#but VERY much based on the games i'm not trying to be true to life here

[nordiccowgirl]

Speaking of Espilver, here's what Silver and Espio look like in my AU!

EI hc Espio as trans with surgery cover tattoos and that led to him being a member of the AU equivalent of the Yakuza lol. That's not where I thought I was going to go when I started figuring out what to do with them but here we are.

I'll write this fic out eventually, but their story is that Espio does spying and wet work for the "Yakuza" and usually operates at night, when most places and people are asleep and starts listening to the radio to keep himself company while he works. At first, he listens to K-TBR 199.2 but then he accidentally finds himself dialing into K-MDN 89.6, where a show called Glow in the Dark airs with a disk jockey that ends up captivating Espio and keeping him hooked. This is Silver (obvs) and Espio finally starts calling in, leading them to develop their relationship over the air.

That's all I've got so far - I want something crazy to happen, like maybe the "Yakuza" start thinking that Espio is secretly giving Silver information about their operations on the radio or SOMETHING where they end up having to meet and save each other, etc.. I keep meaning to start writing the fic so that I can shake the snow globe in my brain and finally get a real plot in place like I did with Gentlemen's Agreement lol.

[aislebewithshu]

love kitty

x gender neutral reader.

wc: 486

cw: yandere x yandere, stockholm syndrome, obsession, codependency themes, references of being caged, directly based on love cat and love kitty

author notes: hii i love biz's songs too much.. lowkey proud of my loveit? prompt so i made a love kitty one :3 happy reading ! not beta read, scroll if uncomfy <3

“i’m so happy to see you come home, your highness! welcome back, dear [name]~”

your beloved love cat who is always eager to wait for you to come home to your shared abode- offers you your ‘meow’ in exchange for the love he oh so craves from you. after all, this codependency you share, it's inescapable.

he was a bad, naughty kitty at first, seeking affection from others when you're right there for him! at least, he has learned his lesson right? he is now collared to you, anyway. sure he was a bit... confused at your actions at first? terrified? no one knows. he's a dear, fickle cat that doesn't know the true meaning of love, but that's alright, you're here to teach him.

“running off's fine, but back home's so scary”

he would avoid the moments that you give him your twisted love at first. it was suffocating, intoxicating. as if you both are playing a staring contest, so manic that both of you would lose to each other in this game of lamenting captivity.

third time’s the charm, that’s what they say. it’s like he is now hypnotized by you, you’re invading his mind and heart in no time! why won’t you go away? is it because he was trying to spend time with someone else? he knows you would not let him, crazed feline eyes with irises having a slit. putting a collar on him, you have branded him as yours.

he would try to fight you back at first, but he becomes more domesticated, as time goes on. he’s slowly falling for it all, consuming sin and punishment, whispering love to each other.

“even if you turn away, it's still alright. you are my very own "love cat", that's that.”

he has learned to love you unconditionally. your very own love cat, who is encaged with you for eternity.

"please love me, hey."

"i'm scared, can't step out of the cage anymore."

maybe he would also leave a mark on you as you left yours on his! let him have a bite, maybe? he's willing to bare his fangs. the more this goes on, the more twisted this love gets, and you are both hungry for it. he was insatiable when it comes to your affection, like a cat that is needy of its owner’s attention.

he cannot stand to live without you- he needs you too much to the point that his life now depends on you. like a clumsy love cat, he wants you so much, too much that it's getting ridiculous. you haven't seen any other guys worthy of being your 'pet cat', right? good, he gladly plays that role for you without hesitation, anyway. because if so, he won't hesitate to draw his claws out to eliminate them.

after all, both of you are in too deep in to the pit of hell that is called love.

enstars - kagehira mika, sakasaki natsume, sakuma ritsu, hakaze kaoru

twst - azul ashengrotto, idia shroud (? idk he has the vibes)

bllk - alexis ness, shidou ryusei, michael kaiser (HEAR ME OUT ON THIS ONE)

+ your faves.

©AISLEBEWITHSHU on tumblr. do not repost / feed to AI.

[directdogman]

Hi, I hope you're having a decent day! I'm sorry if this is an invasive set of questions - feel free not to answer - but do you still actively like DSaF as your own creation, or is it more of a "it was fun while it lasted but i outgrew it and it's for the best to leave it behind" kind of project? Do you ever regret making the games? If you knew they would get so popular, is there anything you would have changed about them? Is there anywhere I could read more of your writing.

It fluctuates a bit. These last couple of years, I've really just been sorta nostalgic for it. I've seen a lot of people discuss those games being a source of comfort during bad times in their lives, people talking about how much the characters mean to them and it's hard not to smile when you see that.

It's a funny thing for close friends of yours to see people WITH fanmade DSaF merch out in the wild, or to watch a random youtube video and being hit with a DSaF reference outta nowhere. It happens from time to time, even today. On a few occasions, I've even had a person reference my work to me in real life and not realize who they were talking to, believe it or not. It's really fun to play dumb and get someone to explain your work to you like you don't know what it is.

I certainly didn't think any of that would happen when I first made the series, or even during development. I think the normal assumption would be to look at DSaF as it exists now and assume its release was a peak for it, but believe it or not, the official discord only had 30 people in it shortly before 3 dropped! The archive listing of the series (reposted to a single page after the series ended) is now sitting at over 1.1 MILLION downloads.

People kinda assume the true heyday of something is when it's new, when it's fresh and novel. For instance, some people look back at when FNaF itself was new and see that time as its peak because it had a lot of internet cultural relevance as big new indie thing on the block. But, raw numbers don't lie. The series has been continually growing since its conception and that growth has similarly bled over to its fan projects. This explains why DSaF, despite not having a new series release in almost 6 years, seems to be inexplicably growing.

Just recently, I saw someone post footage of a scene from DSaF 2 on Twitter, which got over 16k likes. People praised its writing and largely celebrated the scene. The ironic thing about that particular scene is that I remembered being unsure if it was good or not, so I showed it off in one of the FNaF community hubs. The response was broadly lukewarm to negative. Now, it's held up as one of the best scenes in those games. That's kind of the point I'm trying to make, my thoughts on the series have certainly changed with everyone's else with years of hindsight.

Heh. I'm not sure if I've talked about this in a long time, but y'know, the very first scene I implemented in-game was actually the very first Phone Guy scene in DSaF 1, more or less exactly how it appears in-game today. This was before I'd even written the bulk of the game. I was pretty unfamiliar with visual novels as a whole, pretty unsure if something like this would be palatable to a fandom that was really just used to sit 'n' survive stuff that were far more gameplay than text. I mean, there wasn't any FNaF fangames really LIKE DSaF before that point. Closest was FNaFb, a jokey turn based RPG made in the same engine.

The engine I made the game in is also not exactly fit for VNs out of the box either, and I wasn't 100% sure the idea would actually work. But, the very first time I added the image of the prize corner, Phone Guy, the audio of that iconic cheesy stock track and booted up a test screen, I had a little moment where I said "Oh. I think I'm onto something interesting here." I kinda remembering instantly realizing in that single moment how much potential the idea had. Over 8 years later, I still remember that moment like it was yesterday.

I think lately, that's the sort of stuff I think of when I see people coming to me and asking about the series. Yes, it's really rough around the edges, yes, there's jokes that've aged poorly. But, it is a source of comfort for people and entertains tens of thousands of people each month. And that's gotta count for something, right?

[andy-wm]

i'm wondering how your thesis of "idols will come out when they want" fits into your insane shadow analysis attempting to prove jimin and jungkook fucked in the middle of their travel show (amongst other things)? like do you get joy out or trying to drag someone out of a closet they might not be in? or is it something else? just curious! 😀

Hey wdcmaxy

Since you have the guts to use your name I'll respond :)

So, you read my thesis?

*Sips whisky*

Cool. And you read my insane shadow analysis too?

Hmmm... do you come here often?

Let me answer your question then.

I think we both know the shadows analysis isn't really insane - it's based on very basic earth science. Shadows grow longer as the day progresses because of the rotation of the earth on its axis. You sound reasonably literate so i assume you know this already.

I guess your description of my shadow analysis ( I think I'll name my next racehorse 'Shadow Analysis') as insane is an attempt to discredit the idea that a fair bit of time passed while Tae was out of the house? But that was kinda silly on your part. Even children know that shadows change as the day passes.

Nothing insane about it.

He was gone for hours, no debate.

Now let's move on to the fucking part, and when and how idols choose to come out.

This is actually worth discussing.

As flattered as i am that you think my tiny insignificant blog could be a game changer for anyone, let's be real.

How many people, besides yourself, do you think read my blog?

Serious question.

I'm estimating maybe 100. Double that on a good day. Maybe 300 if i write something REALLY profound which doesn't happen often.

I am way less excited about my impact on the world than you are, because I'm a realist.

BUT if by some strange twist of fate my blog came to the attention of someone whose opinion mattered (I'm not counting you, don't worry) do you think they would take it seriously? Do you REALLY imagine a random tumblr post about shadows could make someone believe that an idol was gay if they didn't already believe it?

Here's a great example of how that wouldn't happen:

You, dear reader.

You're my example.

You came here to tell me I'm speaking shit and that I should pull my head in, correct? My insane shadow analysis hasn't changed your beliefs at all. You're here, throwing a tantrum on my page, because you don't agree with what I'm saying, not because you suddenly believe it.

Or ...

Perhaps you suspect it's true and that scares you. Maybe you can't be absolutely sure I'm wrong and that's why you need to yell at me? Could that be it? Time for a bit of self reflection?

Either way, it's not going to make an iota of difference in the grand scheme of things.

We are all just dust motes floating through time and space, my friend. You dont need to worry so much. The universe is unfolding exactly as intended.

However... There are a couple of things we should agree on:

The fact is that the shadows grew long and therefore, time passed. And Tae was out for several hours. Maybe he went out for a bit of afternoon delight himself? Maybe Jimin and Jungkook played Pokemon Go all afternoon, or prayed, or practiced their English, or braided each other's hair.

Regardless of whether they did or didn't fuck, or how many times, or on what surfaces, the time still passed.

And whether I write my blog or not, people will believe what they believe. And they will be gay or they won't be gay.

And even though I never mentioned anything about them fucking in that post, whether you like it or not Jimin and Jungkook might be fucking right now, as you read this.

One last thing...

Please bear in mind, through all of this, that fucking is not the be all and end all of life. Sure its a lot of fun if you do it right but the notion that it's more meaningful than sharing your innermost thoughts and feelings, or giving someone your time and energy, is bullshit.

You can have a roots-deep love for someone and never even think of fucking them. Or you can meet someone in a public toilet and have at it, and leave without even knowing their name.

Sex does not equal love. Fucking is not that big of a big deal.

Unless...

Unless you're fucking someone the patriarchy doesn't want you to fuck. Then its a major issue.

Hear me out.

The need to control who we fuck is based a patriarchal need to control material wealth.

To control material wealth, the patriarchy needs to control reproduction (so they can be sure their wealth stays with their bloodline, because wealth is built over many generations) and to do THAT they need to control womens' bodies.... and to do that, of course they need to control who women fuck. And who men fuck too!

Do you know what the ACTUAL issue is with men who like dick? They don't automatically buy into the patriarchal way of life. (where's the solidarity, lads?)

Why don't they?

Because lifelong monogamy and marriage and nuclear families don't matter as much when you're not equating love with sex, and sex with reproduction. When your goal isn't to accumulate wealth and pass it down to your children.

Same thing applies to women who love women. They aren't focused on being demure and pleasing the men in power. They aren't focused on making themselves wife material. They will challenge the status quo and maybe even (shock! horror!) decide not to have children. How the heck do you make sure your money and power stays in the family, how do you build an empire, when the women are perfectly happy having sex with each other and don't want to love, honour and obey??

And whose fault is all this?

Its got to be the damned queers, right? They're making people think there might be other ways to share your life with those you care about! That's why its important to squash down gayness whenever you can, right, wdcmaxy?

Look at them destroying the fabric of society!

If Jimin and Jungkook ARE fucking every chance they get, good for them. I hope they're balls deep and breathless, hitting all those sweet spots for each other having a really good time.

And if they're not fucking, it actually doesn't matter to me because the way they support each other and share their hearts is beautiful. (I do think they are fucking though)

Truthfully, whatever they're doing, as long as they're happy I'm happy.

Can you say the same, wdcmaxy?

Peace.

[graciereadshannigram]

re: sex, power, and hannigram (the bees in my head have struck again)

y'all know the quote, everything in the world is about sex, except sex – sex is about power? Will, someone who has been consistently denied agency and power in his life especially by Hannibal, and Hannibal, a man who has kept himself under such strict control around other people, despite desperately craving true connection to another person – sex would be a natural extension and exploration of these pre-existing dynamics. 

Will and Hannibal’s entire relationship is based on their emotional and intellectual connection as they play this cat and mouse game where the power dynamics are fluid and unstable! the mental arousal they provide one another is an integral part of their connection. and that’s what attracts and excites them! and you know what increased psychological arousal leads to (or at the very least, enhances)? physical arousal!! 

which brings me to my next point: we know that Will is mentally aroused by the prospect of both saving and taking lives (s/o to our boy Chilton, man was a rat, but he was right!) because doing bad things to bad people feels good. 

so when Will finally Becomes by killing the dragon with Hannibal and they start exploring how they kill together, of course bloodlust and regular old lust are going to start blurring. not because either of them are sexual sadists who get off on the act of murdering someone, but instead on the power they each hold over death, the thrill of being truly seen and accepted by the other. 

not to mention the fact that sex provides an outlet for some of their more destructive urges, as well as a way to rebuild trust and psychological safety, two things they haven’t really had much of?? which is not to say that i believe everything they’d do would be safe, sane, or consensual, but i do think they’d be providing each other with what they each authentically need to move forward with one another. 

basically, i'm trying to say Hannibal tried his own brand of therapy on Will and look where it got them. i think the next logical progression would be sex as therapy and therapy as sex.

[preciouslittle-bhaalbabe]

Thoughts about Ascended Astarion! (This is a long one, and I'm not trying to change anyones opinion, just highlighting the fact that the player is in complete control of the situation at all times. This game is about choices.) First off, I don't usually prefer to ascend him. But I love all versions of Astarion. His character is so well written and all of his arcs deserve praise and attention no matter what your personal opinion of them are. The devs did an incredible job. If any parts of his arc (ascended or spawn) make you uncomfortable, then romancing him isn't for you. If the dynamic between AA and your character makes you feel scared or upset, don't ascend him. That dynamic is supposed to be 100% consentual. He's a tough nut to crack and his story can be very triggering. I myself broke down a few times hearing him talk about what he went through. There are other companions with lovely character development that you can choose. When people go "ugh he's ruined I didn't want this" My dear, with all due respect. This is the dark fantasy romance option. Emphasis on the fantasy. You didn’t get his approval by being nice. It's not like he's the only option. You chose to romance the vampire. The game warns you of what exactly you're about to do multiple times. You willingly help him murder thousands of people for freedom. A vampire who was a literal slave for longer than he was even alive for just got a MASSIVE amount of power. Were you expecting he was gonna just be a good guy now? He has had NOTHING for so long. His entire life trajectory changed within moments. He’s still figuring himself out. You as the player are still completely in charge. He owes everything to you and he knows that. You can walk away at literally any point. He asks you to kneel and obey to establish trust and a dynamic. To confirm this is what you want. YOU CAN SAY NO. Then, he gets right down on the floor with you. He's either gentle or rough based on your choice. If you don't like the vibe just break up with him at that point like he literally lets you do. Or, even just reload the save. But just remember. "That's what you want, isn't it?". When Astarion ascends, Neil says it best. His mask is off and he's allowed to be at his most terrible with no fear. He doesn't have to perform or be aloof as a distraction from the pain anymore. He was never good aligned. But now, he has the power and ability to give himself and his favourite person the life he thinks they wanted. Otherwise why would you ascend him? His love language becomes acts of service and gifts. He ADORES tav to almost obsession. He's always doting on them and calling them his. The ritual only amplifies that. "but what about what he says if you convince him not to go through with it?"

He’s not lying. He knows tav saved him from himself. It is technically the “good” ending. But that’s not what matters here. The ascension is for characters who are not good aligned. It is for characters that are just as much of a power hungry monster as ascended Astarion is. They want to be a monarch that rules the world over. It’s a role playing thing. Is it wrong? That’s for you to decide for yourself. Not others.

"but what about karlach? He's a massive jackass to her when he ascends" ...Yes. He's not a good guy. Karlach is basically the goodest character in the game. It won't work. And if you do break up with him, he lashes out and says some extremely hurtful things. Because you just broke his heart. It's a perfectly normal response from someone being completely blindsided. He thought you wanted this. You said you wanted this. After everything you both did you get here, he feels betrayed. Not even to mention ascended Astarion does not make you just a regular spawn. You quite literally become his vampire spouse. He thanks you for putting your trust in him. Then eventually you become a true vampire with time. He wants to make sure tav doesn't go insane after being turned. If you wanna learn more about vampire spouses in DnD I highly reccomend doing some google searches. It's fascinating. Is ascending him the right thing to do? No, but it's not "wrong". The game doesn't work that way. Is keeping him a spawn the right thing to do? Maybe, if your character thinks it is. Either route has their sets of pros and cons. It's up to you which ones you think work for your playthrough.

I almost always convince him not to go through with the ritual. But ascended Astarion + durge is a power couple and the vibes are immaculate for evil runs. Just have fun with the game! The devs made all these character arcs for you to explore! Thanks for reading <3

[pennyblossom-meta]

L Lawliet: a deep dive into the expanded universe pt.01

EDIT (07/04/2024): Added some imgs.

Apologies for being so late to give this a follow up to @maevearcher's meta which can be found here and here. As usual, she’s made excellent points and I'll try to answer the ones which caught my eye.

Since this post ended up gaining a life of its own and becoming a bit too long, I’m splitting it in 2 or 3 parts. The core of the content for part 01 starts after under the button to Read More.

Here we talk about L's humanity.

I'll start with a disclaimer of my own: while I consider the manga as the base for the story, I'm very much open to the expanded DN universe as a complementary study of the characters and their motivations — sometimes even filling in the blanks for some of the background mysteries, such as the dynamics of Wammy's House and how L's successors view him.

To further clarify: by canon I mean the manga and any works by Tsugumi Ohba as the base material. I think @maevearcher and I are more or less in agreement on that, from what she mentioned in her own posts. As she said, the written word is indeed the baseline truth.

The expansion of the DN universe also has its own very special set of problems; for example, in many ways, L:CtW (L: Change the WorLd) commits the sin of overindulgence by throwing in considerations that, arguably, go against canon. Besides the ending where L lives for a final 23 days and Watari dies, the portrayal of Near in the movie (though in the novel he's also walking a fine line between becoming partially and very much OOC) is also a point of contention. I confess that I really wasn't fond of the way they portrayed Misa as a potential crush of L given canon insights on his opinion about Light whether in the role of Kira or as a person (pg.64 of Vol 13: How to Read, henceforth referred to as V13:HTR), but aligning L to become more humane and forgiving was at least interesting.

The same happens with the live action movies, the 2015 series, and the musical. At least the game Spiraling Trap isn't clashing with canon elements — that I could tell. The main plot is separate from the events of DN and the dating sim is a little slice of heaven into L's thoughts and emotions which I dearly love.

However, while L:CtW does indeed overindulge, the novel AN:LABB (Another Note: LA BB Murder Cases) gives us a singular glimpse into L through the eyes of Mello while keeping the events mostly accurate to the main plot, even with its slight deviations. It's certainly an optional perspective to the core of DN, but one that I always found very insightful. In V13:HTR, Obha mentions how he would’ve liked that there were more novels about L and how he solved previous cases, in a similar fashion to how Nisio Isin approaches AN:LABB. Here’s what Ohba says in pg.61 of V13:HTR:

(...) I didn’t think up much for [L’s] past. For him to be in such an influential position, he must have solved an amazing amount of cases, but I have no idea what kind of cases they were or how he solved them. But I would love for NISIOISIN, who wrote the Death Note novel, to write more stories about that (...)

This means that, to some extent, even the original author, Ohba, accepts AN:LABB as close to canon — or rather, as canon as it can get given the creative liberties allowed to a third party writer. To that point, Nisio Isin took L’s capoeira demonstration during the Yotsuba arc and made it a whole thing in the novel, with L taking inspiration from Naomi Misora’s skills. However, given the importance of that event, in the main story, L takes a while to even remember Misora so we can infer that either the stress of the case is getting to him OR learning capoeira and subsequently Misora’s role in it didn’t leave that much of an imprint on him because true canon didn’t really put that much emphasis into it. Either way, it’s an extrapolation that works. The technicalities can be overlooked given how ambiguous the scene is, as there is more than room to deduce a different past.

At the same time, I am an apologist that there are shared characteristics to L throughout the different mediums. My own interpretation of L's character has the manga as a baseline, but the expanded universe has taught me that there are sides to him that might not be so easy to perceive in dialogue bubbles or illustrations alone. Little things like L's addictive personality or the way he represses feelings are visible in the manga but caught beautifully in the novels, for example.

Going from the written word into the screen also represents a loss of the purity achievable only within the narrative in-book, where you can extrapolate and reach your own conclusions without being subject to the bias of sound and movement — though manga aggregates the visual to words and with it an altogether different dimension of meaning. That's one of the many things I enjoy about elements of fiction introduced through books; the stillness of the images and the narrative are more complex. Every time the baseline gets adapted, it loses something or that something shifts to fit into the perception of others. It ceases being pure and its essence is fundamentally shattered. Like the concept of a musical score on paper that gets played by an orchestra, there will never be an adaptation as good as the source material because it breaks the illusion.

While I can certainly extrapolate and accept the loss, I find that the written word from the novels, the tone of a VA's voice and the body movements in a live action still complement the manga well, despite narrative clashes.

About L’s humanity

Recently I've been re-watching the anime and it's incredible how Alessandro Juliani's understanding of the character resulted in such a well-rounded voice for L. I actually prefer the EN version to the JP because of the voice acting. It's superbly brilliant, even if L becomes less listless. He's certainly still aloof, but his aggressiveness is portrayed more vividly; in contrast, L in the manga feels a bit more dangerous and scary to me due to the range of expressions that the anime didn't manage to add in due to time and budget constraints. If anything L tones down how dangerous he can be. He does this on purpose so that he can trick and trip his adversary, as can be seen during his earlier interactions with Light. At times, L makes a mockery of himself, apparently placing himself in the position of a more demure individual while sharply observing the world around him and forming conclusions.

As to @maevearcher ‘s first point:

(...) An image of this lonely autistic genius, locked inside the confines of his ways, waiting for the right person to come along and save him from the banes of his solitary existence…until he meets Light and realises there’s someone out there who he can relate to, for understanding and stuff. I personally don’t buy too much into that.

The depth to which L relates to Light can be overestimated, but not without reason. Theirs is mostly an adversarial relationship with varying deviations throughout the expanded universe, but if we solely consider the manga then we get this comment from Ohba regarding whether L has any friends on pg.64 of V13: HTR:

Nope. And when he says that Light is his first friend that’s a big lie. He never considers him a friend. He probably secretly thinks really negative things about him.

During the Yotsuba arc, L is at a disadvantage. Light has turned the tables, tricked him into what Beyond Birthday could not do and thus gained a solid position into rendering L almost powerless to charge him. To elaborate on the latter point: BB wanted to create the perfect, unsolvable crime to humiliate L, making him lose, and thus “spend the rest of his life trembling in fear of B’s shadow” (pg.163, AA:LABB); L would know who the guilty party was but wouldn’t be able to prove it or bring that person to justice. As such, L would not be able to solve the mystery. At the end of the novel BB fails due to Misora’s quick thinking and that’s that. However, Light has several advantages that BB lacked, starting with his own social position, charm and the impeccable reputation of a model student and the prized son of a police chief who helps solve cases every now and then.

We can argue that, what truly happens in manga canon, is L and Light showing how much they respect each other for their detective skills, forming a sort of strange kinship within the cat and mouse game, especially when Light loses his memories of the Death Note. The game thrills them and they enjoy pushing each other’s buttons. No one else has ever challenged them like this. That being said, the first time they meet up for coffee after the tennis match, L is observing Light like a hawk, keeps testing him for a reaction and seems somewhat irritated at how much Light talks. I would venture a guess that L doesn’t actually like Light that much, even when he loses his memories. He might even find Light a nuisance when he waves the flag of morality — though this is a common problem L is confronted with when dealing with the Task Force, in particular Chief Yagami and Aizawa. This also places him at another gruesome disadvantage, as he’s surrounded by people who openly dislike and criticise his methods. The Task Force is also extremely wary of the way L pursues Light and think he’s being stubborn without proof to substantiate his reasoning. Ironically, it’s Aizawa, one of L’s most critical subordinates, who initiates Light’s downfall years later once he starts to consider L’s suspicions in light of Near and Mello’s tactics. 

Both L and Light respect the game, no matter where it takes them. I would further make an educated guess that Light even preyed on L’s vulnerabilities during the Yotsuba arc, predicting how L might fall into depression for failing at the game. Light was more than capable of understanding that L’s competitive and childish side would make him a sore loser, especially given that he had already “lost” the first round of battles just by showing his face. Even if there is a sliver of friendship between both during Light’s months of amnesia, it’s dead and buried the moment he becomes Kira again. 

My conclusion here would be that, while what happened with Light was extreme, it was also somewhat similar to Beyond Birthday’s eternal enmity towards L: the challenge, the need to humiliate and take down the greatest detective, one of the most brilliant minds to ever walk the Earth. There are some notable quotes from AA:LABB that reference what it is to be L, surrounded by future challengers and individuals who both look up to L and want to prove they’re better than him:

Pg.69

By simple arithmetic, L's ability in 2002 was the equivalent of five ordinary investigative bureaus, and seven intelligence agencies (and by the time he faced off against Kira, those numbers had leapt upward several more notches). This is easy to think of as a reason to respect and admire someone, but let me say this as clearly as possible: that much ability in one human is extremely dangerous. Modern danger management techniques rely heavily on diffusing the risk, but his very existence was the exact opposite. In other words, if someone was planning to commit a crime, they could greatly increase their chances of getting away with it by simply killing L before they began. That was why L hid his identity Not because he was shy or because he never left the house. To ensure his own safety For a detective of L's ability, self-preservation and the preservation of world peace were one and the same, and it would not be correct to describe his actions as cowardly or self-centered.

Pg. 117

L was the goal of everyone in Wammy's House. Everyone of us wanted to surpass him. To step over him. To step on him. M did, N did, and B did. M as a challenger, N as a successor. B as a criminal.

Pg. 160:

B approached Naomi Misora, calling himself Rue Ryuzaki. Rue Ryuzaki - L.L.  For anyone from Wammy's House, there could be no higher goal than identifying yourself with that letter - and Beyond Birthday seized this case as his chance.

One of the biggest problems with these quotes is that they paint a very complicated — and, ultimately, suffocating — picture of what it is like to be L. Ohba himself mentions Watari’s predisposition towards collecting geniuses from all over the world and what Wammy’s House has turned into, under the snippet for Watari’s character (pg.60 V13:HTR):

He’s a guy who cultivates detectives for fun. That’s kind of terrible, isn’t it?

Everyone profits from L. Watari becomes richer than ever. Wammy's House becomes breeding ground for geniuses who end up dreaming of a life where they enjoy constant thrill and challenge. However, in order to do so, the dream cannot be complete until the successor crushes the original; until M, N, B and A defeat L. At least one of L’s successors couldn’t handle the pressure and committed suicide. B, known as Backup, runs away from the orphanage and goes on a murder rampage. Having never met L in person, he deduces several personality quirks that the “original” demonstrates, going as far as exacerbating them in order to be creepy and repulsive. Mello, who boasts of having met L in person and being privy to stories about how he defeated several other detectives (then taking their aliases as a trophy) both fervently admires L and wants to step on him. 

Step on him. That’s quite the turn of phrase. It does sound scary, doesn’t it? To be surrounded by people who would take the opportunity to pull you down, no matter how much they admire you. They want to be you, to prove that they’re better than you. It’s game and ego. Life and death. Winner and loser. 

And that’s perhaps the most blatant summary in approved canon of what it is like to be L that we’ll ever get. We can, of course, argue that Watari cares about L. He’s not only his handler, but also the one who brought him into Wammy’s House. It’s fairly clear that he nurtured (and even enabled) some of L’s most distressing character traits, though I wouldn’t necessarily say it was with a purely utilitarian agenda. It’s perfectly acceptable to extrapolate how Watari might’ve wanted to keep L, a child of great intellectual genius, happy by allowing him to be challenged and properly educated. In fact, AN:LABB (pg. 145-46) even gives us L’s perspective on the kindness that justice can achieve, which is confirmed within the expanded universe to be similar to Watari’s teachings as L confronts Kujo in L:CtW. 

"I have nothing to do with him," L said. "To be completely accurate, I do not even know B. He is simply someone I am aware of. But none of this affects my judgment. Certainly I was interested in this case, and began to investigate it because I knew who the killer was. But that did not alter the way I investigated it, or the manner in which my investigation proceeded. Naomi Misora, I cannot overlook evil. I cannot forgive it. It does not matter if I know the person who commits evil or not. I am only interested in justice." "Only... in justice... " Misora gasped. "Then ... nothing else matters?" "I wouldn't say that, but it is not a priority." “You won't forgive any evil, no matter what the evil is?" "I wouldn't say that, but it is not a priority." "'But..." Like a thirteen-year-old victim. "There are people who justice cannot save." Like a thirteen-year-old criminal. “And there are people who evil can save." "There are. But even so," L said, his tone not changing at all. As if gently admonishing Naomi Misora. “Justice has more power than anything else." "Power? By power ... you mean strength?" "No. I mean kindness." He said it so easily. Misora almost dropped the phone. L The century's greatest detective, L. The detective of justice, L. Who solved every case, no matter how difficult... " ...I misunderstood you, L." "Did you? Well, I'm glad we cleared that up."

I would, once again, venture another educated guess that, while Watari’s primary reasons for starting a program of successors to L was noble, it ultimately backfired on an individual level. Society wise, the letters, as L calls them in L:CtW, are a force for good. They solve crimes, help law forces around the world to keep peace. Some of them even become scientists like Dr Kujo — though she becomes the main antagonist in the spin-off novel. However, the pressure this kind of lifestyle fostered creates a group of individuals who are highly competitive and manipulative. Some, like A, can’t handle it. Even L has his own troubles, being called a reclusive sociopath, possibly by the police forces who treat him as a utility rather than a person. He’s someone they admire and resent, who is tolerated given how effective he is at cracking down cases. 

This passage from L:CtW paints a grim picture of the way L suppresses his own feelings as he breaks down for not being able to prevent Maki from being kidnapped (pg. 150-51):

"Light...it hurts. My heart--" It was a hurt that L Lawliet had suppressed, that he had to suppress in order to continue his existence as the peerless Detective L. How had the world's top detective been described in regard to facets of his personality rather than his ability as a detective? He had been called a kinky detective who relished bizarre murders, a human computer capable only of measuring mass murders in terms of cold numbers, a reclusive sociopath. What L thought of such estimations of his personality only L could know. But no one could truly understand L. How L did not and could not forget the faces of thousands of victims. Who could comprehend the man who had lived his life, and had to live confronting all the lives that ended prematurely, the tears of grief-stricken survivors, the devaluing of life as a daily reality. How was it possible to measure the pain of such a man? Was it a strain so heavy that L's back curved under all its weight? Was it an agony so terribly to leave the indelible dark circles around his eyes? Was it a feeling so bitter that every bite he took needed to be coated in sugar? The chronically rounded shoulders, the inevitable dark circles, the eccentric tastes--L suppressed the pain of being a champion of justice, but the evidence of the pain was moulded into his very body.”

Even within the clear disparity from the official canon, this passage slaps. It humanises L further, making the detective become a person and not just a machine who is content with his lifestyle. I know there’s a tendency for those who prefer the manga to see L as someone who is unabashedly himself and perfectly alright with the life he lives. I would argue that the Kira case was not only the most difficult challenge L ever faced, but also a series of moments where he had to be at his best — and at his worst. He had to do everything within his power to solve the case, not only because of his pride but because of what he considers to be his sense of justice. Saying with such confidence ‘I am justice’ is a rather cheesy and childish thing to say out loud, though I read it as both what started as a child’s stubbornness and what L became, as he positioned himself as a barrier to prevent crimes. 

L suppresses himself, represses his emotions; he tries to control them, as Fu Takashi says in an interview, he is “dependent on games or battles of the mind”. Perhaps this is a consequence of the foundations of his personality. Despite L’s innate stubbornness, it could be argued that this is as much his fault as it is Watari’s, who didn’t nurture L’s social skills as he should have when he was a child. By not having an outlet outside of his hobby, L is trapped in a prison of his own making. Superficially, L is a “smart guy who hates losing”, but what about the rest? What about the things that make him human, the connections with others? In the same interview, it is mentioned how L feels lonely and needs affection. But what affection can you get when you isolate yourself from the world and keep everyone at arm’s length? He’s not a machine. Even machines become obsolete with time, and need outside help to keep functioning.

As for the latter point, if everyone around L is trying to step on him, humiliate him and surpass him, then it’s only natural that his emotional defences would be up. Aside from Watari, whose loyalty he can count on, he’s alone. L has no one else. And everyone around him will have a dangerous, significant probability to betray him.

Next in part 02: About romance, having someone close and intimate, the meaning of the Monster speech.

Tagging @rinneroraito and @sharkiethrts who might be interested in this meta.

[bettsfic]

Venting-

When I hear people give the advice that writing is never a waste of time if you’re having fun or you should never feel like a story was a waste of time, you should enjoy the process. This advice I believe is real and true and works for some writers. But at the same time, there are writers who are very stressed when writing and feel better about their work when it’s finished. Not the “I enjoy having written.” But the “I have crippling anxiety and can only tell if my time, effort, and semi-breakdowns were worth something if I complete what I set out to do.”

Not to diminish anyone who agrees or resonates with the first statement, I admire those people a lot and wish I was calm enough to feel the same.

in my years of teaching and coaching, i've noticed there are two kinds of writers: "process" writers and "product" writers. rather, there exists a spectrum from one to the other.

on the process side, you have writers who reach a flow state fairly easily, who can become immersed in a world or idea of their own invention, and they write in large part to seek that immersive state. the end of a project seems more like a tragedy than an achievement because it marks the loss of the immersive state, and it will take energy and discipline and happenstance to find the next. i've also noticed that it becomes harder rather than easier to find that state over time; the more projects you finish, the fewer ideas appeal to you in the same way.

conversely, product writers get to feel that sense of achievement upon completing a project that process writers may lack, and that pleasure is worth the pain and turmoil of the act of creating something. product writing takes a lot of strength, patience, and discipline i think, to do something hard for the reward of having done it. it's the difference between an athlete and a surgeon. a person becomes an athlete for love of the sport, the act of playing. winning is important, but they wouldn't be able to win without first finding joy in the game. a surgeon, on the other hand, probably doesn't get into the job for the fun of operating. the fulfillment is in the operation's success; it's hard work with high risk. but the reward of saving or improving lives is worth it.

admittedly as a process writer it's always been hard for me to wrap my head around product writers. not only do i not have the patience to seek a sense of achievement, i think i'm mostly incapable of relishing any reward at all unless the reward is in the pursuit itself. looking back, i can't think of any single moment i've ever felt a sense of success. but also i've always struggled with concepts like ambition and competition. i've never had any drive to win anything, but also i've never felt much when i lose or fail. sometimes i wish those things mattered more to me, because then i would be a more driven and decisive person, and i'd be more successful in my career.

i know i'm on the extreme end of the process-product divide, and that colors a lot of my perspective of teaching and mentoring. but i think writers can shift on the spectrum depending on where they're at in their writing life or even with whatever project they're working on. i've been trying to have a more product-based mentality recently to at least develop the skill of shifting to the other side when i need to, so that i can get the patience and focus to write a novel that is not just me plopping my heart onto the page and hoping somebody out there cares. product writers have an easier time convincing other people of the value of their story, because the value of the story is a big reason why they write it. a purely product writer, like the surgeon, writes something because they feel that thing needs to exist in the world. meanwhile the only way for a purely process writer to be professionally successful is to happen by sheer coincidence to find an immersive state that also crosses with the interests of the current market. like the athlete, success involves training, hard work, and being at the right place at the right time. sure, churning out 100k words in a couple months and having a blast while doing it is great, but it comes from this wild inner place that can't really be controlled; meanwhile product writers can take that wildness and intentionally shape it into something. when you're feeling jealous of the other side, though, it's important to remember that both the meadow and the garden are equally beautiful.

[silly-writes]

What if reader was an old childhood friend of some of the competitors (ie Courtney, gwen, bridgette, Heather, duncan, Izzy, cody, etc) with said character(s) having strong feelings for before reader moved away just to come back into their life during one season with reader initially unaware of these returning feelings in said camper.

Bonus: What if reader/camper did get together in that one season, only for next season to have a love triangle form involving another character. The camper is aware of said triangle forming though reader might be oblivious due to now having eyes only for first camper. What'd this be like for different people?

Compretitors with returning feelings for childhood best friend reader!

u guys r really feeding me with these prompts I can't even lie this one was a little tricky with all these moving parts! Sorry if some of these are a little angsty and don't really have happy (per say) conclusions, but I'm just doing what I think best fits the character! I only write pure fluff if that what im given. I hope you enjoy anyways anon!

Courtney

Courtney is beyond stricken when she sees you.

What are the odds you both would have signed up for the same shitty reality tv show?

Well, high as Courtney would tell you. You always were very similar even back when you were inseparable as children.

You knew Courtney was always very fond of you before you moved away, so the reunion is very sweet, and heartfelt.

The two of you attempt to spend a lot of time catching up on what you missed out on after you had moved, but on the show there isn't much time for it.

Courtney can't help but think about how absolutely heartbroken she was when you moved away.

I would think with Courtney's determined attitude (plus based on what she says to Gwen during their friendship) she has made too many friends.

So when you moved away, especially since she was little, it sort of felt like the end of the world to her.

I imagine you being around is wildly distracting for her. Despite her returning romantic feelings.

You were the only person who ever had that type of close vulnerable relationship with her, she would do anything to please you, receive attention from you, or keep you in the game.

All of it leads to some very undesirable slip ups from her, which with you is how I imagine she goes home on the island.

She watched you as she got pulled away, she's not going to leave it unsaid this time, she remembers what that feels like, she remembers how isolating and awful it feels.

"I'm going to miss you ______!" She called out to you from the end of the doc of shame.

You waved wildly "I'm going to win this for you Courtney!" You call back.

"No- I mean! I'm going to miss you because I'm in love with you!"

You stand there stunned as she boards the boat and calls out one final thing "You had bet your butt you'll win this for me! I just confessed my love to you on live television!"

You try to call back that you feel the same, but Chris does what Chris does best and gets in the way of a good time. Even if the boat hadn't driven her off before you got the chance to confess back, the motor is loud enough to where she probably couldn't hear you anyways.

By action, you two have fully discussed your feelings, and how everything should go now that you're into each other but still competitors.

You both agree that your first real official date should be after the show is over, so while things aren't technically official by next season, you two are undoubtedly interested in each other and therefore not getting involved with anyone else.

You stick true to that, but Courtney can see Duncan keeps looking at you, and she's not stupid, she would know that punks gazes in and out.

She doesn't bring it up to you, she knows you're generally very dense about those kinds of things.

But eventually, she can't take it anymore and her jealousy starts driving her mad.

She declares that you two are official, and that you very much are dating, which causes some tension between the two of you during action since you both agreed it just wasn't a good idea.

After some fighting, fighting, and more fighting eventually it's you this time taking the walk of shame to the lame-ousine.

Courtney fights her way to you.

"I'm sorry, I didn't expect it to play out this way!" She says sorrowfully.

But you did, you know just how Courtney is, you know how she gets, and while you didn't fully understand why she did what she did you could've guessed that some kind of fight was inevitable. Plus you know how she gets during competitions.

"Hey don't sweat it," you smile "now that I'm not technically on the show, I don't have as much of a problem doing this-" you say and bring her in for a short and sweet kiss.

After years of waiting for this moment, Coutney can't help but freeze up.

You pull away, and head towards the lame-ousine as she calls "I'll win this for you!"

"You had better win this for me! I just kissed you on live television!" You say smiling as you duck into the back seat.

Gwen

Gwen feels nothing but nervous when reuniting with you.

She was happy to see you sure, but her anxiety held her back in how she displayed that happiness.

She's mainly worried that too much time has passed since the two of you knew each other, and that the two of you won't have anything to talk about anymore.

Eventually the two of you slump back together and things go back to the way that they were before you had moved away.

Another reason she was desperately trying to avoid you at first is because of the huge massive crush she used to have on you.

And dang it of course you had to get cuter as you got older!

Just as she realizes that those feelings for you are slipping out of hiding, is also when she realizes that it's already too late.

Once again the two of you are glued at the hip, just like how it used to be.

You, being who you are and were, are wildly oblivious to these feelings because of course you are.

Gwen isn't one to wear her heart on her sleeve, and even though you two are close she is less so with you, she's been burned before, she's not letting that happen again.

The two of you are sitting next to each other at the talent show when it happens.

Heather goes up on stage and says "Originally I was going to dance for you, but instead I want to celebrate team spirit with a collaboration" She holds up a dark notebook with an evil look plastered on her face.

Gwen seems to recognize it and instantly freezes up "Gwen? Are you okay?" You asked, knowing immediately something was off.

"She wouldn't," she says, and then braces herself.

"So with words by Gwen, performance by me, enjoy."

She cleared her throat before beginning "Okay so I've been trying to ignore them. But they're just so cute! I know it's been forever since we've seen each other and in that time they have gotten so hot! Out of all my childhood friends, of course it had to be them."

Gwen dashes away from the bleachers, and Heather seems satisfied.

Of course you run after Gwen to comfort her.

She lamented on and on about how you must think she's such a creep now, and was acting like a total school girl, still writing in a diary.

But of course you didn't feel like that at all, this was Gwen you were talking about here. The cool, collected, funny quiet girl, and you were obsessed with her.

You two start getting a little more romantic after that, and Heather seeing her plan to drive a wedge between the two of you did not work realizes she has to get her hands messy and plays a little bit more of a direct role in getting you eliminated.

It's a sorrowful goodbye until you see her again in action.

Bridgette

Reuniting with Bridgette is nothing but vibes.

She's beyond stoked to see you again, and even more stoked to ride the wave with you again.

I imagine the two of you met at the beach, and it was love at first sight for her.

You two click all over again like no time has gone past, and she fills you in on every little thing you've missed.

Things are super cut and dry with Bridgette, no mess, nothing but chillness.

She makes her feelings pretty clear, with some hints and stuff.

She learned her lesson the first time, letting you leave without having ever told you how she really felt hurt in ways she wasn't ready to feel again.

But if you don't pick up on it she'll just flat out tell you.

"I'm not doing this cause you're my team mate, I'm doing it cause I like you. You dork."

"I like you too Bridge, you know that."

"Not like that-!" She exclaimed, splashing you playfully, rocking the canoe as she did "-like like like you."

You stare at her in disbelief for a moment.

"what?!" you exclaim.

"Do you not feel the same?" She frowned.

"No I do... I just wasn't expecting-" she cuts you off tackling you rocking the whole boat as she does.

The rest is history and you two are pretty much inseparable from that point onward.

Up until World Tour, where Alejandro starts becoming a plane wide problem.

He tries targeting you at first, but youre so in love with Bridgette he can't get any headway.

But Bridgette being stuck on an opposing team leaves her exposed to his manipulation, he lies about you and makes her question her loyalty.

After she gets stuck to a pole, you find her, but when she explains what happened you just feel so hurt and betrayed that you leave her in the dust (or well, snow).

After a world tour it takes a lot of apologizing and healing to get over what happened between the two of you but you're both determined to make it work so you both put your strongest foot forward and work at it.

Heather

Heather is absolutely stunned when she sees you.

You greet her excitedly when she hits you with a "hello? Earth to nerd, I don't know you!"

That's enough to keep you away from her for a while.

She 100% is only pretending not to know who you are, but what choice did she have? She couldn't risk her feelings for you returning and ruining her chances at winning.

Close tender friendships like you used to have were bad for her image now, she had an impression to keep in this competition and she'd be dead in the ground before she let you or anyone else come in the way of that.

Her tenderness for you starts to show through and through though, you know her like the back of your hand, still, even after all these years.

You'd recognize those glances anywhere, and you knew it meant more than just being a strong team mate when she would point out all the ways in which you did well in the challenges. She was trying to keep you in the game.

The two of you never have any heart to hearts, nothing like that anyways.

She never reveals that she does remember you, not even as you watch her fade into the horizon on the boat of losers.

World tour she's more determined than ever, you've never seen her so deranged to win.

I'd imagine the love triangle would have more to do with her and Alejandro then you and anyone else.

She becomes torn between the two of you, and the inherit struggle in trying to pick over someone who actually matched her wit, and her childhood best friend and longest crush.

She makes her decision when she inevitably votes you out.

"Heather... you voted for me?" You asked, heart breaking, eyes already feeling wet.

She scoffs, "Don't take it so personally."

You sniffle a little bit, and then shake your head "I should've known better than to fall for your two faced snake self twice." You spit.

And with that you're gone.

She's not stupid, she's not forgetful either, and you knew that she knew just what "twice" really meant.

But she'd dug her grave now, she would just have to hope it could hold a million bucks.

Duncan

The meeting with him is very awkward I'd imagine.

He'd likely pretend not to know you until he can get a moment alone with you.

I would imagine he's largely embarrassed of your relationship due to the fact that he met you before his Juvie days, and you were one of the only people who had known him before he became nothing more than a delinquent.

So yeah, he's hell bent on making sure people don't find out about you two knowing each other.

But we all know deep down Duncan is a totally sweetie, even if it is deep, deep, deep down. His affection for you is bound to show one way or another.

Ever the observant one I'm sure it was Courtney who noticed first, marveling at how strange it was that you two of all people had romantic feelings for each other.

She urged the two of you together, subtly, attempting to be your sort of wingman, unbeknownst to even you.

Eventually Duncan works towards getting her voted out because of this, he's so obsessed with keeping his bad boy persona he'd do just about anything in this competition to keep it up. Even risk losing a million big ones.

You knew something was fishy about Courtney getting voted, but you couldn't put your finger on what. At least not until you heard him in the confessionals.

"I had to get that Courtney chick voted out, she was getting too close. I hate people who get to close,"

"Duncan!" you exclaim.

You can hear him mutter curses from the outhouse.

"Forget it! You know I can't believe I was actually starting to like you again!"

After that it's a nonstop battle for Duncan to win back your affections.

I would imagine the love triangle would consist of you, Duncan, and of course, Courtney.

She would start falling for you based on the way you shamelessly defended her despite your feelings for Duncan.

Only problem for you was those feelings hadn't exactly gone away since last season, and you were still very much into him.

You three fight a lot, and are the reason all three of you end up going home.

Which leaves nothing but time to work out your messy feelings for Duncan, and his for you.

But maybe time is really all the two of you need.

Izzy

Izzy is a bit of a wild card (obviously).

I feel like reuniting with her is just super duper chaotic, and very overwhelming at first.

She wants to fill you in on every little detail in her life within the same second she sees you again.

But you remember how to rein her in, she really hasn't changed much from the chaotic messy kid she was. (save for being a criminal now (whoops!)).

You being in the challenge with her would keep her much more rallied and motivated towards an understandable goal.

She can feel those intimate feelings creeping back, but she isn't shy with it.

I imagine she probably would've confessed to you once before, when you first moved, only neither of you wanted to try out long distance and thought it might only ruin what a good friendship you had. So through your move you decided to just stay friends.

You don't get long to sit and wonder about if those feelings still linger for her as they do for you when she abruptly asks

"So hey, are you interested in dating during the competition?" she asked, sitting beside you, anything but shy.

"What?"

Izzy was nothing if not explorative, she collected new experiences like pokemon cards, and she wanted to live fully every part of life.

"It might be a little bit messy. But I think maybe it could work, if all that was keeping you was distance the first time... well... I'm here now."

She stares at you with an expectant kind of rare almost nervous look, and though the confession is anything but picturesque, with her, it's perfect.

I think the love triangle would come in with her next season with maybe Alejandro falling for you.

Hard to say whether his attempts at flirting are due to advancing in the game, or genuine attraction. Either way you have trouble picking up on it, especially when things are going so well with Izzy.

I wouldn't say Izzy isn't a jealous person, I just think she could fall either way, depending on the person, depending on the day, the humidity in the air, basically on nothing at all. She's nothing if not erratic.

With Alejandro, she might be inclined to threaten him with her license to kill depending on her mood, and depending on what he tries to pull with you.

Cody

The reunion with Cody is one that is very heartfelt, and he instantly lights up upon seeing you.

You can see that he's fairly committed to his "too cool for school" schtick, so having any genuine connection with him might be a little tricky.

He's one person I feel like would have definitely tried to keep in contact with, it wasn't anything like every day phone calls, but the two of you had definitely spent at least some time sending letters back and forth.

So when you too meet there isn't a lot of catching up to do, only some.

He's overall very excited to see you back, and you know him enough to know that, even if he's refusing to show it.

You can feel those creeping feelings sneak up on you until the hit you smack in the face during one of the challenges.

"Cody!" you exclaimed during one of the challenges as he hit the ground hard.

"I'm fine," he lied, his voice strangled, the wind having been knocked out of him wholly.

You helped him up, and picked up a piece of paper that had tumbled out of his pocket and went bouncing a few feet.

At first you mistake it for trash, but with the way that even injured and put out Cody grabs for it, you figure it must be something good.

You were due for a little bit of teasing when you decided to open it, only to realize that it was a letter from you.

It's an old one, a really old one, perhaps even the first one you'd ever sent.

"Uhhh... how'd that get in there!?" He exclaims, swiping it out of your hands which are too stunned to fight against it.

Realization dawns on you just as quickly, there is only one reason he'd would've kept that with him after all those years.

"Oh my god Cody, you like me!"

The rest is history, and you two start dating among the challenges.

The conflict would come with Sierra I would think, who's hell bent on breaking you two apart.

All of her attempts fall flat unfortunately for her, and you two stand as one of the more healthy and strong relationships within the show.

[venbetta]

Okay so everytime I play security breach, I always have to trigger some bits of Freddy's dialogue cuz I just love how he says things.

Example of this is in the beginning, it's very mundane, but when he's carrying Gregory in his hatch and you try to enter any of the other doors backstage and he says

I would love to do a tour, but this door is locked.

It's just cute because he's just.. "Aww, this kid is really curious about exploring. It's too bad we're on scrapped for time. Also, those areas are inaccessible." That's how I interpreted it.

Most of these are based on how I personally interpret, just letting you know before I go too deep with rambling. If you have any different interpretations, drop them, I'd love to see it.

Anyways, one of the dialogue bits that make me giggle every time I hear it is during the Prize Counter mission. Gregory accidentally sets off the alarm and is panicked by it. Of course, we enter the mini game, trying to keep Monty and Roxy out for 3 minutes.

Honestly, despite playing the game so many times, it's one of the few missions I kinda dread. It's just nerve-wracking less than scary. Especially if it's later in the run with one or both of the bots shattered and you can't save right away.

But what tops it is after you survive the 3 minutes, probably having few near death close calls and stressing (Gregory definitely was), Freddy simply says:

All done! See, that was not so bad!

And it's like... Freddy? What do you mean?? I almost fucking died. You weren't even there! He sounds so cheery about it.

You spent nearly 4 minutes fighting for your life, and you're met with Freddy's lackadaisical attitude. It kills me. Freddy, when I catch you-

Don't get me wrong, what Freddy did was helpful, even if he just turned off the alarm. And he's been helpful for most of the game... (for the most part, maybe conceptually)

And I feel that he only says that as a way to soften the blow of the situation, like he usually does when something goes wrong. Always trying to find the bright side.. like a true optimist. It's like when a kid is about to do something scary and the adult can't do much, letting the kid be independent, and simply watch (and step in if they have to).

Once the scary situation ends in either the kid succeeding or maybe injuring themselves, the adult then steps in either praising or comforting them. "See, it wasn't that bad. You did it!" Or "Oh, I'm sorry, you did your best. There's always next time/maybe I can help you."

While it's annoying that Freddy responds in a causal way (again, it makes me chuckle), it adds something to him that gives him that paternal role Gregory (or the player) needs. He deals with kids all the time, and I'm sure he probably tries his best to be hands-on. Praising them when they do something, whether its minimal, like retrieving an item, or huge like winning a game and whatnot.

There's countless times Freddy graces Gregory with praise, no matter how treacherous or simple the task is. And that's adorable.

Of course, I'm still beating his ass though (affeftionate), cuz what do you mean you can't come save me 85% of the time? What else are you doing when you're not around me?

I love this dumb bear, but so help me-

[sysmedsaresexist]

I do not mean to sound stupid, but I read your post "dissociation is not solely trauma-based", and I was wondering if you knew of any sources or books about it? I think I don't fully understand what dissociation is. For exemple, no matter how I look at it, I don't understand how meditation could be considered like anything close to dissociation, simply because it's also used as a grounding technique.

I'm combining two asks here, because I'm going to cover both in one go :) you don't sound stupid.

You've got to start with the understanding that dissociation is a continuum from normal (aka nonpathological) to "abnormal" (I hate that word, but aka pathological). I finally dropped the wild existence of Dr Jamie Marich, clinical trauma specialist and a pro endo, CDD system, who wrote Dissociation Made Simple. Let me quote because the book is actually good.

Yes, dissociation is so hard to understand that she wrote an entire book about the concept.

"The English word dissociation comes from the Latin root dissociātiō, meaning “to sever” or “to separate.” At this point when lecturing, I usually ask my students: What are we severing or separating from when we dissociate? You may take a moment, before reading on, to ask this question of yourself. Try not to think on it too rationally. Listen to your gut-level response...

For the purposes of this opening chapter, let’s focus on the form of separation that every human being can likely relate to —severing or separating from the present moment—especially when the present moment becomes unpleasant, overwhelming, or otherwise painful."

Dissociation is a disconnect from something-- this can be memories, thoughts, emotions, or, in worst cases, reality. The present moment.

Not all meditation is dissociative, but most is. For example, emptiness meditation is about disconnecting from everything in the moment. You are literally fine-tuning your dissociative techniques. This is also true when you're using grounding meditation to disconnect from overwhelming emotions or thoughts to get back into the moment.

There are a variety of tasks that we either develop naturally or learn as a way to achieve some degree of separation (e.g., enough to stay somewhat present but still get some relief, or going further into totally cutting oneself off from in-the-moment presence). Dissociation of this nature is not all or nothing—it generally happens in degrees and can depend upon how much distress you feel in any given context. We can do this by daydreaming, drifting off, zoning out, zoning inward, disengaging eye contact with people, losing focus (especially when driving), or getting a little floaty in many other life circumstances. Some people frame this “floatiness” as similar to hypnotic trance and others feel it is quite distinct. We may even take deliberate steps to enhance the experience of separation. How often have you escaped into a book or a movie, into your phone or computer, or into some activity, because it makes the harshness of dealing with the present moment and the emotions it can elicit somewhat more bearable?

Let me be very clear, if you said yes to this question, this answer does not mean that there is anything wrong with you! All of these can be quite ordinary forms of dissociation that every human being is capable of experiencing.

A really, really good way to understand this concept is actually through maladaptive daydreaming (MADD), a highly addictive form of dissociation.

Indeed for many of us, substances or other behaviors that cause major surges of dopamine (e.g., spending, computer games, sexually acting out) can become the accelerant of dissociation...

Whenever we become accustomed to dissociating, especially as children growing up in complex trauma, our brain becomes bonded or some would even say addicted to that state of escape. Once chemical or other reinforcing behaviors are introduced to us, they can accelerate that already familiar experience and we become further bonded to that behavior.

Daydreaming itself is dissociative. Point blank. It is both the most normal kind of dissociation, and yet the most common maladaptive dissociation.

Daydreaming and journeying into my head’s imaginative scenarios is another series of behaviors that can have both adaptive and maladaptive qualities. As a kid, they kept me safe. As an adult, they are the source of so much of my creative power—yet if I engage them too long, too hard, or too much, I run the risk of getting lost and not being able to attend to what helping professionals might call my activities of daily living (e.g., eating properly, sleeping, taking good care of myself, getting to work, attending to loved ones appropriately and with good boundaries).

Let's cut away from the book really quickly to look at Eli Somer, the guy who came up with MADD.

Maladaptive daydreaming is a dissociative disorder: Supporting evidence and theory.

The only real thing I want to quote is:

Although trauma may be one causal factor, we indicate several other etiological pathways to the development of MD. We discuss associations with related concepts and suggest directions for future research.

And

MD is strongly related to dissociation and seems to rely on an innate tendency for absorptive and imaginative fantasy. Through its rewarding properties, this form of immersive daydreaming becomes abnormal. MD may thus be viewed as a disordered form of dissociative absorption.

While Somer talks about how it can be a behavioral addiction in that paper, I find this is a more succinct description.

Maladaptive Daydreaming: Epidemiological Data on a Newly Identified Syndrome

Maladaptive Daydreaming (MD) is a proposed mental disorder characterized by excessive, compulsive immersion in vivid and complex fantastical daydreamed plots, generating intense emotional involvement, often accompanied by stereotypical movements. This addictive absorption in daydreaming becomes maladaptive as it consumes many hours a day, generates shame or guilt, hinders achievement of short- and long-term goals or tasks, and overall causes clinically significant distress and/or interferes with functioning in social or occupational realms. Maladaptive Daydreamers (MDers) report a strong urge to daydream whenever they can and annoyance whenever they cannot, and, repeated unsuccessful efforts to control, cut back, or stop daydreaming, like other behavioral addictions.

And that's the best way to look at DID and other maladaptive, pathological forms of dissociation. It's a behavioral addiction, an escape that we not only crave, but can no longer live without. Just like you can get addicted to working out and gambling, you can become addicted to severing ties with reality through pleasurable (and in some cases, necessary) forms of escape.

I don't know if this is going to make sense, but I've found looking at dissociation like an upside-down iceberg helps me.

At the top, the widest part, is everyone on the planet, and the basic, general concept of dissociation. Severing from the present moment, be it through your phone, book, daydreaming, meditation, zoning out.

As you go down, and it gets narrower, it becomes more important to put names to specific types and forms of dissociation, and fewer people struggle with these forms. In the middle is a confusing mix of seemingly normal and pathological dissociation. You have mediumship, authors with living characters, OCD (yup), ADHD (shocking, I know), MADD, DPDR, (C)PTSD, people on the edge of forming behavioral addictions.

At the bottom, the smallest point, only pathological dissociation, with a much smaller population experiencing it. DID, OSDD, severe and chronic DPDR, DA.

For people that struggle with dissociation... they fell down a hole and travelled all the way to the bottom of the iceberg. What was once a general, normal, human experience became a very specific problem. Over the years, as they travelled deeper, they used and developed a complex mix of various normal dissociative reactions until it eventually became a named, pathological experience.

I sincerely hope that this helps explain and answers both questions ):

Here's another really interesting paper (from none other than, DUNDUNDUN, Colin Ross).

Maladaptive Daydreaming, Dissociation, and the Dissociative Disorders

[thebramblewood]

this is in a similar vein to an ask you got recently but do you have any tips for those who are interested in sims 4 (or even other games like ts3 and ts2) storytelling? I write fanfiction but I think making sims 4 stories could be a fun venture. Anyway, thank you for your time! I love your stories so very much they're literally my hyperfixation!

Well, that makes two of us because it's literally my hyperfixation. I think I've shared bits of advice before, so some of this might sound familiar, but here are some things I think are important to remember (and I tried to be concise, I swear).

Write the story you want to write. Obviously, it's a great feeling when something takes off and people get invested. But if you pursue an idea only because you think Simblr will like it, you probably won't be inspired for long and it'll probably show. I've been very lucky with my story, but it didn't blow up overnight. Early on, I was thrilled to get double digit notes or one reblog or comment and was admittedly disappointed when I put a lot of effort into something and nobody seemed to notice. But I kept going because I was obsessed and wanted to see it through, and that's more true now than ever.

Start with low stakes and allow yourself to evolve. Before I was on Simblr, I made Sims stories with no poses or visual enhancements or fancy editing. I wrote them for myself, and I loved every minute of it, but they also gave me a solid foundation for the kind of storytelling I do now. Even after starting this blog, I eased myself into it. I learned how to use poses and Reshade, then moved on to more advanced editing techniques, then moved on to teaching myself to make poses and very basic CC. If you try to learn it all at once, you're more likely to give up because you're overwhelmed. Take your time and make peace with the fact that perfection isn't possible. Everyone's always learning!

Take advantage of the fact that Sims is a game. Even though I've been a creative writer for most of my life, I don't come up with fully-fleshed, elaborate Sims stories from scratch. It started off with my legacy and not wanting every generation to feel the same. I thought about gameplay I hadn't experienced yet and centered each generation's story around that. Even with HZID, I just wanted to make and play with vampires! That's it! Initially, I used a lot of gameplay to convey Helena's college experiences, and I still try to incorporate it when I can. It can really be a great base to spark your creativity if you don't know where to start.

Don't have a life outside your story. I'm joking. Kind of. I'm not a very social person and I don't like leaving my house if I don't have to. This leaves me with a lot of time for working on story things. Honestly, I could probably stand to work on it less. But for better or worse, I'm doing story-related things most nights and weekends, and even if I'm not doing anything, I'm thinking about it. It's probably mental illness, but we'll just call it passion. At the same time, it's also important to take breaks! If you're feeling burnt out, step away for a while. If you can't make yourself step away completely (raises hand), just edit the script or spin your blorbos around in CAS or something rather than going straight for posing a scene.

Follow and interact with other storytellers. This is probably the most important thing, and as someone who struggles with social anxiety it was the hardest for me to do. But I try to make a point of keeping up with other stories, commenting, and reblogging. Not only will the amazing talent of other writers inspire you, but you're building meaningful connections that make them more likely to want to interact with your story. There's no denying it feels amazing to watch your audience grow. But no one's going to see you if you don't make an effort to be seen, as scary as it can be. So try to be active in the community and support other storytellers the way you want to be supported!

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[foxymc]

ooh blorbo backstory game for qjaiden? :) (from what i've heard, it's somewhat of a mystery? so i'm curious as to just how much information there is or isn't!)

OKAY HI HELLO STRAP IN

Specifically for her backstory (life before the events of QSMP), I think we're going to need some context by going through some of what happened to her during QSMP. Maybe not entirely, I also just want to talk about that too lol

Jaiden is a bird hybrid. The exact kind of bird she is isn't actually confirmed and it might be possible that it's more than one or she's got other kinds of animal DNA in her. See here and at one point, she changed her shoes to ones that had bear pawprints on the bottom of them. Maybe a hint, maybe just a silly reference to Cucurucho. Who knows! But that is just speculation. The only thing we know for sure is she is a bird hybrid.

Interestingly, she only revealed she even had wings later on because she was just "hiding them under her shirt" before. Metawise, she just didn't have the wings as an item in her inventory before lol. But I definitely find it interesting she was just hiding her wings and thus, the fact that she was a bird hybrid for most of the series.

During the events of the QSMP, a few things happened: The Federation assigned everyone an egg (basically their kid) to take care of along with a partner. Jaiden and Roier raised Bobby together until unfortunately, Bobby died. Jaiden builds an entire house in memory of Bobby and then Cucurucho, a white bear that acts as The Federation's representative, approaches her. Jaiden wants to make sure none of the other eggs die and Cucurucho tells her they might be able to do that if she does a few things for them. So now Jaiden is doing tasks for The Federation which makes some people suspicious of her. Not much comes from the tasks she completes tbh. she just has to collect resources, conquers a dungeon (probably an old Federation base if I remember correctly?), and then there is this timer.

During all these tasks, Jaiden starts to grow close to Cucurucho and even though there are two nearly identical Cucuruchos, she can tell the difference between both of them (One of them is sillier and just less serious than the other)

Now comes basically all we know about her backstory. The thing about Jaiden is that she doesn't remember anything about her life before the island. The only thing we are told about her past is this book that Cucurucho gives her.

(It reads: Years ago, you helped us. Me. We need your help again. Will you accept? :) )

Besides this there isn't really anything concrete to go off of. There are potential clues that could hint at her backstory but at that point, we're just getting into speculation territory. All we really know for sure is she somehow helped Cucurucho in the past. I think this means she worked for The Federation but that isn't necessarily true. We just don't know.

Context for The Federation though is that they appear to be this organization that wants perfection. This is especially interesting because Jaiden is very chaotic at times.

There are rules on the island that The Federation imposes. Long story short, one time Jaiden wanted to get Cucurucho's attention and try to get some information out of him about what was happening on the island at the time. When he doesn't show up, she decides to break the rules just to catch his attention and force him to show up. Except she can't do it. She starts panicking and ends up not breaking the rules which again, she has a tendency to be very chaotic. Breaking a simple rule that The Federation set should not be difficult for her but it was.

Remember how she is a bird hybrid? SHE DOESN'T KNOW HOW TO FLY! WHY???

Speaking of that, there's this interesting detail about her wings.

Notice how they're named J0029?

Another bird hybrid's wings are just called 'Crow Damaged Wings' so.... why are Jaiden's wings named like that? Why wouldn't they just be called something generic like 'Wings'?

Anddddd I think that's all I've got. That's everything about her past that we know. At least that's coming to mind right now but I think I've got everything.

Hope this wasn't too hard to follow! Haha

[mageofseven]

How Many Kids The Boys Would Want

This is just a cute post I thought of and decided to do.

All of this is with the Boys under the assumption that:

They believe the pregnancy would be easy or at least normal for their partner (nothing like my series were MC has their kid and there's a health risk in every pregnancy)

That they as a couple are in a stable place in life and are able to handle parenthood.

Based on the assumption that no outside force would try to harm them or go against them for having children.

Also, I wanna try adding Mephisto to my posts for now on just to get some practice with him. I still haven't seen him much in the games, but I've been reading posts and stories with him in them so I feel I have at least some basic understanding of his character and would like to practice writing him.

So yeah, I'm adding him to this post, but also please send me requests involving Mephisto (it can still be with other characters too) so I can practice with this man.

Anyway, onto the post!

•▪︎▪︎◇°●♡●°◇▪︎▪︎•

Lucifer:

Honestly, this man has already raised 7 children and still has to deal with the upkeep on 6 of them.

He is going through the hardest parental exhaustion ever.

However, there was a lot of aspects of raising his siblings that he loved and he wants his partner to experience the same joy he did though would definitely be fine if they didn't want kids all.

His answer:

1-2 (but would have to be convinced into the second one)

Mammon:

This man has a real soft spot for kids, but also a lot of self worth issues and lacks true confidence in himself.

This will ease up a bit when he starts fatherhood and actually experiences being a dad, but it never truly goes a way.

He's still a man who would be genuinely disappointed if his partner didn't want kids, but would also try to pretend otherwise.

His answer:

At least 2. Anymore would take character growth for this man and a bit of convincing.

Leviathan:

Oh. Oh boy. This man is gonna take a lot of convincing to have even one.

That's not because he doesn't like kids or doesn't want to be a parent though.

He just has like 0 self esteem points and is addicted to his otaku lifestyle.

Still, this poor lonely man has daydreamed about having kids.

With the right partner, he can feel secure enough to go lighter on some parts of his lifestyle and be open to having a kid and maybe more.

His answer:

1-2. Anymore and this man would be too overwhelmed so there's no real room for negotiation.

Satan:

This man isn't big on kids, mostly just because of his difficult childhood.

Doesn't hate them, just doesn't see the point in having them.

Still, if he had a partner that was adamant about it, he would agree to have one.

Another man whose view changes a bit after experiencing fatherhood.

He still has to be asked for more kids though; this man doesn't have a strong enough urge for them to ask his partner for one.

So how many can he comfortably be persuaded to have?

His answer:

3. Asking after that number will only cause him to have a long talk with his Kitten about not stretching themselves too thin.

Asmodeus:

Okay, this man loves kids.

If his partner didn't want any, it could possibly be a deal breaker in the long run.

However, he's already long decided how many he wants and all the activities he wants to experience with his kids.

His answer:

2. Any less would make him very disappointed but anymore and he would likely be a bit stressed.

Beelzebub:

Oh lord, this man cannot become a daddy fast enough.

Kids are a necessity with him and even if he tries to be with someone who doesn't want kids, it won't work out in the long.

These kids can come in any way though. You can carry the baby or he'll make changes to his body so he can. Surrogacy is also fine. And adoption!

Adoption is actually a big want of this man too and even if he and his partner already have bio kids, he'll still specifically want to adopt some.

Demon, human, does matter to him. Just adopt some kids who need loving parents.

His answer:

5+, but emphasis on the '+'. This man came from a big family and wants his kids to enjoy having so many siblings too. His partner will have to be the one cut to him off though because this man has no self control 😅

Belphegor:

Oh devil, none

At least that's what he will tell you at first and in fairness, he'll mean it at that this point.

Someone who would love a partner who was in agreement about this, but if not, he will eventually give in and agree to have a child.

Will honestly grow to love his kid more than he ever thought possible.

Another who will never ask for another one, but convincing him for more is not necessarily out of the question.

His answer:

1-2. Those kids would have to be borderline angels for him to even consider a third one though...and since Belphie is their dad, they are more likely to be cute little menaces 🤭💕

Diavolo:

This man wants to be a daddy so badly!

This man can't exactly be with someone who doesn't like kids regardless of how he feels on them.

I mean, he is a literally prince and needs an heir.

Has a similar energy as Beel, but has at least enough grasp on reality to have a stopping point.

His answer:

3-4, but more towards 4. Anymore than this and the prince grows a bit apprehensive. He worries that if he has too many then he won't be able to give them the attention they need and deserve with his limited time from his demanding job.

Barbatos:

This man loves children, but works so much that he worries it would be impractical and even selfish for him to have them.

Would be comfortable with a partner who doesn't want kids because of this.

If his partner really, really wanted kids though he would eventually relent, but not until after a period of preparation to help make sure the pregnancy and the early childhood of their kid goes smoothly.

Yes, that's the kind of planning this future-seeing man sees as critical.

His answer:

1-2. His partner is really gonna have to beg for that second one if they want it though.

Solomon:

A true neutral when it comes to kids.

He has neither the urge to be a father nor a repulsion at the thought.

He'll be comfortable regardless of whether his partner wants kids or not.

If his partner does want children however, he will only agree after a through talk with them.

So much changes in life when people have kids after all and he believes not enough people truly sit down and think about it.

A lot of people treat having kids as something you just have to do in life, like it's nothing more than a milestone they have to hit.

Solomon wants to make sure that if he and his partner are going to be parents then its for the right reasons and with full awareness of the changes and sacrifices that come with it.

If after that talk and a few days of thinking on it (Soli insisted on it), if his partner still wants children then he will gladly take that next step with his little Minx.

His answer:

2. That is the amount he will agree to without question with his partner. Anymore and the sorcerer becomes concerned. Is very much "quality over quantity" when it comes to children and understands that the more kids you have, the less time you have for each individual kid and wants to give his best to any children he helps bring into the world.

Simeon:

This man simply loves children; most angels do and people just assume it's in their nature to.

However, angels don't really have or become parents; they have older siblings who raise the younger ones.

Still, Simeon imagines that it's more or less the same concept and therefore looks forward to it.

If he had a partner who didn't want kids...well they better at least like Luke or wtf are you with the angel that's already technically a single father.

Because of Lukey though, Simeon would be content with a partner who didn't want any kids other than the sweet angel child in the mix.

Simeon is a man I can see as agreeing to have a lot of kids, but wanting it to at least be a gradual process.

He isn't the type of man who would want or be comfortable with his partner popping a new one out each year.

To give some context, he would only be comfortable having another kid if their youngest was at least 4 or 5.

Really emphasizes focusing on their kids while they're toddlers in order to give them a strong foundation for life.

His answer:

Maybe 5? Again, as long as things go how it's listed above, he's okay with having however many his partner wants, whether it's a big or small number.

Mephistopheles:

This man comes an elite background where there is always a 'proper' way for everything.

When it comes to kids, that means he's been taught two paths: a single child to build up and put resources in to be the perfect heir

Or two kids, the 'heir and the spare' method.

Though he's tried to convince himself that these must be the right way to go about with having children, something about these methods has never sat well with him.

So when he and his partner start talking kids, he has a bit of an internal dilemma to face on the topic.

With Mephisto, the question isn't should he have kids, but how many.

Because of this, the man has a lot of thinking and eventual talking things out with his partner to do.

His answer:

2, but can be persuaded to go against his family's teachings and have a third if it's that important to his partner, but it will take time and some comfort from them.

[animentality]

It's tough because I hate the Astarion haters on Reddit, who are just misogynistic and homophobic and dismissive of the character because they hate how gay he acts and also how many women love him.

but I also hate BookTok Astarion fangirls who feel the need to assert how superior Astarion is on every fucking Gale, Wyll, Halsin, Shadowheart, Minthara, Lae'zel, Karlach or pretty much any BG3 video at all. Like we get it. He's white.

And then I'm ambivalent on the Tumblr Astarion fans because there are the people who simply like him and make fun art and fun meta analysis about him, and then there are the people in my inbox currently telling me that Astarion's Ascended ending is morally correct and it's not a bad ending for the character, and if I disagree, then I hate women.

You're correct that I hate women, but it has nothing to do with Astarion.

Also, I once again point out, that your own husbando literally tells you outright in both endings that being Ascended ruins/ruined who he used to be and also your love for one another.

Your man literally says that your love would have been corrupted by becoming his spawn, and you still cling to the idea that your character is living happily ever after.

He's not making you a vampire queen, he's making you a vampire pet. And it's fine to like that ending. I don't care if you LIKE bad, unhappy endings. That is your prerogative. But you are simply incorrect if you say that it's the "happy" ending for the character, when it clearly is not.

No one ever said you had to use your skull for anything other than cold cut storage, I just don't see why it's even necessary to argue your point to me.

Stay in your Astarion echo chamber, and block me. I don't have time or energy to block all of you.

Anyway.

It sucks because I really like Astarion, he's my favorite love interest.

I really enjoy his storyline and his growth as a person and how sweet he is. He's also very funny. All the companions have great voice acting behind them, but Neil really knocked it out of the park, and I honestly think the character would be far less popular if they'd picked any other actor.

But the fandom around him is just...awful.

It's a mixed bag of normal, unnormal in a fun way, and unnormal in a "you need to fucking step off in this Walmart bitch" way.

It's why I'd rather interact with Dark Urge and Gortash fans.

Much smaller subset of the fandom, so I don't have to deal with the generic crazies, and we're all such freaks that we don't feel the need to go around acting like Gortash is a good person.

I also only ever see people saying these two are fucking disgusting and horrible and I'd murder them in real life and honestly, true and based.

No happy endings for those two, and that's fine for me. In fact, it's great.

See, Astarion girlies, this is called...knowing your ship doesn't deserve a happy ending after all they have done, and knowing it wouldn't be a happy ending if they got together, but being able to acknowledge that and not get bent out of shape trying to justify it.

Stop tying your irl morality to your tastes in fiction.

I never said that liking the ascended ending made you a bad person in real life.

I just said that pretending it's good and happy and great and not continuing the cycle of abuse, is factually incorrect.

And it is.

Every single bad ending for all the love interests is literally continuing the cycle of abuse. Why would Astarion's be any different?

But maybe I'm being bold in assuming you even know the other love interests exist or have stories. Maybe you don't even know the general story of baldur's gate 3, because it is, as you say, the vampire dating sim, and it's definitely not about anything other than banging the sexy vampire.

Media literacy weeps.

Anyway.

Not ruining my enjoyment of the game.

Just my general tolerance for the fandom that is not Durge and Gortash obsessed.