for plug.” Ratchet mumbled out. Still laughing. Very much laughing at you. His words caused Drift to wheeze and bend over, his vents stuttering as he cackled.

“He was asking you to interface finally and you totally missed it..!! Oh Primus help me, what did you say? What did you say, tell me. Please, it has to be good.”

Your face got warm as you thought of the fact that you had finally gotten Rodimus interested enough he would make a bold pass. Your face was hot when you realized you had totally missed his signals. Your face was practically on fire when it clicked just how badly you fumbled the whole interaction.

“I… I said Ew, no thanks. And came here-”

“THAAAAHAHAATS THE WORST THING YOU C-COOOHOULD HAVE SAID!!! AAAHAHAGHA OH PRIMUS-”

“Frag me, kid you did not-”

There was no saving you. Both mechs were now openly laughing at your misery. Your face buried in your hands you mumbled out a weak “How was I supposed to know!” that only made Drift start losing it all over again.

After some time (Ten. Minutes.) the two much larger beings had settled, Ratchet returning to his work and chuckling on occasion while Drift…pestered you over your absolute dropping of the ball.

“I can't believe this. I'm almost scared to flirt with you now because you may not get it!”

“Driiiiift…!” You whined, the cheeky samurai squeezing your hips. “Let me go, I want to jettison myself out of the airlock.”

“Not a chance!! I mean I want to make sure if I tell you I wanna have you eat my valve from the back that you aren't going to mistake it for me, say, threatening to mug you or something.”

Your face was bright red. “Drift!!”

“Or, oh man, if I tell you I want to slot my plug between your thighs, maybe you'll think I'm wanting you to-”

“RATCHET! DRIFT IS BULLYING ME AGAIN!” Complaining loudly, you squirmed in Drift's hold while eyeing his Conjux, displeased and humiliated and hoping the medic would scold him or something.

Ratchet barely spared you a glance with his optics as he continued his inventory count. He was literally busy and not paying attention to you two.

“Between words from attractive mechs, manhandling, and something almost too big to go in, you enjoy being bullied, and all of us here are very aware of it,” drawled the grouch's response.

You stared at him, mouth dropped open in shock and WORSE embarrassment at how he called your bullshit out. All while Drift began cackling all over again.

—

You stared up at the habisuite door, staring at the imposing metal barrier of captain Rodimus Prime's personal chambers. Your stomach twisted in knots nervously, your palms somewhat sweaty as you raised a fist and knocked hard, twice. Mentally, you prepared your apology as you heard shuffling and the soft clank of pedes across a metal floor.

God, you hoped the mech thought stupid was hot.

[variksel]

this might be either the hottest or coldest take known to mankind, i have no idea, but i personally. hate the narrative that curly was abused by jimmy before the crash

nothing in the game suggests that jimmy was ever abusive to curly beforehand. maybe he got mad at him and unfairly blamed curly when he found out they were all gonna get fired, but that doesnt suggest abuse, that just suggests that he was a dick who blamed all his problems on the wrong people. not every instance of an abuser yelling at someone means that they were abusive to that particular person.

the POINT of the message is that they are friends, and that theyre good friends, and that THATS the reason why curly didnt do anything when anya told him. the POINT is the sa culture that real life men perpetuate, where they protect eachother and their friends when stuff like this comes out

"ive known him for a long time, ill talk to him" and letting him roam the ship free when hes been proven to abuse anya. he didnt have to do that, maybe he didnt know what to do but thats not an excuse ultimately.

saying that curly was abused by jimmy, that he was forced into not taking action, completely misses the entire point of curlys character, of "how come it always seems like youre standing on the edge of a bridge with your feet in cement?"

curly wasnt abused, he didnt have a reason not to do anything. he just didnt because jimmy was his friend

(for the record i dont hate curly. i think hes a good character and there were parts of a good person in him, but i hate his mischaracterization. he wasnt the villain that needed to take responsibility for jimmys actions like jimmy thought of him, nor was he this innocent person that didnt do anything wrong)

[delta-lethonomia]

ok depresso week is over, back to deliberate hyperfixation on bg3:

It is absolutely wild to me that people take Astarion to the foursome with the drow twins (romanced, spawn, post-cazador) and are shocked, shocked I tell you, that he has a bad time. But it leads me to think that there's an interesting conversation to be had here about morality applied to video games. I'm going to be using what's a bit of a strawman tbh, what I would consider an archetypical, "good person" gamer for this niche example.

(3k essay under the cut about irl morals vs video game behavior, my take on why Astarion agrees to the orgy, beating the dead horse of Astarion discourse now that the fandom has cooled off enough I might not get flogged for it, and all my election stress being translated into an increasingly bitchy narrative voice that I hope is at least mildly amusing.)

"Good Person Gamer" romances Astarion. They're probably female, which I am mentioning exclusively so I can turn that into "Good Girl Gamer" 😏, or G3. G3 picks nice dialogue options. G3 tries to support their companions, and finds diplomatic and moral solutions to problems. G3 saved the tieflings. G3 still romances Astarion because he's hot, and vulnerable, and it's not like he forces you to be evil - he just complains a bit when you save kittens stuck in trees, but you get that approval back anyway just by being nice to him. Talk him out of Ascension and you've proven to yourself he's got a good soul under all that attitude anyway. He'd healed! You banged on his grave! It's all good now!

The brothel is fun. The drow twins are hot. It's always fun when games lets you do spicy things like have threesomes and orgies! We're sex-positive! Look, the drow twins said they love their job! It's totally fine! G3, as most people, probably does not do these things in real life, but that's the fun in video games: you get to be someone you're not.

And then Astarion noticeably dissociates. He throws himself in the center and lavishes everyone with attention; he's a professional, you know. Even an unromanced Tav/Durge notices something's off, and Astarion replies something along the lines of "you don't have the right to look at me like that," presumably with worry, distress, or sympathy.

G3 is upset. They did everything right - they didn't want to hurt him, and Astarion himself said he wanted this. Why couldn't they stop midway through and remind him that he doesn't have to hurt himself? Why couldn't they talk about it afterwards, and clear the air? LARIAN WHY DO YOU HURT ME

Now, to all the G3's out there: if you were dating a person with extensive sexual trauma, having been raped literally thousands of times, would you suggest having a threesome/orgy? With prostitutes, if that's better or worse? Putting them on the spot before your mutual friends? Would you wait a few years to mention the idea, or would you do so only weeks/months into a relationship? Your first "I love you" might have only been yesterday.

And most people, I think, would say "No." Writing that scenario outside of the lens of a video game makes it sound insane - of course you wouldn't! I'm not saying that they should never have group sex or that it can't be done, but I think most people instinctively get how that would be a shitty thing to do in that context, especially without discussing it in depth beforehand and making sure you're both on the same page.

And this is the meat of the issue. Most gamers play good-aligned characters: there's a strong culture of wanting to play the hero and saving the day. But tied into that cultural monomyth, in society itself, is the idea that sex is a reward at the end. You get sex at the end of the romance arc. The date where you have sex is one of many milestones, and you're not really dating if you haven't done it yet. Some people don't have sex until their wedding night. Threesome scenes especially are a video game classic: old-school God of War, for instance, had a hidden room in every game with scantily-clad women just waiting for you to button-mash away, a little treat for the player's keen puzzle-solving abilities.

Not all romances in BG3 have sex or end with sex, (some even start with sex), but that is because BG3's character writing tries to ground itself in reality despite being a medium people utilize for fantasy. Role-playing a "good" character is mostly easy: you typically know which dialogue choice is the ethical choice, can chide Astarion for being racist, can save the numerous children with moral ease - and BG3 rewards this: a good playthrough is more fleshed out, because you haven't killed off half the cast. You get better gear. You have more allies, better allies. You know what to do.

Or, well, mostly. BG3 is kind of special imo because even the good choices have a lot of nuance, where two people can make different choices but still feel like they both picked the most ethical one. Take Shadowheart's parents, for example: they beg for her to let them go so they can die and save their daughter. Saving them leaves Shadowheart in Shar's clutches - she will experience pain for the rest of her life, but regains her parents, and with luck, Selûne will claim her soul when she dies. Kill them, and Shadowheart is free - truly free, to live her life on her own terms, free from Shar and Selûne both. Both can be the ethical choice, depending on your morals.

"But if Astarion didn't want to have the threesome, the game should have let me stop midway through/made it clearer that this would happen. He said no before Cazador - why couldn't he say no again? Why would Larian put me in this position and make me feel bad when I thought everything was alright? I wanted to be good and have fun, not feel like I pressured my boyfriend." - Strawman G3.

Because BG3 treats it's characters like people. Multiple companions make choices outside of what the player character decides for them - Shadowheart's decision to save or kill her parents, kill or save the Nightsong, or Gale, to go for the crown or not depend on what events they are there to witness personally, or can be informed by conversations you have in camp about unrelated issues. You can fully let them make their own decisions and be surprised each time as they develop into different people with each successive playthrough. A lot of people are surprised when Gale goes for the Crown of Karsus without their input. In my last multiplayer playthrough, we could not prevent Shadowheart from wanting to kill the Nightsong, and so we were forced to kill her.

Astarion is not like that. The way he talks about Ascension changes depending on your relationship. If you're merely friends, he acknowledges it's probably a bad idea, even, in direct contrast to the somewhat obsessive and frightening way he pursues it in a romantic relationship. But Astarion can't decide what to do at the end: he has no hidden point system, no hidden flags - he will always pursue Ascension even if he knows it's a bad idea, because Astarion does not trust himself, has no experience trusting himself, and needs help. As counter-intuitive as it may sound, he needs support to make his own decisions, because in that moment, he cannot be objective.

(If Astarion is ever objective is another story....)

So much of Astarion's reactions and opinions are instinctive and unthinking. "Don't let the pixie out of the lantern, are you an idiot?" -> "A pixie! And honest-to-goodness pixie! *giggles*"

"We don't need a urchin hanging around." -> Astarion approves if you help Yenna

etc. etc. etc. There's so many times he says one thing, the cruel thing, the "fuck everyone else, I've got mine"-thing, and then approves when you do the good thing. Astarion does not live in line with his values (besides pursuing a growing need for freedom) and he frankly does not really know what his values even are.

Astarion doesn't react with glee to finding all the people he seduced - who inadvertently raped him, though they didn't know, some lowlifes and scoundrels and people having a bad day and even some sweet, naive virgins like Sebastian, who took that smoking hot Elf on his word and followed him home, probably in disbelief someone so gorgeous would pay them any attention at all - tortured and locked in a dungeon underground. He's crushed by guilt. He's in pain. Astarion delights in you causing others pain (the torture scene) because it aligns with his worldview, the joy of seeing someone else suffer for once. But he's not a cold-hearted murderer. (And yes, I am differentiating between "adventurer kills a bandit" murder and "deliberately killing someone you know for reasons/no reason" murder.) He doesn't hurt anyone in camp - Shadowheart and Lae'zel are far more dangerous than him. You never have to stop him from drinking anyone else to death. Even if you never feed him again, never use his bite attack, he never bites anyone in camp. Despite being a vampire, Astarion is, effectively, harmless. (Bite night was about checking whether or not Cazador's old command's still worked. It's his first real attempt at freedom, proving to himself that he's free from compulsion. Hence why the roll to get him to stop is a 5, giving you a 75% likelihood of succeeding. He doesn't actually want to kill you. And you get two chances!!!)

Astarion doesn't enjoy death for the sake of death. He's terrified if you side with the goblins and kill the tieflings despite goading you into doing it. I don't doubt that he could hurt others (god knows he's got enough feelings to work out that way), but there's a significant difference between a little knife play and condemning thousands of people to be tortured in the Hells for all eternity. Sacrificing his siblings is different, because they, like him, are guilty, and deserve their deaths. He agrees to sacrifice his fellow spawn as an act of self hatred, of self harm. But all those other people stupid enough to want to sleep with him? Given a day to think about it, I think Astarion would agree that that's not right - and that's why he thanks you for preventing his Ascension. That much murder isn't him. He can be thoughtless, cruel, and unkind, but Astarion isn't a psychopath.

Take him to the brothel, and slipping back into that role, the seductive rake, it as easy as breathing. I don't think Astarion has ever thought about if he's the type of person to enjoy group sex, or even if he wants it. I don't doubt that Astarion enjoys sex, that he wants to have sex (he is, after all that, still shockingly horny), but he's just discovered the idea of having sex with someone he loves. He's riding that high. Of course he says yes: not only is he a different man now (he's free!), it's something he's done a thousand times already - maybe it'll be different this time, maybe something has changed - or maybe, an orgy was on offer, so of course Astarion is there. It's his purpose. He's been doing it for 200 years. Where else would he be?

What I'm saying is that Astarion didn't think about what sleeping with the drow twins meant for your relationship, or how he would feel about it at all. He just went for it. He had a bad time. You then don't discuss it because that would mean admitting that he finally made a choice by himself and it backfired. He didn't think, or maybe he did, and it turns out he just doesn't know himself. Why discuss it? A relationship with G3 apparently means group sex. They probably asked twice. They backtracked all the way to Wyrm's Crossing post-Cazador. Will they ask again? How many times can he say no?

In reality, in the real world, the act of asking can be the problem in and of itself. If your significant other/spouse/lover asks you to do something you don't want to do, be it a threesome, anal, opening the relationship etc, these actions have consequences. The act of asking doesn't happen in a vacuum like it does in video games: there is a cost associated with it, a gamble, and while it may pay off, it may not. Some people get worn down and agree to things they don't want to do. Sometimes you break up because the act of asking is so inherently disrespectful you can't reconcile your differing wants and needs. If you're dating someone who has experienced the gut-wrenching pain of being cheated on, you don't ask 2 months into a new relationship if you can fuck other people. This should not come as a surprise to you, to G3, to anyone. It's common sense.

BG3 giving you the opportunity for a foursome with Astarion not only to give the player their hot'n'spicy sex scene (then playfully bops you on the nose by making it a fade-to-black, you naughty little perverts, you), but also to continue its theme of treating the player like a mature adult, who is dealing with other mature adults, and who can and should live with the consequences of their own actions. Subsequent patches have watered this down, I admit, but I do believe that that was the ethos guiding their work from the beginning. BG3 wants you to interact with the characters like people. If you roll over and tell them what they want to hear, you will Ascend Astarion, and he'll enslave you in turn. If you agree with Gale on everything, he will kill himself and you - or, he'll become a god, becoming the exact sort of god he used to rail against. Agree with Karlach, and she will rather die than go back to the Hells. You get my point.

"But Larian could have let me check in on Astarion midway through. Maybe it was a mistake to ask, but they should have let me check on him and stop it all if he wanted. I was trying to trust him to make his own decisions." - Strawman G3

Ok. We add a dialogue option. "Astarion, love, are you alright? We can stop at any time if you want."

Astarion disapproves (-5)

He's not backing out. Thank you for asking, darling, but fuck off. (I don't think he'd actually say fuck off but the implicit message would be there. I can't see Astarion stopping midway through, nor appreciating you doubting him. Nothing changes.)

"But I still feel bad." - Strawman G3

And I completely understand that. It's a video game. Don't worry! Of course you should get your sex scene - it's a reward! You got their approval high enough! You have enough charisma points! In DA:O, you can also have an orgy, unlocked by giving your companions enough gifts! It's a game! You have enough points, you get the thing!!! You killed Cazador - you win! Have your cake and eat it too! Congrats, you unlocked your hot slutty vampire elf who's basically a trained courtesan, who needs you to be his moral compass, who will never leave you so long as you don't actively rape him - enjoy all the fun orgies in your future!

Your actual choice - the choice the game gives you - is to realize that taking what's essentially a human trafficking victim to a brothel is a dumb idea, but they didn't want to punish you for it.

"Well, Astarion should have said something then. He said no before, he can say no again." - Strawman G3

If you go through life pushing peoples boundaries and expect them to verbally tell you what you're doing wrong, you're gonna be friendless and have a bad time. This ties back to both Astarion having difficulty knowing and defending his own values, BG3 trying to let you make your own decisions without setting out a clear "good or bad" path on occasion, and the hope that you'd use your own morals to make decisions. G3 would never behave in this way irl, and that's where the shock comes from, the guilt from committing an action they thought was without consequence in a risk-free fantasy scenario, and then feeling unpleasantly surprised when called out.

But it's a video game, and you didn't get the little zap, the little sting of an Astarion disapproves in the corner that told you you made the wrong choice. In fact, because he doesn't disapprove, it's not actually the wrong choice!

It really was mean how the Narrator made G3 feel bad, wasn't it. They didn't mean to hurt him. Astarion doesn't mention it, so it's probably fine.

... have you talked to Halsin yet? Surely he had a good time. Right?

CONCLUSION

People think they're good and moral and will typically behave "heroically" in video games. Games support this and reward players for doing so. The "good path" is expected to be clear. However, video games are not real life no matter how much they play at immersion, and multiple games have trained players in a linear "do x, receive y" type fashion. Sex is a reward in games, and is treated that way in real life as well, so players expect the Sharess' orgy scene to be a reward, and are then shocked when Astarion/Gale/Halsin etc reveal during or afterwards that they had a bad time. This is because Larian wants you to treat BG3 like a role playing game and interact with it seriously, and isn't afraid to boop you for your actions in ways that mimic real life relationships. This ethical dissonance makes people uncomfortable especially when they play games to role-play as someone better than themselves, and are surprised when they aren't herded down predetermined "good" paths via instantaneous approval/disapproval mechanics or unlockable "ideal" dialogue.

It is absolutely possible that someday Astarion might be into meaningless group sex with prostitutes for fun and pleasure. However, that is the sort of thing you'd probably either wait for him to bring up by himself organically, or discuss in a long-term trusting relationship after he's had potentially years to process the idea of not immediately hopping into bed with someone, as well as disentangling his instinctive "beaten-in" sexually available behavior from his actual desires. People much more emotionally mature and undamaged than Astarion have destroyed their own relationships by inadvertently pushing a partner (or themselves) into various forms of group sex or other sexual acts. It's not something you do on a random Tuesday on a whim.

Or maybe it is, and I'm just chronically boring and surrounded by boring people lmao

TO THE POSTER THAT INSPIRED THIS: I'm so so sorry if you ever see this, not trying to call you out at all hence no linking, I just wanted to pick apart why I think you felt that way. The thoughts just finally bubbled over after a year+ lol

[zahri-melitor]

Finished Batman: The Knight.

Oh my god is this a good comic. It very much reminded me that Zdarsky and I are on very similar wavelengths in terms of what we look for in a story. This felt like, no joke, someone had picked my brain of what I expected to see and had envisioned existed during the events of Bruce's training quest, and presented it to me on a platter, divided between 9 separate masters, each chosen and elaborated out of various hints and suggestions over the years.

It wasn't perfect; some of these mentors and masters were in effect standing in as a summary of multiple known characters with these skillsets, while others altered and shifted earlier versions of this history to fit better. But it made for a coherent update, and cleaned up a lot of pre-Crisis and early post-Crisis conception of this period that no longer fitted together as neatly, and sorted out the timings, and made it make sense.

For instance, we know there are multiple single blow techniques, from various secret masters. Shiva knows most if not all of them, and we know of several different masters and traditions who have them (O-Sensei, Richard Dragon and Ben Turner: the Leopard Blow; Legless Master: the Whispering Hand; Master Kirigi: the Vibrating Palm Strike). Shiva also knows The Scapel, The Wind Through the Reeds, The Lion's Paw, Wave and Shore, and the Skullcrack.

But Bruce doesn't need to learn all of those in the course of this story. He needs to learn one, as a representation of that period of his education. And so Master Kirigi got pulled forward to be the representative of the set.

We got more Henri Ducard, and a Ducard that was back to his pre-Flashpoint version. We had Giovanni Zatara and Zatanna. We had Lucie as a stand in for Selina's teachers. We actually got two teachers in the realms of 'stupid shit Bruce has done to his brain': but in this case we got to offset Hugo Strange (who could not trick Bruce, and who must always fundamentally know who Bruce is even as nobody believes him) with Daniel Captio, who is allowed to train Bruce in weird mental techniques and stands in for everyone else (Professor Milo. Dr Hurt. Whoever convinced him to do the Thögal Ritual. Etc etc)

It was elegant. And I don't think it needed any more of Ra's and Talia in it than it had; indeed what we got was a tight compression of some Denny O'Neil and some Mike Barr Ra's story themes into the underlying fundamental origin of the relationship, but not a full discussion of all its features. There are so many more stories out there further elaborating on their many conflicts.

Also Zdarsky does love Tim so much and had fun with parallels and I laughed several times in issue 10 because apparently we were playing Like Father Like Son. Love some good family theming going on in Al Ghul conflict.

It's just been such a while since I had the experience of sitting down and reading a story that in many ways felt like something I had already believed, but had never seen spelled out, and knew that how I wanted it to go in my head contradicted some known comics beats. This smoothed those contradictions out and gave me how I had wanted to conceptualise all of this.

[plum-pitt]

X-Men Origins Rewrite

Ok I guess this is a follow up to this post i made not too long ago abt rewriting this shit, the brainworms rlly got to me here so you’re getting a follow up sooner than expected lol

Before I actually do any rewriting though I wanted to lay out the big changes I’d be making and why, mainly for myself as a guide and to organize my thoughts both about the original film’s issues and how these changes could potentially solve them, but also to allow anyone else with some ideas for possible changes to add their own thoughts or suggestions by engaging with the post.

As for what kind of final product you could possibly expect these ideas to result in, i haven’t quite decided if I want to just do an in depth outline for the story with my proposed changes or do like a full length fic novelization. It’ll probably depend on how motivated I still feel about the exercise by the time I’m finished and happy with the cleaned up outline, but I digress. Lets just go ahead and get into the changes I want to make:

Proposed Changes:

First off, I’m removing Blob and Gambit from this cut. I like both of the characters and think it’s cool they tried to include them but the cast is crammed enough as it is and those two serve very little narrative purpose that can’t be shifted to others just as easily.

Second, I’m adding Silverfox to Team X and letting that serve as the meeting point for her and Logan, it gives the audience more time to get to know her and come to care for her and Logan’s relationship, while also harkening back to the comics where she was also a part of the weapon x program. Also I know this isn’t a real film but let it be known that if it were i’d actually hire a Native American actress to portray her, i’m still shitty they whitewashed her.

Third, I’m removing the third act “Silverfox wasn’t really dead” twist. I really shouldn’t have to explain why, that shit was dumb and completely unnecessary, not to mention introducing a shit ton of plot holes with that whack ass mutant ability they pull from thin air. In my version she’s human(as far as we know) and when she dies she dies for real, full stop.

Fourth, we are GETTING a biblically accurate Deadpool. They did my bro dirty and I refuse to compromise on this. His role will be larger to compensate for his big ass personality and the fact that i’m affectively letting him take up Gambit’s role from the original in addition to what he already had. Also I just think he bounces off of Logan really well and could serve as a really interesting parallel with having such similar trauma and very different ways of responding to it and seeing the world. Like just imagine D&W if they accidentally traumabonded over their similar origin stories.

Fifth, I’m making Victor our stand in for the films Weapon XI! He doesnt get adamantium or new powers like Wade, only the dehumanizing psychological torture present in the original Weapon X comic. I think it works great for his spiraling arc, gives me a chance to squeeze a faithful weapon X adaptation in here without upending the entire film’s structure, and helps to better position his character on a trajectory towards his more feral appearance in X1 where he doesn’t seem to fully recognize Logan.

Sixth, I’d like to include Dr. Cornelius as the head scientist in Weapon X. My current concept is that he’s in charge of all the unethical mutant capturing and experimenting, working under Stryker’s supervision but still an outsider to the government, being sent in by Stryker’s most significant source of funding for his program in Nathaniel Essex. I know this has zero basis in canon I just think it sounds cool and makes sense for Sinister to have hands in a program aiming to create perfect mutant soldiers, as someone using mutants DNA to create a genetically perfect race of superhumans and become the ultimate life form. (Sinister would not play a large role, more of a looming presence pulling strings and fucking people over)

To get more overarching here, I wanted to hone in on the dynamics and themes present in the original that i thought had the most potential for further development. Victor’s spiral to madness and eventual complete loss of self under Stryker, Logan learning to let go of Victor’s influence and the violence that he let define his life only for both to drag him back after Silverfox’s demise. Really digging into that nature vs nurture shit, and adding more mutant politics (and their accompanying metaphors for the struggles of marginalized people) cuz honestly i feel like it’s absence in the original is very noticeable, and ties in really well with Logan’s arc of self acceptance and learning to see himself as more than the violent nature of his mutation.

Stuff I Still Want Changed:

Ok so here’s where I’m throwing my hat out for suggestions, because there are still a couple minor things present in the movie that i’m just not a fan of or don’t really know what to do with. The difference is, with these I can’t really think of tweaks that could fix/improve them. So if yall have any ideas on what I can do about these, or maybe some completely unrelated changes that you just think could improve the rewrite, please let me know.

One, not really sure what to do with Zero, he’s around for a lot of the movie but didn’t really stand out much to me. I just don’t know a lot about the character or what his deal is in the comics to find something cool to do with him. I’m going back and forth on if his role is ultimately necessary?? Does Stryker really need another henchman? Or should I use the space he occupies to hone in more on Victor and Logan’s rivalry? Idk i’m still on the fence so tell me what yall think.

Two, god I just fucking hate those memory wiping adamantium bullets. It’s such a stupid plot device that makes no sense conceptually and was clearly just thrown in as an afterthought at the last second like the writers forgot they needed to erase his memory by the end. That’s not to mention the fact that the bullets’ function was retconned later in Logan. Genuinely though I cannot find another way to go about fucking up Logan’s head without basically upending the structure of this movie in its entirety so any ideas on how to solve this dilemma are appreciated.

[lets-try-some-writing]

Help, I am getting stuck in this cycles over and over without actually finish any story that I want to write.

I get ideas or AU that make me interested to write -> realising that i need to lay down some setting or background to make story worked, so I started plotting -> executive dysfunction/ procrastination kicking in because I have trouble of putting ideas in my head into paper and due ‘perfectionism complex’ I get boggled by detail -> I stared at empty document for several day -> I lost interest and motivation in writing for several day/week -> cycle started over again.

I can’t exactly force myself to write because it will extend the period of “I stared at an empty document for several day -> I lost interest and motivation in writing for several day/week” to months. Any suggestion how to deal with this cycle?

I do actually have some suggestions! I have several, in fact.

One: If you are suffering from creative burnout after being overwhelmed, try just giving it a break. I know this is the simplest option, but seriously, step back and engage with some new media for a few minutes. You may get ideas, or at any rate, your mind will have the chance to unwind for a bit. And do know, that sometimes some things do just have to cook. I've left fics for months at a time and come back with a banger chapter after letting it be and getting my mind sorted out for a while first. If you really love it, you'll be back eventually.

Two: Play into that need to make it right by hyperfixating on ONE aspect of the thing you are working on. It may sound counter productive, but I've found that by bunkering down with one specific detail or plot piece or even bits of the lore, it can actually help spiral out into other subjects that need to be addressed. Like, while working on lore for an au, it can get really overwhelming to think about ALL of the world. So instead, I'll pick one character, one time period, one plot point. Then, I'll expand on that one thing until it starts to tie in with other points. From there, I'll just move from point to point, connecting the pieces of the web. Here's an example:

Premise > supporting premise > supporting premise > tie in lore.

Starscream is Winglord of Vos > He was forced into the position and separated from his brothers > He is a brilliant leader but bitter because of his role > He joined up with Megatron after Vos burned in a need for revenge.

Once you hit the tie in lore, you can swap focus to begin working on the other character or subject. This will help you tie everything together in a cohesive manner (at least it helps me). Being able to make everything connect up may fight that feeling of being overwhelmed.

Three: Talk to someone about it. I cannot stress enough how brilliant some of my friends have been in helping me refine a concept. Find a willing victim Friend, and tell them about your concept. Let them give you feedback and ideas. The more fun you both have, the better. More thoughts and ideas will give you more to play with. And if nothing else, even if you don't continue with the idea, you won't feel quite as defeated because you got to talk about it.

[pilots-and-protons]

Niche Hot Take

If you’ve watched Voyager and are making a poll about Tom Paris in any way relating to him being:

1: A good or bad Person/Character

2: A good or bad Father/Husband

I think you shouldn’t be using photos of him from “Caretaker”. The man we see in the pilot episode is at the very beginning of a long character growth. He’s at his lowest, and certainly not the Tom Paris who learned and grew enough to become a loyal friend, loving husband, and someone looking forward to being a father. 

I just feel like using Season 1 photos of Tom seems like it’s going to intentionally bias people towards remembering/thinking of him badly.

I mean come on, this:

And this:

Have completely different vibes. At least play the middle ground and go for a photo from Season 3 or 4. It would be like if someone only ever used Season 1 baby-faced photos of Riker. It just feels like looking at something half-baked.

and if you’re gonna put Tom in the DILF bracket, should’ve at least picked a photo from “Threshold” or Season 7 since that’s when he's actually a father.

[yellowocaballero]

Omg hi Ms. Yellow Caballero big fan of your work <3 For real though, I'm really excited that your sharing the Weekenders, it was a joy to read and I'm bongocat-ing now that others also get the privilege to read it as well.

Referencing your tags, would you please elaborate of ableism in fandom and, like you said, how fandom treats characters with unpalatable disabilities?

Hi Ms. Bud Lite I'm a big fan of you <3

TL;DR A fear of writing characters of highly marginalized identities shields you from criticism and discomfort, but it's actively stigmatizing to people of these identities and as a writer you really need to get over yourself and write The Icky People.

I guess I'll come out swinging on this one and say that fandom doesn't like severe mental illness. (As a note, when I say severe mental illness (SMI) I mean illnesses such as psychotic disorders, bipolar disorder, substance use disorders, personality disorders, etc)

Obviously, nobody likes people w/SMI. It's just insanely egregious in fandom to me, since fanfic writers absolutely love writing characters or HC characters with depression, anxiety, or a specific variety of PTSD That Isn't Scary. People actively reject any character HCs for a SMI. When people write a character with SMI, they nicely downplay it, ignore it, substitute it for a disorder they like better, or rewrite it. It's completely untolerated, in both headcanons and in fanfiction, and every time I bring it up I always get the most interesting reasons why somebody couldn't possibly acknowledge a character's SMI in their writing. I've heard all of these:

"I don't know enough about the disorder to write it accurately." Do research.

"I'm not X, so I can't really depict it." You probably aren't a cis white man, but you depict those guys just fine.

"It feels insulting to the character." There is no shame in having a SMI.

"I can't understand what it's like, so it's better to be cautious and avoid giving characters stigmatized identities." There are LOTS of experiences that you'll never understand because you've never had them - you just don't want to write anything you're uncomfortable with. People with SMI make you uncomfortable, and you don't want to write anything that makes you feel uncomfortable, or think of a comfort character in an uncomfortable way. SMIs are marginalized differently than solely depression/anxiety/The Nice PTSD, and by refusing to write them you're actively contributing to the stigma.

I think (?) I've spoken in the past about how I believe that the rigorous external and internal policing of writing people of marginalized identities is actively harmful towards efforts to increase diversity of experience and background in fiction. A lot of fanfiction writers are just terrified to write people who they can't directly relate with, because they're worried 'they'll get it wrong' and be Big Cancelled. I think this is negative enough when it prevents people from going outside of their comfort zone, but on a macro level I think this results in people refusing to write characters of marginalized identities as all. It's an insidious thought process, and it's reflected in people's unwillingness to diversity their writing or acknowledge canon diversity.

'Well, I don't understand what it's like to be Black, so I don't want to write Black people'. 'I want to project on this character, so I only want to write them with mental illnesses and identities I have'. 'If I write a marginalized character incorrectly people will yell at me, so I won't write a marginalized character who's marginalized differently than me at all'. Can you imagine writing a lesbian character with a boyfriend because 'you feel uncomfortable writing lesbian experiences'? It's blatantly homophobic. But people do that with disability and race/ethnicity ALL THE TIME.

People with SMI notice that you feel uncomfortable with them. It's obvious. They notice when a character has a SMI + anxiety, and you only write their anxiety. They notice when a character displays symptoms of a SMI in canon, but you write it out. And POC notice when the characters of color are written out. I know we all like to project on the blorbos and relate to them, and in the joys of your own head do whatever, but as a writer if you only stick to identities you're comfortable with you are actively being a worse writer. Which to me is the REAL sin lmfao.

[solradguy]

I started writing a t4t4c Sol/Jackie/Axl fic today (~1500 words). Haven't gotten to the Axl part yet, so it's just t4t right now still. They're at an amusement park and Jack-O' brought nefarious supplies

[angrybatart]

Someone needs a Rev Up.

[waywardsalt]

with my phantom hourglass replay, there are two things i noticed;

a possible theme you could glean from the game is action vs inaction, and i think it's especially prevalent before you even leave mercay the first time, with oshus frequently urging link to not go after the ghost ship, then to just wait until the broken bridge is fixed, and seems reluctant at every turn while link and ciela are more than eager to go and do something about this problem, and the people of mercay in general talking about things and their problems but never seeming to act on their fears or desires, as well as the mention that due to the ghost ship, very very few people are still sailing around, while linebeck is one of the only people we see in the game actively going after the ghost ship and still sailing around. i might make a longer post just talking more about the action vs inaction in phantom hourglass but i just noticed it a bit and thought it was a bit of an interesting sort of theme you could find in the game.

linebeck moves so fucking much. i think he moves more than any npc in the rest of the game. not just in his intro cutscene where he is very animated, just in how much he moves when just standing in his little idle post, it's damn near distracting when the camera is focused on him, he moves a lot. i don't think i've really acknowledged how much he moves, and it really gives the impression that he's antsy or eager to get going, both of which fit him pretty well with how he acts.