#and until the character is more than a plot device

[tk-duveraun]

SY he's transmigrated into his heavenly demon sona. As in his original concept (not fanfic!!! He wasn't one of those!) he woke up due to the sprouting of the Thousand Year Thistle (it would bloom in chapter 546 just as LBH discovered the clearing that house it) because it was planted just above the buried palace in which he was hibernating.

Once his palace had been deep in a river valley because he was water-attuned to complement LBH's inherent fire. However long ago wars in the demon realm changed the course of the river and rather than get involved SY instead slept to await the thistle blooming which his divination showed to be the sign of the coming of the greatest demonic emperor.

And SY was so ready to take over MBJ 's place as LBH's right hand man. He was actually going to care about him and he'll steer him away from his more annoying love interests and save him from many horrors and indignities of the plot!

Step one, of course, was to find the protagonist. Information gathering wasn't too, too hard. Since he designed this character as a MBJ replacement he had the ability to use any body of water like a wormhole.

He could touch the water at the edge of a beach and cross an entire ocean! But it mostly meant navigating through underground water systems until he arrived in the area he wanted. Thankfully he wasn't corporeal during the process since he sometimes had to traverse sewage systems. Eugh.

But eventually he realizes the protagonist is one year into his stint in the endless abyss. At first, he hesitates, after all, LBH desperately needed the power ups after SQQ's "education" but eventually he reasons that LBH can level up without fighting for his life and almost dying.

So he packs up a few plot devices, lots of food and drops in on his new best friend!

[coldbam]

.

[starlooove]

Ok I’m glad I’m not crazy someone else said it first - yeah it feels like you can’t introduce an oppressive class and then actually deal with them so you had to go everywhere else

[memecatwings]

i wish trigun stampede was better bc i love whats happening conceptually but the pacing of the story is all fucked up and the soundtrack is generic and the characterizations feel miles away from the source material

[ariestrxsh]

જ⁀➴ ♡🍨 content warning: smut, innocence corruption, masturbation, public fingering, praise, sneaking around, mentions of sex and virginity loss, small age gap (both characters are adults), pervy!brothersbsf!matt, innocent!reader

જ⁀➴ ♡🍨 author's note: sooo i wasn't planning on making a part two for this fic, but you guys asked, and now there will be multiple parts. you can read part one here.

જ⁀➴ ♡🍨 summary: your brother's childhood best friend, matt sturniolo, takes your virginity, and the two of you begin sneaking around in plain sight.

young god part two

Matt woke up in a cold sweat, his chest covered in a thick layer of perspiration, laying on the floor next to your brother's bed in his dark room. He had heard your brother's voice so clearly in his dream that he was sure it was real while it was happening.

He had taken your virginity earlier in the night, and his conscience was already nagging at him in the form of vivid nightmares that the interaction had ended in your brother walking in on the two of you.

In reality, he was thankfully a heavy sleeper, and it was a running joke in the family that he could sleep through a car accident, and he actually had once. It was a minor fender bender, but still. So even as Matt woke up in a panic, gasping for air, your brother was snoring loudly, the same way he was when Matt had snuck back into the room after he'd cleaned you up.

It's not that Matt regretted having sex with you. In fact, he was already plotting how he could get you alone again. But he knew he was playing a dangerous game. Your brother was bigger than he was, stronger than he was, and he'd seen him beat the shit out of people for less. Matt really believed him when he told him he'd kill him if he had sex with you.

But how could he have walked away from you after finding you like that, pleasuring yourself and moaning his name? He really thought it would have been more cruel to have left you all alone to your own devices when he knew that what you really wanted was between his legs, and he knew he could make you feel better than any toy could.

He started pawing at himself through the soft fabric of his underwear while he replayed the encounter in his head. He recalled the way he had stumbled upon you with your vibrator, softly moaning his name from one room over. He remembered how vulnerable and fuckable you'd looked.

His curious hand wandered into his waistband, and he wrapped his fingers around his thick shaft, fervently tugging at his cock while he recounted the shocked expression on your pretty face while he'd breached your entrance. He couldn't stop thinking about all the lovely sounds you'd made while he'd deflowered you, stretching you out for the very first time.

He started pumping faster, his mind flooded with images of you, getting closer and closer to the finale. He remembered how you'd clenched around him while he played with you and the way your breasts had jiggled while he had pounded into your sweet little cunt.

You were no longer pure and virginal, and it was all thanks to him. He had tainted your innocence with his dark desires.

He threw his head back and shut his eyes as a few strangled moans filled the room. His stomach dropped, and his muscles tightened as he finished himself off, milking his throbbing cock for all of its worth. He came all over his hand while he pictured your hole dripping with his seed after he'd filled you up.

He remembered the way you had softly begged him, "Please, don't tell my brother," while peering up at him with your big eyes, your lip caught between your teeth as his cum was still dribbling out of you. "I wouldn't dream of it," he had panted in response before leaning down and pulling you into a deep kiss.

A satisfied smile formed on Matt's face as he slowly brought his strokes to a halt, and a soft chuckle escaped his lips. He couldn't wait until the next time he got to have his way with you.

Finally, Matt was able to drift off again and sneak in a few more hours of uninterrupted sleep before the sun began to rise.

જ⁀➴ ♡🍨જ⁀➴ ♡🍨જ⁀➴ ♡🍨જ⁀➴

The next morning, you woke up smiling and satisfied from what Matt had done to you the previous night. You galavanted into the long hallway, tiptoeing past your brother's door. You floated down the staircase, running your hand along the smooth banister like you did every morning on your way to the kitchen.

"Morning Boots!" You greeted the family dog, ruffling his fur, and he wagged his tail in response. You let him out the back door to do his morning business.

You were humming to yourself, rifling through the fridge, pulling out a carton of eggs when Matt appeared out of the corner of your eye at the bottom of the steps. "Shit," you muttered as you lost your grip on the carton of eggs, sending the last six in the container crashing to the floor about your feet.

"Sorry, sweet thing. I didn't mean to startle you," Matt chuckled, watching you forget how your motor skills worked just because he was in your presence. "Hi, Matt," you timidly greeted him.

For a moment, you glanced up at him and then back down at the shattered eggs beneath you as you remembered the vulnerable position he'd seen you in the night before. You knelt down on the ground and started scooping up the broken shells.

"I make you nervous, don't I?" Matt smirked, slowly walking towards you. You innocently looked up at him with a flushed expression and your big, doe eyes. You didn't have to respond for him to know he was right. "Has anyone ever told you how pretty you look on your knees?" Matt cooed quietly, bending down and softly brushing his thumb against your smooth, pink cheek.

You felt your stomach drop as Matt looked into your eyes, caressing your face and saying all the right things to you. "You were such a good girl for me last night," Matt whispered, smiling deviously and running the pad of his thumb along your plump bottom lip.

Suddenly, you heard heavy foot steps descending the stairs, and Matt quickly pulled his hand away as your brother materialized at the bottom of the staircase. Matt started to help you pick up the broken egg shells, but you couldn't will away the pink shade your face took on after Matt had spoken so sweetly to you.

"That's okay. I'll just have cereal for breakfast," your brother rolled his eyes, approaching the pantry after witnessing the mess. "It's my fault," Matt said, winking at you as he stood up, disposing of the eggs shells and rinsing off his hand. You avoided eye contact with them both, cleaning the rest of the egg off the tile.

You appreciated that Matt took the attention off you by taking the blame. You were paranoid that if your brother looked at you for too long that he could see it written on your face that you weren't a virgin anymore.

"You know, why don't we all go out for breakfast?" Matt suggested, smirking over at you once he picked up the nearly empty carton of milk out of the fridge.

જ⁀➴ ♡🍨જ⁀➴ ♡🍨જ⁀➴ ♡🍨જ⁀➴

You, Matt, and your brother found yourselves at a nearby local diner with a bit of a 50's vibe to it - classic checkerboard floor, a vintage jukebox, and vinyl pink booths. I Only Have Eyes For You by The Flamingo's played quietly through the speakers as a woman in bright red lipstick and a poodle skirt greeted the three of you and led you towards your table in the back of the empty restaurant.

Both you and your brother sat down across from each other, and Matt made the bold move of taking a seat next to you, earning a curious look from your brother that Matt quickly brushed off.

The waitress poured fresh, hot coffee into each of your ceramic mugs and set off in another direction to give you all a few minutes with your menus.

You decided on French toast, scrambled eggs, and bacon. Matt got the biscuits and gravy combo, and your brother got steak and eggs. Shortly after ordering, the server came back around to top off everyone's coffee.

"So what do you guys like the most about being away at college?" You asked Matt and your brother as you stirred a couple sugars and cream into your mug. "Definitely the fact that our overprotective mother isn't always asking where I'm going," your brother chuckled, taking a sip of coffee.

"How about you, Matt? What do you like the most about college?" You asked, batting your lashes at him. "Probably how loud I can fuck now that I don't live at home with my parents," Matt said, smirking over at you.

"Wow. How inspirational. Maybe tone done the sex talk in front of my little sister, huh?" Your brother snorted, dipping his fingers into his water and flicking it at Matt. Matt did the same in return. You blushed and giggled at their rapport.

"What have you guys missed the most about being home?" You wondered, glancing between the two boys. "I missed Boots the most. We can't keep pets in our dorm rooms," your brother stated, excited to be around the family dog again.

You turned your attention towards the boy to your left to hear his response. "I missed you the most," Matt said in a seductive voice, staring into your eyes, nudging you in the knee with his, and secretly placing his hand on your thigh. You smiled and blushed at him.

"Did you miss me as much as I missed you?" He cooed, gently drawing circles with his fingers just inches from your heat. You bit your lip and nodded. "Hey, Matt. Could you stop hitting on my little sister in front of me?" Your brother asked nonchalantly. "No. Look at how much she likes it," Matt sneered at him, and your brother kicked him under the table.

It was a small price to pay in order to watch how embarrassed and flustered you'd get around him.

It was around this time that the waitress returned with your steaming hot breakfast. The smell of maple syrup and bacon wafted through the air, and you each thanked her as she placed your plates in front of you all. There were a few moments of silence while everyone dug into their meals.

You felt Matt's hand that was resting on the inside of your thigh as he started hiking up your sparkly pink dress and inching towards your pussy. Your eyes widened, and you slowly looked over towards Matt as he casually pulled your panties to the side.

He shot a subtle smirk in your direction as he slipped a finger between your folds, gently stroking up and down and just barely grazing your clit. You bit down on your lip to suppress a whimper. With one hand between your legs and the other gripping his fork, he nodded at your brother while he recounted his least favorite teacher his first semester of his freshman year of college.

"Hopefully, you don't get him next year, sis. Basically had to teach myself trigonometry because he refused to dumb down the information. Pretentious bastard," your brother mumbled under his breath. "Yeah, and he was a real hard-ass for no reason," Matt added, gesturing with his fork while he rubbed your sensitive button underneath the table.

"Just because you never showed up to class doesn't mean every single one of your teachers is a hard-ass, Matt," your brother snarked at him. Matt chuckled at your brother's comment while he inserted a finger into your drooling hole as you were taking a sip of your coffee.

You inhaled sharply, sputtering on your hot drink and nearly spitting it out onto the table. "You good?" Your brother asked you, and you nodded while you placed your mug back down with a trembling hand. "Lay off the coffee. You're shaking," he pointed out before cutting into his steak.

Matt slowly thrust his finger into you while you tried to remain as composed as possible. You loved the feeling of him moving in and out of you while your brother was across from you, unaware of what the two of you were up to on the other side of the booth.

Thankfully, after a few more minutes, your brother excused himself to use the bathroom, and he walked away without paying any mind to what Matt's fingers were doing under the table.

The second he disappeared around the corner, Matt grabbed ahold of your leg and rested it on his knee to open you up further. He spread your lips and stared down at your wet, juicy cunt. "Such a pretty pink pussy you have," Matt admired, hungrily wetting his lips.

He lined two of his fingers up with your entrance and started fucking you hard and fast with them under the table. "If the waitress or your brother start coming this way, be a good girl and let me know. I don't think this will take very long, though," he whispered, seductively smiling at you.

A few strangled moans escaped your lips as you gripped the edge of the table. "Good girl. You're so wet," Matt softly commented as his digits slipped in and out of you with ease. You could feel your stomach dropping, your core tightening, and your whole body quivering as Matt brought you to the quickest climax you'd had in your life.

There was something about the risky factor and the publicity of it all that sent you plummeting over the edge while Matt passionately finger-fucked you.

"That's it. Cum all over my fingers. Come on, sweet thing. I know you can do it," he urged you. His praise sent a current of pleasure through you while you started rhythmically clenching around his digits, your hips bucking as he finished you off.

"Good girl," he lustfully commended you as your jaw fell open and your eyes rolled to the back of your head. He pumped in and out, slowing down his pace as your orgasm concluded. A wave of tranquility washed over you, and Matt gave you a mischevious smile as he pulled his fingers from your slick hole that were covered in shiny layer of your juices.

"Mmm," he hummed as he stuck them in his mouth and licked them clean, cherishing your flavor. "I can't get enough of you," he whispered as you pulled your legs shut again, smoothing out your dress, and going back to eating your food as your brother came into view from around the corner on his way back from the bathroom.

You almost couldn't believe you'd let Matt do that to you in such a high-risk situation, but you fucking loved the rush you got from it, and Matt could tell due to how quickly you came.

When your brother returned to the table, you could feel how flushed your face must have looked as your brother's eyes traveled between you and his best friend. Matt couldn't hide the guilty smirk from his face, but he tried to cover it with his hand as he propped his elbow up on the table.

He got a sort of sick satisfaction out of sneaking around with his best friend's little sister right in front of his face. The only problem was that he was too smug and arrogant for his own good, and his God complex would quickly have him falling from good graces if he wasn't careful.

"You guys are acting weird today," he commented, narrowing his gaze. "If one of you did something to my food while I was gone, you're both dead," he laughed, skeptically looking at you and the boy beside you.

"Nah, nothing like that. Don't worry about it," Matt replied in a conceited tone. "If you're playing some kind of prank on me, I'm gonna figure it out, Sturniolo," your brother responded, laughing and pointing at him with his fork.

You sat uncomfortably in your soaking wet panties, silently finishing your coffee, unable to look at either one of them. Your heart was still beating quickly, and you were still trying to subtly call your breath back to you. Luckily, the subject changed, and the boys started talking about something unrelated.

You couldn't bring yourself to add to the conversation, so you listened quietly while you picked at your french toast and eggs, trying to draw as little attention to yourself as possible.

You couldn't keep your eyes off Matt the whole ride home, studying his profile and swooning every time he turned around to wink at you or lick his lips while he peered between your legs. Every silent exchange between the two of you felt like a little secret that only the two of you were privy to.

You liked concealing the sexual nature of your relationship with Matt. As far as everyone else around you knew, he was just your brother's best friend. However, behind closed doors (and under the table in empty diners), he was the manifestation of your fantasies, the embodiment of your wildest wet dream, and the boy who had popped your cherry.

All you could think about was the next time you'd get to be alone with him. Behind his hauntingly beautiful blue eyes, he was wondering the same about you, daydreaming about the next time he could fill you with his cock.

જ⁀➴ ♡🍨 part three here 💖

taglist: @thepubeburgler @realqueenofpepsi @mattsredgaphoodie @purpledreamertyphoon @moosegirl96 @bsturnzmtts @sturniolo-girl @theyluvme-2315 @jassturn @brookiecookie-18 @maggot3647 @slut4chriztopher @strnlslvr @sleepysturniolo @lvrsturniolo @sofieeeeex @imjusthereforthesturniolosmut @matts-myloverboy @witchofthehour @slutforsturniolosss @jaysturniolo @sturniolosweetheart33 @whoahoahoahoahoa @ilovechrissturniolosposts @smt-obsessed @sturnioloxlver @that1fangirll @hrtz4alex2211 @luvhsien @sp3ncerslvt @sturniolo-munch44 @jakewebberswifee @ssturniolooss @thenickgurl @sturniolo-fann @sst7niolo @babysturniolo @chestersturniolo @riowritesitall @camzeecorner @mattsturnixlo @annedebeijer @scorpioosworld @mattlover-00 @sweetlikesug4rvenom @m11rx @sturniolocharms @mickelodeon-2003 @sigmarizzler1 @chrislova

[littlerosetrove]

adding OP's tags too

Thinking thoughts about Abuela being back and with this backstory about her being taken in by charlatans and Eddies whole catholic guilt thing and how the two things kind of play into one another as an exploration of faith and being taken in by something.

Abuela giving all her money to the tarot card readers etc because she was searching for something - for connection (with Abuelo) - trying to recapture what she had lost, and How Eddie has spoken about trying to re-find the magic he had with Shannon - how Eddie hasn't actually fully reconciled the Shannon of it all when it comes to relationships and how his Catholic guilt connects into that.

How Marisol as a physical representation of Catholicism is part of that narrative - how Eddie is entering a place where he has to chose his path - in order to move on from Shannon he needs to fully square the hole - catholic or non catholic. And how that needs to happen first - before he can begin his queer journey!

[artdolliewishes]

Imagine female Yuu having to cross dress to avoid unnecessary trouble at NRC and Idia finds out through Ortho. Because I can see Ortho finding out if Yuu ever got a minor injury and he was around to play nurse, knowing him he’d do a quick full body scan and find a very high amount of estrogen in her system.

And he blabs to Idia because he’s a snitch who doesn’t keep anything from his brother; if you tell a secret to him, you’re basically telling it to them.

Once Idia finds out, his mind INSTANTLY goes to those otome games and fanfics and gacha life videos about a girl in all boys school. He always thought those were just fun fantasies, but upon seeing that exact scenario happening in real life he becomes curious.

Prior to this, Idia probably wouldn’t think much about Yuu. To him, she was just the odd magicless guy his brother would occasionally run into; the most interesting thing about her was her cat, in his eyes. But now that he knows about her secret, he becomes heavily invested in her school life, he wants to see how this is going to turn out.

He doesn’t exactly stalk Yuu, it’s not like he’s putting cameras in Ramshackle or listening devices in her bag, it’s more like he just pays extra close attention to her when he has the chance, such as during joint classes and lunch. And since Ortho and her are on amicable terms, he encourages Ortho to spill any gossip he learns when around her.

To Idia’s surprise and delight, things end up matching up almost perfectly with what he’s come to expect from these kinds of plots. The ones close to Yuu, who seem to be privy to her secret from what he’s gathered, are all either falling in love or have already been in love. They’re extra protective of her, they’re affectionate and soft with her, and they get jealous when she gives too much of her attention to any one of them.

Idia knows about the overblot incidents, so of course he’d see the pattern in who starts getting closer. Every time someone overblots, Yuu will be there to help and both the overblotter and some other select people in their dorm will begin to fall. It’s a classic pattern.

At this point, Idia would simply see himself as an observer peeking in on this story and, therefore, he can’t be affected by Yuu. He’s not a love target in her story, he’s a side character.

It doesn’t matter that he’s occasionally run in with Yuu and each time he has she’s been a true friend to an introvert like him by making his anxious ass feel comfortable. It doesn’t matter because he’s aware of what’s happening and thus he can’t be affected.

But then he also overblots, and just like before she was there to help pick up the pieces. After that they ended up talking and Idia gets to know more about Yuu, more than he could learn by just observing.

Before long, he’s actually looking forward to seeing her again, to nerding out about his favorite anime’s with her in person because she’s always such a good listener. He’s looking at his manga and game collections and thinking about what she would like.

Idia doesn’t even realize his hearts been skipping beats when she’s around until one day when he’s in class and she walks in. Like a dog hearing their owner walk through the front door, his gaze shoots up and instantly that class gets fifty times more bearable with her around.

…And then he looks around and every other “main character” has had the same reaction.

Which means that he’s also a captured love target, just like them…

Oh how the turn tables for a dating sim loving nerd like himself

[always-just-red]

I wanted a slightly suggestive fluff with the twins if that's alright👁️👄👁️

A scenario in which they're finally done with Sylus's tasks for the day and get to spend some time with MC

CRYINGGG anon I low-key did deviate from the brief but I had this idea and I just ended up running with it. I hope you enjoy, regardless! I went into this ambivalent towards Luke and Kieran but something just possessed me honestly. Also dragged Sylus into it because there's no way in hell I wasn't subjecting him to this dynamic!! 😇 (I made MC here separate from canon MC for plot reasons, but if you want a fic with the twins and canon MC, just let me know!)

Onychinus' Finest

Luke and Kieran x Reader

Summary: All in a day's work for Sylus's loyal and committed worker bees crows

Genre: fluff & shenanigans

Warnings/Additional tags: MDNI (not smut but it's a lil spicy and I'd rather play it safe tbh), f!reader, nonMC!reader, platonic Sylus x reader, humour, swearing, suggestion, kisses, the twins are just obsessed with your legs honestly and who could blame them

| Word count: 2.1k | Masterlist | Opt-in to my taglist here!

Disclaimer: Characters belong to Love and Deepspace. All work is my own, so please don't repost or plagiarise!

Your call connects almost instantly.

“What?” Sylus hisses from the other end, and you get the impression he’s disappointed.

“Oof,” you groan, smiling, “what’s the matter, boss? Waiting on a call from a certain Deepspace Hunter?”

There’s silence in your ear, but not far from you, Kieran snickers. Your smile broadens. “You have three seconds,” Sylus seethes, with the precarity of a pot that could boil over at any moment, “to tell me what I want to hear.”

Three seconds is a bit of a push. You’re sat on a desk and Kieran is tapping away at the computer beside you, the light of the screen catching the sharp features of his mask; he looks like something from a horror story. You nudge his knee with your foot. He glances at you.

Wrap it up, you signal with a twirl of your forefinger.

His mask tilts downwards, almost imperceptibly, and you know he’s glaring at you from behind it. He flashes his middle finger back and you chuckle, watching him return to his work. “Files should be on their way shortly,” you explain to Sylus, because you know when to stop pushing your luck. “Ever’s upped the security on these damn computers. The device that guy sold you didn’t do shit.”

It’s also now pieces of a device, shattered against the floor from when Kieran had thrown it down and stepped on it in frustration. You’re not gonna mention that.

Sylus sighs impatiently, but there’s a hint of regret. “I knew there was something off about that deal. Do you think he tipped them off?”

You glance around the room and it’s littered with bodies. Not dead! Just… unconscious. At least, most of them, you think. “Yeah…” you muse. It was a lot more security than there should have been in a high-rise office in the middle of the night. “You might be onto something there, boss.”

Another sigh from Sylus. You watch Luke as he finishes looting— wait, no— checking the last of the security guards for anything helpful. He’s found a phone and he’s staring down at it, head tilted, reminding you of Mephisto. You briefly wonder what came first: the crow masks or the crow-like behaviour. Maybe you’ll ask Sylus one day.

Luke lifts the phone, holding it at arm’s length, and you realise he’s taking a selfie. He pivots until you and Kieran are in the background, and you lean into the frame, making a peace sign with your free hand. The moment is captured. Luke tosses the phone over his shoulder and it hits the floor with a crack.

“Are you all alright?” Sylus checks, and you know his eyes are burning with frustration, even though you can’t see them. He wears a mask too— most of the time— it’s just a little more figurative than yours or the twins’. You’re an expert at reading past them by now.

“Yeah,” you say, “we signed up for this, remember? You’ve got the best of the best, right here.” You glance between Luke and Kieran. “Well, the best of the best and her sidekicks.”

“Hey!” Kieran interjects. “You wanna have a go on this computer?”

“No,” you lilt back sweetly. What’s he gonna do— make you? Sure enough, he goes back to tapping away, his head sagging slightly, and you can tell he’s pouting.

Luke has wandered closer to the pair of you. “How much longer?” he whines, throwing himself into a wheely chair, setting it on a slow collision course with Kieran’s. You stop it with your leg.

“Shut up,” Kieran snaps. “At least I’m doing something.”

“I can do something,” Luke retorts. He captures your ankle, pulling it away from the leg of his chair, and rests a hand on your shin.

“Something isn’t in the mood right now.” You lift your foot from his grasp, inching it up his lower abdomen, and he groans as you plant it against his chest. “So unprofessional,” you tut.

You’d stifled your phone against your chest, but you can hear a deep voice leaking out of it. “Say that again, boss?” you request, bringing it back to your ear.

“How long is this going to take?” Sylus repeats.

“Not long. You know what they say, though…” You meet the eyes of Luke’s mask. Your tone drops: “All good things to those who wait.”

Luke’s chair squeaks, rolling back as you push him away with a soft kick.

“Fine,” Sylus murmurs, “Mephisto is with me. Stay on the line, and send the files through when you can. I’ll check them before you leave. If they knew we were coming, there’s a chance that—”

“Yeah, yeah, I get the picture,” you interrupt. You get Kieran’s attention again, then gesture between the computer and the phone. The beak of his mask dips as he nods.

Luke has used your lapse of focus to draw himself close to you again. He takes your ankle once more and guides it to rest in his lap, one hand tight— holding you in place— and the other deftly undoing the buckles on your boot. After a few clinks, he pulls it from your foot, the leather dragging down over your skin and leaving it cold. He throws the boot at his twin’s leg.

Kieran huffs as it tumbles to the floor. He doesn’t look away from the computer, but you know he wants to. Now that’s professional.

Decidedly committed to another priority, Luke draws shapes on your lower leg, his finger grazing over your shin and ankle. He’s staring down, fixated, and maybe they aren’t shapes— maybe they’re letters. Every stroke of his finger is deliberate. You could ask what he’s writing, but you really don’t care so long as it’s more than a word or two.

If it is, he doesn’t have the patience for it. His fingers walk higher, stopping only as they reach your knee. The fabric of your dress is draped over your leg and he pushes it aside, letting it slink closer to the floor. He looks up at you, head angled like a question.

“Any progress?” Sylus asks.

You’re holding your phone between your ear and your shoulder, both hands splayed on the desk beside you so you can lean slightly back. “Getting there,” you say, lips curving. You’re not looking at the computer.

You could swear you hear Luke laugh, but it’s ever so faint. He rests his whole hand on you, warming your lower leg with broader strokes, and whatever he wrote has been erased. Your breath catches as his touch moves above your knee, and it’s a tiny sound; no-one would notice.

Kieran’s mask turns towards you. “Oh, come on,” he sighs. “No fair.”

It’s an intimate art: seeing behind a mask. You have to notice everything.

“So hurry up,” Luke answers, his voice heavier than the last time he spoke. His chest rises and falls with every breath, just a little slower, a little deeper.

Kieran rolls his eyes—you guess, from the listless way his attention goes back to the screen— and you detect a huff. “Not fair,” he says to himself. He repeats it as he punches keys with his fingers: “Not fair. Not fair.”

Luke shakes his head gently: a fond exasperation rather than anything serious. He rolls his chair closer until he’s framed by your legs, then lifts your ankle to rest on his shoulder. His fingers curl, the pads of them brushing over the top of your foot idly, but it tickles, so you try to pull away. He grasps your ankle again. “Nuh-uh, kitten,” he teases.

It’s one of your favourite in-jokes; you laugh. Sylus can still hear you, and you’re glad he doesn’t know it’s at his expense. “Something funny?” he asks. Maybe he does know.

“Yeah,” you say. He could string you upside-down with his Evol and you’d still never tell him what.

Luke is chuckling to himself, and the sound changes as he lifts his mask just enough to free the lower half of his face. It’s not the first time, but it sobers you instantly. He turns to press his lips to your ankle, leans in— kisses further up. Leans in again— his mouth moves higher.

“Why so wriggly?” he speaks into your knee. “Stop.”

“You stop,” you counter, reaching forward to grab one of the horns peeking out of his hood. You use it to pull him away. Make him look at you. “Your little book on conquest doesn’t work on me.”

His lips widen into a smirk.  

“What book?” Sylus’s voice echoes.

You smirk as well. “Ask your pet hunter.”

You’re interrupted by a thud and your head spins. Kieran is standing up, slapping the top of the computer in frustration. “C’mon, work!” he urges. “So freakin’ slow.”

“Ah, ah, ah.” You shoo him away from the computer like you would a too-friendly pigeon from your lunch.

He flaps back in answer, his hand engaging yours in a brief slap-fight before he backs down. He slumps into his chair, defeated. “It’s almost there,” he groans, folding his arms. “Hey, Luke? Wanna swap?”

“No.”

“Do it,” you prompt.

Luke’s head rolls begrudgingly. “Yes ma’am. Jeez.” He plants a warm kiss on your leg again before clambering out from underneath it, pulling his mask back down over his face.

Another moment later and Kieran is in front of you instead. “You ok?” you wonder out loud.

“Bored.” He rests his head sideways on your thigh. His fingers find your bare lower leg and he runs them up, down, up, down, but it’s soft and purposeless. Soon, his head lifts— thin, red eyes staring up at you. The gaze doesn’t waver as he leans back in his chair and starts to unfasten your other boot.

“She’s gonna get cold,” Luke quips from the computer.

“Nah. She’s not.”

Your skin prickles as Kieran pulls away your boot, like a reflection of his brother, but tortuously more slow. He lets the cool air of the room set in. “Huh,” he corrects himself. “Maybe she is.”

You get the sense you’re being punished; both of them are petty. You’re pettier, though. “Sylus?” you speak into the phone.

“Mmm?”

“Did I ever tell you about the time that Kieran— ah!”

In a heartbeat Kieran has lifted his mask— not enough, but enough— and planted a kiss above your knee. His hand is around your leg, pushing it further from the other, and you can’t help but gasp again.

“What are you…” Sylus starts to ask, but then he changes his mind. “No. I don’t want to know.”

“You sure, boss?” you chuckle breathlessly. “It might surprise you.”

“Nothing would surprise me at this point, sweetie. Those files had better be on their way.”

You tear your gaze away from Kieran to glance over at Luke. He’s sat, propped on an elbow, his chin in his palm, and he’s definitely not looking at the computer. He sits up straight under your scrutiny. Turns to the screen. After a few more drums of the keyboard, he gives you a thumbs up.

“Got it,” Sylus chimes in, no doubt perusing the files already. “Nothing seems amiss. Nice work.”

“Thanks, boss,” you grin. “I’ve been working very, very hard.”

The phone is snatched from your hand. “She has, sir!” Kieran speaks into it. He stands, putting it on speaker before setting it down beside you. “I think she deserves the night off.”

There’s a crash as he shoves the computer from the desk, and Luke leans back, swinging his feet up onto the now empty space. He lifts his mask marginally to put two fingers to his lips, whistling in celebration. There’s a slow clap for good measure, too.

Kieran bows to him with a flourish. Then to you; you bow your head back.

“I’m hanging up,” Sylus states plainly.

“Ok,” you chirp, distracted. “I hope she calls you soon, boss!”  

“I don’t… I’m not…” your leader stutters. He reconsiders. “Thank you. Don’t think, however, that I’m—”

He doesn’t get to finish the warning, threat, or whatever else it was. Luke’s finger stands proudly on the phone, still connected to the ‘end call’ button. “What?” he dismisses as you and Kieran look at him. “I slipped! If boss asks, you saw me slip.”

“I did see it,” Kieran nods.

“I saw it too,” you add solemnly.  

There’s silence for a single moment, and there’s never silence with you three around. It lasts as long as it usually does.

You all burst into laughter.

[neil-gaiman]

Hi Mr. Gaiman (sorry for the ramble in advance),

Hope you're doing well. I don't usually use tumblr, but every time I open it up you're here so I figure I'd drop a note. I'm a writer, but I've always had a really hard time actually WRITING instead of just thinking about it. I've had this world and its characters plaguing my head for years now, and it's only gotten worse with age, so recently I doubled down and decided it was gonna get done—one way or the other.

I recently read a passage in a book about writing that said, in essence, your first book doesn't really matter all that much if you plan to be an author. As an autistic lad, I (naturally) took this very literally and was upset at the thought. Sure, your first work is probably going to be your weakest—duh, because by the time book two rolls around you'll have had time to have faced any criticisms from your first, you'll have learned more as you write, and about the world too. But for your first book to not matter at all, no matter how passionate you are about it—I found myself wondering, "Well, what's the point at all, then?" You put in all that work, you learn plot devices, you breathe life into your characters and watch 'em toddle around, and for what? For it to just be a stepping stone? It felt intensely personal of it just being cast aside like that, and I haven't even written the damn thing yet!

MasterClass had a Father's Day sale, so I figured "why not" and went ahead and got a subscription. First thing I did was run to your class, and although I've only watched the first two parts—I want to thank you for restoring my motivation. Truth is, I think the reason that message in the writing book upset me so much is because I'm terrified of writing this damn book. I've woven so many pieces of myself into it, despite it very much being, in your words, a lie (and about a boy that lies all the time, no less), but the grief that I feel and all the complicated feelings about forgiveness are all there and very real, despite its fantastical elements. So much of it really IS more than I'm comfortable sharing with people, and the idea of baring all that out and being told it didn't matter at all? Absolutely devastating. At the end of the line? The book might actually suck. I might rewrite it, I might trash it, I might completely forget about it ten years from now, or I might sell ten copies on Amazon to family and friends and then move on with my life. It's not stepping on a yellow jacket nest in the woods, but it's still terrifying. I still can't even fathom the idea of letting anyone actually read it until I've obsessed over it for another four years, and even then! But I'll write it anyways.

Thank you.

You are so welcome!

[bonefall]

Hey, what makes a character a 'plot device but not a character'? And how do you not do that? I'm trying to do it on purpose but also I need to still make them interesting because it's on purpose, yknow?

A good skill to pick up is to learn to criticise criticism itself. A "plot device" is simply a thing that moves the plot along, it's a neutral literary analysis term! Usually, when people are angry that "a character has been used as a plot device," it doesn't mean they hate plot devices. It means they're gesturing at something deeper.

Runningwind and Bumble are equally plot devices in their deaths. They are both killed by the antagonist to escalate political tension. Runningwind is rarely "accused" of just being a plot device, and yet, we're talking about Bumble for the same thing.

So, why?

Well, Runningwind is just a background character, but in life, he was a part of the community. He was characterized as impatient but responsible. Yet, he wasn't SO important that he died with a bunch of unresolved plot threads.

He is mostly an extension of the entity of ThunderClan. His killing by Tigerstar, and the fear and paranoia that settles on the group after this, feel like a progression of the story insteas of something forced.

Bumble, on the other hand...

Is hated immediately by Gray Wing, when she's established as Turtle Tail's friend. Bumble's abuse at Tom the Wifebeater's hands invites even MORE investment. The rejection is shocking and upsetting. There's a story there about our main characters being imperfect; jealous, bigoted, and judgemental.

But, she is simply killed off. Everything they set up for this character is gone with little personalized fanfare. It's not a tragedy with a lesson about cruelty, or something anyone regrets.

It's just... plot. Gray Wing whinging that no one will like his shitty brother now that his body count is 2.

More than that, in the discussion of women in particular, "Fridging" was coined to give a name to the way women characters often don't get their stories told at all. There is a CULTURAL trend of female characters facing disproportionate violence, for the sake of advancing male plots.

Bumble has a lot going for her. Petal had a lot going for her. Turtle Tail had a lot going for her. Bright Stream had a lot going for her. When they died, they took their potential with them.

It's not always wrong to kill off a character of high potential, mind you. In Gurren Lagann, Kamina's death is sudden and shocking, leaving a massive hole in the hearts of the cast that never heals. Grappling with that loss, but also letting his memory fuel them, is a major theme of that story.

All that to say... there's no formula for avoiding it. You've gotta identify what the deeper issue is, in your specific narrative.

I can't say for certain what that will look like for your story, but here's some things I keep in mind;

When you make characters who exist to die, make sure they're people before you axe them.

Ask yourself; what about them does the cast miss?

If they just miss them because they were (pre-existing relationship), go back to the drawing board.

Fluttering Bird as an example. Who was she? Dead sister. Why do they miss her? Dead sister. No traits until after her death.

Runningwind was short-tempered and helpful. Kamina was a valuable leader who made people believe in a brighter future. Swiftpaw was fiesty and desperate to prove himself. The better characterized, the more profound the loss usually is.

If this is a female character who is dying just to serve the plot, be aware of cultural bias and tropes. How is the gender ratio looking in your cast? Is this happening disproportionately with your girls?

Note how Quiet Rain's litter had both a boy and a girl, but the girl was chosen to be "weaker" and wither away.

And how most of the time in DOTC, whenever a man had to be upset, a girl would get killed for it.

If you ever feel like the character on the chopping block is NOT a full character, ask yourself why it needs to be a character at all. You don't need to spend narrative time building out someone when a literal object of high value might suffice.

"My sister died when I swore to protect her and I can't face my family" = Old. Tired. Ive seen this.

"I lost my heirloom sword when I swore to protect it and I can't face my family." = Fascinating. Why was the sword so valuable? Will they really not take you back? How did you lose it?

When you do kill off "high value" characters, try to make sure you're not leaving too many plot threads hanging. Or at least make a point of how they will never get closure.

[chaoticbiguysblog]

I can't believe that for the past 6-7 months, all the hate Ryan Guzman, Buddie fans and journalists got, BT fans doubled it and gave it all AND more to Oliver Stark in the past 2 days. They never really cared about Buck and Oliver at all and it shows.

To Oliver, we are so lucky to have you as a part of 911, you've always been a great ally, you've always cared so much about Buck, and the bisexuality storyline, despite being an (apparently) straight man, you have such a nuanced view about everything related to the queer experience. You care about the fans and their viewpoints, and we couldn't have gotten a better person to play this role. As a bisexual man, your portrayal means a lot to me. And I know I'm not alone. The love we have for you outweighs the little bit of hate you're getting right now.

To BT fans, it's not his fault that despite the narrative and Tim Minear being as clear as they could be without actually saying it, about the fact that Tommy was a mere plot device, with minimal screentime and character development, you people created a completely different version of him, the BT relationship and the show in general, in your own heads and now that it's over, you're lashing out. It's not Oliver's fault that LFJr hijacked the coverage of the bi Buck storyline by making it all about himself, and validating the shallow headcannons of his fans (only after charging $200, mind you), and then continuosly misleading his fans on his socials, up until a day before 8.06 aired.

You all are acting like you were blindsided by the breakup but if you had an ounce of media literacy, you'd know what a plot device is. Just bc your fav fed your delusions, doesn't mean Tommy was ever going to be more than what he ended up as. In fact, Oliver in his interviews for S8 did everything he could to soften the blow for y'all, he was leaving hints, so that you wouldn't be blindsided, and yet y'all have turned on him like this? Ugh.

[slightlyhozy]

“Smooth Operator…” (18+)

Characters - Andrew Hozier-Byrne x Female! Reader (No use of y/n)

Summary - Andrew and you try something new! Based off the ominous room picture on his story

Word Count - 910

Warnings/tags - SMUT, just smut. Subby Andy, mentioned dom Andy, vibrators, scent kink? kinda? femdom, overstimulation? teasing, aftercare, safe words, CONSENT IS KEY!! literally no plot, nothing at all

A/N - if youre a man and anything is wrong, let me know !! i hope you guys enjoy this, i havent written in years. had a lot of fun writing it ngl. This is fiction…fortunately, I do not know AHB irl or else id never be able to look him in the eyes

(Me skedaddling in shame ↓)

Her hand trailed down his chest, fingers brushing the curls along his broad chest. A sharp gasp escaped him. "Fuck," Andrew murmured, his eyes fluttering open to meet hers; his eyes were hazy. The taller tended to be more dominant in the bedroom, always setting the pace, making her feel good.

“So pretty…” Her voice was soft, her legs straddling his hips. Recently, he had suggested that they try something new after she accidentally came across a familiar device in his possession. He was humiliated, but she couldn’t deny how it turned her on, imaging him using it thinking of her. It was a simple plug-in Hitachi wand; her initial reaction was that he was seeing someone else, but the look in his eyes when she confronted him said otherwise.

Continuing her ministrations, her lips pressed against one of the small buds of his chest, her other hand reaching for the turned-off device on the side of the bed. The coolness of the plastic sent a shiver down his spine as she wrapped her fingers around it. A wet tongue began to swirl around his nipple, gently nipping and sucking as she turned on the vibrator to the lowest setting. “Oh…” Andrew gasped out as she trailed the bulb along his soft stomach. Detaching from his chest, the woman pressed her nose into his chest hair, taking in his musky, familiar scent as she moved the wand down his abdomen.

The anticipation was thick in the air, and Andrew’s body quivered with need. She knew exactly how to work him up and clearly loved the effect she had on him. His eyes followed her hand as it approached the junction of his thighs, his cock standing at full attention through his boxers, begging for her touch. The vibrations grew stronger, and she brought the tip of the wand closer to where he needed it, watching muscles tighten with every pulse. Moving up a setting, his breath hitched as she traced it along his thighs, causing his legs to open.

Clicking her tongue, she smirked. “So needy, Andy... I haven’t touched you, and you’re hard as shit.” Setting down the wand, the other helped him out of his boxers; his cock was long, red, and throbbing with need.

“You’re teasing me.” He argued, trying not to squirm as her hands rubbed along his smooth, pale thighs.

A laugh escaped her mouth as she moved up to kiss him on his lips. “Now you get how I feel.” The kiss grew deeper, her tongue running along his to his teeth, tracing along the underside of his upper lip, gently biting it, eliciting a soft groan from her lover.

Picking the wand back up, she turned it back to the lowest setting. Tracing along his hip bones, pelvis, and inner thighs, she sucked hickeys to his ribs and stomach, her other hand rubbing along his side. She continued this until a grumble of desperation interrupted her. Slowly, he took his poor cock into her hand, warm and heavy.

With the device, she rubbed it along the underside of his cock, causing him to gasp. “Oh, fuck!” His hands gripped the sheets as a shaky breath escaped him, the sensation more overwhelming than he thought it would be.

“Color?” The woman asked cautiously, moving away the Hitachi, only making the tall man cry in need.

His face was flushed as his chest rose and fell. “Green,” Andrew said desperately. “Don’t stop…please…” 

A smirk returned to her face as she continued her actions, rubbing closer to his leaking tip, which made him cry. “Not going to lie, Andrew,” She chuckled softly as he writhed beneath her. “I kind of like you this way, all needy for me.” It was entertaining to see how he felt the same way he made her feel, like cumming was the only thing that mattered. 

As the setting went up, so did the intensity. Tears pricked his eyes as she drew the bulb near his balls. His knuckles were white from how hard he gripped the blankets, trying not to intervene. “Please…” The Irishman begged, now reduced to a mess of cries and pleas of mercy.

“Please, what?” She played dumb, moving back near his tip. From how stiff he was, she knew he was close; no matter how much she liked how needy he was, she would feel cruel to edge him for too long, at least for now.

He groaned in frustration, readjusting, trying to make the angle better. “Please? Please, can I cum? Please let me cum, baby.” Obeying his wishes, her hand gripped his length, stroking him as she kept the device on the tip of his cock.

After a few more moments, his body completely became tense, his moans growing louder as he pressed his red face into the pillow, sobbing out with pleasure as white ropes of cum shot out of his abused length. Setting down the vibrator, she stroked him through his orgasm, savoring every sound and every breath. 

She gave him a moment to recover, leaving to the bathroom to grab a wet towel to wipe him down. “I think that was one of the sexiest things I have ever seen.” She chuckled, wiping sweat from his forehead before moving to wipe the seed off his belly and chest.

With a sleepy nod, Andrew met her with a dopey smile. “Agreed, we are definitely doing that again.” He chuckled, kissing her sweetly.

[haru-dipthong]

Fansub Release + Analysis of Utena Ep 14

This is a big one!!

My fansub release posts aren't usually like this, but this episode is so jam packed with stuff I want to talk about that I had to write my translation notes as a series of essays. It's longer than usual so strap in!

First, a word on “The Mikage Seminar”

I’ve always found the translation “the Mikage Seminar” very strange. In English, a seminar is an event — a lecture. Yet “the Mikage Seminar” is discussed as though it’s not a recurring lecture, but a society or a school of therapy, or a cult (like scientology). In fact I did a bit of reading about scientology to try and find an alternative translation, and discovered that the origins of scientology, namely a set of ideas and practices called Dianetics, bears a lot of similarities to “the Mikage Seminar”. Both involve a type of therapy where one person looks into their mind and talks to an “auditor”.

The auditor coaxes the preclear to recall as much as possible. — Wikipedia

This in particular stood out to me! Mikage often says 「深く。もっと深く」 during his interviews (”Deeper. Dig deeper.”).

The Japanese word ゼミナール doesn’t actually come from the English “seminar” but the German “Seminar” (capitalised). According to Wikipedia, in Germany, and often in Japan, Seminar/ゼミナール is used to refer to a university course that includes a thesis project. So ゼミナール refers to a course of learning, rather than a talk or lecture. And it would make a lot of sense to call a system like Dianetics a “course”. Almost like a “course” of medicine — a “course” of psychological practices that you can join but never complete.

So it would make sense to translate it as “the Mikage Course”. But “course” has more meanings in English than just this, and in the context of a university this makes it sound more like a mundane teaching course. So I tried some other words: the Mikage Sessions, the Mikage Method, Mikage Psychotherapy, Mikage Therapy, the Mikage Movement. None seemed quite right. Until I remembered this post. ゼミナール is a foreign word in Japanese, why not find a foreign word for the translation? And so I settled on this:

The Mikage Seminarium, AKA The Society of the Black Rose…

Seminarium is Latin, and is where both the German and English derive seminar from. Its original meaning is “seed plot”, but it’s also just the Polish word for seminar. I really like how the Latin makes its meaning ambiguous — it kind of sounds like a location, kind of sounds like a society, and kind of sounds like a learning course. Because it is all of these things.

Anthy: では、香苗さん。失礼します。 Kanae: ね、あたしの事、お姉さんって呼んでいいのよ。もうすぐわたしはあなたの本当のお姉さんになるんだから。

A more literal translation:

Anthy: Thank you for having us, Kanae-san. Kanae: Please… you can just call me “sister”. I’m going to be your real sister soon enough anyway.

The translation I ended up going with:

Anthy: Thank you for having us, Miss Ohtori. Kanae: Please... you can just call me Kanae. We're going to be family soon. There's no need for the formalities.

Japanese honorifics strike again!

In English, sisters-in-law don’t ask to be called “sister”. That would be super weird in most scenarios, and this scene is trying to evoke a particular familiar feeling of closing a distance gap in a relationship. The audience is meant to relate. Changing how Anthy addresses Kanae was pivotal to this scene working properly.

わかりました。あなたは世界を革命するしかないでしょ。

I understand. Your only choice is to force the world to change around you.

This line is translated as “Your only choice is to revolutionise the world” by basically every other translation. The reason is clear — the Japanese is the same as when Utena pulls the sword out of Anthy, or when any of the other characters talk about “revolutionising the world”. However, in this context, I don’t like it. The nuance of the English phrase is quite different to the Japanese phrase. In English, it’s often used to describe new commercial products: “This new device will revolutionise the world!” It comes with an implied “for the better”, but has used to describe technological developments so unexciting that it can also feel hollow. When the student council talk of revolutionising the world, they sound like revolutionaries — the context makes it work. But in this context, it comes out of nowhere and doesn’t have any of that fervour, which makes it sound hollow and flaccid when it should sound sinister and manipulative.

I think a pervading throughline for all the Black Rose duelists is that they see their problems as caused by other people, with themselves being blameless. Rather than change how they approach their situation, Mikage tells them they’re in the right.

Your behaviour will set you down a path. If that path leads to your goals, well done! However, if your path does not lead to your goals, there’s only two ways you can achieve them.

The first is to change your behaviour so that it does align with your goals. The second, impossible way, is for the rest of the world to change such that your current path DOES end up leading to your goals. This second way is not possible in the real world. But it is possible in Utena.

Also I’ll just leave this here: “around you” → “revolve” → “revolution” 👀

Kanae tried to build a relationship with Anthy in a passive, non-confrontational, extremely Japanese way — the way she has been taught to behave, the “proper” way, a mechanical following of the social scripts. We don’t see a lot of their relationship, but the way she behaved and spoke of behaving towards Anthy is very very similar to the way my Japanese grandmother has behaved towards my and my brother’s partners.

It was unthinkable to her to change this pattern of behaviour. Her only choice was to change Anthy, change the rest of the world, so that her behaviour would lead to the outcomes she wants. You could describe this forceful bending of reality to be “revolutionising the world”.

この黒薔薇のある限り、私はこれから嘘の私を演じなくて住む。

As long as I have this Black Rose, I'm free from the lie I was living before.

Besides gender, growing up, and resisting change (which exist as separate themes but also all intertwine as one), another major theme present in Utena is the self and subjective reality. The self is explored within those first major three themes, but also in terms of how the self dictates reality with the Black Rose duellists.

Black Rose Kanae says that her past self was a lie.

It reminds me of all the times when I’ve been going through a personal trial and I’ve looked back on my past self and thought “How naive I was. I understand things better now.” And then after a while I realise I was wrong, and my first self was more right. And then later still, maybe I re-realise that the second self was more right! And so on! The reality of truth (or to use Kanae’s language, “lies”) is so subjective.

Who dictates knowledge production? Who decides what is true; what is valid knowledge? This is a question of sociology - and at the moment that answer is "science does, kinda". But science and academic systems are supported by capitalist structures and tainted by capitalistic incentives — needing to be published in a journal, issues of replicability, the barrier to entry into academia in the first place, etc, etc. In the future we may find our current way of organising knowledge to be archaic and primitive in the same way we look back at medieval scholars.

But what about organising self-knowledge? Knowledge where the only one who can really decide what is true is yourself. And the only one that can decide what yourself even IS is yourself. I feel like I have looked back on my old ways of conceptualising myself many times (not even counting the gender-based revelations) and thought it primitive and archaic, and NOW I truly understand who I am and how to think of myself and how my thoughts interact with my other thoughts. But I have no doubt that I’ll look back on this current self of mine and reject their way of thinking too.

After their heart is replaced by the Black Rose, the duellists themselves frame this change as a moment of self realisation, of clarity. Once the rose is inside them, they wake up from themselves, like I have countless times. Kanae says herself, “This is the true me.” Honestly, I don’t doubt it. I think that version of Kanae was her true self at that moment, given the things influencing her. Being brainwashed doesn’t make you less of a person, or less yourself. It just makes you organise your reality differently.

心を凍結させて作っただけの間に合わせのデュエリストでは、彼女は破れないな。

We won't be able to defeat her by simply freezing someone's heart and forcing them to duel.

Anya and I discussed this in depth. I originally translated 心 as “mind”, because that was the first thing that popped into my head and I thought that was the simple part of the translation. However, Anya pointed out that it didn’t make sense with the themes of self and subjective reality, and I strongly agreed, so I changed it to “heart” instead.

Anya suggested “conscious mind” instead of “heart” but I think heart is more accurate. 心 (kokoro) can mean heart or mind in Japanese (I find it interesting that those two things are portrayed as opposites in English), and that kanji is found in the word for biological heart, 心臓 (shinzou). When they say of the Black Rose "This is your new heart" they use 心臓. They also say "Your new 命 (life/lifeforce)" which I translated as soul since it sounded more hardcore and because "your new life" is a set phrase in English meaning a new chapter in your life rather than your life force. I think the idea is that they're freezing the duellists' ability to love and feel empathy, which in my opinion is necessary for them to commit to the unbelievably selfish act of revolutionising/reconstructing/bending the entire structure of the world for their own convenience.

A very special thanks to @dontbe-lasanya for being there to talk through all these themes and ideas. I'm incredibly proud of this episode's translation and I wouldn't have been able to do it without them.

If you want to see more analysis like this, let me know! And also follow this blog to see episodes of the fansub as they're released. You can find all episodes released so far here:

Rose divider taken from this post

[coffeetank]

Easy Narrative Techniques That Spice Up your Works

Narrative Technique is, in simple words, the method a writer or author chooses to tell their story. It includes literary and fictional devices that assist greatly in writing literature or fiction.

In this post, I'm going to go into useful details about narrative techniques and how to play them out while writing your project. Here they are:

1. Setting:

You must've noticed that in genres like horror/mystery/crime the story is set in or restricted to just one place. This has an important impact on the protagonists and characters of your story. Settings play a huge role especially in the genre of crime/horror because the plot is carried out within those premises.

For example, in the movie Scream, the whole story is carried out in the town of Woodsboro, which is significant to note as it adds more thrill given that the killer is on the loose and within very close proximity.

Settings are also vital in genres like fantasy/adventure where the conflict is carried out in an unusual environment as it creates a sense of fight-or-flight hence gripping you into the story.

2. Cliffhanger:

Cliffhangers are common, and rightfully so because they are essential in a fair amount of stories. A cliffhanger is when the author ends a chapter or a book in suspense, often hinting at event that is due in the later part of the book or series.

Cliffhangers can either introduce the possibility of a newer event, or will create a gap before something is resolved, which makes your reader want more in order to find a solution. This encourages your reader to stick by and through, until a satisfactory answer is given.

Cliffhangers are also more effective in the genres of crime, horror, mystery, adventure, and fantasy. In genres like romance or slice of life, cliffhangers can be used, but it needs to be ensured that it doesn't deviate from the light-hearted mood of the story.

3. Multiperspectivity:

This one can be so interesting if used right. Multiperspectivity, as the name suggests, is when there are more than 1 or 2 perspectives in the story.

This pumps up the interest factor as different characters will see things differently. When you show the story being carried out in a variety of POVs, you give your readers the chance to read the story in a new light with every character.

This can also affect the plot, as different characters will have different goals by the end of the story. Multiperspectivity can also help you resolve conflict between different characters. In addition, you can use this to introduce a hidden villain/a hidden hero.

4. Sensory Detail:

Sensory details are the visual images you create for your readers while writing descriptions. This helps in the famous ‘show, don't tell’ and sensory details will visualise the scene for your readers.

This can also be paralleled with imagery (sight, touch, sound, taste, smell).

For example, imagine a hilltop. Instead of just writing about the fact that you see trees and the sun and some animals, you could put down your senses to make the description more visual. It would go like – “As she stood on the hilltop, her eyes took in the verdant swathes before her. The soft breeze tickled her skin while she basked in the warmth of the sun. Deer galloped across the lush, green grass, calling and prancing in carefree freedom. The scent of the earth hit her nose, and it was there that she felt she was home."

5. Foreshadowing:

It's common, it's effective, it's fun. Foreshadowing is when the author is implicitly trying to hint at a forthcoming event. It creates a suspicion in the reader's mind, which keeps the interest alive.

Foreshadowing and cliffhangers can be mixed to create a lot of questions in your reader's minds, which further keeps them hooked into your work.

6. Analepsis & Prolepsis:

Fancy words for plain terms. It's nothing but flashbacks and flash-forwards.

Analepsis (flashback) is when the author breaks the chronology of the story to bring light to an important event in the past. This either has an impact on the plot or the main character.

Prolepsis (flash-forward) is when the author breaks the chronology to go into the future. This can be used to highlight an important event (or events) that are likely to happen in the future.

It's important to note that these are not the same as time skips, which are just a leap from one time to another to not lose grip of the eventfulness of the story.

7. Chekhov's gun:

Chekhov's gun keeps your writing in check. Chekhov's gun is a principle that says any and every element in a narrative should have a purpose. If it doesn't, it get's removed.

Let's say you've introduced a character. Chekhov's gun requires you to assign a purpose to that character. Unless they are contributing to the story, they are useless. If they can have any sort of impact, then you keep them. If they don't, then they get executed from the plot. The same thing applies to objects as well. If your protagonist has found a box, something better come out of it or it's getting thrown in the trash.

8. Title Drops:

We love these, let's be honest. As the name suggests, title drops are when the author writes the name of the title in a line, or adds it in a dialogue, or uses it as a description to finish the story with a cherry on top.

Example: In the 90s romcom She's All That, there's a scene during their prom preparations where two guys are rapping and one of them says, "she's all that" as lyrics. This is a title drop.

9. Antithesis:

Antithesis uses two opposite ideas and puts them together to amplify the message you're trying to send. Antithesis can be done in two cases: contrast and parallelism.

With respect to CONTRAST, antithesis uses two polar opposites to highlight a certain point. For example: "In an instant, all the colour was gone. He was left with black. He was left with white." Here, you have ‘black’ and ‘white’ being used as opposite colours to signify the lack of vibrance.

With respect to PARALLELISM, antithesis puts forth a contradiction but in parallel structure. This means that the grammatical structures of your opposite phrases/sentences are the same. For example: "He was left with black. He was left with white." These two sentences have the same grammatical structure. Infact, the only difference between these two sentences is the colour, but then it amplifies the message.

I hope this helps those reading this. If you're a beginner or even stuck with your work, try implementing some of these to help yourself!

- ashlee

[thesoftboiledegg]

"Unmortricken" was a lot. In fact, it might have been a little too much.

To start, I loved the glimpse of what exists outside the Central Finite Curve. The visuals were stunning and reminded me of M.C. Escher's drawings. The Jetson-like family was a nice touch--if anything can happen, who says they can't have different animation styles? All those colorful portals make me wonder what's lurking just out of sight.

It's also funny that the space outside the Curve is full of Rick's favorite thing: crystals. If he took a trip there, he'd come back with his pockets stuffed with gemstones.

Evil Morty's reappearance gave us a decent character study. Since he wasn't the antagonist, we saw him interact with the C-137s as a regular person. Morty's a little impressed, and Rick has a grudging respect for him. Others have called Evil Morty the Rickest Morty, and I agree: similar intelligence, similar technology and similar bloodthirst.

I was glad that he left in the end because that's what his character arc is about anyway. He doesn't want to be part of anyone else's story, not even another Morty's.

However, that's also part of the issue that I had with this episode. Seeing Evil Morty was great, but it was also a little...pointless? You could've had the same story without him. He's not working with Prime, and he has no ties to C-137 after "Rickmurai Jack," so it felt like the writers just said "Hey, you know what would be cool?"

I'm not against writers having fun and giving the audience what they want. "Spider-Man: No Way Home" (yeah, groan at me, Marvel haters) is fan service in blockbuster form, and it was one of the best theater experiences I've ever had.

Still, if Evil Morty came back, I think he should've had a separate episode. The episode juggled C-137 Rick, Morty, Evil Morty and Prime Rick pretty well, giving them satisfying interactions with each other, but no Evil Morty would've meant more relationship development for the C-137s.

Evil Morty's backstory also didn't reveal much about him. I mean--yeah, we all figured that he had an abusive Rick and got fed up. The fact that he had a "regular" Rick instead of a deranged lunatic does make a point about the banality of abuse. Monsters aren't always raving maniacs who torture people in their basements. Ordinary people can wear you down with a slow drip of toxicity and neglect.

I enjoyed this episode, and Evil Morty's return was exciting, but cramming the series' two biggest antagonists and storylines into twenty minutes was a little overwhelming. New plot developments kept showing up, too: Rick found Prime! Prime's various lairs! Omega device! I would've preferred a two-parter.

I'll admit that if you told me that we'd see Evil Morty and Rick Prime in the same shot, I never would have believed you, but here we are.

On that note, Prime's characterization was perfect. No attempt at a cutesy, sad backstory; he's a laughing monster until the end. And is it really the end? He has regeneration abilities, but C-137 acts like he's dead and even gives up the search. This leaves us with a few options:

C-137 killed him.

Prime fooled C-137 into thinking that he's dead when he isn't.

C-137's keeping him alive for later use.

Hopefully, this is more complicated than it looks because I'll be disappointed if this is the end of Prime. He's a brilliant reflection of C-137: the Rick he'd be without his tiny shred of humanity.

And Prime's a maniac, but he tells C-137 the truth. Rick broke into Prime's house. He pretended he belonged with this group of strangers. He latched on to Prime's grandson because he never had his own. His brutal, violent streak never went away no matter how long he tried to play house.

Prime says "Admit it! You would have been me!" In season three and parts of season four, Rick was close. His love for his family--love that he pretended he didn't have--and desire for their approval just barely pulled him back. But what kept that spark alive? How close was he to becoming a cold, unfeeling shell?

In the end, C-137's not satisfied after he destroys Prime--and weirdly, I'm not satisfied, either. Beating Prime to an unrecognizable pulp doesn't bring Rick's original family back. It doesn't erase the atrocities that Rick's committed. It doesn't make his grief go away. It doesn't change the fact that Rick teetered on the edge of turning into the monster that he despised.

What's more satisfying is that Rick didn't turn out like Prime. His Morty doesn't give two shits about Prime, but he loves him. He hugs him in relief (come on, Rick, hug him back already!), cries out "Rick? Rick!" and shakes his body when he thinks he's dead, and talks excitedly as they return home.

Rick's going to therapy, which Prime would have mocked. He went from having nobody to living with FIVE kids if you count Morty and Summer. Even he and his Jerry are pretty tight.

Rick knows this, but he still feels empty all the time. Vengeance doesn't work, drinking doesn't work...wouldn't it be easier if he just switched off his humanity and laughed at everything, even his own death?

But now that he knows how it feels to be loved, especially by his hypothetical grandson, I think he'll always find himself at the Smiths' doorstep.

[keepingeahalive]

Miss Rosabella Beauty: The Queen of Wasted Potential

Okay, I'll admit it. I do ship her and Daring. I'm a sucker for Beauty and the Beast, and I couldn't help myself. That said, objectively, this ship and Rosabella's character.... yeah, it kinda sucks.

Maybe I didn't want to admit it because Beauty and the Beast is my favorite fairytale. But the more I look into her character, the more I realize she embodies virtues that contradict her own story. Epic Winter was more about "fixing" Daring's supposed selfishness than addressing the real elephant in the room, and Rosabella was a plot device to push that narrative. I think she could have been an interesting character with flaws and a lot of depth. But she wasn't, and I am very very disappointed.

Her Character

The first time I saw her, I was really rooting for her. She's an animal rights and monster activist. She could have been great friends with Cerise for that reason. She could have even had interactions with Ramona in the past. But she comes off as self-righteous and preachy.

I get she's an activist and that's the joke; activists are inherently self-righteous. But this is Ever After High. Where's the nuance? She could be an animal and monster activist because she's experienced prejudice herself. She's the daughter of Beauty and The Beast. Look me in the eye and tell me she doesn't have any Beast genes. I dare you!

It's canon that Beauty and the Beast is considered a bad destiny story, with the stigma of the heroine falling in love with a creature most fairytales would pin as the villain, and a handsome prince carrying the stigma of being of being a beast even after the curse is gone. She should understand that better than anyone. And yet, this kindness and compassion she tries to convey comes off as condescending. She inserts herself into situations because she feels she's needed when nobody has asked for her help.

2. DARABELLA

Rosabella was only introduced in one minisode and suddenly gets a big role in Epic Winter? She and Daring hadn't had a meaningful conversation up until that point. Really, she barely knows Daring.

For the daughter of Beauty and the Beast, she's so .... judgmental. She's supposed to have the ability to see people's true intentions, but why does she get it so wrong? She immediately assumes Daring is self-centered and narcissistic. On the surface, I can see where she's coming from. But, that's only on the surface.

Daring is more complex than she made him out to be, and Epic Winter wanted the audience to think she was in the right. We know this isn't true. Daring loves being a hero and saving people. He loves his siblings and does what he thinks is best for them. He certainly cared about Lizzie enough to respect her wishes. He's chivalrous to a fault!

Daring is clearly going through some things, and it doesn't seem like anyone's paying attention to what's really bothering him: He has no purpose anymore. He's been brought up his whole life thinking he would be King of Ever After, and now his world is shattered. He's not coping well. And Rosabella thinks he's full of himself when she's barely met this guy.

Having him become the Beast from Beauty and the Beast felt natural to me in the story progression, but Rosabella's inclusion felt forced. She gives him the same old advice from her original story when she should be hinting at something greater. This should be the turning point in Daring that destiny is malarky, and he can break away from the expectations his family and peers put on him. But she doesn't understand that. She only sees that he's obsessed with his looks because his main form of coping is gone.

He's not really upset about his looks. He's upset that his destiny is gone, and either that's not as important to her as him getting over his looks or she doesn't know him well enough to know what's been put on him. Assuming it's the latter, why wouldn't she try to find the root of the problem instead of fixing what she thinks needs fixing?

Daring is the victim here, even if he has issues to work out. And it doesn't seem like she's really listening to him.

3. The Cousins No One Talks About

Yeah. Rosabella and Briar are cousins. And there is very. little. BACKSTORY!!

We know their dads don't get along. Briar's is a monster hunter. Rosa's is The Beast. Their moms are sisters. That's all we know. What's her relationship with Briar? Is it a tragic sisterly bond? Or did the two drift apart/fall out because of their family conflict? Rosa's mom is likely the black sheep of the family, so do she and Sleeping Beauty still talk anymore?

How does Briar feel about all this? Does she have time to feel anything about it at all? She has her own family and her own destiny to worry about. What kind of influence did Briar's parents have on her views on beasts? She hadn't even been to Rosa's home until they were both well into high school. How much do they even know about each other?

We know so little about their dynamic. Family conflict shapes a child, and both of them probably have some deep-seated trauma relating to their families. But did the writers forget that they're cousins?

4. How I Would Write Rosabella (and maybe Daring)

First, give her the ability to transform into a beast. It's not hard.

She's advocating for people like her to exist. She wants people to see both sides of her and those like her to be seen as more than monsters. But she's had her fair share of prejudice, even within her own family. Her uncle is a monster hunter, so a half-beast niece would be considered an abomination. Because of this, she suppresses her anger to better the image of beasts. She doesn't want to, but she feels like she has to, for her own safety and to make herself more palatable in society. However, the more anger she holds in, the less control she has over herself. Her judgment becomes clouded, and this makes her jump to conclusions about people's behavior. She wants things to be fair so much that she gets in trouble for it. She wants to be understanding and patient, but having a hair-trigger temper gets in the way of her goals.

Give her a backstory with Cerise and the Hood-Badwolf family. Her family would know more than anyone the hardships that a human-beast family goes through, and they should be very good friends because of that. Her growing up around Cerise and Ramona would give her more of a reason to protect the beast population.

If any sort of relationship with Daring were to work, they would both have to learn from each other. Daring would learn to let go of people's expectations of him, and Rosabella would learn to let her anger out in a healthy way and pick her battles. Daring can't be the only one learning from her, and Rosa shouldn't see anything to fix in him. She needs to accept him for who he really is, not just preaching about appearances.

She should be embodying both Beauty and the Beast, all the kindness and grief that comes with it. She's not meant to be a paragon, and the writers should not have portrayed her as such. She needed to be a character with her own development. She needed to be portrayed just as in the wrong as Daring was when they met, not about appearance but about each other. She needs to admit her mistakes and acknowledge she is not always right about everyone. Or, at the very least, have her see right through Daring's facade about looks and realize there's something deeper going on.

The writer's dropped the ball on this ship, and they did Daring so dirty here. But they also did Rosabella a disservice by making her so two-dimensional and preachy, almost not even her own character. There are so many routes they could have taken with her. She could have been great, but she wasn't.