#and two the core of my issues isn't that I'm not going out

[psychedelic-ink]

I'm so conflicted because, on one hand, I want to see my therapist and just talk without having the feeling that I need to shut up and not talk about what I'm feeling

On the other hand, it's so expensive and I feel like seeing her isn't really helping me anymore

[eggyrocks]

calloused hands-t. kuroo smau

divider credits to roseraris

𖦹his hands are worn from years of volleyball. her’s are worn from years of playing guitar 𖦹

main masterlist

status: completed, but i reserve the right to post bonus content at random

tags: kuroo x f!reader, one sided enemies to lovers, serendipity, university au, reader is a musician in an indie punk band

warnings: language, alcohol use, violence, adult themes, mommy issues im giving yn mommy issues forgot to mention that, grammatical mistakes probably, everyone probably will be out of character, please note warnings may change as story progresses, and to check each chapter for individual warnings

minors dni

taglist: closed

each part is named after the song i listened to while making it

playlist one playlist two

introductions: the band | the team

track one: dumb fucks track two: hair of dog track three: monkey jaw track four: hooked fish [✐] track five: magnet track six: the the empty track seven: heaven track eight: bag of worms track nine: all i think about now track ten: rigid track eleven: the shadow baby track twelve: waiting so long [✐] track thirteen: trace me onto you track fourteen: enumerating track fifteen: kute track sixteen: drunk voicemail [✐] track seventeen: all this love [✐] track eighteen: cream of gold track nineteen: liar's love [✐] track twenty: kill me track twenty-one: anything [✐] track twenty-two: just like heaven [✐]

bonus content: band lore nishinoya + hinata lore mommy issues lore tanaka + kiyoko lore bloody nose (extra chapter)

yn style guide

daily click for palestine 🇵🇸

moodboard/description on calloused hands from @causenessus

"inner child healing, DEF vintage core, lowkey 10 things i hate about you "do you like the girl? is she worth all this trouble? either she is or she isn't" type beat in my very humble opinion. big grunge vibes. throwing rocks out your window. sneaking out of the house. the kind of couple to pack their bags and run away from home together/just leave everything behind to start a new life. definitely a kind of looks like they could kill you and would kill you (yn) and looks like they could kill you but won't (bc he's kuroo i'm in love with my girlfriend and everything i have is her's and i will only fight for her tetsuro). cigarettes after sex (sunsetz) for sure and CURRENT JOYS (honorable song mentions: kids, new flesh, my motorcycle, you broke my heart). ALSO ALSO other really specific kind of references they give me lockwood and lucy (lockwood and co.) vibes except for y/n is lockwood with her kind of i'm not living for anything vibes before kuroo comes into her life I HOPE SOMEONE GETS THIS. OR they're nico and libby "you're a fire hazard. stop apologizing for the damage and just let the fucker burn" (which i interpret as "i'm going to love you no matter what. just be yourself") nico and libby (atlas six) kind of dynamic I DON'T KNOW"

[witchygod]

Thinking about Kenji Sato Flanderization

I think certain scene with Kenji certainly stood out out about Kenji for fans, particularly the "do my own thing" and "I know it's been a long year but you got me now" scenes and I've noticed a trend where Kenji is characterized as well honestly a bit of an asshole, sometimes to an unlikable degree so let's talk about it.

I also think these scenes have paid into some instances of flanderization of Kenji's character. Yes he's a bit arrogant and witty but he's not as egotistical as everyone thinks- he's certainly not as RUDE as everyone seems to perceive him though he does have a temper. It should be noted his temper only seems to come through when he's extremely stressed or on the field- in conflict. He's very graceful in how he handles Ami's questions as wel. He only gets snarky with his coach because his coach approached him first with abundant hostility which I'm gonna be real- not the kind of behavior that is ideal, one could argue he was trying to weigh Kenji's value but with the context of Kenji being a world series player in America this is value as an athlete that should be proven already, if he's concerned about Kenji's arrogance that'd be another thing and while that's certainly AN issue but he admits it plainly what it is 'this is Japanese baseball not American' and Kenji responding to that with a bit of disrespect is extremely fair- and coming from his coach it very much paints the tone of how he's gonna be interacting with his teammates.

A large part of Kenji's rudeness is a direct result of hostility or an active defense from either invasive questions perceived attacks on how 'japanese he is'. This is not a subtle sub theme of his character mind you- he straight up admits to Ami that the reason he 'doesnt give a shit' is because he had to learn to because he was always being judged for being Japanese in America.

Let's not get it wrong though- Kenji is arrogant and egotistical because seriously who gives out their autograph without being prompted. These are some traits, but he's not entirely up his own ass, and he's not rude (Mama Sato raised a very good boy... Ultradad helped too) . Aside from when he was pissy with her for asking some extremely personal questions off the back at a press event- Kenji is extremely respectful of Ami, he makes sure to remember the reporters by their names not publicist and while he's not humble he's very sociable. Hell he's even polite talking to the Kaiju- actively taking a gentler tone of voice with Gigantron despite his frustrations (and increasing panic over the fact the KDF is going to kill her and he can't figure out how to stop it)- he's snarky with Mina but even then he isn't entirely dismissive of her, honestly he treats an AI more like family than a servant which is a big difference in attitude than most egotistical superheroes with ai companions.

Kenji is not the sort to be a womanizer hell he doesn't even seem the sort to attend parties unless he's forced to, it's pretty clear he's a bit of a loner- this is evident as much as there is never a mention to him missing his teammates in America and the fact the only person he has to talk to in Japan aside from his father is an acquaintance he's not even certain won't publish his personal conversations with. (She won't because she's a fucking professional with ethics which is also the reason that she's not a love interest God bless I love you Ami💕) He's overwhelmed by relearning how to fit in to Japan, dealing with the xenophobia,adjusting to the new culture of baseball become Ultraman deal with his daddy issues and mourning the disappearance of his mother- all things that heavily influence his attitude and a lot of times seem to be overlooked by people.

We take away one or two of those stressors Kenji goes from snarky and arrogant to a whole lot more sociable and pleasant. He's at his core a sensitive and confident individual who's just really passionate about baseball. He's kind enjoys teaching others about his special interest and is charismatic and bold despite being prone to holding people at arms length. Which is fair because he has a lot of dangerous secrets.

In short Kenji Sato is just a Mama's boy girl(jk)

In short Kenji Sato is a pretty complex character who suffers from a decent amount of emotional constipation and just straight up having no friends. He's respectful and kind and a bit sensitive which can make him seem pretty temperamental and he's prone to pushing people away at the first sign of hostility or when they overstep his boundaries. He's extremely stressed throughout the movie and adjusting to a lot of NEW, and the KDF/Kaiju trying to get chunks out of him and the pretty blatant xenophobia from the baseball scene (ill justified by him playing badly :/) doesn't help.

I also didn't mention much of his reluctance to being a hero and his irresponsibility to the role initially I realized and I think that should be its own subject because what's going on there is less a personality thing and more.... Directly correspondent to his relationship with his father, and the fact he was GROSSLY unprepared for the role. But I do want to note that his sense of responsibility is a lot stronger than people think because it doesn't really take a lot to convince him to do the right thing after Nobiranga's death. If he was still prone to inaction after this event I'd chalk it up to a personality defect but no he's pretty quick to make more of an effort as Ultraman after this, he saw the consequences of his actions and while he's gonna whine about it he does what he has to.

I may also go on a Rant Rant later about his coach and how the next movie really needs to try to save his character because he's shit at his job....

[richardsgraysons]

Heyyy…. May i request a wife reader x dick grayson… she is mad at him and is giving him a silent treatment, but he is so done with this that he starts annoying her by saying Mrs. Grayson after every sentense and closing tightly lids

anon this is so adorable. i am going feral. also i am so severely sorry for my IA-ness.

tags — just overall fluff. some light swearing

In hindsight, you should've known that this would entail not just dating, but also marrying a vigilante. How could someone blame you, anyways? You were sitting at home, about to go to bed, when Nightwing crashed into your apartment after being chucked across the city by some villain or the other.

He had a major concussion. You didn't know how to treat thrown vigilantes who definitely had a couple of broken ribs and a torn ACL.

What you did know was how to comfort a man who was clearly in pain, who was trying to stifle his screams, because let's face it, the vigilante life should clearly not be glamorized.

He felt bad for the wreckage in your apartment. Every week, there'd be thousands of dollars at your doorstep from him, ready to pay it off. He had to be rich. There was no way he was giving your entire salary in four months and a half.

Eventually, you figured out his secret identity. And instead of being angry about it, Dick Grayson felt awfully in love with a girl who was as intelligent as he hoped she'd be. Sure she wasn't a supermodel, but she made him laugh. She made him think. She wasn't easy to get along with at times, but she made him better.

Three years later, he put a ring on it.

"I told you," you snapped, "you just keep going in stupid situations, and normally, I wouldn't mind, but it's like you refuse my help or anyone else's."

Dick knew he had a really bad hero complex. He couldn't stand anyone else getting hurt because of his issues. "I can handle it," he responded. "And isn't it just annoying that you've been mad at me for the past two days? Can't you just give it a rest?"

"I'll give it a rest when you start accepting help from others," you responded, your brows furrowing. "God, you're so—you're so—ugh!"

Dick rolled his eyes and then smirked at you, that stupid boyish smirk that made your heart tingle and everything else disappear. "I'm so what, sweetheart? What am I, Mrs. Grayson?"

You glared at him. "Dick!" You huffed, both saying his name and the insult. "That's it. I want a cooling down period. Leave me and the kitchen alone!"

He grinned, looking back at you, a mischievous glance in his eye. "Oh, I will, Mrs. Grayson. I will."

* * *

Making dinner was one of your forms of therapy. Dick was starting to go out for patrol, much to your distaste, no doubt about to pick a fight with someone who would give him considerable damage.

You didn't want him to go, you wanted to keep him here and kiss him forever, but he would leave anyways. It's my moral duty to the people of Bludhaven to keep them safe, he had said to you one night. I could never bring it to myself to disappoint these people. To make them unsafe. I'm going to do whatever I can to make sure people are as safe as can be.

And though you really disliked it, you knew that was one of the core reasons why you were so undoubtedly in love with him.

You turned around to grab the jar of pickles, still steaming from the fight, only to find that it was incredibly hard to open.

"What. The. Hell?" You hissed. You had opened it up just a day ago, and put it easily back, making sure it wasn't that hard.

Your face turned red and you looked at it again before trying to open it up, straining and groaning, only for your muscles to give out. There was only one explanation for this.

Your stupid, lovable, husband.

And after a few minutes of recollecting your pride, you stomped over to your bedroom where he was dressing. He was in the midst of putting the top half of his suit on, and your mouth turned a little dry when you saw him shirtless.

You were pretty sure that when the first time you saw him shirtless, literal heart eyes came out of your eyes. You gawked for a couple of seconds, admiring the contour of his muscles, only for him to turn around and smirk at you.

He knew what you were doing. Dammit.

"Hi, Mrs. Grayson," he teased. "Enjoying the view?"

"Shut up," you snapped, and held out the jar. "Open this up right now and stop screwing with my jars."

He smirked at you. "What's the magic word?"

"The magic word is 'I will beat you up if you don't open the jar up right now'," you responded, glaring at him. "Now. Open."

He laughed, tossing his head back, his voice echoing off the room before taking the jar. You watched intently as his triceps flexed when he opened the jar up with ease and returned it back.

"Thank you," you said, your voice having an edge to it. You were about to turn around before he grabbed you by the arm.

"What, no good luck kiss?" Dick asked huskily in your ear. It sent shivers down your spine.

"Even if I give you one, you'll still end up badly injured."

"C'mon," he murmured, planting a light kiss on your neck, his hands dancing on your waist. He squeezed your sides slightly. "I always fight better when my girl kisses me."

You looked up at him and snorted. "In your dreams," you responded, but he took this moment to crash his lips against you. You felt dizzy and couldn't help but to wrap your arms around his neck, pulling him closer.

When the both of you stopped, he laughed, looking at you breathless, his blue eyes twinkling in the night sky.

"Knew you couldn't be mad at me for that long, Mrs. Grayson."

"Shut up," you grumbled, punching his shoulder lightly. "Go save Bludhaven, Boy Wonder."

He stepped out the window and then turned back at him, smirking. "You know I am, sweetheart. And when I come back, I'm gonna finish what I started."

[aashiqeddiediaz]

you know, after watching day 3 of the democratic national convention, i need to say something, especially to other muslims like me.

most of the muslim communities that i'm a part of have chosen to vote uncommitted, or independent, or sometimes, even trump. they refuse to give their vote to kamala harris and tim walz, because of the way the us has handled the war in gaza, and how they have been careless with acknowledging palestinian lives lost, how it was american bombs and american tax money that went towards funding this genocide. it's fucked up, and it's wrong, and there shouldn't be any debate on that.

and i am 100% in support of that anger. i am 100% in support of forcing america to stop funding this genocide. no one wants to keep seeing palestinian lives suffer. no one is free until we're all free, and i believe that to my very core.

my only concern is that where this anger is being placed, from 1 year to 11 weeks before the presidential election, is so scary. because the reality of the situation is that america has a bipartisan outlook. whoever gets the presidency is either democrat or republican. and every vote that doesn't go towards democracy (i.e. voting for kamala harris) inadvertently goes towards trump's big plan of project 2025, which is basically dictatorship. Even voting uncommitted, even voting independent. we cannot afford to elect trump for a second term, and voting anything other than democrat draws that line way too close, especially in swing states like michigan, pennsylvania, wisconsin, georgia.

yes, there are many issues that we wish joe biden would handle better. there are many ways that the democratic party has fucked up beyond repair. there are many ways the democratic party has refused to acknowledge the pain of people affected by their military people throughout the years, and we've been seeing it for years. this is not a new thing. this did not start on october 7th. we see it during pretty much every administration.

however, voting for your candidate should never be based on a singular issue. no political candidate is ever going to check every single box. and its so unfortunate that we have to always take the "lesser of two evils" approach when nominating our president, but that's the reality of the situation at this very moment. there are many other rights to be considered that are at stake this election, all of which trump is trying to remove. abortion bans, women's rights, healthcare, social security, climate change, to name a few.

(and, somehow, there's a belief that trump will lead to a ceasefire deal where biden-harris didn't? let me tell you that is never going to happen.)

does this mean we just stop protesting or pressuring? absolutely not. you NEVER stop, because if our votes are the ones that put the candidate in their position of power, then we expect results. we expect them to work towards what they promised. and we can't let up on reaching out to our local county offices and our state governors and escalating these issues further until someone takes notice and does something about them. we don't elect them and just leave them to do what they want. we keep them accountable. use that anger i was talking about.

but it also means not having tunnel vision. the election in november could very well mean the end of democracy if kamala harris doesn't win. this post is not me all giggly-happy over the democratic party, because trust me, i have my fair share of issues with them as well. this post isn't to tell you what to do, because i can't force you to vote blue. i can't force the community i'm in to change their minds about toss-up votes. but what i can do is put down plainly what's at stake this election. and that is, very simply, our right to choose everything.

so if you are eligible to vote and haven't registered, please do. if you haven't voted before because "what's the point", please see above what the point is. a handful of votes is enough to flip the outcome of an election, especially with the electoral college.

and if you're still on the fence on whether to vote for kamala or trump, hopefully this post gives a little bit more perspective in the most streamlined way i could manage without bogging you down with statistics and numbers.

the choice is yours.

[sillygoosealert]

I was so hurt after (https://www.tumblr.com/sillygoosealert/757389587337412608/stuipid-fucking-slut-i-hate-you) 🥹🥹, can you do a part two where reader goes missing after he left her but found unconscious/dead because of a reason (you could come up with one! :D)

AND ALSO, UR WRITING IS SOO GOOD, +1 FOLLOWER >.<

-🍞 anon (I will try giving you good requests >:)

I promise I won't kill myself, death is not my last resort

haiiii :3 so I'm making this part two but honestly, I might end up deleting both of the stories because I was in a bad place when I wrote that 😓 also..besides the other anon's rotting in my inbox until I respond..ur my first anon !! yippy !!

Implied Rape. You die, talks of being unsafe and how it feels to be assaulted

Love is a gentle thing, as is the innocence you once had.

It wasn't a gradual fruition to see that being a woman would change the reality of everything for you. They warned you to steer clear of dark spots and secluded areas and always be aware. The things events that were organized and reenacted are nothing short of gender-based violence.

You understood why you and many others were constantly warned, but experiencing it was so different and vile, something you should never have gone through.

Today almost didn't end with you dead, but you didn't listen to the one thing that was looking out for you- you. That day, your gut instinct felt something was awry.

The morning was fine. You got a quick kiss on Sukuna's cheek before running off to your garden work.

The garden is split into sections. Working in them isn't an issue- except the one furthest from the estate. It's where you are most likely to get harassed by other servants as it is where most people turn a blind eye to.

Your body physically would not go near it today, you just couldn't.

Maybe it's the black crow you saw out of the corner of your eye or the sinking feeling you got whenever you looked over in its direction, but you couldn't shake the uncanny feeling it was giving you.

But as a mouse gets caught in a mouse trap, you are lured into the back part of the garden when something that resembles a doe is staring right at you. Not wanting to pass up the chance to see something so pure so up close, you walk to it.

But as you walk towards the feeble deer, and it walks further and further into the now forest, you question if you really saw anything at all.

When the doe is no longer in sight, you think about how you got here. Is it too late to turn back? I don't want this anymore.

You don't get the chance to turn back, as a pair of hands are roughly groping you from behind.

What happened in the woods wasn't your fault. You were lured to the spot in the first place. Then, when you wanted out, the exit was no longer there.

It wasn't your fault.

When you don't show up to clean the garden, that one thing.

But your body was found before dinner, where the forest meets the garden, disrespected in horrendous ways.

When you mentioned the concern that you were being targeted by other peers, he recognized the validity of your perspective.

He knew you were being harassed, but to accept it was something he couldn't do.

It would mean several things to take action - the most significant being that you had a major influence on how he chose to address the situation.

The other is over half of the people working for him would be slaughtered if he honestly wanted you safe. That type of fear egged him on usually, with him being your savior at the end of the day.

Knowing the nature of these situations, something would have to be addressed sooner or later.

He was scared indigo at the thought of making that type of commitment to someone, but he wanted to for you.

The thought of death didn't scare him. He would tell death himself he wasn't afraid to die. However, the idea of you being beaten nearly to death, only to bleed out and perish, shook him to his core. This was something no amount of strength or intimidation could undo.

He doesn't find out about...your passing until he requests to see you after dinner.

The feeling that washes over him is indifferent, he doesn't know what he wants anymore, but he knows that he wants you back.

He will never know how the world could keep spinning after you were ripped away from his grasp, it should have been the end of the world.

You didn't want to die, you shouldn't have died.

That shouldn't have happened to you, you didn't deserve it.

Death is a pathic escape, I will not kill myself- not for my loved ones, but for me.

Songs referenced: Velvet Ring, The End of The World, N64, My Body's Made of Crushed Little Stars, Crack Baby, Anything.

[naamahdarling]

Two days ago and I was comfortable enough that this was the right choice that I was able to make the call to have Smooch put to sleep. I am sure now. I wish I weren't. It hurts to see him like this. The vet is out or I would move it forward. We could do the emergency vet but I literally do not think I could do it without our vet and my favorite nurse. That feels selfish but when she answered the phone yesterday the comfort was... astonishing.

I'm trying to prepare. I've been waiting for this for a long time, which is why it's bearable at all. I have entertainment, I have an art project to memorialize him ready to go for whenever I feel like it. I have plans to make a couple of keepsakes. But there's going to be a hole in my life so much bigger than his frail little body. It's the end of part of me. He has been there in my future for so long, thinking about not having him there is like vertigo, or a reverse haunting of some kind. It's a Wrongness, part of the world about to be unmade. He is genuinely part of my identity. I'm all these things that I consider core parts of me -- queer, funny, creative, curious, a little clever, loving, an artist, a survivor, my friends' friend, my blood sister's sister, my chosen sister's sibling, my father's daughter, my boyfriend's partner...and I'm Dried Pickle Man's person.

Here at home IRL and online, and everywhere I go, to almost anyone I speak to at all, I have been his human for 13 years and 27 days.

And that isn't enough apparently, because Sid, too, is slipping away. I...I don't know that we can save him, either. His digestive issues are keeping him from eating, we can't stop the flare, a feeding tube won't fix it, meds aren't helping him. He's losing weight very fast. Vet is at a loss. I usually have a pretty good idea of what to do next or what needs to happen. I have nothing for him. The specialist might know. How the hell do we keep affording it?

And Raleigh. Oh god. Raleigh. If we can't afford the surgery or if it fails. What do we do?

What if we lose all three?

What if my boyfriend loses BOTH his boys? Raleigh alone is going to devastate him. Not just sad, like ordinary grief, I mean I have never ever in my life seen an animal love a human this much.

He's already struggling with his depression and ADHD. He will suffer and there is nothing I can do to stop this all from happening. I can't dig into a hidden well of trying harder, I can't outsmart it. I can't comfort him by saying that it is hard but possible to influence this. I hate seeing him in pain.

And I'm scared for me. I am afraid it will just ruin him and I will lose him too, until and unless he can recover. And I already spend so much time alone. Even my art is...gone. Too painful. Writing isn't really possible, either. My body barely feels like mine these days. I have so fucking little to hang on to. My cats are one of the last things I have of myself. One of the only good things I have in my day to day life.

It's all an absolutely terrifying cascade. Unlike a lot of situations where I'm scared of the future, this isn't me afraid of unlikely scenarios that are several crises away. This is very real. And I'm usually not scared for my boyfriend like this.

It won't kill us. You can come back from something like this, probably, I know people survive much worse and I'm bombarded with reminders of that a dozen times a day. But it can take such a long time to come back, and...sometimes you just...Come Back Wrong.

I'm not often genuinely completely helpless. I am helpless now.

[paper-mario-wiki]

I feel like I've ended up in the same spot as so transmasc before me: I have a lovely cis boyfriend who loves my tits which I love for him, but I am getting dysphoric to the point I wanna lift my lips and show a lil teeth when I see his hands coming towards them. Feels bad because they are his favorite and we haven't been fucking as much because as soon as he starts touching me I am out of it™ and get all in my head and freeze up. Any advice?

good god, brother. i am utterly baffled at why you have elected me as the strategist for this problem, and i'm even more confused as to why you have chosen to go into as much detail as you have.

but.

if i were to give you some advice on this

i'd say that you should consider a conversation with your partner about the long-term plan for the relationship. a "relationship" is two lives that are connected, right? and your life is not one where you're gonna have boobs for the rest of it (or at least based on what you've told me i would assume, should you have your way, those bad boys are gettin lopped off at some point), therefore it's pertinent that it be brought up, because it concerns your life, therefore it concerns the relationship, therefore it concerns him, yes?

now, the first and most obvious thing to start with out the gate is the boundary, made clear and concise: the hills are now closed, off limits to tourists. all discussions regarding this come next. make it clear that it's about something quite core to your identity, and something that does in fact cause physical pain (a panic response from the nervous system is pain homie).

this brings some followup questions (and remember, this isn't an interrogation, it's a dialogue to share): how does he feel about this? if he's against, why? for that matter, how much does it bother him? is there something he doesn't understand about your discomfort? is there some concern he has about your financial or bodily well-being with regards to the procedure? is it because it's vital to his attraction to you as a partner? if that's the case, would their removal be a deal-breaker?

now keep in mind, these question can be brought up whether or not you've got immediate plans to engage in the aforementioned lopping-off of your aforementioned Bad Boys, because the actual point of this dialectical exercise is to create a simple, easy to navigate, easy to understand conversation, which will set a foundation for further negotiations-- should you learn something new about each other, or yourselves, or the relationship as a whole.

either way, i do not think that letting it keep happening and keeping it to yourself is a good idea. i can understand feeling guilty about withholding some physical and emotional gratification you could give "easily" to this person you care dearly for, but trust me when i say that it's not the way to let it be. not just because it's unfair to your partner to secretly grow to resent them for a reason you don't want to vocalize, but to yourself as well.

you may not know it, but by keeping it to yourself you're slowly building up a resentment. that frustration actually shows up pretty clearly in your message. and even if what you're frustrated about is only that particular activity, that activity is irrevocably tied to another person. specifically, a person that you consider to be a pretty central pillar in your life. if that resentment grows, it can evolve into anger, hatred, fear, paranoia, and all sorts of nasty things. and even aside from the emotional and psychological damage that can do, it can grow into a physiological issue, where your brain wears out more and more due to the growing emotional distress ripping through your neurons with all sorts of "emergency" chemicals. like i said, the panic response is a physical pain, even if your body doesn't feel like it "hurts".

so. to summarize.

ABSOLUTELY bring it up. if you don't, it could become damaging to your relationship, and also your actual real life physical brain.

when you do bring it up, remember that the goals are to set a boundary, and to reach an understanding through mutual conversation. it's a dialogue, not a lecture.

when you reach an understanding, figure out if the relationship needs to be renegotiated in some way. that usually means new boundaries, or expectations. or maybe nothing! though surely your boyfriend can find more things to love about you.

that's as best as i can muster. you don't have to follow it, but hopefully it'll at least give you some ideas you can use.

[hannah-banana-lou]

Come back to me

So to start off with, i hate a lot of fanfics that include the (y/n) character as a barely legal, fragile, tiny thing that is oblivious to sex because that is just not me! i love alot of fanfics that have a lot of world building, real life issues and are really in depth, mixed in with some smut, steamy romance and fluff. i know this will not be for everyone but for those who do enjoy that, i hope this does it for you!

Husband William afton x Wife female reader - AU.

Planning on making this into a series if people like it!

content warning: marriage issues, smut, verbal abuse, age gap couple - william (early 50's) Reader (mid/late 20's)

UNDER 18'S DNI!!!

Come back to me (pt.1)

A glance. A kiss. Lips crashing down unto yours. he has you pinned against the bedroom door, panting heavily. Hands exploring places they've been so many times before. yours hurriedly unbuttoning his shirt. desperation. his hooking their way into your sweatpants, teasingly close to where you need him, where you're yearning for him. his kisses moving from your lips, slowly trailing along your jaw before reaching your neck. he bites, suckles and licks the skin there, sending tingles throughout your body, reaching to your core. you're lost in the moment, feeling his beard scratch so deliciously against your skin, his lips soft but desperate. You need this. He needs this.

"mommy!" your ears prick up. the sound of one of your twins calling for you. you ignore it, trying to focus on the present scene unfolding in front of you.

"mommy, look at me!" again. calling for you. you can feel a haze slipping over you. mind going grey, unable to feel the kisses being planted.

a snap of your husbands fingers and you jump. you're in the garden, sitting on the patio next to william. the morning sun is beaming, your two children running around the garden, screaming and giggling. you glance over at william, he is staring at you. the silence between you both brooding ... deafening.

"your children are calling for you. just gonna ignore them?" he grunts out. a dig at you, most definitely.

you shake your head in response, taking the cup filled with coffee off the table, moving it up to your lips and taking a sip, you frown. it's gone cold.

the better part of the morning is spent playing with your children, trying to forget that you have a marriage counselling appointment in the early afternoon. not the first and most definitely not the last. no doubt william will find some excuse to not attend, he thinks marriage counselling is a scam, a waste of money. he refused to even acknowledge the idea until you nagged him for weeks. he eventually gave up.

you're now sat in the car, he's driving. the silence is painful. the drive to the appointment, uncomfortable.

your in the appointment. all his responses are grunts or a few word answers, while you're pouring your heart out, begging for him to just talk to you. a usual occurrence during these appointments.

You stop crying, lost in thought. maybe he was having an affair, it would explain a lot... no. yes. wait... would he do that to you? when would he have the time? god. don't be silly, he isn't cheating on you.... right? Before your mind can trail off anymore the therapist throws a question to you both.

"what are the biggest issues within your marriage? we have discussed this before briefly, however i'm curious as to the individual answers. William, why don't you start us off? yes?"

you glance over at william. he is staring directly at the therapist, poor woman, having to endure his death stare. his eye twitches slightly. he's trying to calm himself before answering. you avert your gaze back to the floor.

"Nothing is wrong with my marriage. i dont believe there are issues" your husband spits out.

the older woman nods, accepting his answer before she turns to you and nods again, signalling for you to answer.

"well... for starters i feel like he doesn't want me around anymore. he avoids me like the plague. there is no love, no affection, no.... no intimacy anymore" you begin.

william adjusts himself in his seat. clearly annoyed at the intimacy comment. you keep your gaze focused on the therapist.

"He wont talk more than a few words to me without snapping at me, he's stopped sleeping in our bedroom, he's taken the spare room instead. i never see him anymore. i'm... i... I've just had enough. it's hard living in a space that you have known as home for many years, yet feel so unwelcome at the same time" you finish. you can feel his stare burning into the side of your head.

the older woman nods again. that's all she seems to do, just nod. it can be quite annoying. she looks between you both.

"Y/N why do you feel like William has become this way with you?"

you sigh, not knowing the answer. you could only answer with what your mind has provided as far fetched ideas over the past few months. you shrug. "i'm not sure. i have a lot of ideas, none that could be close to the truth though" you respond, voice soft, deflated. like you've given up.

"One good way to get your marriage on track is open communication. Y/n why dont you share your ideas with William. it's a good place to start"

you sigh again and look over at william. he is staring at the floor. annoyed written all over his features. he looks over at you

"William..." you start with a sigh. "i... uhm... i have begun to think that maybe... you have fallen out of love with me" his gaze softens, almost looking heartbroken that you could ever think that. he shakes his head. he goes to reach out his hand, it lifts ever so slightly but stops immediately, his fists tightened, a small noise escaping his lips. almost like the whimper of a wounded animal as he quickly avoids your gaze, looking back down at the floor.

you take a moment to process what just happened. what was that noise? sound of affirmation? or denial? maybe his reaction is something to be hopeful for?

"any other ideas you have that you would like to share?" she adds quickly.

you nod, taking a deep breath. you knew he wasn't going to like this one but you had to get it out before the thought consumes you.

"William, i have thought for a while that you are having an affair." you blurt out.

his softened gaze quickly turns to a grimace, furrowed eyebrows. followed with a scoff before he stands up, grabbing your hand "session over. thanks for your time doc, see you next month" he mumbles as he pulls you out the door. the doctor looking more so confused than ever as she watches the two of you leave abruptly.

you get back into the car. oh he's pissed. maybe he is embarrassed that you brought that up? self conscious of how he looks in front of the therapist maybe?

he drives in silence before turning into an empty parking lot near a wooded trail path, probably for dog walkers.

he parks up before turning to you, face twisted with anger "An affair? an affair? .... AN AFFAIR?" He snaps. you nod "it just makes s-" he cuts you off "NO Y/N! NO! the falling out of love i can understand but an affair? i have done nothing to make you think that way"

you look at him confused.

"you're not affectionate. you're only happy when you're around the kids, you're only affectionate in public for 'appearances', you wont sleep in the same bed as me, let alone fuck me anymore, so you must be getting it from someone else!" you angrily snap out, you knew being with an older man would have it's problems but not to this extent.

he rolls his eyes. scoffs. "you're ridiculous. i am not having an affair!"

"it makes more sense than 'i'm stressed' " you quickly respond

he scoffs again but doesn't respond. just stares out the windshield of the car into the woods adorning the outskirts of the parking lot. the forest looked peaceful, serene almost. you continue to stare at him waiting for a response. receiving nothing.

you place your hand on his thigh gently "Will... Bear. please just talk to me... let me in again" you whisper. no response from him. he smiles in his mind at the use of the old nickname for him.

he was your bear. Tall, grumpy and hairy as one. Used to have you in fits of laughter when he would groan and snore, you telling him the attributes resembled a bear when you were first dating. hence the nickname.

Something snaps inside of him.

Your argument before, playing through his mind.

He looks over at you, eyes boring into yours. he reaches his hand out, cupping your cheek. it's been too long since he last touched you.

He moves from your cheek and trails his fingers through the mids of your hair before leaning down, hand clamped on the back of your head, moving you up to meet him halfway, lips on yours. slow. tender. A sense of yearning in the kiss. you let out a small surprised noise. not complaining in the slightest. just surprised, shocked even.

he pulls away ever so slightly, lips still touching. a small protesting whine leaving your lips as you desperately try to kiss him again. he stops you. nuzzling his nose against yours. hot breaths caressing each others skin. his lips soft. as you remember them. a free hand intertwined with your left hand, fingers caressing your wedding and engagement rings.

"I've not fallen out of love with you bunny" he breaks the silence, his words barely above a whisper. desperation. yearning. sadness being carried in his voice.

[kvothe-kingkiller]

I'm not the best writer when it comes to writing convincing essays or whatever, but I'm going to give this a go because it's something that I've thought for a long time that I've never seen anyone really acknowledge unless I bring it up first. (also I am sick and don't really want to do much editing here, just rambles, so good luck)

I think that when most (not all, but most) people get salty about 'modern art', they are not salty about the things people think they are salty about. When they say "this isn't art", theres an important bit that they're not articulating. What I think most of them mean is "this isn't art that should be in a museum." "this isn't art that should cost this much" "this isn't art that should be getting this kind of recognition". And there is a huge difference between that and just saying "this isn't art"

Firstly, all of the arguments about why modern art is in fact art straight up....don't apply. They don't address the problem, they don't answer the question. This isn't really anyone's fault per se, given that it is addressing the literal statement, it's just I think most people aren't actually thinking that literal statement.

So then what do they really mean? Like I said, I think they're trying to articulate why they're frustrated that this art is in a museum when "they could do it". So when you say "okay then, you do it" that doesn't address the core issue, which is "but why is this getting recognition for it, and I would get none" because yes, unless they are famous, they would get Zero recognition for it. Nobody would be lining up to buy their art, no one would ask to put it in a museum. Best place they can hope to have this displayed is a fridge door.

When you look at a piece of fine art, most can see the amount of effort put into it. They see how much training it took to get there, they see how much time it took to put those strokes on that canvas and they can go "yeah, that took skill, that took effort, not everyone can do that. it deserves recognition". And a lot of modern art does take skill, it's just skill that isn't easily noticeable to the average viewer, such as rothko's color fields, they do take a lot of skill and effort, you just can't see it if you don't know. But a lot of modern art that people complain about isn't something that has skill that's not recognized, it just requires very little technical skill at all (not a condemnation, btw).

When you're talking about something 'anyone can do' that piece's value is often not a recognition of skill, or even of the message, it's a recognition of a name. It's similar to having a gucci bag because it's a gucci bag, not because you care remotely about the bag. Yes, art isn't displayed because of how much effort went into it, but it's a huge industry that many many people are making money through from sheer name recognition alone.

Like that one painting of that one artist's (I forget which artist and my cursory google isnt finding it, but also its just an example) where it got replicated and sold to a bunch of people for a large amount of money so they could all have something that had a small chance of being a genuine painting by the artist, that's an excellent example of the fact that a lot of the gallery-level art world is Entirely about the name, not about the piece itself. If someone just made that painting but didn't say it could be from the artist, then who cares?

If you go to ringo starr's art website (https://www.ringostarrart.com/) then you can see that some of his work, especially his older work, is of that category of stuff that many people would say "I could do that" to. For instance, these two? 1,400 and 6,000 pounds respectively for a PRINT of these from his website

....okay this one I kinda enjoy.

but still. 2,000 pounds for a print.

All of this is possible because he's ringo fucking starr, he can sell his paintings for whatever he wants. If I tried to sell those for that much, I'd be laughed out of the room. All of it is just clout, it's just how big your name is and how much you can use that as leverage.

This is not to say that other forms of art don't also have this issue, they do, especially with people devaluing creative works so much today. But you could probably get a few commissions if you sell realistic art or do commissions of people's characters, while you Cannot get any money trying to sell stuff like ringos art unless you already have an audience who will buy it.

This does somewhat lead into a discussion of how art curators pick which artists are 'good' somewhat arbitrarily, but that's a whole other post.

Doing art for 'yourself' vs for other people or money is also a whole other post, one which I've actually seen quite a lot on here. But suffice to say if your response to all of this is 'just make art for yourself! Why do you need recognition?' then maybe go find some of those posts. It's not bad to want recognition, and it's not bad to question why that guy is getting much more recognition for the exact same thing you're doing just because he has a bunch of rich friends who are able to host fancy parties and go 'hmm. yes this is good art.' (not that all modern artists had rich friends, but they did almost all get Extremely lucky in some shape or another that led to them now being widely accepted as good artists).

You cannot make a living off modern art unless you're well known, and if you happen to be well known already, you could likely make a living off modern art without having any experience, and that's what a lot of people hate about modern art, even if they don't articulate it. While some would, most wouldn't say "my five year old could do that" to someone's personal piece that they made themselves and hung up in their home, or that their friend made and gave to them. They say that about the pieces bought for thousands of dollars or millions of dollars.

And I don't want people to think that I do hate modern art, I don't (though this is tumblr, so I'm pissing on the poor just by writing this). I don't hate any of the famous modern artists, I don't think modern art isn't art. I do hate the industry that says their art is suddenly worth something just because some rich fuckers somewhere decided they should be, and anything I tried to do in a similar vein, original or not, would be better suited to sit in a coffee shop and continuously marked down and never sold.

So next time you say "so why don't you make it", maybe ask yourself if you would buy it.

[project-sonadow]

hello—i have a question to ask, and i figured it’d be better to do it here than to bother an individual artist about this. (sorry in advance for bringing the mood down w/ a serious question, btw.)

so, i’ve seen posts going around lately where people are like “hey, stop being explicit about sonadow, it’s weird”. and i agree that making explicit comments on sfw work is not cool. forcing the creator to see stuff that might make them uncomfortable is rude. /gen

however, if the characters are explicitly stated to be aged up (like, have lived several years beyond the games) or are in an au where they’re older, is that still bad? /genq because i always thought that the authors/artists were specifically going out of their way to say “we’re actively not wanting to make these pieces about children, we just want to see these two personalities and how they would behave in nsfw situations”.

sorry again. i’m just very confused (and a bit scared by the hostility /nm) and was hoping that i could maybe get some clarification.

(btw, thanks to all the artists on this blog for making such cute art. it’s all really nice stuff.)

Hi there. This isn't the type of thing we would typically address here, but your approach tells me that you're looking to learn and understand, so I'll give you my thoughts.

First of all, to address hostility - it's intimidating and intense, because this is the kind of thing that fires people up. We're not exempt from this, because we do not want to see explicit content about minors, and we will be direct about this fact. And for some reason, some people get very offended when you tell them this.

I'm going to respond to you in good faith, and I don't assume any bad intentions on your part.

On aging characters up. I will be specifically talking about the sonic franchise as my example here, but this applies to any series where the focus characters are children.

Sonic and Shadow are kids. They are teenagers. Age discourse is NOT relevant. They are depicted as teenagers, they act like teenagers, and they are meant to be viewed as teenagers. And so this begs the question: why is there a need to see them in adult situations? Why is there a drive to depict minors in explicit situations?

Even if a creator is theoretically not making a piece about minors, when they choose to age up minor characters, that tells me that they thought about those minors in explicit situations, or that they wanted to see those minors in those situations, but needed a way to justify it.

This is why I fundamentally disagree with aging characters up to put them in adult situations. The core characters are children. Wanting to see a child character in explicit situations so badly that there is a need to justify it by aging them up or making an au or whatever is strange and disturbing, and I personally would not want to associate with someone who does that kind of thing.

Reflect on the issue yourself. All I can do is explain my reasoning, and say that I will choose not to associate with people who make and/or consume content of minor characters in explicit situations.

I appreciate that you want to learn. I am answering this question specifically because of the way you asked it, and that I see this as a way to tell you why we think certain things, and why we vehemently disagree with certain types of content. To others reading this, this post is NOT an invitation to discourse with us. I will not be arguing about ages or logistics or whatever. Do not try to convince me that nsfw of minor characters is okay, you'll get blocked immediately.

[miraculouslbcnreactions]

@grimharuspex in the comments of that @zoe-oneesama post said it the best; Butterfly should’ve been Emotion and Peacock should’ve been Desire. I know that Zoe has a limit on what canon she changes for her comic which I respect/appreciate given the thought she puts into it (even when canon’s various nonsensical magic rules are especially grating like this) but how do you think things would’ve gone in-show if this was the setup from the get-go? On that note, do you think it’s a good setup for canon in the first place? Why or why not?

This is going to be a rather long lecture on lore and world building and how the peacock fails on every level, so before we get into that, let's start with the positives. I saw a few people pointed out the Desire idea - that being that the peacock's associated Force should have been Desire while the butterfly got Emotions - and I think that they're absolutely right. That one tiny change does fix the surface level issues and make the peacock make sense for its larger role in the narrative.

It would complicate the whole magical slave thing and also mean that you probably have to rework a few of the minor sentimonsters, but generally speaking, it makes way more sense for Desire to birth a fully realized human being. The sentipeople being people while also coming from a single emotion will always be total BS in my eyes.

At the same time, I blame no one for just sticking to canon's lore. Reworking the lore is a serious thing and even I only do it when I'm telling a lore-heavy story. There are plenty of stories where I just stick to canon's nonsense because the lore isn't important.

Now that we've done our positives, let's getting into the negatives! The issue of the day is this: changing the Force from Emotions to Desire doesn't solve the larger problems with the peacock. Problems that we'll now get into. Buckle up, this is gonna be a long one.

Issue 1: Power Diversity

While I would not call myself a superhero expert, I have seen a good deal of superhero and magical girl team shows in my time. Most of you probably have. If you think about the power sets that we see in those shows, then you'll notice that one thing is pretty much always true: every power is unique OR the powers are all closely related in some way. You never do both because the two concepts don't mix. It makes no sense for half of the characters to have totally unique powers while the other half have copies unless there's some sort of special thematic reason for this like siblings sharing a power.

Without that sort of explanation, it just feels weird and it also makes the characters feel redundant. You don't need two speedsters or two supermen! One is enough. Heck, Avatar the Last Airbender takes place in a world where whole civilizations have the same power and they STILL didn't duplicate powers for the core team because they understood that it's important to keep the characters unique.

Miraculous is pretty obviously supposed to be the type of show where the powers don't overlap. Every character gets a unique power that's uniquely suited to them. We even have this confirmed in universe during that confusing scene in the episode Destruction where Orikko - the rooster - tries to explain how his powers work:

Orikko: No, you're mistaken! Time travel is Fluff's power and I can't grant the power that already belongs to another Kwami!

This brings us to the problem with the peacock: it is not a unique power. It's derivative on multiple levels.

Derivation Level One: Akumas

The first and most obvious level is how similar sentimonsters are to akumas. In terms of how they're normally used in the narrative, they're pretty much the exact same power to the point that you literally can't tell which one you're dealing with until someone tells you. The narrative uses them interchangeably with some episodes using an akuma, some using a sentimonster, and some using both.

In fact, I thought that it was really weird that Gabriel didn't switch to maining sentimonsters back in season four. You had akumas breaking their bonds left and right, which is a thing that sentimonsters literally cannot do, making them the obvious fix to this new problem.

To really highlight the whole "indistinguishable power" issue, allow me to highlight some dialogue from Kuro Neko to show that this is very much an in-universe problem:

Cat Walker: You think that's Cat Noir? Ladybug: Of course it's Cat Noir! He must've been akumatized because he regrets having given up his Miraculous!

Ladybug: You'll see once we deakumatize him. (She runs towards Kuro Neko.) Cataclysm his bell, I'm sure that's where the akuma is! Cat Walker: Hang on! (follows her) Ladybug, what if that's a sentimonster? If I use my power on him, he'll lose control and become more dangerous!

Cat Walker: (cringes) What I mean is you're right to doubt, and I agree with you. Until we know for sure whether we're dealing with a sentimonster or someone who's been akumatized, we shouldn't make any brash decisions. (Kuro Neko leaps away.) Let's find out more.

This sort of confusion should be impossible unless it's the result of clever planning by the villain, but that's not what we're dealing with here. Kuro Neko was not about Gabriel tricking the heroes. He sent out a normal sentimonster having no idea that Chat Noir had just quit. And yet Ladybug had no idea that this was a sentimonster. She looked at it and saw an akuma.

Cat Walker also didn't know that it was a sentimonster. He just knew that it wasn't Chat Noir, which was probably the only reason that he thought to question Ladybug and warn her to be cautious. They only realize that it's a sentimonster once they learn that there's a child inside it.

This is canon accidentally telling us that akumas and sentimonster are just straight up indistinguishable unless you see then made or do some experiments to figure out what you're dealing with. That's not a good look if your claiming that each miraculous grants a unique power. It is, however, a great lead in to the second power that the peacock copies: the power of illusions.

Derivation Level Two: Illusions

I said above that it should take careful planning for a sentimonster to be confused with an akuma. While we never see that type of carefully planned setup, we do see sentimonsters used to successfully impersonate humans on several occasions. One example is the episode Optigami which gave us SentiNino and SentiAlec. Seemingly perfect clones of Nino and Alec who did whatever Shadow Moth told them to. We even see a scene where Shadow Moth is telling SentiAlec exactly what to say.

You know who else gives us this type of scene? Rena Furtive in Rocketear:

Ladybug: You said that if Nino could have heard what you were saying, there'd be no misunderstanding? Rena Furtive: Absolutely! Ladybug: How well do you remember what you guys said on the balcony? Rena Furtive: Every. Word. Ladybug: Do you think you could make... a sound illusion? Rena Furtive: Totally.

Is there any doubt in your mind that the peacock can do anything that the fox can do? What's even worse is that the peacock does illusions better than the fox! Fox illusion vanish in a puff of smoke if you touch them. SentiNino was real enough to wield a miraculous because he was a fully corporeal illusion that would have kept on going if he hadn't been snapped away. This brings us to derivation level three: the power of creation.

Derivation Level Three: Creation

The peacock doesn't just outshine the fox, it outshines the ladybug! Lucky charms vanish as soon as Ladybug detransforms. Sentimonsters last forever. The ladybug is only useful in battle as it requires a super villain to cast its cure (which is asinine, but let's not get into that here). The peacock can be used at any time. The ladybug doesn't give you what you want, it just gives you a puzzle to solve. The peacock can fulfill your deepest desires and even create life.

Outside of the extremely specific circumstances that the show gives us - aka an ongoing battle with a super villain - the ladybug is kind of useless. If you want the power of Creation, you're going to use the peacock. This brings us to our second main issue: power balancing.

Issue Two: Power Balancing

The ladybug and the black cat are supposed to be the two most powerful miraculous in existence, but it really doesn't feel like that's true. Sure, if you put them together they rewrite the universe, but that's not part of their individual base power sets. At an individual level, they don't actually feel all that powerful when compared to the butterfly and the peacock. It's more like Marinette and Adrien are smart enough to make their very limited powers work while Gabriel and Nathalie are dancing along easy street and making fools of themselves with every step.

I've mentioned before that I can forgive the butterfly's overpowered nature because this is an episodic show. They want each episode's fight to be unique and interesting and so we have to give them room to have one power set that should be an insta-win card, but isn't because plot.

I can give them that grace once. I cannot give it to them twice.

There is no reason why both the butterfly and the peacock need to feel more powerful than the supposed most powerful miraculous in existence. I've even talked to one person who is rewriting canon with the assumption that the peacock and the butterfly ARE the most powerful ones because they are! Nothing proves this better than the fact that they've both made creations that can copy the powers of the ladybug and the black cat (see: Copycat, Strikeback, Ladybug, Sandboy, Miraculer, and probably a few others that I'm forgetting).

They're also the only miraculous that don't require an active user. You can create a sentimonster or an akuma, then detransform and have a snack while your creation does whatever you need it to do. That's so incredibly broken and such a terrible move in terms of power balancing. Either have all of the powers require active users or, at the very least, have more of a mix of active and passive powers. Why do Mirage, Shelter, and Lucky Charm vanish when their caster's detransform while akumas and amoks stick around? There is no in-universe logic to explain this. It works this way because that's what the writers needed these miraculous to do. A fact that makes it impossible to get invested in the lore of this show.

When designing a complex magic system, you generally don't want "because plot" to be the only answer to why things work they way they do. You want your magic system to feel real and organic to the world. That's how fictional worlds come to life! If Miraculous' magic system was well designed, then you could take it and use it to tell a wildly different story set in the same universe, but you can't. Everything about it is designed around making canon's story work and not around making an immersive world that you can almost believe exists.

There are stories that I wouldn't hold to that standard, but they're mostly short form stories. Anything as big and complex as Miraculous needs to have a solid lore system backing it or else you lose all sense of stakes. A great example of this is the Bunnyx problem where you know that she can show up at any time and reset the timeline even if things are happening in her own past, so why do we need to worry about bad things happening? And how are the ladybug and the black cat the most powerful ones when you have nonsense like time travel and the power to create human-like creatures? Early canon lore was decently solid, but the longer the show goes, the more nonsense the lore gets and that makes me sad because I love good lore.

Some Final Thoughts

You may have noticed that I didn't really talk about the sentikid issue in this post. That's because my dislike of the peacock came long before that fun little twist. While sentiAdrien is yet another great reason to dislike the peacock, it didn't need to be a thing for the peacock to be a terrible idea. Take away the sentikids and you still have an incredibly derivative and lore-breaking power set that never should have made it into the show.

I actually completely redesigned the peacock for my own rewrite which I start plotting back when I was first watching season three, long before sentiAdrein was even on my radar. That's not something that I usually do in my fix it stuff. I usually try to stick close to canon and make more minor tweaks, but the peacock is so fundamentally world breaking that I had no choice but to do a total overhaul. This is already an incredibly long post, so I won't go into that here. I'll save it for another ask that's sitting in my inbox. I'll schedule them to post back to back.

For this post, I'll just end by pointing out that switching the peacock to Desire makes it derivative of and arguably better than the pig, too, since the pig can only tease you with what you want. The peacock actually gives it to you. In fact, I'd say that the peacock may be a better pig even without the switch!

You can also argue that the peacock is better than or at least equal to the rooster and the goat because they're also just variations of the butterfly and the ladybug's power. Like there is legitimatly potential in taking those miraculous and doing an AU where each Kwami's power is an aspect of creation because the powers are so awkwardly intertwined. Probably make the peacock the master and all others spawn from that one or something like that.

Anyway, this is why you can't design powers around characters if you want good lore and a large team! You have to start with the powers and go from there! It's why I edit Nino's character to be more of a protector since that's his supposed True Force! Also because I want him to be more narratively important but that is a rant for another day.

[indigochromatic]

From @rayssyscourse (this post), two questions for general conversation: 1- Does your experience of plurality feel inherently disordered to you or not, independent of whether or not you have a CDD? 2- How do you think about personhood and identity, collectively and individually? (our answers under the cut)

Plurality and Disorderedness: We actually sort of have two different answers to this! The distinction between the two of us (e.g. me/L vs S), to us, doesn't feel inherently disordered at all. Sure, it's complicated, and there are aspects of the situation we'd change if we could (it would really be nice if S could have his own body back, for example), but the mere fact of us-being-two-of-us, of having two senses of self in one head instead of just one, feels no more or less disordered than being a singlet. It doesn't feel like the only reason we're separate is lingering trauma/emotional baggage pushing us apart, and there's no sense of wrongness in the feeling of each other being different--we're just different, and that's actually really neat in a lot of ways. However, for S's median facet subsystem thing, the answer is a little different. (Trying to paraphrase his emotions/wording for it secondhand here) To some extent, some of the ways in which his facets can get pushed apart/lose "collective cohesion" does feel inherently disordered to him. It's less that "having facets" feels inherently disordered, exactly, and more that the degree of estrangement and conflict between his facets (which fluctuates!) feels directly related to his mental health at the time, and whatever issues he's wrestling with. Being able to go in and single out and work with a facet that's having a hard time feels like a useful processing strategy, but needing to do it a lot, or having a facet get stuck 'out in the cold for too long' feels bad, and reflective of something Wrong. Personhood and Identity: Again, two different answers for our two different 'versions' of plurality! S and I feel like two different, closely connected people. Either of us could be a singlet alone, without the other--and in fact I was a singlet for a long time, at least as far as we know--although we do like each other a lot (<3) and like being able to be a team together. Calling either of us just "a part of the other" feels reductive and even a little demeaning--not to mention just...incorrect, at the base of it? One of the metaphors we like to use is "it's not that he has half the box of crayons and I have the other half; we each get to use the whole box of crayons, we just draw different things with them". With S's median facets, though, he/(they) very persistently and vehemently feel like they're all...part of the same overarching identity? They're all him even when they disagree or have differences (there's a line from a song he likes that he often points to for it: "We are the warriors who learned to love the pain/We come from different places but have the same name"), there's a core, unifying sense of self they all share even when their 'cohesion' gets disrupted by something difficult to process that he can't quite seamlessly internally reconcile. We have some internal nicknames for some facets/'themes' that show up a lot (because the number and nature of his facets isn't static, too), and internal headspace appearances can vary, but they don't have different names because, in his words, "I'm still me, there's just....sometimes a lot of me, who don't all agree".

(Several of our friends have joked that we're the actual IRL version of the system joke "I don't have DID, but my headmate does!", and honestly that's not a bad way to describe it X'D)

[byler-alarmist]

Disclaimer: I am not anti-Vickie by any means. I think Vickie seems very sweet (although there may be something going on with her we don't know) and I will fully support her and Robin if the Duffers can prove to me in S5 why they work together.

That said, I am going to examine the one, glaring issue I have with Rovickie. If you're not put off by that, read on!

So, most of the criticism leveled against Vickie is that we don't know anything about her. That's true; we don't.

However, my main criticism is:

Does Robin know anything about her??

All we hear from Robin in S4 is that Vickie is the girl of her dreams, but we never hear why. In all her gushing/agonizing to Steve, Robin never tells us what about Vickie makes her so special.

Is she smart? Funny? Ambitious? Kind? Is she a pro at playing poker?

Even Tammy Thompson, whose role in S3 was purely offscreen, got a shout out of traits that Robin valued ("she has dreams!").

We can't say the same for Vickie. All we know is:

-she laughed at one of Robin's (Steve's) jokes

-she likes Fast Times

-she talks a lot when nervous

-she possibly likes boobies

And those last two were only figured out by Robin in the final episode of S4.

If Robin's feelings for Vickie are more than mere infatuation based on looks, wouldn't Robin have told us more than the most surface-level things about her?

And if your immediate response to this "well, she just hasn't spent enough one-on-one time with her to know!" .......that's exactly my point.

The writers have shown time and time again that the shallow relationships where tbe couple got into it without really talking or getting to know each other do not last .

I'm reminded of Lucas telling Mike "you're just blind because a girl isn't grossed out by you." 👀

All this in the same season where Robin is spending one-on-one time with Nancy, getting to know her and respect the things that make her "her". Rather than just looks, Robin gets to see Nancy's drive, intellect, leadership and bravery.

She calls her a "genius", says she is "full of surprises", and learns even more about her when Nancy opens up about her relationship inecurities. Robin sees her complexity.

I don't know about you, but to me, this is the core of why Rovickie is not as compelling as a ship. If they are meant to be endgame, why was Robin paired with Nancy all season?

Surely there could've been some plot device to bring Vickie into the fold, just like Max was brought into the Party back in S2.

Vickie could've been trapped with Robin and the older teens after some supernatural things happened at rhe pep rally or other school function and they got separated from the rest, or she could've been related to the Creels and the gang needed to ask her for help. It's a TV show; they can do whatever they want.

Either way, they decided not to involve her in the main plot of the show at all, preventing both Robin and the viewers from getting to know her fully. I believe this was intentional and will have consequences for their relationship in S5.

One final thought- in early S4, Robin tells Steve that she has found the girl of her dreams but can't get the courage to ask her out, whereas Steve goes on a ton of dates but has no idea what he wants.

I think it would be VERY interesting if their roles were actually swapped, i.e. by the end of S4, Robin is the one who doesn't really know what she wants, and Steve is the one who realizes he has found the (person) of his dreams.

[deanscutiepiesam]

Hello! I'm still relatively new to the fandom, so I'd gone my entire spn existence not seeing this until now, and I have to share because I'm actually going insane and I need smart people to rant to, so apologies if you've already seen this. D*stiel warning, read at your own risk:

Credit to this [post] on Twitter for the screenshots ☆

There aren't even words, like I'm literally losing my mind. Like these can't be real people. Anyways, let's dive in, guys...

You took Dean's dying speech to Sam, where he's directly vulnerable and honest about his love for his baby boy and diluted it to the fucking gas n sip scene?? Like this is insane I can't even begin to understand the thought process (probs because there isn't one), but omg?? That's so unserious and it's almost funny, but let's move on to the replies because it's way worse.

1. People torn up about the barn is so crazy to me. Buddy, it's not that deep. It's not foreshadowing. They literally just happened to happen in the same type of building. It's so crazy for a character to make their first appearance in a barn, and now every barn must be about him. Weak. Do better.

2. Now this one. This one actually drives me crazy. The scene made you uncomfortable because you think asking him to stay is a "Dean and Cas focal point??" Are you serious?? First of all, Dean has serious abandonment issues, so of course, he wants people to stay in his life, but secondly, Sam has been the main focus of that since the first season. Ever since he went to Stanford. Like did you watch with a fucking blindfold?? Half of the show is just Dean making a crazy decision to keep Sam by his side and the consequences of that. How are you this dumb??

And if I were a gambling man, I'd bet that this person started spn at s4. Like the pieces have fallen into place; it's the only explanation. They're so delusional because they missed the core foundation of the show in s1-3. Their world began when Cas walked on screen so they don't even get the show's thesis, and it's so annoying. It's about Sam and Dean. Get over it. "Love story of two brothers." - Jensen Ackles.

3. "Sam/Dean wasn't the relationship that was crying out for emotional payoff." Bestie I'm in your fucking walls. This has literally been building between Sam n Dean for 15 YEARS. Dean was dying and needed to get out how he felt since the beginning. It was a confession, alright, but you can't handle that it was to his brother, and I feel sorry for you. I get you don't care about the brothers' relationship because of your D*stiel compulsion, but get it together. It's embarrassing.

Also, Jensen literally said he went off script for emotional scenes (including the Sam/Dean barn confession) because it felt right [X]. J2 knows Sam and Dean better than me, you, or anyone else. Even the writers (to the point where they were given the script and told to make it theirs). It's so wild that you can ignore that.

4. "Head touch." I'm not even gonna waste time typing about this. Just look at [this] post. Says more than I ever could.

Anyways. Sorry about that, guys. I'm actually so chill and friendly, I swear :33 I just needed to rant to my homies with media literacy because it's literally dead and I was going insane :)

Thanks for reading, and always remember...

[literaryvein-reblogs]

I hope this doesn't sound confusing, but is there a way to strike a balance between using "simple" words and "complex" words? Like, trying to write something that isn't too simple or too verbose.

I think context is the keyword here.

What I do is I just write using my current vocabulary, so that I'm able to convey what I mean as accurately as possible. And if I want to sort of elevate my writing, that's when I might swap out some simpler words with more "complex"/poetic words, or maybe even phrases. But I make sure I'm using the appropriate vocabulary. How do we do this? I'm just going to copy and paste here an excerpt from this writing resource to answer this question:

It’s important to use words and expressions that fit the context so your meaning is clear. For example, different audiences for your writing will require different levels of formality: the vocabulary you use in an academic essay may not be effective for a blogpost targeting a popular audience. Consider the following questions to help you choose the most appropriate words for your audience and purpose. a. What’s the exact meaning of the word? Words may be broadly similar in meaning but differ in important aspects of that meaning. Consider the difference between ‘the fragrance of flowers’  and ‘the odour of rotten eggs.’ Both words refer to the sense of smell, but fragrance has a positive core meaning while odour has a negative one. If you don’t know what a word exactly means, check it in a dictionary. Also look up sample sentences that use your "complex"/fancy word, and see how it is actually used. But, once you truly know what a word means, wordplay can be your friend. b. Is the word attached to a feeling? Compare the two sentences: ‘The freeway snakes through the town’ and ‘The freeway meanders through the town’. In this example, snake indicates negative feelings about the freeway while meander doesn’t. c. What level of intensity does the word show? Many words with similar meanings describe different degrees of the same quality or action. For example, ‘comical’, ‘hilarious’ and ‘side-splitting’  show different degrees of funniness. Think about the intensity of what you want to convey when choosing words. d. Is the word formal or informal? Go for formal words and expressions in business communication and academic writing. In the following examples, the second expression in each pair is more formal than the first: (1) come up with / create (2) one after another / at regular intervals (3) huge / considerable (4) enough / sufficient e. Is the word polite? Words which describe negative qualities or sensitive issues too directly can be offensive. Good communicators consider the feelings of their audience. For example, when writing about childhood obesity, it’s more appropriate to use ‘children with weight problems’ or ‘children of an unhealthy weight’ than ‘fat children’. f. Is the word specific or general? Use words with specific meanings whenever possible to make your message clearer to your audience. For example, avoid overusing general verbs such as ‘be’, ‘do’, ‘have’ and ‘get’, especially in academic writing, as they don’t accurately convey specific ideas. It’s better to use a more specific verb or verb phrase to strengthen your message. Compare the impact of the verbs in these sentences: ‘To be successful, learners need to have high-level literacy skills.’ ‘To be successful, learners need to develop and demonstrate high-level literacy skills.’ g. What other words does the word often go with? Some words are frequently used together and therefore sound more natural in combination. This is called collocation. For example, we say ‘fast train’ not ‘quick train’, but ‘quick shower’ not ‘fast shower’. Similarly, it’s more natural to say ‘highly critical’ rather than ‘deeply critical.’ Additionally, be aware of idioms. Idioms are commonly used word combinations or expressions. These have very specific meanings that are not obvious from the words they contain, e.g. ‘a piece of cake’, ‘get the hang of it’, ‘an Indian summer’, and ‘after a fashion’. Many dictionaries list and define idioms if you look up the component words. For example, try looking up ‘Indian’ or ‘summer’ to find ‘Indian summer’.

But if you have a wide vocabulary that people have difficulty understanding you, maybe you can do the opposite of this and swap out the too complex words with simpler ones, haha!

Lastly, when you read through your work whilst editing, ask yourself: Does this sound natural? Does it sound like your literary voice? Do you recognise yourself in this written work? Or do the simple/complex words you've inserted sound too unfamiliar?

Hope this helps, dear Anon. But if anyone has a better answer for this, do let us know.