#but has at this point lost any kind of tension in these battles bc i couldnt even tell you how tf half these powers work or why

[kurozu501]

theres a bit in hbomberguy’s rwby video where he talks about rules for superpowers and how if the writers keep changing the rules, keep making it confusing and hard for the audience to follow, then they eventually just tune it out, stop caring. thats how i feel about the fights in chainsaw man. the fights in the finale of part 1 were literally the least interesting part for me. almost boring. At a certain point when denji and so many other people keep getting diced up only to just pop back up again the tension vanishes. i appreciate the weird horror movie vibes and how the series avoids doing overexplain-y shonen exposition but eventually you hit a hard limit where things do need to be explained. 

[single-malt-scotch]

really glad you mentioned the whole tonal shift in the life series thing bc that thought was actually what motivated me to make that post. i remember people talking about when the Tonal Shift happened and for me it was 100% when keepinventory was turned on. please ramble some more about it all i would love to hear your thoughts esp wrt death games and whatnot bc i think you pretty much summarized my Exact thoughts better than anyone

yeppp Limlife is where it happened to me. as mentioned i think this worked just fine w limlife, i remember when it first happened and i was unsure, but that was on like. the first death. and when we got to see how much people would die in that series, it made sense.

we have only had one season with it after now, and i can say imo i think it was entirely pointless to secret life. i felt like something was off about that season outside of just the new gimmicks, and i realize that keep inventory means no tension/drama of losing items and surviving which meant that the entire focus on that season was really only the consequences of the main gimmick- the tasks.

and the tasks had next to no consequences until certain circumstances (being red life or getting a hard task-- hard tasks being rare, and red lives being near pointless considering 90% of the server had to get turned at the same time at the very end thus not allowing reds to play out their purpose for long). secret life wasnt trying to be a survival series in the same way, it was trying to be a series that handed players ways to keep surviving in means that werent rooted in minecraft's vanilla survival mechanics. there was barely a threat of death unless it was directing people to die, which takes out any traditional survival all together. where as previous seasons didnt bring in some new system to override the survival provided by the game-- you relied on vanilla survival to survive, not an outside modded gimmick.

SL's only worry was about the tasks and if the tasks werent good/interesting/etc then, well. there may not be much to like about some episodes because it otherwise would just be me watching someone interact with others (to the best of their task related abilities) with little threat of death. SL felt like a fun goofy hang out, which does mean it sucked to watch it. it just means to me that it did not achieve what i wanted to feel about a life season, based on how previous seasons made me feel. i would have wanted to have seen the alliances battles i remember of past seasons, for example, and yes i think something as 'minor' as keep inventory plays into all of this.

i dont point this out to keep hating on SL specifically, but im saying it to express how survival changed and why keep inventory can kinda impact this a lot. what makes a death game isnt just the threat of dying for good, its also knowing that you really need to try to survive. and when your armor and weapons are handed right back to you, you lose the fear of when its coming to get you. the anxiety of running back to your friends, or hoping to recover your gear. you dont want to die, not just because you lost one life but also because you know youre not out of the water yet when you respawn. if you lose all your armor when you die, you have to keep worrying until you get back on your feet. it might force you to find help and make new friends. who knows?

maybe that seems harsh but hey, that has never been an issue before, so i dont feel like the concern should be taken to 'what if they die too fast because they keep losing gear?' theyre capable. if anything im a tad worried that the want for content creation feeding into the audience will take priority over the original intention of the game and its survival aspect. i wasnt a fan of SL because i felt like it was constantly feeding the audience things with little focus on it being the kind of survival focused series we had seen prior, and keep inventory + the system of tasks kinda just turned off every other part of what made the older seasons survival/death games imo.

what i need is factions/groups/etc all teaming up and fighting and big battles and desperately clambering away to hide from death. or crawling to the feet of their enemies begging to join because they lost everything. i want them to struggle through each recovery. you die, you lose everything, thats the consequence of playing.

[sccarletella]

☕️ Genshin impact lore (as in how accessible is it for the uninitiated. Does the game eventually give it to you straight, does it take too long to get access to character and world backstories through the little storybook thing they've got going on bc personally I am an impatient person and I dropped it bc it was taking too long)

☕️ Madara jealous headcanons

First of all I am very sorry this took almost two weeks to answer 😭 brain just would not cooperate but hey it’s here now. Secondly I’ll be putting the Madara bit first and then the Genshin bit under a readmore since it’s a lot less relevant to whomever else sees this, I guess HKCNGKD

———

Madara jealous headcanons… not sure whether you meant romantic or general, so I did a bit of both but also accidentally wrote A Lot. So sorry . Also if any of it sounds odd so sorry again because I wrote it all at once.

I think that particularly during the Konoha founding period he could’ve dealt with a lot of bitterness over the way charisma seemed to come naturally to Hashirama, who was widely admired, whilst he struggled to be seen as anything more than his battle prowess/in a fearful or hateful light, even amongst his own clan.

I think even if he knew that Hashirama struggled with the way he was viewed (which personally I think he would’ve had those struggles) it wouldn’t really stop those feelings, even if he did his best to shove them down and pretend he didn’t yearn for that same admiration (even if he felt he didn’t deserve it).

Then, there’s another layer to it if you add Mito and all that into the picture. It depends on what interpretation of what their relationship was like in the Founding era, but what makes the most sense here I think would be like… they both loved eachother but it was always an “almost” situation.

Despite the tension that was clearly there between them, Madara would be too repressed and lost in his own grief and self-loathing to make any real advances, (and Hashirama never did either for his own reasons) and then before he can come to process any of it he’s being told of Hashirama’s marriage, and finds himself seething— both at Hashirama and at himself, and at Mito and at it all. It’s a culmination of all his past envy and bitterness at that point, and it just gets progressively uglier.

I think he’d be invited to the wedding, because why wouldn’t he be, but I don’t think he’d publicly show up. He might slip in to watch bits and pieces of the ceremony, but the look on Hashirama’s face when they accidentally make eye contact is enough to make him walk out, quickly making his way home before Hashirama got a chance to speak to him.

Well. Anyways, maybe after this is when he starts to really lose himself in researching the tablet, poring over it day in and day out because who is there left to see? His clan thinks he’s deluded and unfit, and the sight of Hashirama and his wife revolts him. I don’t think he hates Mito because it surely seems he respects her by the War arc, but the feelings there are largely unpleasant. He knows it isn’t any fault of hers, yet still the jealousy remains.

And there’s the confrontation between them, and the distance between them has grown too large for any understanding. Madara then feels vindicated, and though he could’ve gone for one last-ditch effort to communicate, he doesn’t. There’s no hope left. The rest is history, etc etc.

TLDR

Anyways here’s the Genshin bit ⬇️

To be honest, I don’t think it’s incredibly accessible, at least if you’re trying to find things out primarily by just playing the game. I’m not sure exactly what you mean by the storybook thing, but I think it’s kind of like. If you don’t wind up getting invested in the gameplay/mechanics at least to an extent, or find some other Tie to keep you playing, it would just get exhausting I think because most (though not all) of the lore comes in the form of questlines that you go through, which can be very time consuming. Additionally, there are the lore bits you get via character profile voicelines, but that is even more of a matter of patience because you unlock many of the lines by doing dailies, leveling the character, etc.

Now, that being said, you don’t necessarily have to do things the conventional way. Pretty much every quest has been recorded and put on Youtube, and there is of course the wiki and other places to find information. I can imagine that may not be as immersive for some people though… it’s a difficult thing. I would say that even if tiresome, doing gameplay stuff and quests to gain more information can still feel very rewarding, but once again it depends on the person.

If you have more specific questions about this/the game in general my DMs are always open!

[agentrouka-blog]

Hmmm so here’s a thought. I am also very much a rookie when it comes to battle strategy. I read the night lamp theory and it seems like a sound strategy. (It involves tricking the freys onto a frozen lake that has holes cut out in it. I think the weight is supposed to make the ice collapse and get the freys to fall in, thus freezing to death. ). I think it will work on account that the freys are largely idiots. But I can also see the cold still is chipping away at Stannis’s army ruthlessly, and the numbers he has to face the Boltons are dwindling by the week, maybe even the day. The winter will help in crippling Stannis.

Ramsey….. he has the potential to be another foil to Jon. He might become one. Since Ramsey is writing to Jon, he either will or has overthrown Roose. So Roose is a dead man walking from not one, but two sides. Ramsey will reflect Jon’s darkest desires and temptations once he overthrows his father. Ramsey will also kill Roose, but Jon’s temptation will be the overthrow part (as he will be back as a darker person).

Also, do we know that Stannis is the one that will burn Shireen? I say that bc I know of a theory that Val will burn her. I know George said Shireen will be burned alive, but I can’t remember if he said who will do it

Hi there!

Lots in this! Let me itemize. :)

1) Yes, that whole swiss cheese Lake being a trick that both works and doesn't work is something I think is probable, and I really like the idea. Clever plan, but it doesn't win Stannis what he wants. Not all clever plans work out, just ask Serwyn of the Mirror Shield immitator Byron Swann.

2) I also agree that Ramsay is absolutely plotting against Roose, and obviously events in the wolfswood don't happen quite as Ramsay writes to Jon, but we cannot be certain just how they go down, or how quickly things will devolve for Roose. The fact that Manderly supposedly killed Davos is likely to have some kind of impact on how the White Harbor Men interact with Stannis' forces, and whether or not they can achieve some kind of cooperation. (Probably not.) This leaves both Stannis and Roose’s forces weakened by a battle that may have no winner? Well, except winter, of course. 

Ramsay is already Jon's foil in every way. He profited from his brother's extremely suspicious death and has now taken over the role of the heir, he was even legitimized. Jon himself was racked with guilt at the thought of doing that by accepting Stannis' offer even though his brothers were lost through no fault of his. Ramsay would also steal a woman's inheritance (through forced marriage, rape and murder, no less) which Jon refuses to do to Sansa, and takes pleasure in the kind of abject cruelty Jon is revolted by. 

3) I do not see the point of Shireen being burned by anyone other than Stannis.

Val doesn't have the power nor any credible motivation to murder her this way. She thinks she should have been killed to prevent the disease resurfacing but that doesn't make her a sadist who burns living children alive. She just wants her away from Monster.

Selyse is obviously shown to be a fanatical follower of R'hllor but that actually makes her less likely to do it because this lacks any shock, surprise or twist, and it doesn't contain any narrative consequence for her callous dismissal of the children at Hardhome. It's flat. Her being shocked and devastated to loose her own child, the one she thought above such threats? That would work better.

Melisandre is similarly Too Obvious and too uninteresting. What difference does it make for her between burning anyone else, even a child? We already know she would have burned Edric. There is no tension in this. We have seen her burn people, we have seen her be wrong and fail. This would just be more of the same. There would be more tension if she advised against it but was overrun by the fanatics she helped create. Cassandra at last.

The effect on Stannis would also be low-impact. We are not shown any kind of warm relationship between him and his daughter. This wouldn't be emotionally devastating for him in a way that would do this event justice. It'd be a bummer because he'd be down an heir, but... hardly any kind of epic narrative consequence for his own actions.

Stannis choosing to sacrifice his own child - his heir, the only chance for his line to continue - in the name of a faith he doesn't even share, for fanaticism he helped stoke, for the dark magic he has taken advantage of, either out of desperation or cynicism or both... that's highly symbolic. He would be immolating his own House, just as he murdered his brother, just as he would have murdered his nephew, as he might have tried to sacrifice Mance's son, as he burned his own desperate and starving soldiers. And he would get nothing for it, ultimately. Because the act of murder is not sacrifice, and it disqualifies him from holding any power.

It would also mirror and foreshadow Dany, who burned a slave alive to get her dragons and created monsters that she cannot control. Who will never achieve her goal of ruling Westeros because what she did to get the power to reach this goal at the same time disqualified her from it.

[caneannabelle]

ok hi guys. it’s been a while. i wrote this analysis back when Mag 187 aka Checking Out aka The One Where Helen Dies first came out and literally ever since i’ve posted it i’ve wanted to redo it because it feels. lacking. listen if there’s one thing i hate it’s incomplete media analysis and i must right my wrongs lest i be forced to look upon myself and crumble from within. that being said, i’ve been putting off this rewrite for a long long time bc Life Gets Weird. tldr this was written over the course of several months so i apologize for inconsistent quality. anyways let’s get into it!

part one: recap!

it’s been a while! let’s just go over what happened. the scene i wanna focus on in particular is this one:

VICTIM

You’ve got to help me!

ARCHIVIST

[Angrily] Don’t touch me!

[THE ARCHIVIST PULLS AWAY, AS THE VICTIM FALLS AND IS CRYING]

HELEN

Oopsie. Not so easy, is it? Keeping up your humanity?

(187).

that being said i’m gonna be kind of all over the place but! i do think that’s a good jumping off point.

part two (part one): disparaging everyone’s problematic fav

in my original post my point was that in reflexively reacting to a victim with disgust and anger jon inadvertently reveals the nature of his dedication to helping victims as ego driven, especially because this line is directly preceded by him asserting his moral high ground over helen as being a “protector” as opposed to her indulgence in destruction. what i’m saying is homeboy has a savior complex. honestly there’s a lot of evidence to support that claim but i think the most obvious example would be jordan kennedy. like.

JORDAN

…Yeah. But wrong. Sick.

What did you do to me?

ARCHIVIST

I helped you.

JORDAN

Helped me? I don’t feel right, I, I just – Ah! No I don’t – argh! I don’t want this!

(184). to be clear it’s an action with a good intent! he just wants to help someone who once helped him! BUT it also demonstrates a lack of conscious empathy. i feel like i don’t have to argue this since jordan Literally vocally said he didn’t want this several times throughout the scene but the point remains that while jon’s intent is good the actual application of his saviourism removes the autonomy of those he affects. i’m not gonna touch on the “is it objectively immoral to become an oppressor for the sake of self preservation while existing within an extreme system in which all are oppressed regardless of your individual status” query mostly because i do not have the brainpower available rn to come to my own conclusion about systems of power and the way they’re represented in tma (which is a whole other rant tbh) but jon DOES rob jordan of the ability to come to his own conclusion in this debate and make his own choice, thereby removing his autonomy. you know. autonomy. free will. the thing that is central to jon’s internal conflicts. huh.

anyways i NEED to stress that i’m not saying that he’s the same as jonah or the web or even annabelle (although annabelle is a victim. no i don’t take constructive criticism). i just want to point out that his actions reflect a lack of understanding. while he’s able to empathize with the pain others experience and is eternally hyper- aware of it he is unable to view that pain through any lense besides his own and uses it in his cycle of self pity and blame, minimizing it at any point possible in the quickest way and Not prioritizing the wishes of the victim but instead the efficiency in decreasing his own guilt. anyways back to 187- both the victim and jordan are treated as props by jon (and helen) and once they serve their purpose in reaffirming the two’s sense of self are cast aside and ignored. ok from here i’m gonna get conceptual and self indulgent bc it’s my analysis and i get to bring up vague convoluted philosophy.

part two (part two): part two

let’s talk about the distortion for a sec. i refuse to believe helen and michael were both completely gone and it was just the distortion piloting their visage, mostly because… like that’s not what the text would indicate

HELEN

Michael isn’t me. Not now.

ARCHIVIST

What happened?

HELEN

He got… distracted. Let feelings that shouldn’t have been his overwhelm me.

Lost my way.

(101). it’s heavily implied that there was SOME remainder of michael in there, even if the being wasn’t him. maybe i’m way off base here but the way i interpreted the implosion of michael was that it was driven by his inability to maintain the repressed resentment and anger he had for gertrude. like it’s pretty clear that some warped version of michael’s feelings were trapped inside of the distortion and i’d go as far as to say that they were integral to his formation as it. i’m gonna operate on the assumption that michael and helen are two separate beings here for a sec even though we know they’re not. As opposed to michael’s resentment for the archivist, helen actively sought refuge in the institute and from the small amount we saw of her Pre-Distortion it seems like her paranoia is internally directed. i think you could even say that while michael was caught in an eternal battle with the concept of connection, helen is caught in a battle with the concept of self. the point is that she thinks of jon in a less “The Archivist” sense and more as just That Guy who she had an intense connection with that one time.

ARCHIVIST

So… S-so what do you want?

HELEN

I don’t know. Helen liked you, so… there’s a lot to consider. But I will help you leave.

(101). i would also like to point out that helen’s emergence as the distortion coincides with jon coming to terms with his identity as the archivist. parallels, baby! SO helen is a newly formed being that is grappling with the concept of her own existence and jon is reevaluating his understanding of identity as he comes to terms with the fact that he is turning into the thing he’s fighting against and this is all happening at the same time. live laugh love. stay with me here, i promise i’ll get back to 187. Throughout seasons 4 and 5 helen attempts to validate her own moral decisions via jon who she once saw herself in. conversely, jon sees both an image of what he could become AND arguably a representation of his past failure in her.

ARCHIVIST

It did. I think… I mean, you remember how I was back then, how paranoid. The Not!Sasha was there, and I could sense something wasn’t right, but I just couldn’t place it. It left me a suspicious wreck. Then when Helen Richardson came in, it seemed like… she was in the same place I was, but worse, further along. I thought, maybe if I could help her, that would mean… maybe I wasn’t beyond help?

(188). helen and jon lie at opposite ends of the same spectrum. both of them derive pleasure from the suffering of others

HELEN

Oh, John! This existence can be wonderful, if you just let it.

ARCHIVIST

[Sadly] I know.

(187). needless to say that a LOT of jon's arc and the themes surrounding him focus on the concept of autonomy and addiction and i think it'd be fair to say that this component is an aspect of that. repressing these qualities is both a way of reaffirming his control and also just.. him trying to be what he perceives as Good, and season 5 is the point at which this comes to the forefront of his character- particularly the line between what is intrinsic and what he truly has control over. a battle of the concept of the self, if you will. while the two share similar traits, jon is intensely moralistic while helen indulges in a twisted sense of hedonism and both are fueled by an inability to expand their viewpoint. helen fully immerses herself within these qualities and intentionally blinds herself to any concepts of morality (indulgence), and jon actively pushes back on this as hard as he can and follows black and white moral framework (repression). this means that in order for their relationship to function he must either accept her, choosing to let go in his personal battle with autonomy OR she must break out of her worldview and conform to standards of human morality which goes against her own nature.

part three: questions i do not have the answer to

so. what does it all mean. WELL. 187 is the boiling point of all this tension. we know that helen relies on jon to validate her sense of self and we know that jon sees himself in helen, both past and present

HELEN

But that doesn’t make any sense. You barely met her. You had half an hour together, and she spent most of that ranting about mazes! She was positively delirious with paranoia!

ARCHIVIST

True. But as you’ll recall, I was pretty paranoid myself at that point.

HELEN

So what? You saw yourself in her? A sad reflection? A possible future?

(187). I’d argue that 187 is demonstrative of jon’s inability to either fall into complete indulgence in intrinsic values that lack moral validity vs. maintain and image of self that does not conflict with the values he attempts to uphold in order to find internal satisfaction and yes both of those concepts are inherently egocentric as he bases his moral judgement on what he can justify to himself instead of what can be calculated via empathy. however. paired with the alternative (helen). is that BAD. is it inherently selfish to do what you perceive as good in order to feed your own savior complex? and if so, is it inherently selfish to indulge in destructive qualities as to not delude yourself? is honesty vs deception a black and white question? if not, where does helen even fall? in not deluding herself does she achieve a moral high ground? IS she deluding herself by denying the potential to be facetiously benevolent at the detriment of both her personal enjoyment and her honesty? does helen even posses the capability to repress her violent qualities? if she doesn't, does she have any autonomy? if she and jon are both inherently selfish and intentionally resistant to introspection, what makes them different? i do not have answers but i do think the text is meant to invoke these questions. i mean,

MICHAEL (STATEMENT)

There was a great evil, she said, and Michael was going to help her fight it. Am I evil, Archivist? Is a thing evil when it simply obeys its own nature? When it embodies its nature? When that nature is created by those which revile it? Perhaps Gertrude believed so. Michael certainly did. He believed everything she told him.

(101).

part 5: conclusion

so once again. what does it all mean. well! even post helen’s death jon continues to fight for autonomy and preserve his moral worldview so. i think that probably indicates something good.

MARTIN

Huh. She couldn’t help what she was, I guess.

ARCHIVIST

She didn’t even try.

(188). i honestly don’t have a thesis i just find it incredibly interesting how the themes surrounding these two intersect and play off of each other. anyways looping back to 187 i do think in a broad sense jon killing helen is representative of him choosing to stick by his convictions and keep fighting. i don’t have any good way to end this but thanks for sticking around during my self indulgent rambling!

[imasimpforshanks]

Hello <3 Can I ask for Angst alphabet with Coby ?~ thanks a lot <3

Angst Alphabet - Coby

a/n: BRUHHHH HIS WAS SO HARD TO DO BC HES SUCH A SWEETIE 😭😭😭😭😭💗 regardless, I hope you like it! x

ALSO - please note reader is a civilian and not a marine (but coby is still a marine). It was just easier for me to write it this way !!

A- Accident (would they blame themselves if you died in an accident?)

Coby wouldn’t exactly blame himself, but he would feel really weak. It would be lots of comments about his own worth and capabilities such as: “I’m still too weak” or I’m never going to be strong enough”. (kind of similar to Zoro in that sense).

B-Break up (How would they break up with you?)

He would try to be as honest and as upfront as possible, but he gets really anxious and just starts stumbling over his words ending every sentence with “ya know?”. In the end, he just uses every cliché in the book because he can’t remember or seem to find the ability to say what he really wanted to.

C-Crying (how would they make you cry?)

This dude is far too much of a sweetheart to ever make you cry. If you were to cry because of him, it’d be because of how much time the two of you have to be away from each other. He hates having to leave you because it’s always a lot of tears on both sides.

D-Death (how would they react to your death?)

He would be devasted. Crying in front of anyone and everyone he doesn’t care. Coby would also become really unmotivated and go through a little bit of an existential crisis like “What’s the point of this anymore?” “what am I even doing?”. Eventually he’d remember how much you believed in him, and how much good he could really do in the world – so, he’d keep going. For you.

E-Emotion (what is one emotion they would try to hide the most and how would they do it?)

Honestly, Coby is someone who is extremely open and expressive. He doesn’t (or maybe it’s more accurate to say he can’t) hide his emotions. That’s just not who he is. He expresses openly whatever emotion it is he is feeling.

F-Fight (do you two ever fight? How big are the fights? What do you fight about? Etc.)

He genuinely tries to avoid fighting with you at all costs. Nothing between the two of you ever escalates that far because Coby manages to talk the two of you out of whatever tension has been built.

G-Guilt (what is the biggest thing they feel guilty about?)

It’s not necessarily guilt, but Coby still feels as though he owes Luffy his life. Because of Luffy, Coby was able to become a marine. It’s because of Luffy that Coby continues to work as hard as he does. Most of what has happened in Coby’s life is all thanks to Luffy and because of that, he feels as though he has a debt he can never repay (even though all of this happened because luffy was just being luffy).

H-Heartbreak (what would cause them pain in the relationship? How would they deal during a break-up?)

Having to be away from you for long periods of time (obviously because he’s a marine) is really painful for the both of you. It can but quite a bit of strain on your relationship as long distance isn’t easy.

During a break-up, his mind would be all over the show. At work, he wouldn’t be able to focus properly which would cause many problems for not only himself, but others around him too.

I-Injured (how would they react if you are badly injured?)

Panic mode: activated. All his focus is shifted to you. He forgets about everything around him and is set on trying to get you help. He doesn’t even try to take down whoever, or whatever, caused your injury. You are his one and only priority in that moment.

J-Jealousy (what do they do if they are jealous?)

The sweetheart would feel so nervous. He’d keep to himself and try to avoid you for a while because he can’t stop thinking about how much better off you would be with literally anyone else.

K-Kill (would they kill for revenge?)

Coby is definitely not the type to kill for revenge. He hates all the killing and death that happens in the world. He’s a person who is all about trying to stop the cycle of hatred. so despite the anger, pain and hurt he would be feeling he would put all of that emotion aside, and settle it a different way.

L-Loss (what is their greatest loss?)

During Marineford when marines (and pirates) were dying left and right, Coby was shocked. It was far too much unnecessary death. Witnessing all that death was an emotional overload, but it did lead to one of the most pivotal moments of his life.

M-Mistake (what is the worst mistake they ever made with you?)

Unfortunately, it was something entirely out of his control. But one time he had to leave for a mission with the Marines in the middle of the night. He couldn’t tell you anything about it or why he was leaving. He just had to up and leave.

N-Nightmares (how often do they have them? What are they about? How do they deal with it?)

Sometimes Coby has nightmares about Marineford. The constant voices and cries of agony form an endless loop in his sleep, gradually getting louder and louder until he screams himself awake. After waking up in a panic he manages to calm his breathing. Then, Coby gives himself a pep talk “that is why you’re working so hard. To become strong enough to be fleet admiral so nothing like that will ever happen again.”

O-Outrage (how and why would they get mad at you?)

As with the fights, I don’t think Coby really gets mad at you. Probably over something minor like you ate the last cookie or something. It’s not anger, he just gets pouty until you say you’ll make it up to him.

P-Past (what has happened in your relationship that changed the way you saw each other?)

Having to do your relationship long distance was a pivotal point for the both of you. For most, it can be a deal breaker and it comes with more negatives than positives. But, for the two of you, it was a wake-up call, and, it was the moment you both realized “I can’t live without you, we will make this work”.

Q-Quality (what is their most dangerous/toxic quality?)

I wouldn’t say this is dangerous or toxic idk (???) but ANWAYSSSSS. Coby lacks certainty in his own decisions. He’s not so bad now, but it used to be a lot worse. He second guesses himself too much, which can be the difference between life and death in a high pressure situation.

R-Rejection (how would they react to you rejecting their confession (or the other way around))

Being rejected by you would definitely impact his self-esteem. It’d bring up a lot of insecurities and feelings of inadequacy. (PLS DON’T REJECT THIS PRECIOUS BOY).

S-Scars (battle or self-inflicted)

Coby does have a scar on his head. It’s not entirely certain when or where he received this scar, but it’s likely to be from his rough training with Garp.

T-Trust (have they ever broken your trust?)

No, Coby has never broken your trust. In fact, your relationship is held up by the unwavering trust the two of you have in one another. It may seem funny to say that, because trust is a vital element of any relationship, but it’s particularly the case for you two. Being a marine means there’s going to be quite a few things he can’t tell you, but you know he can’t tell you and he really appreciates how much you understand that.

U-Urge (how badly do they want to see you after you guys separated?)

He’s had to learn to cope with not seeing you for long periods of time. But, despite all that practice it’s still unbelievably difficult. When he can, he’ll write you letters to keep you informed about his safety. He won’t ask, but he’d really appreciate if you wrote him back.

V-Vicious (what do they do when they lash out on you?)

I genuinely don’t believe he would lash out at you. He just wouldn’t. Maybe, he’s slammed a few doors, but other than that… (sorry I feel like this one is boring af ugh).

W-Weak (what makes them feel weak how do they try to avoid it?)

Coby always felt weak and incapable in his abilities. Sometimes those feelings resurface. But honestly, he trues to avoid this by remembering how and why he is where he is. He thinks of all the people who have helped him along the way (Luffy, Garp etc.) and it motivates him to push forward.

X-X-ray (what do they hate and show it most obviously?)

He hates needless violence. He understands in some situations violence is necessary, but, then there are some situations (like the end of marineford) where lives are being lost for no reason whatsoever.

Y-Yearn (what is one thing that they want but can’t have?)

He wants nothing more than to openly be BFF’s with Luffy. Given the two different worlds they live in, it’s just never going to happen, despite Luffy being a genuinely good person. (I KNOW THIS IS MEAN TO BE ANGSTY BUT I COULDN’T HELP IT LMFAO)

Z-Zero (what do they do/say in your dying moments?)

Oh boy. There would be endless amounts of tears. Through sniffles and snot, he’d be trying to thank you for everything you’ve done for him, all the love and support you’ve shown him.

[unexpected-nightview]

Thought on fuba's first kiss? How did it happened? Was it kind of a spurr of the moment thing? Or was it a long time coming?

Nonnie. NONNIE. N O N N I E.

Okay so. First of all, I think it has become clear that I love any Fuba content and they are so versatile that almost any sort of scenario can work wonderfully. So I had a bit of a hard time deciding which one I wanted for this. So. In order to keep a little bit of consistency to my screaming, I decided to follow my headcanon suit of events which is : Rishan realizes things just before they leave Bai Qiao Village and Ba Ye starts connecting dots after the life-death Zhang trap but while there is some tension happening, neither of them has made a move yet.

In that “timeline”, I think there could be 2 key moments that play a role in the first kiss situation : Fo Ye and Xin Yue’s wedding at the mansion and the battle of Changsha at the end of the drama.

During the wedding, they are all very giggly, tipsy and clearly relaxed enough that any sort of formalities are dropped etc. You can see that by how Rishan and Ba Ye are having a great time making sure that Fo Ye gets drunk and the state of their clothes (and yes, I keep maintaining that Rishan was the one that put Ba Ye’s scarf like that).

Maybe after they leave Fo Ye, they decide to continue with the celebration. But seeing how most of the guests are passed out in the room, they decide to snatch a few more bottles and go to a more secluded place. The giggles and flirts do nothing but increase. I mean. It’s probably the most relaxed time they might have had since the beginning of the story, so they want to make it count?

And now I’m a bit torn bc, on the one hand, they could very much get a tiiiiny little bit drunk and then just go for a full (albeit clumsy) make out session OR, they are *this* close to kissing but either they get interrupted or have a sudden spur of “oh shit what am I doing???”.

In any case, the result is somehow similar : the next morning they won’t talk about it and pretend it never happened. Bc 1)they are morons and can’t read the signals that hey, this attraction is very much mutual and 2)the situation in Changsha keeps getting worse by the second and that’s definitely not the best time to start anything romantic.

With that I’m going to add that scene when Fo Ye goes to where Ba Ye, Huo Jinxi, Xie Ye and Er Ye are playing Mahjong. Because, BECAUSE. That’s the moment Ba Ye says “I’m leaving tonight” and Rishan, instead of entering the place with Fo Ye, he stays at the car. And yeah, I’m totally going with the “Ba Ye told Rishan the news yesterday and they are both sad and perhaps a bit heartbroken and scared and would rather avoid each other” scenario. MOVING ON.

Anywho. The battle of Changsha happens and when all hope seems lost the Old Gates come to the rescue and Rishan is relieved but then realizes that Ba Ye is *there* and this man cannot shoot to save his life and if he was already stressed before you can imagine how terrified he is right now. 

But! Since I know sh*t about history and at this point DMBJ is just real free estate, I’m going to pretend that they won the battle and these two while injured, they got out of there alive. Afterward (depending on the injuries it could be immediately after the battle or a couple of days later), Rishan who is *furious* at Ba Ye for risking his life like that, goes to talk to him and give him a scolding or whatever. But of course his plans are foiled bc the moment these two lock eyes any rationality goes out of the window and they run into each other’s arms and they kiss with all the love, fear and desperation they’ve been holding for Heavens know how long. Thankfully, Fo Ye isn’t there. Otherwise it might have been a bit awkward

[hatsukeii]

Not a request, just something I thought of while listening to a song.

Gonna be a scenario!!

And for once it’s not a haikyuu one lolol sorry to disappoint.

It’s an Attack on Titan one because LEVI.

I’m sorry I’m soft for him.

(Even though he’s like 20+ years older than me but age is just a number jail’s just a room-)

(Jk lol I’m not about to have him catch a case)

Are You Bored Yet?// Levi x reader

Word count： 2000+ idk the exact number bc I went back and changed some stuff

Warnings: Little bit of swearing

Summary: You and Levi have never really had much time to think about your relationship, until the night before the plan to recapture the lost land within Wall Maria.

This was one of those nights.

Those precious nights in the Survey Corps, where Levi wasn’t at his mahogany table, writing up piles amongst piles of paperwork until his fingers cramped and his wrists felt numb, drinking so many cups of tea at such a quick pace it looks like he’s just straight up inhaling the scorching liquid.

But also one of those nights, where the tension in the air is so thick you can cut it with a knife. The wavering mentality of everyone in the Survey Corps was evident in the way they acted that particular evening. From the silence in the dining hall, to the soldiers showing more affection to their comrades compared to usual. They all knew what awaited them tomorrow. Maybe this was what people described as the pre boss battle stress. The kind of anxiety that ate you up from inside, slowly taking over you.

Dinner ended hours ago. Lights in the cabins were off, leaving you in pitch darkness. The faint glow from the moon that hung above your head lit up the patch of grassy land you laid on. To say you weren’t nervous would be an understatement. The past few months have been nothing but cruel. Who knew the titans were going to somehow get to the walls again? Watching your comrades die each expedition as if it was normal probably hardened you more than necessary. Letting your hands travel to under your head, you let your head tilt up to gaze at the starry sky. Your eyes darted from star to star, trying to count them, hoping that would help silence out all the made up scenarios about tomorrow you were making.

“Can I join you?” A low, but oh so familiar voice asked behind you. “No babe, you can’t. What do you think? Of course you can join.” You joked, patting the area next to you as Levi sat himself down, refusing to lie down on the “filthy” grass.

Being orphaned was not fun. At all. You never received any form of care from anyone. Your parents wanted a boy. A girl was the last thing they asked for, let alone two girls. The minute you turned five, the two adults chucked you two out on the streets to fend for yourself. For three whole years, you cowered behind your sister as she handled difficult situations. Stealing, bribing, defending, those were her fortes. Till now, you still blamed yourself for her death. You tried to steal bread from a vendor. A beefy vendor. The man snapped, sending punch after punch towards you. Your sister intervened, hoping to stop his assault on you. Jumping in front of you, she took all the blows that came her way, skilfully dodging the kicks and punches the man threw out, a crowd starting to form around the fight. You watched, clutching onto the bread, as a drop of blood dripped from her nose to the ground, followed by more droplets. Three other men stepped in to assist the vendor, sending harsh blows with bats, planks, everything and anything at their disposal. The crowd’s cheers echoed through the street as they egged the fight on. The beefy vendor was now straddling your sister, sending punch after punch towards your sister’s bruised and bloody face. Run, she told you. Leave her and get to somewhere safe, she screamed, before a crunch, followed by a pained yell pierced the air. Get away, she choked out, before one of the men got bored and snapped her neck, all signs of life in her eyes gone within a second. Petrified, you dropped the pastry, running away as quick as your little feet could bring you. You didn’t know where you were going, nor did you know whether the three men were following you. All you knew to do was to run away. That was your sister’s last request. You collapsed on the side of the road, eyes wide and darting across the street, praying you were alone. You curled up into a ball on the street, tears rolling down your cold cheeks as you rocked back and forth. The way her face paled as blood continued to drip onto the street when her neck snapped was etched into your brain. That wasn’t gonna leave any time soon. It could’ve been minutes, or hours that had passed, when you felt something shoved into your arms. “Here, have this.” You tiredly looked up at the raven haired boy that was about your age, who was now looking at you with bored eyes. You tore out a tiny piece of the warm bread, your trembling hand leading it into your mouth. The boy rolled his eyes, wiping his hand on his shirt. “You alone or what?” All you could do was timidly nod your head. You were far from composed enough to make out any proper sentences. “You wanna tag along? I can help you out until you’re good to go.”

You two stuck together for the longest time. You remember when Levi introduced you to Isabel and Farlan, who taught you how to master the ODM gear. The four of you relied on each other in the underground, sharing materials, food, water, all that. When the three joined the Survey Corps, you joined with them. On your first expedition, you watched as your comrades, those you trained for years and eventually became close with, get devoured by titans. You joined up with Levi, brutally killing the titan that decided eating Farlan and Isabel was a good idea. You held him that night while he cried about two of his best friends that met their gruesome fate. Never once have you ever left his side when he needed you most.

It didn’t come as a surprise when you eventually caught feelings for him. I mean he’s ripped, hot as hell, smart, and can beyblade his way to victory, what was there not to like? What did come as a surprise, was when he admitted his feelings towards you before your second expedition together. Since then, you guys have been dating, becoming nearly inseparable during missions.

To say your relationship was smooth sailing would be a lie. There have been times where you’ve had full blown arguments with him. Dating in the military was not an easy ordeal. You were constantly worried about Levi, and vice versa. Making it up to each other was probably the thing you guys did the most. All that mattered was that you guys kept your asses alive, so you could go home together.

You continued to stare at the sky, salvaging the rare peaceful night. You let your eyes close as you relaxed in the grass. Nights like these almost never existed. Levi was usually too busy for this shit. However his paperwork was all finished, which meant he finally had a chance to really enjoy your presence. The occasional gust of wind that blew over you two, and Levi’s attempts to get comfortable on the grassy floor were the only audible sounds. Your lips curled up into a tiny grin, imagining how Levi looked like right now. “Screw it.” You felt his shoulder against yours as you chuckled lightly. “I knew you would give in.”

You two laid there in a comfortable silence, relaxing one last time, hoping it could last forever. 

“Are you bored yet?”

Your eyes fluttered open. Levi rarely asked questions like this. This was a start.

You looked over to him, taking in his appearance in the moonlight. His eyes were focused on the stars, his breathing light and almost inaudible.

“Bored of what?”

His eyes never left the sky.

“Are you bored of this yet? Are you bored of me? Bored of doing the same things every single damn day? Bored of life? Going out, fighting titans, watching people that have grown close to us waste their lives out on the battlefield, aren’t you bored of all of it? Do you sometimes just want to end it all?”

You were silent for a moment, trying to understand his question.

“Why would I ever be bored of you?”

“Why would you not? It’s been six whole years, I’m surprised you still put up with me.”

You sighed out, turning your head back towards the sky.

“Levi, do you ever get bored of counting stars?”

A look of confusion plastered on his face as he thought about it for a bit.

“No. I don’t.”

“Why don’t you get bored of it?”

He turned his head towards the sky, letting his eyes close.

“Maybe something about the stars just fascinates me to an extent. I can’t get bored of them. They’re just so pretty. You’d think they were just dots, but if they ever fell onto Earth, it’d be a total shitshow. Billions of stars, just in the sky for us to observe. We don’t really know much about them either. I guess that’s my reason for not being bored.”

You nodded, humming in response.

“Well, I’m not bored of you because I’m fascinated by you, even now. Just like the stars. Maybe life as a soldier has hardened you to the point where watching your comrades die just doesn’t affect you, or you hide all your emotions under that pretty little face of yours. Sometimes, I don’t understand how you just fall asleep on a chair, or how your brain still manages to function on three hours of sleep. There’s so much to learn about you. One thing I did figure out, is that you wear your heart on your sleeve, you just never tell people. You’d rather try to move on than open up to someone. As long as there’s something to discover about the outside world, the titans, you, I would never get bored.”

Levi huffed out, continuing his “interrogation.”

“Then what now? It’s been six years of doing the same thing, this will eventually get boring for the both of us.” The pain in his voice he tried so hard to hide finally showed itself.

“We continue to do this shit. As long as it takes for us to finally be able to be free outside the walls. I don’t plan on letting it get boring anytime soon. I want humanity to be able to breathe in the air from outside the walls. I want them to see the ocean, smell and taste the salt in the ocean breeze by the sea. Be able to experience everything written in those little textbooks of theirs, instead of just read about it on paper. I won’t stop until that goal is reached, nor will I lose interest. And don’t you even come up with that bullshit, about how I’ll eventually get bored of you. I love you way too much to get bored of you. We’ve been through so much together, it would be a waste if I threw that all away.”

“Aren’t you scared? Tomorrow, more people are going to die for sure. Who knows if it’s going to be one of us?” Another question came out from his mouth.

“Who said I wasn’t scared? I’m always scared. I can’t afford to lose you, or anyone I love. You better not die on me tomorrow, or I’ll bring you back and kill you all over again. Humanity’s strongest is about to carry us to victory with a brave heart and a killer glare.”

The raven haired man chuckled at that statement, taking your hand in his and intertwining your fingers.

“If you knew me, you’d know I’m far from being brave. You really think I’m unaffected by the deaths of other soldiers? If I could, I would save every single one of them. I’m scared too. Terrified. I can’t bear to imagine how life would be without you, or anyone from my squads. You’re right, I wear my heart on my sleeve, but I don’t trust anyone enough to open up to them. Maybe except you. I just wish that one day, humanity will finally be triumphant against the titans. I don’t care what it takes. I’d do it without hesitation even if it costs me my life.”

Bringing your hand up to his face, he gave each knuckle a soft peck, before holding it to his chest. The back of your hand felt his steady heartbeat, thumping against his chest like a drum.

“However, I don’t plan on dying anytime soon. Not when I have you protect you. As long as I still have energy to breathe, I’m going to continue to protect your ass, no questions asked. You better not die tomorrow either, or I’ll do the exact same thing you just said.”

You shifted your body, leaning against Levi’s side as you rested your head on his shoulder, smiling at yourself.

“I do have a pretty killer glare though don’t I love?”

You laughed a bit at his boastful joke, giving his cheek a light peck, before resting your head back on his shoulder.

“Yeah, you definitely do. Pretty sure Eren pisses his pants every time you send him that death glare.”

After rewriting this like twice bc of my computer glitching it is finally done oh my god I’m so tired rn I feel like death. I’ll do all the requests tomorrow, for now just stick with this shitty oneshot I decided to write out of impulse.

(Btw this is an example of me writing a scenario based on a song. If any of you guys know it then like please be my friend)

References:

Are you bored yet- Wallows

Are you bored yet (official music video)

Genius interview lol

The comments section on the music video and other variations of that song

[daisy--sorbet]

heyyy, hope you’re having a good night!! if you have the energy and feel okay answering, what’s up w taz graduation? i haven’t checked it out yet but i was thinking ab it. just asking bc you’re the first person i saw talk ab the show having serious issues, but also feel free to not answer this!! hope you have a good week!

i took a nice hot bath, had a strawberry kiwi capri-sun, and did a nice face mask and i’m feeling pretty good - so, y’know what anon? let’s talk about it. 

for anyone who likes taz grad who sees this post: it’ll be tagged with “taz grad hate” (although i feel hate is definitely a very strong word - it’s for the simplicity of tagging it) - so please block the tag if you don’t want to see this post (especially because i put a readmore on a post before and it didn’t show up on mobile and instead gave the full post). mobile tumblr has a tag blocking system, so please feel free to use it! i don’t mind haha

anyway, so this is... probably going to be a lost post, and i wanna go ahead and preface it: this absolutely isn’t any hate on the mcelroys themselves. i love the brothers and their dad a lot, and while i doubt any of them would ever see this (or have it sent to them, or shown to them, because im pretty sure they try to distance themselves from this sort of thing), i just want to make it clear that criticizing a product is different than bashing a person. which brings me to the point of if i do end up sounding as if im bashing someone - please call me out on it! it’s not my intention to target anyone.

with that said, let’s talk about this campaign.

so my problems are as thus: the railroading, the shipping (a fandom problem, but it’s present in the podcast), the NPCs, and some misc problems others have addressed better than i have.

which. i know. that’s basically the entire podcast. (i promise i’ll bring up some positive points to balance it all out). keep in mind i’ve only personally listened to... what, six episodes? and it was enough for me to drop it. some people dropped it first ep, some dropped it ep four, and others are still forcing themselves to listen.

the railroading

there was a time i could handle travis and his railroading [making sure the story goes exactly the way he has planned], because it was the very beginning of the podcast and that’s what you can kind of expect from a plot-heavy podcast. hell, i wouldn’t mind it if the interactions and goofs weren’t a huge part of why i listen to TAZ in particular (which, by the way, is why amnesty still stuck out to me - even if there was a direction griffin wanted to push them towards, the interactions between the players (or players and npcs) made up for any railroading). it’s kind of hard to not railroad a little when it’s story-heavy and you’re trying to built up a world that you’ve put a lot of thought into. however, a huge part of d&d is the spontaneity. 

it’s kind of why i think balance was so popular. while there was railroading towards the end, there was the presence of improv that made it all good. most mcelroy content is enjoyed because of the goofs. the magic brian moment is memorable. the jenkin’s fight still stands out because it was funny (albeit a result of some bad rolls). the boys teasing angus sticks out because the four would play well off of each other. even without that - griffin had talked about how he had to roll with things (the fact he had planned for a fight atop the train, but ditched the idea for what his family members came up with instead). even in amnesty, a couple moments that stick out to me still are ned with the jetpack taking out a pizza hut sign, and the scene with the water where jake was trapped inside. they aren’t as fun, but they still stand out as “things i didnt expect to really end the way they did.”

with grad, it’s just. one after another. the thundermen want to subpoena a xorn? cool, let’s run with that until actually the xorn gets fed rocks and goes home and who cares about the subpoena now. fitzroy wants to keep his cloak? lets talk about it for a while and you also get no rolls to even try to keep it. fitzroy goes to meet higglemas in his office? oh, why are you here fitzroy? im going to keep asking you until you answer fitzroy? you arent getting out of this scene until you answer me, fitzroy, so just tell me why you’re here already, alright, fitzroy? 

and even later in a episode i read a transcript of: hey argo, remember how you have this whole secret motivation? fuck you, im gonna talk about it here in your dream and reveal it to listeners and remove any tension you had building up, and you dont get a choice to talk about it because this all-knowing villain knows all about it :)

and even NOW in the latest episode, there’s a comment that “we should cap argo’s skills here” instead of just... making the checks higher. rogues are good at certain things and usually arent the best in battles. better hope argo never makes it to level 11, because who knows how people are gonna handle the fact that he gets a skill that’ll make it so certain skills can’t have a roll below 10 (reliable talent). 

(griffin, thankfully, calls travis out for that, but still - travis, why would you even imply that, considering you should be aware of how rogues work considering magnus multiclassed into rogue and you played one on tiny heist?)

and in the newest episode, their Big Bad chaos (which, god, i personally hate that name) straight-out says “dont do this” to the thundermen. travis tries to say, on twitter, “a character saying “dont do this” is different than me saying it” but i need to point out that it’s one thing if you’ve said “no” in character but worked with the PCs doing otherwise, but the railroading says differently.

the shipping

ill try to make this quick, because it’s nothing to do with the fandom (ship however you want, man) - but i really feel the need to draw attention to this.

fitzroy, as confirmed by griffin in a ttazz episode, is asexual. not aroace, but ace nonetheless. and i find it... troublesome that the idea of rainer and fitzroy having a relationship is still pushed nonetheless, despite the fact that fitzroy (to my knowledge) was never once shown to reciprocate any feelings. not to be that person, but i really hope that grad doesnt have any sort of romantic relationships in it (at least - not between NPCs and PCs unless they’re actually like... warranted?). 

i dont know, man. one of my closest friends is ace, and i know she wants a relationship, but i think it would reassure her a lot to see an ace character who isn’t pushed into one in case she ever changes her mind. someone once mentioned that they hope fi/tz/ra/in doesnt happen because theres relationships that have that “oh, you can just date” and it goes upwards there to “oh, you can have sex just to please them <3″  (which, to be honest, is kind of a gross mindset - if someone isnt interested, they arent interested).

also, uh, the TTAZZ where griffin states this, there’s kind of the mention tht the whole sexuality question was posed in relation to the episode “creative thinking” (the dream one i mentioned earlier) - which. uh. i don’t know if anyone caught this, but... rainer straight-up wrote fitzroy a letter in the dream like “are you going to accept my proposal? a girl doesn’t like to be left waiting” which. leaves me with some gross feelings because uh.

if... if the whole thing about fitzroys sexual orientation was addressed here, then why would you push your ship anyway? feels kinda iffy, man.

to which i want to say: fitzroy can date. he’s allowed to date. griffins allowed to do whatever he wants with his character. but when a lot of the flirting is met with nothing, i’m not gonna see the chemistry there. just because travis ships it doesn’t mean it’s canon.

the npcs

ah yes. lets talk about the npcs.

there’s... a lot. a lot a lot. i think travis trimmed down how many were present in a scene, but uh. there’s still a lot. and... uh... i kinda wish there wasn’t?

look, i know im going back to balance/amnesty, but just. hang in there for a moment. chill with me. vibe. 

balance didnt have too many NPCs present at all times in each mini-arc. gerblins had some big names like barry, klarg, gundren, killian, yeemick, and magic brian. rockport limited had angus, jess, graham the juicy wizard jenkins, and all of the tom bodetts mentioned. 

amnestys first arc had mama, barclay, jake, dani, pigeon, kirby, minerva, and that was about it for like. big names? and not all of them were present in each scene. 

in the first episode of grad alone: gary, hernandez, jimson, rolandus, zana, rhodes, buckminster eden, rainer, leon, tomas, hieronymous, higglemas, stuart, jackle, bartholomeus, mulligan, groundsy, germaine/victoria/rattles (the skeleton crew). and those are the ones i wrote down (minus groundsy, who i just. ignores. idk him).

like holy shit, my english prof got onto me for having too many characters in my first chapter and i didnt even have half the amount listed there! 

it’s just a huge cast. does this take place in a school? yes! theres bound to be a lot of students present - but you don’t have to name every single one of them, at least not in the first episode!

the miscellaneous

i don’t know if travis ever actually addressed it, but wheelchair users have actually like... said that rainer’s introduction bothered them, because she was like “please ask me abt my wheelchair :)” when travis saying she was in an ornate chair would have sufficed. 

uh. the colonization vibes people have discussed within the centaur arc. mentioned here, the replies here, and this post (and its replies) here as well.

the overall lack of d&d when the campaign was kind of advertised as a return to d&d if i remember correctly

also no one seems to be taking literally any criticism at all which like. ignoring the petty shit, sure, but people have stopped donating to taz and their listener-ship must have dropped some during this entire time - you’d think that maybe someone could say “we need to find out why people dont like the thing and fix the thing” consider this is. yknow. their livelihood.

anyway uhhh 

tl;dr: travis railroads way too much (even now), the shipping in-game has become pushy and gross (especially bc its shoving a relationship onto an asexual character), theres too many npcs that dont stand out well enough, and no ones taking any criticism about the major issues with grad. 

[iamanartichoke]

Why do you feel that way about fandom? (In regards to your latest reblog)

Ah, I’m not sure if I know how to explain it, but I’ll try. (This got long, so I’m really sorry.)

The thing is, I first got into the Loki fandom early in 2018, so I’m coming up on about two years of being active here. That first year was so fun and exciting; I was elated to be able to discuss my Loki theories and meta with like-minded people, and I was so happy (and surprised!) at the attention my fic was getting.

I was also still at a point where I believed IW was going to blow our minds, so there was that extra kind of thrill of suspense (and a bit of fear but, when you believe in the MCU and haven’t yet lost faith in its writers/directors, the fear is surface-level and adds to the thrill - there’s not really the accompanying dread and despair). 

IW was a crushing blow to that, of course, but even though we were all devastated, we were all devastated as a fandom. We were still in it together; we had one another to vent to and cry with and share fic with. “Loki is alive bc reasons” became kind of an unwritten rule in most post-IW fics; we all agreed that Loki deserved better. 

In 2019, two things happened: one, I was underemployed and dragging my feet on finding better employment due to my mental health, which ruined my life for a little while. I had to move back in with my parents, which (I love them and am grateful they were willing to support me, but) was a toxic environment. I was too depressed to indulge in my escapism the same way (fic and fandom) and my progress on my stories slowed way down. I’ve never quite been able to get back the momentum I had when writing Sanctuary, but that’s another issue. 

The second thing that happened was, obviously, Endgame came out and whatever theories and hopes the fandom was collectively holding onto about Loki were crushed. Not only that, but the portrayal of Thor seemed to amplify the divide in the fandom between the pro/anti Ragnarok argument. 

It seems, to me, that what was a series of battles or skirmishes only became an all-out war after Endgame. That’s only my perception, of course, but I do feel that the latter part of 2019 saw the divide grow larger and larger. Everyone had opinions on what the “correct” portrayal of Thor was, and how it related to Loki, and whether fanon Thor and Loki’s relationship was founded in canon or not. Everyone was defensive of their own point of view; bullying and name-calling and anon hate became more widespread. 

Again, this is just my observation. Those who’ve been on the front lines since Ragnarok came out probably have a much different perspective; I’m only talking about what I observed bc it directly impacts how I feel about fandom these days. 

So here we are in 2020; like I said, I’ve been here about two years. I haven’t rewatched any of the Thor movies in ages (although @delyth88 and I are talking about it), because they make me so sad and also so angry. Sad for what we had, angry for what could have been. So much wasted potential. Loki’s horrific end hangs over everything, as does Thor’s radical character change, and I don’t have the same excited outlook about the characters and the meta potential anymore. 

Not having watched the movies in a long time, along with that feeling of “ugh” around them, impacts me creatively bc I’m not actively feeding my writing inspiration. For me, fanfic writing comes from being so full of feels about the source material that I just can’t get enough and I need more. I draw my inspiration from things like watching Loki’s facial expressions, catching subtle moments between Thor and Loki, analyzing the way they speak, thinking about the story choices happening, and so on, and so on. 

My source of inspiration has dried up, in other words, which has made it hard for me to keep a good writing momentum going. I was feeling great when I rewrote Sea, and then my inspiration kind of plummeted again - this time, bc I felt that I did such a good job rewriting and the response was so positive, I didn’t know if I could finish the rest of the story as well. Like I was already setting up the second half to fail, bc it would be much more “rough draft” than the first - revised and polished, yes, but not gone over with a fine-toothed comb the way the first part was. 

The truth is, I carry a lot of stress and anxiety around my writing. I am always incredibly anxious that no one actually likes my fic, that no one is reading my fic, that people think it’s stupid or pointless, that my quirky humorous touches are ooc, that my plotlines are convoluted and boring and my sex scenes awkward and non-existent. 

I’m having trouble with the Valki relationship bc I haven’t watched Ragnarok in so long, I’ve forgotten how much chemistry was between them and how it made me feel. I’ve forgotten why I chose to pair them up in this ‘verse in the first place. And I worry about that, too - that the people who read my stories for the Valki are walking away unsatisfied. 

So that’s where I am with fic writing - slow and steady, still trying to find my footing, still secretly assuming what I write is shit.

This is on top of feeling more and more isolated on tumblr, mostly because of the aforementioned tensions and overall negativity that’s erupted in the fandom. I have been unfollowed and blocked by people who were once mutuals; I have been blocked by people I’ve never spoken to before. 

There’s so much stress surrounding the things I post now - I’m constantly thinking, have I worded this correctly to convey my meaning without shitting on someone else’s opinion? Is this post going to be the one that makes this or that mutual unfollow me? Am I tagging correctly so my pro Ragnarok mutuals don’t see my criticism, and vice versa? Can I still post pictures of Chris Hemsworth, who is possibly the only man in the world I am definitely attracted to, which is a shame bc I agree that he’s kind of a douche now? But he’s so beautiful, but I have to disclaim that it’s just his face I’m attracted to? If I reblog this post about Loki that I think is hilarious, but is also founded on the flat stabby villain characterization, will I alienate my anti friends? Does it imply I don’t understand or appreciate Loki and that, by reblogging the thing, I’m endorsing a shitty characterization? 

And so on. It makes scrolling my dashboard uncomfortable and un-fun, bc I end up saving tons of posts to my drafts without reblogging them, and after awhile I am not enjoying myself, so I stop scrolling. 

But this means I miss tons of mutuals’ posts, and I was trying to check individual blogs for awhile but I kept falling further behind, and there were more and more posts I’d missed, and I’d get overwhelmed and then feel like they probably hated me anyway at this point for being a shit mutual, so I might as well just keep lurking on the dash for ten minutes and call it a day. 

On top of that, I haven’t read fic in awhile bc of this mindset, so I haven’t commented, and then when I don’t get comments it’s like, well, maybe the story’s not shitty but no one’s reading it bc what do I expect when I’m not reading theirs? You’re not special, Charlotte. 

The worst part about all of this is that none of it should diminish (and hasn’t diminished!) my love of Loki as a character. I am excited about the series, but I am also very anxious about it - about the story not being good, yes, but also about the inevitably divide that will further split the fandom. 

No matter how the story goes, someone’s going to be upset. You can’t please everyone, and trying only makes for worse storytelling. So the wank will continue. 

But I love Loki. I love everything about him. I am interested in writing about him and reading about him and thinking about him. I am invested in him and always will be. It’s just that, right now, I’m kind of falling further and further out of fandom and I find I have less to say. 

And so I either have to wait it out, or work on my own mindset, or keep on keeping on. I just don’t know how long that will take or if I’m even liked enough here to try to bother. 

tl;dr: Fandom has made me cynical and jaded, and it has dampened not my love of Loki, but my love of interacting with the Loki fandom.

(I know you didn’t ask for this hot garbage pile of my feelings, anon, so I’m sorry.) 

[apothecarywormcrud]

11 and 13 for Masato? 👀 i wanna say all of them for Masato but.

oh i am DOING all of them i wanna talk about masato

or. well. most of them. 

1. Does your insert have a name that’s different from yours? Does the name reflect their character in any way, or is it just because it sounds nice? How did you come up with it?

I’ve talked about this before, but Masato’s name is very specifically spelled 眞人, (the kanji for “real” and “human,” respectively.) I sorta knew from the start that I wanted to give them a name with 人 in it; something deliberately ironic, because Mayuri is a dick who loves a bad joke. 

(It’s a particularly cruel joke in the context of Masato’s original backstory, where they were meant to be an experiment in what happens when you let someone think they’re a real person and then strip that assumption away. But I wanted to give them sick powers, so that was shunted to the sidelines.) 

2. Does your insert have a very strong relationship with a f/o, maybe more than one? 

I talk about Szayel enough on here so I’m gonna talk about Nnoitra instead. In my version of canon, his mask is cracked open by Kenpachi, reducing him to a state similar to Nel’s. (That’s karmic retribution, bitch!) Suffice to say he’s pretty upset about this, and proceeds to skulk about Las Noches refusing to let anyone see him until Szayel gets back to fix things. 

Masato meets him by chance when their powers are still sealed up post-jailbreak (this one’s seal 2: electric boogaloo) and is all like, what’s with this sassy lost pre-teen? Eventually they become sparring partners, since while Nnoitra’s regaining his powers, Masato is the only person in Las Noches capable of fighting at such a low level; and once he’s got them back, they can go hog-wild without worrying about fucking him up too much. Their relationship doesn’t have the same...belligerent romantic tension that Masato and Szayel’s does, but Nnoitra is fond of Masato, even if he’s horrible at admitting it. They’re friends and they suck! 

More abt. Nnoitra actually bc I love this song: nerfing him puts him in a position where he’s forced to rely on other people, and despite feeling totally worthless and vulnerable and having to undergo the humiliation of being protected, there’s also the experience of being told, “So what if you don’t have any power? That doesn’t make me respect you any less.” So he has the opportunity to build his self-worth back up based on something less subjective, and now he can actually interact with other people on the same level, which is great news for Tesla, who gets to strengthen his spine and be truly up front about his feelings, because Nnoitra no longer has any power over him. 

I think, for relationships like these, finding a level playing field is super important! And I’ve always been fascinated by characters who develop in opposition to one another and eventually meet in the middle. Masato and Szayel are also that way, in that they round out some of his edges, and he sharpens some of theirs, and the actual feelings proper don’t start developing until a ways in, and they’re not even admitted until post-canon, because in order to even consider that sort of relationship, the two of them have to come to respect each other first. Enemies-to-lovers is a fucking ART. 

3. Who in their canon are they closest to? 

Kurosaki fam and by extension, Ichigo’s friends. Masato has commissioned at least one custom jacket from Uryu. Also Arrancar Squad and my friend Percy’s insert Juro, who’s a creepy little goth weirdo and a visored.  

4. Does your insert have a backstory? Tell us about it! How does their backstory, if any, define who they are? 

Masato is a mod-soul based off of Mayuri’s quincy research. They’re designed to passively absorb reishi until at max capacity (which is quite large), at which point they can be forcefully “detonated,” destroying them in the process and causing a significant amount of damage to the surrounding area as the stored reishi is released. As a weapon, they’re highly experimental—meant as a last resort rather than something put to regular use. 

Mayuri dumped them in the human world, where their reishi absorption wouldn’t negatively impact the Seireitei, and planned to let them simmer there for about ten years. There’s a seal incorporated into their gigai that not only blocks them from accessing the reishi inside of them, but prevents any outside force (such as hollows) from sensing it. 

Once they become aware of what they are, Masato gets big anxious about anything that implies they’re not a real person. I’d love to salvage Kon’s original personality from before he was relegated to pervy comic relief because I think there’s the potential for some interesting interactions there. 

5. Does your insert have any magical talents or otherwise special abilities? 

Passive reishi absorption, and after Uruhara modifies their gigai so they can access their power reserves, they can vent it from their body and use the force to blast themselves around or add more power to their blows. Their body is about as resilient as a normal human’s, but the only way they can truly “die” is if their soul candy is crushed, which means that injuries that would normally be fatal are just excruciatingly painful. This definitely isn’t just an excuse for me to fuck them up beyond all belief. 

Due to Szayel’s tinkering, they eventually end up as what’s effectively an artificial Quincy. 

6. Do they fight? What’s their weapon of choice? What’s the motivation for them to fight, or to stay OUT of a fight?

They prefer not to fight if they can avoid it, but if shit gets real then they won’t hesitate, bitch. They’re reasonably proficient with a blade after several years of kendo training, and like to bring a practice sword into dangerous situations. It’s not going to do much good against the likes of shinigami or hollows, but it makes them feel more secure, and it’s a good misdirection tactic. 

Due to the whole “functionally unkillable” thing, they’re also far more likely to take risks in battle, and have a tendency to rush in without thinking when one of their comrades is hurt. 

7. What kind of clothing style do they like? What would they never be caught dead wearing? 

It’s all cropped jackets and harem pants up in this bitch. I drew them in that sort of outfit once and now it’s all I give them. They don’t particularly care for their arrancar clothes, but it makes them less conspicuous and also, Szayel insisted on it. Can’t have your prized experiment running around looking like some sort of ragamuffin, after all. I keep meaning to write something where they visit Sastre for a fitting, because what good is having other arrancar OCs if I don’t do anything with them? 

8. How do they fit into their canon world?

A side character who tags along with the main cast but ultimately doesn’t impact events too much. They have their own wholly separate plot going for them and it involves self-actualization and kissing arrancar. 

9. Their favorite foods? Colors? Activities? What do they enjoy in life? 

Kendo, gardening, bike rides through the countryside.

11. How easy is it to make your insert angry? Sad? How easy is it to twist their emotions into negative things? 

Masato’s actually pretty difficult to rile up, unless you’re pushing some Very Specific buttons (personhood is the big one), at which point they become incredibly easy to mess with. Szayel is...uncomfortably good at making them upset. 

13. What are your insert’s goals? 

Up to a certain point, they were happy to live a normal life and protect the people around them when called for. Then they wind up back in Mayuri’s lab and proceed to jailbreak Szayelaporro, retreat to Hueco Mundo, and strike a deal with him in order to gain more power and get mutual revenge on Mayuri. 

Post-canon...they start coming to terms with the fact that their body will never age and grow like a normal human’s, and that if/when they die, their soul will effectively be destroyed, and they decide, hey, fuck that shit, actually, and do a bunch of crazy science until they’ve got that shit sorted out (ultimately becoming like Nemu, if not something that improves on her design). 

14. Does your insert have any family relations? 

Isshin was the one who found them shortly after they were dumped on Earth, and kept them around for a number of reasons (the majority of which involved his Soul Reaper Senses tingling). So Masato’s got what’s effectively an adoptive dad and three younger siblings, who they dote on and bully interchangeably (and whose last name they may or may not have borrowed) (Isshin insisted on it, actually, since it’d make the documentation easier). They have temporary solidarity with Yuzu over not being able to see spirits. 

Mayuri is....arguably family but also like, fuck that. Masato does consider Nemu to be something like a sister, though, and feels particularly protective of her the more they interact. They have just as much a desire to help Nemu escape Mayuri’s influence as they do themselves. 

15. Does your insert have any enemies? What’s that dynamic like? Why are they enemies? Did they ever get along in the past? Is patching up differences out of the question for the future?

Fuck Mayuri me and my homies all hate Mayuri. I shouldn’t really need to explain this one. He treats Masato solely as an experiment and tool for his use. Unlike with Nemu, the fact that Masato is developing on their own is more of an inconvenience than anything, and before they broke out with Szayel, Mayuri was fully intending to wipe their memories and start over from square one. There is some good news, however, which is that Masato does get their revenge and uses their shiny new Quincy powers to seal up Mayuri’s reishi and get him kicked out of the captain’s seat. 

Szayel starts off as an enemy, since you can’t really have an enemies-to-lovers plot without one. He’s done some pretty atrocious things to Masato, but he treats them significantly more like a person than Mayuri ever did. Masato has very little respect for him, and the only reason they start working with him to begin with is because he represents a means to an end. Of course, the more time they spend together, the more tolerant they become of each other...among other things. 

[thanks--for--listening]

all these people think love’s for show (but I would die for you in secret)

yes im finally back with fic! this time its korrasami tho bc my avatar obsession has not let me go yet. and yes its based on peace by taylor swift lol (also on ao3)

--

I’d give you my sunshine, give you my best, but the rain is always gonna come if you’re standing with me

Korra always came back to the sky. When the noise became too much, when the voices and the faces wouldn’t relent. Staring at the stars made her feel small, reminded her that the world was bigger than the images in her head. It was always changing, the constellations and the colors from the portals shifting as time passed, but in the end that change brought something new. Something good. Something beautiful. 

“Can’t sleep?” She turned, saw Asami standing in the doorway, arms wrapped around her stomach. It made her wonder if it was cold out here, if she would even notice anymore. After everything her body had been through, she couldn’t gauge her standards, couldn’t figure out whether she felt something normally or too much or not at all. Did she not feel the chill in the air because she grew up in the South, or because she’d felt the life drain out of her, felt a cold so deep the definition had changed completely? Could she ever care for someone like Asami, someone so perfect and beautiful and normal, when she was so permanently damaged she couldn’t even begin to see the extent of her own scars?

Korra tried to snap out of it, searched for something she could offer her and came up empty. She fought back the urge to light a fire on the balcony floor just to keep her warm as she nodded. Asami sighed, walked up to her until they were standing side by side, arms leaning on the railing in front of them. “Yeah, me neither.”

“You wanna talk about it?” Korra asked. 

Asami turned, raised an eyebrow at her. “Do you?” She shook her head, and when Asami laughed, she swore she felt a spark inside her, the embers of a flame that had burned quietly for so long finally finding the space to grow. “Yeah, that’s what I thought.”

Silence floated in, gentle and easy, leading their attention back to the sky. The whole city seemed to be asleep, everyone exhausted from the past few days. She thought she’d appreciate the moment of relief, but there was something unsettling about staring into the streets and seeing nothing but vines and rubble. She’d spent her entire life used to the empty, to open space with nothing but sky and silence to fill it, but here it looked all wrong. It looked like another thing she’d ruined. Republic City would never go back to what it once was, to what it was supposed to be, to what Aang had dreamed it could be, and it was entirely her fault.

“Hey,” Asami‘s voice nearly startled her. “You okay?” She didn’t understand why she was asking until she followed her gaze, looked down and saw the metal railing bent and broken underneath her hands.

Korra sighed. “I thought when the battle was over, this stuff would get easier. I’m beginning to think it’ll always be this hard.”

“I’m sorry,” Asami said. “I feel like I kept pestering you after Zaheer. Kept trying to get you to talk to me, to let me help you, but now...I can understand why you wouldn’t want to. Why you couldn’t.”

“You have nothing to apologize for. You did everything right. I’m the one who messed that all up.”

“Don’t be silly, of course you didn’t.”

“Yeah, I did. I messed everything up with Zaheer, with Kuvira. With Mako and Tenzin.” She hesitated, before adding, “With you.”

“You haven’t messed anything up with me.”

“But I will.” 

“What do you mean?”

“I mean, this,” Korra gestured toward the yellow beam shooting up into the sky, “isn’t going away. It isn’t going to stop. And as long as you’re with me, you’ll always have to deal with it. And someone as good and kind and wonderful as you shouldn’t have to suffer because you love someone like me.”

“Who said I’m suffering?” Korra glared at her, but Asami didn’t relent, didn’t soften her gaze. “I’m serious. Being with you has only made my life better.”

“Since you met me, you’ve been arrested, captured, stranded in the desert, and forced to fight some of the strongest benders in the world. Oh, and you almost had to sell your company. Let’s not forget that.”

“I also met some amazing people, learned how to take care of myself and my business, and made sure the Sato legacy wouldn’t be associated with hate and fear. You showed me that I could be more than I’d ever thought possible. If I’d never met you, I don’t know who’d I’d be now, but it wouldn’t be me. Not really.”

She didn’t want to say it, didn’t want to let out the words that had been eating away at her since the battle, but she couldn’t keep them in anymore, couldn’t let Asami look at her and not know the truth. “You lost your dad,” Korra said quietly, “because of a monster I created.”

“No. I didn’t. I—“ she bit her lip, and Korra watched as she swallowed, blinked back the tears that she knew would force themselves out sooner or later. “I lost him because he made a choice. To sacrifice himself for the greater good. To fight Kuvira, who you did not create. You stopped her, in a way only you could.”

“I should have stopped her sooner. If I had been stronger, if I had taken her down the first time, if I hadn’t been so weak, maybe—maybe I—“

Korra felt her words disappear, felt tears of her own threaten to make an appearance, but the feeling of Asami’s hands over her own buried whatever emotion had tried to fight it’s way to the surface. She squeezed hard, like she was holding her together, and Korra wondered if maybe she was, if one person could be that strong. If two hands were all it took to keep someone intact. “You are not weak, Korra.” Asami spoke as if she was giving a command, and she felt compelled to listen. “You are the strongest, bravest, most selfless person I know. But even you can’t stop bad things from happening. None of us can.”

“But I’m the Avatar. I’m supposed to help people. Save people.”

“And you have. How many people did you save by creating that spirit portal? By defeating Unalaq? By stopping Zaheer?”

“Yeah, but— I just—“ she searched for the words, found them buried underneath the rubble of every version of herself that came before tonight. “I just wish it didn’t hurt all the time. And I know what Tenzin said, but I wish being me, being with me, didn’t mean a lifetime of desperately trying to prevent bad people from doing bad things. It’s like I’m always fighting, like I’m always gonna be fighting. And I’m so tired, Asami. Sometimes I wish it would all just stop. Not for a day, or a week, but forever.”

They didn’t say anything, not at first. Korra looked down, stared at their hands, still pressed together. She waited for the words she knew would come, waited for Asami to recoil, to tell her it was too much, that she was too much. That she wasn’t worth it. That the brief periods of peace would never be enough to outweigh the pain and suffering that would always follow. And when she did, when she reached her breaking point and walked away, Korra knew she’d let her go. She’d gotten more time than she’d ever expected already — she wouldn’t allow herself to be greedy and ask for more, no matter how badly she wanted to keep those hands wrapped around hers. 

“It isn’t fair,” Asami finally said, “that you have to go through this. You didn’t decide to be the Avatar. You didn’t pick this life. But I did. I choose you, Korra. Today, tomorrow, and every day after that. I’m in this no matter what.”

Korra looked up, tried and failed to hide the surprise in her eyes. “Even if it hurts?”

“Even if it hurts. I want it all: the good, the bad, and everything in between.”

Korra hesitated, just for a minute. In her wildest dreams she couldn’t have written this, couldn’t have imagined a world where after everything that happened, Asami wants to stay. Wants her. And maybe it was selfish, and maybe she was damning her to a life that no one should ever have to live, but she couldn’t lie and pretend that she didn’t want her more than anything, couldn’t walk away when she was standing in front of her, couldn’t stop from confessing every secret she’d tried to bury in the name of survival. 

“If you’ll let me, I choose you, too. I don’t want to spend my restless nights with anyone else. And I know I can’t give you the life you deserve, but if it’s enough, whatever I have is yours. Always.”

Asami stepped closer, threw her arms around her. Korra fell into them, let herself get lost in the feeling of Asami’s embrace. She felt safe, in a way she didn’t anywhere else. The world couldn’t touch her here. 

She didn’t know how long they stood wrapped in each other’s arms. Korra didn’t care— she’d spend a lifetime in this moment if she could. She probably would have tried, if she didn’t hear Asami yawning into her shoulder, didn’t feel exhaustion weighing heavily on her own eyes.

She forced herself to step back, to lean out of her arms just enough to look her in the eyes. “So much for not talking about it, huh?” Korra said, and she knew photos could never do it justice but she wished she had a way to capture the look on Asami’s face when she smiled, when she laughed quietly, just for her to hear.

Asami pulled her closer. “Don’t let go yet,” she sighed into her chest, “You’re warm.”

“We should probably head back inside, anyway — see if we can salvage any more sleep tonight.” 

Korra wouldn’t have caught it if Asami hadn’t been wrapped up in her arms; instead, she felt the tension shoot through her body like an echo, until her shoulders went stiff and her hands squeezed a little tighter. 

“Asami,” she said slowly. “What’s wrong?”

“Nothing,” she answered too quickly. “I just like being out here. I don’t think I’m ready to head inside yet.”

“Asami. Talk to me. Why don’t you want to go back to bed?” She looked at her, really looked at her, and this time she saw the bags under her eyes and the desperation in them, and quietly added, “Did you sleep at all tonight?”

Korra watched her hesitate, and patience had never been her strongest virtue but she willed herself to wait. Her efforts were rewarded; Asami shook her head, stared at the ground and whispered, “I don’t want to see it again.”

“See what ag—oh.” Realization swept over her, and she cursed herself for not putting it together sooner, for not thinking about what could have possibly led her to also be awake in the dead of night. “Oh, Asami. I’m so sorry.”

Asami looked up, and the tears that had threatened earlier fell all too quickly now. Something inside Korra broke at the sight. She pulled her closer on instinct, held her and pretended it would be enough. She wondered if this would be their future, holding each other together to keep them both from falling to pieces, wondered how many nights they’d spend exactly like this, running from nightmares that didn’t disappear when they opened their eyes. 

Korra waited until she heard the cries settle, until Asami stopped shaking in her arms, to ask, “Can you tell me about it?” 

Asami shook her head. “You’ll blame yourself,” she said, her words decisive, quiet but powerful. “I won’t let you hurt like that.”

“I won’t let you hurt like this, either.”

“You can’t fix everything, Korra.”

“I can try.”

Asami stepped back, looked up at her, and Korra swore she smiled, just a little, just for a second. “It—“ Asami started, searching for words before she continued. “It makes me feel so helpless. The watching, the waiting. Every time I see it I know he’s...that he’s gone, but then you disappear into that machine. And no matter how many times I try and tell myself that it isn’t real anymore, that it’s over, part of me never knows if you’re going to make it out. Not until I wake up and see you for myself.”

There was a war inside her. Korra the Avatar wanted to ball up her fists, wanted to feel her fire burn, wanted to fight the pain away so that Asami would never hurt again. Korra the girl wanted to pull her closer and never let go, wanted to make promises she couldn’t keep just to make her feel better, even if it wouldn’t last. As battle waged within herself, whichever Korra was left behind wanted to ball up and cry. She knew she’d been right, knew that no matter what Asami said, she couldn’t possibly want to hold onto this much pain. She knew that it didn’t matter which Korra won the fight in the end — not a single version of her was worth it. 

“I’m sorry,” Korra finally said. She had a million other apologies sitting at the tip of her tongue but she forced them back. 

Asami read her mind anyway. “Not your fault,” she said. “I’ll remind you every time if you need me to.”

“Still. I’m sorry you’re hurting.”

Asami sighed, as if the very admission of her pain was something to be frustrated about. “I don’t understand why it hurts this much, though. A month ago we weren’t even on speaking terms. I spent years hating him for what he did. And I was right. He did so many awful things to so many people, and a few games of Pai Sho can’t make up for that. So why can’t I stop seeing him?”

“He was still your father, Asami. All those years he spent raising you don’t just go away. You have a right to be sad about what you lost.” 

“That’s the thing, Korra,” she said quietly, like she didn’t trust the words coming out of her mouth. “Sometimes, I’m not sure I’m sad. I’m mad. I’m mad that he went against everything he ever taught me. I’m mad that he fought for someone who hated what you are. I’m mad that he left me alone, that he didn’t even give me the choice.”

Korra reached for her again, searched for any words that could have possibly helped but came up empty, left only with a mantra of apologies that would never fill the hole left behind. She knew that feeling, understood with brutal clarity what it felt like to lose her agency, to be left at the will of those around her when she was the one who would suffer the consequences. It was a feeling she wouldn’t wish on anyone. And as she stood there, Asami’s head on her chest, she knew that she could never be the one to make her feel that way. Stay, leave, fight, run — no matter what she wanted, it could never be up to her. 

“I’m sorry.” Asami’s voice broke through her own internal ramblings.

Korra failed to hide her incredulity. “What could you possibly have to be sorry for?”

“I came out here to try and help you, and then I turned and made it all about myself.”

“Oh, stop it.”

“I’m serious, Korra.”

“So am I. You think I have the monopoly on pain? That I’m the only person who can ever be comforted?” She stepped back, placed her hands on the side of her face and made sure she was staring right into her eyes as she said, “I love you Asami, and that means that I’ll always be here to listen, or hold you, or do whatever it is you need. Anytime, anywhere.”

Asami smiles back at her. “I love you, too.”

“And,” Korra added, “as much as I wish I could keep you away from all the shit that comes with being me, I promise I’ll never take the choice away from you. If you want in, you’re in. If you want me, I’m yours.”

Asami leaned forward, kissed her cheek, and Korra thought she might burst into flames right there on the balcony. “Thank you,” she whispered.

They stood there for a minute, and she knew they should head back inside but she wanted one more moment of whatever this was. Peace, maybe, or something like it. Something close enough.

“We really should go back inside,” she finally conceded, “but I think I have an idea.” She stepped forward, held her hand out behind her. “Trust me?”

Asami reached for it without hesitation. “Always.”

Korra smiled, led her back into her temporary bedroom, held onto her until they were laying side by side, with just an inch of space between them. 

“You said when you wake up, you never know if I made it out. If I’m okay. This way you’ll know.”

“I bet you use that line on all the girls,” Asami said, and she could hear the smile in her voice, but she couldn’t help herself from responding seriously. 

“There’s no one else. Never has been. Just you.” 

Asami erased the space between them, moved so her head rested on Korra’s shoulder, and she wondered how it had taken her so long to realize how well they fit together, how she could have possibly lived so long in a world without this. 

“Does it ever go away?” Asami asked after a minute, her voice drifting away from their lighthearted jokes, soft and sad and lacking the hope Korra wished she could give her.

She thought of her own ghosts, of the scenes that played in her head like clockwork, of the way she could still find herself choking on air as she opened her eyes. She thought about the more recent additions, the way Kuvira had swapped places with Zaheer the past few nights, haunting her as relentlessly as her predecessor. “I don’t know. But it does get easier, after a while.”

“I wish I could have been there to help you. I wish I didn’t stay when you left. I wish—“

“You’re here now. That’s all that matters to me.”

They laid there for a few minutes, and here, when it was just them, Korra felt the silence return. It didn’t carry the weight of the world, didn't bring anything with it. It simply filled the space around them, provided a comfort she wasn’t used to. 

“Korra,” Asami whispered. “Is it okay if I’m still scared?”

“Yeah. Is it okay if I am, too?” She felt Asami nod. “Then we’ll take on the night together. Fear and all.”

“Even if it hurts?”

She couldn’t stop herself from smiling, even as she felt her eyes close, her arms pulling Asami closer still. “Even if it hurts.”

[derangedhyena-zoids]

You know what there doesn't seem to be a preponderance of on Zi?

Kids.

fair warning: this is a goddamn mess of a horseshitpost about history, population and reproduction dynamics, and chucklefucking about character genetics that I have unfortunately have actually spent time thinking about because my brain literally doesn't accept "idle" as a state. 

this probably gets a little weird and also contains mention of sensitive topic (tagged) so please be aware of that

Ok so

Compared to say, the society pictured in Fuzors (which doesn't comply with the xCentury-verse sufficiently and thus gets ignored by me), NC0 seems equally prosperous but a lot more resource-strained. Not "at that time" but simply as a way of life.

Nobody thinks of themselves as resource-poor, but nothing is terribly robust except in the largest cities (eg the modern day rebuilds of the old capitals, Guygalos and New (Helic) City.)

This isn't a secret. It's more or less been the case for the entirety of humans' colonization of the planet. That's why locale self-sufficiency is so important and why there's huge stretches of nothing everywhere. You simply cannot live wherever you want. The environment is fucking hostile and You Will Die.

So first off, let's be real: when you first colonize a planet and want to establish yourselves there, there's going to be rules/procedures in place regarding reproduction to make sure nobody ends up genetically representing too much of the population. It'd take a bit to get to the point of non-directed (and/or non test-tube) reproduction even being allowed.

Basically, space humans colonizing alien planets gonna have hella birth control tech available. There are no "oops" offspring. I'm inclined to think it's actually something that's been modified on a very base level (read: likely genetic modification, is heritable) level, that would require outside intervention of some kind (eg chemical) to make reproduction possible.

The point of "safe to naturally mingle" would likely correspond with the eventual, initial tech-dip as the stores of things from initial arrival were finally depleted (because it was probably planned out that way), and tech that was arrived with started to go offline permanently.

They'd have to be settling into what they could do and make with the resources available on Zi, meaning that avoiding uncontrolled population growth was still a huge priority, because the let's-successfully-establish-civilization mindset would still be thoroughly ingrained at that point.

There'd be hundreds of years of "danger zone" population levels where large adverse events could've easily wiped them all out if they weren't mindful. But, they were, and humans colonized Zi successfully (...again), good job, hooray

The overarching society-level birth control was well-codified in the various cultural groups that arose. But these inclinations did change over time as larger and more friction-prone groups formed (read: the Empire, over time, became large and in charge, discontent developed and huge chunks of people kept trying to detach. Eventually the Republic cropped up. You need more people to be a bigger thing.)

Any desire to handle the population with kid-gloves all but went out the window as the first conflicts started and people were killed. These conflicts eventually escalated into the long-standing wars between the Empire and Republic, and restrictions on reproduction basically went away. (+depending on who was in charge things may have even Yikes'd in the other direction)

(just a canon-fyi I'm not following the Battle Story in the slightest, I'm only trying to make the xCentury anime(s) function. Zoids' various canons are like Transformers' canons - A MESS)

Before these wars started happening, not much besides the occasional natural disaster, accident, or simply old age killed anyone. People can live a long time on Zi! Much longer than usual.

Why? Because a lot of human common human pathogens from Earth simply *wouldn't exist* there (space humans are gonna be really careful to not tote that shit around), so there's only really lifestyle-related issues, latent or new-mutation genetic problems, and any micro-organisms on Zi that mutated sufficiently to be able to affect people. (which is not really a stretch if we're going by the thought that Zoidians were long-evolved humans. The Zoidians were there a LOT longer than humans have been)

so. modern day. I have NC0 a few hundred years after CC/GF. As a whole I think the human race on Zi is relatively young, but a lot of the oldest information (like "exactly when we fucking got here") was lost in Imperial/Republican wars.

Those went on for hundreds of years themselves, enough to establish mass Zoid manufacture as The Way Of Things(tm) and otherwise entrench what became the norms for human society there. (I STRONGLY suspect there's still a lot of residual Imperial/Republican tension in places/families and that Backdraft was founded by, for lack of a better word, Imperial sympathizers with a longstanding grudge against a unified GF-run government *coughhh Alteil cough* but... I digress)

Humans are at a perfectly serviceable population. I actually hesitate to put a number on it because I don't know what # value would properly represent "a sustainable amount of people on a barren planet with very limited resources" but it'd be a sizable population (I'd guesstimate tens of millions). I imagine the GF, being the unquestionably-global governing body*, is relatively authoritarian as far as the core population and major cities go. They obviously can't tightly police the whole planet, but they can certainly keep an eye on it.    

This doesn't mean it's a dystopia or that the GF is evil or that it's anything bad, really. I sort of picture it being run by Committee, likely made up of various descendants of powerful families ([insert 10 tons of political intrigue here that I'm picturing, it's amazing, ANYWAYS]) Zi's government is definitively a plutocracy.

There were plenty of people on the planet who were ambivalent towards the Empire and the Republic's nonsense and just carried on what social norms and culture that had been established by the early colonists. Many didn't LIKE that all the fighting was happening because innocent, uninvolved people kept getting killed, and that sucked because they just wanted to live quiet lives in secure towns and be left alone.

There was also a desire for more law enforcement in general, since gangs, bandits, and the Zi equivalents of sovereign citizens kept causing problems. So when the Guardian Force was established initially to wrestle peace into place, it was largely welcomed and people were very, very glad to get rid of hundreds of years of war.

This also meant a lot of people had kids because things became markedly more stable. In fact what led up *to* New Century was probably several solid centuries of strong population growth, establishing additional stable strongholds in habitable areas (new cities were established and built up), modernization and other general signs of prosperity.

So, all this blah blah blah leads up to several key realities for New Century:

-There isn't a strangehold on population growth, nor are there formal limits. However, the chemical-whatever that causes the inbuilt birth-control to fuck off is under the purview of - or at least monitored by - the government. So... there's that. It's also overwhelmingly likely that people have figured out other sources for this over time, if for some reason they're distrustful.

-This inbuilt bc is in effect for everyone. Both folks involved have to be on board. I mean, it'd technically be possible to surreptitiously slip some of the chemical-whatever to an unwilling partner? But it's not like that would be difficult to figure out.

-Family units range from what we'd recognize as a 'family' to entire towns sharing children/parenting responsibilities. Monogamy is the norm but polygamy isn't weird. People can be pretty sexually loose and it's not frowned upon at all - because let's be real, NC0-society is at full-on bread-and-circus levels of operation. There seems to be a moderate anti-intellectual bent and Zoid battles are the height of achievement. People are chasing highs as a way of life.  

Topically relevant individuals' headcanon:

I think Steve's wife died in childbirth (having Leena.) It neatly explains what happened to her and Layon's unhealthy obsession with Leena.

Feel like Bit and Brad both were raised in the more "communal" type of settings.

Harry's family comes from old Republican money.  

Stoller came from a family that's the equivalent of a house in the south that has confederate flags everywhere. Except they're Imperial.

ARE YOU STILL HERE? GOOD LORD WHY. WELL NOW THIS IS A SHITPOST ABOUT ZOIDIAN HYBRIDS AND OTHER ANCESTRY FUCKERY

Remember in some other post I wrote I said that when you start to hybridize Zoidians in, reproduction becomes more difficult? That's IN PART because of the bc thing, and in part because general genetics fuckery. But once you *had* a hybrid you had very robust individuals, who initially lacked a fully functional version of the inbuilt bc. Over time that was mixed back in, but there were at least a couple janky generations.

Literally every hybridized line in existence is either from Hiltz or Ryss. Fiona didn't reproduce (wasn't for lack of trying. Both her and Van being bonded to the same Organoid caused problems in that department.)

Ryss had two kids with Raven. The reality of Raven aging and dying sucked. The reality of her kids, grandkids, etc aging and dying sucked. Though her immediate offspring lived a lot longer than progressive generations did, as the bloodline became more diluted, a slightly-improved human lifespan became the norm. This was incredibly depressing to Ryss and is a large part of why she fucked off to the middle of nowhere to live with things that wouldn't age out and die on her. It's also why she didn't continue to have children.

Hiltz... Hiltz fucked (and well, raped) a lot of people (50% as a power/hate thing and 50% because he's from the Feed-Fuck-Fight club) and some of the people that lived to talk about it had offspring. The same aging issues were in effect for these offspring, but unlike Ryss's family they didn't have the benefit of anyone explaining what the fuck was going on. So they had a strange time.

Remember that these direct hybrids would've been of age squarely in the aforementioned, post-GF "everyone is having kids" time, so a fair number of distinct new lines were created and persisted. There was also a weird range of ages involved, because the direct hybrids lived A WHILE and could have offspring for most of that time.

Now, in the context of "many years later", this means a fair number of people carry these genes in varying dilutions. It's not a large amount in the context of the entire human population. It's a handful of family lines with increasingly baffled histories. But family groups frittered a lot in the aftermath of GF, so a lot of that knowledge was functionally lost.

Basically no one has any idea anymore, what little idea that they had in the first place. The only families with distinct and traceable genealogies are the rich/old-money ones.      

So, in the NC0 cast I officially headcanon 5 folks as these dilute-hybrids. You know most of them; Sara, Vega, and Brad, but I'm impolitely adding Stoller and Iyaga (Ehga?) to that mix because reasons.

Brad and Iyaga are from Hiltz's line. Sara and Stoller are from Ryss's. Vega is unique in that he draws from BOTH; Ryss from his mother's side and Hiltz from his father's. Sara had a *really* hard time actually having a kid as a result of that particular genetic fuckery. IMO this explains some of her behavior towards Vega - by the time she had him she was so emotionally estranged by both the loss of Vega's father and the loss of numerous pregnancies (and by that time was more involved with her 'backdraft career'), she struggled with BASIC AFFECTION.

anyways, thanks for coming to the world's most useless ted talk  

*ZBGF is like world-police, GF is world-gov, ZBC is a branch of ZBGF that keeps battles in line (and monitors usage of things). The GF is "background", in that it's using the more-friendly-seeming ZBC as its eyes and ears while keeping track of things on a higher level.

p.s. the bc thing is actually adapted from another story of mine's background, so don't worry I didn't spend ALLLLLL this time thinking about that for this only sdhgfjdfdf

[50shadesofmittens]

Eqippable Ally AU

SO during my recent conversation with coaxionunlimited I got a lot of my vague AU’s fleshed out. As in, I finally put down to words some of the insane ideas I’ve had bouncing around my head for ages now.

Here’s the Equippable Ally AU, the first one we talked about and one of the longest

More under the cut, ‘cause this gonna be LONG

So to start, ideas of each Primarch in this AU

Like Corvus winding up Equippable Ally with Sly Marbo bc why not and also Marbo equipped with a Primarch-powered weapon is SCARY

ALSO Ferrus Manus still alive kinda equipping Kitten during a moment of High Tension when Magnus for whatever reason can’t be the equippable ally- cue Magnus jealousy even given full understanding of the intense circumstances

And possibly the first thing Fulgrim does once somebody gets his soul free of the paining and his body back from the daemon inhabiting it is become an Equippable Ally to one of the Space Marines in the area- proving that he’s on the good guys side for real but also that’s he’s willing to let someone else take control of it means getting better results, and maybe also that he’s traumatized to the point where he can’t make very good decisions for himself but he recognizes this flaw and is willing to take measures to work around/through it

Also Mittens makes a powerful pair because the two can work together directly in combat- Kitten taking over the physical aspects while Magnus handles all the magical ones working in the battle- and as the two learn to work together they combine their strengths into more powerful combos

Btw I like to imagine all the Primarchs have In Love With Your Carnage literally hardwired into their DNA to some degree, which affects the crack pairings I had for the Equippable Ally AU

Like apart from Mittens, you have:

Corvus and Sly Marbo (which the Void Dragon approves heavily of as an example of Rescue Romance)

Russ and Ygrainne (ie the badass Eldar who cannon thinks is Guilliman’s girlfriend- in this AU they met in Commoragh’s fighting pits and now have UST from both considering the other inferior while also being able to hold their own against each other)

Dorn has Karstodes (and that one is explicitly They Won’t because it’s based on Dorn being unable to deny that Karstodes is a very good fighter and he finds his technique and strength in battle arousing while hating his personality, and Karstodes being an Abhorrent Admirer)

Then comes the mechanics behind the Equippable Ally bit, ie How It Works

The Primarch literally turns into a sword of some kind

Like all swords are based on the Emperors flaming sword, but some minor details causing differences between them

As for the power, there’s three ways this could work

One; swords have energy blasts, a la Zelda or Bleach. The power behind these blasts is roughly 3-12 times the amount of power a Primarch would put into the same kind of swing if it was used by his own hands

Two: if the sword can be incorporated into any other battle style, the sword will glow, possibly cause the person wielding it to glow, and then the attack will have the same power as though the Primarch performed it but with 1.5-8 times the power the Primarch would’ve had

Three- Primarch can use his Psyker powers within the sword by using the weirder as a conduit. This has a bonus of 2-10 times its usual power, but the caveat is that the weirder cannot be mind-controlled and has the ability to drop the sword at any time, meaning that the Primarch can’t force someone to be a conduit for a spell they don’t want to be part of

A Primarch-as-weapon weapon is FAR more powerful than the Primarchs-as-people are

IE the weapon they turn into can do more damage than a Primarchs alone can

That’s why any Primarchs would agree to it- the end result is more powerful than what they could create alone

Biggest downside is that using that power is hard- using it effectively is double hard

See, the power modifier the wielder gets is tied to the Primarchs ability to do that any specific move. Throw a knife while holding Konrad-sword is much more powerful than throwing a knife while holding say Sanguinius sword, because the former can throw knives much better than the latter. Of course being Primarchs they’re pretty good at anything- this is more of a way to note that some Primarchs will supply bigger bonuses than others

The other thing- and this is the big one- is that the Primarch cannot guide or directly control the movements of the weirder, and the overall strength of an attack is reflected by if the WIELDER’s exact actions were taken by a Primarch- so if someone swings a Primarch sword with horrific form, it’ll have a lot of force but if they would’ve dropped a normal sword with a move like that, they’ll drop the Primarch sword. What’s more the power output increase adds even more destabilization because people really arent naturally good at handling more power than they’re used to- kickback is still a thing, and even with the defenses of a Primarch being added, Primarchs also have enhanced pain tolerance, so what a Primarch might consider mild soreness will be shocking and difficult to handle for a normal person experiencing the same thing

TLDR; it takes a lot of skill to handle Primarch Weapons well. Hence why it’s pretty useless unless the Primarch has someone he trusts who understands him very well and can fight on or close to his level

It’s like handing a civilian an automatic gun- they theoretically have the ability to use it just fine, they know how to press the trigger and point away from themselves, but they still aren’t fully qualified to use it

Then there’s a really stupid scene with Magnus and Russ throwing a limitless supply of soft silk shoes at each other at 400km/hr, Thanks to magic arbitrary rules and/or the bs of a powerful Mars dragon or a god

So I figure this might be a good time to explain where my own Equippable Ally AU was going- it was largely based on fairy-tales and the parody and exploitation thereof

Like the basic idea was that the Void Dragon A) is alive B) has a grudge against Emps and C) is still/also very much into medieval fairytales like the one of Saint George, largely because Emps was obsessed with them when he fought it

Only the dragon doesn’t really ‘get’ gender so it decides that the traditional fairytale setting where a prince or a princess is trapped and must be freed/rescued by their One True Love is a good narratively-sound way to seek Revenge- it casts the Primarchs as the “princesses” of the tale

Mainly Ferrus Manus, who has been trapped with the dragon for 10,000 years while they both waited for someone to try to rescue him, not knowing that almost all of the Galaxy thinks he’s dead. This has given the dragon much time to play dress up with Ferrus

So when the dragon learns of the Equippable Ally thing, it decides “Ah HA! This is how I identify the One True Love who is to try to rescue the children of my enemy! My greatest threat (according to all the tropes I know)!”

Only there’s more than one Equippable Ally bond, so the dragon doesn’t know which one is, narratively speaking, the Hero/Heroine.

So it decides to make all the people bonded to a Primarch in this manner fight to the death, and the winner will obviously be the Protagonist that the dragon seeks

(I realize I failed to mention this, but the dragon has cast Emps in the role of Good King whose Kingdom is threatened and who must rely on the Hero/Heroine to save the day. This is in fact the way the Dragon seeks revenge- it believes the narrative will not LET the Emperor face it, so when it defeats the new protagonist it will have won)

(The void dragon is kinda insane and believes fairy tale logic is an actual force of nature)

Anyways, the dragon decides the best way to force the Potential Protagonists to fight is to hold their True Loves hostage- good thing it’s got millennia of practice keeping Ferrus from running away

And both Russ and Magnus wind up kidnapped for this tournament.

And the dragon doesn’t just believe in fairy tales, no it wants these battles to LOOK heroic and fairy tale like.

So it dresses all the Primarchs in medieval dresses (it’s other reason for doing this is that it enjoyed playing dress up with Ferrus and would like to try with his brothers now)

When the “tournament” goes down all the Primarchs are put on display so their “true loves” can be reminded what’s at stake

Which just means Magnus and Russ see each other and try to kill each other. The Void Dragon has them separated and magic blocked to avoid this.

The Void Dragon doesn’t want Magnus and Russ killing each other in the Equippable Ally AU bc it’s all like “No no no, you two are Princesses, your heroic knights are the ones meant to be proving themselves and fighting to the death, your role is to be the pretty trophy they win, this is not how the story goes. The HERO is the one who proves their strength, the love interest can’t die in a fratricidal duel while the Hero is fighting for his life- that would be an awful story! Here just- just stay separate, you two, at least until the tournament is over”

Thing is, at least one of the kidnapped Primarchs wanted to get out of the dress he’s in, and discovered that the dresses are self-repairing, and any pieces of the outfit lost or thrown away will be replaced instantly

Magnus and Russ take this to mean “we have infinite ammo to throw at each other”

They start with jewelry bc it’s hard and might theoretically do a tiny scratch of damage if thrown fast enough, but that gets taken away. Then they find that the shoes, which are fabric and soft, cannot do damage and do not get taken away when thrown

So Magnus and Russ ignore the entire death match going on around them to throw shoes at each other at 500 km/hr, in the futile hope that it will do some damage to the other

The entire thing has been me getting the idea for like a 30-sec scene animation, but as you can see it has WAY too much backstory behind it

I can’t remember if I started with Fairy Tale parodies combining with Equippable Ally trope, or if I just wanted Magnus and Russ to throw shoes at each other and the rest built itself around that

(Also Also, Russ and Magnus eventually do get tired of not getting anywhere, and Corvus celebrates their seeing reason and stopping their pointless (albeit commendable on Russ’ part) attempts at homicide with weapons that clearly cannot kill the other

Then Dorn points out the shoes could theoretically be used to kill a Primarch if you literally smothered a Primarch in shoes so that he had no access to air and then kept him there for the full three standard years it would take for him to suffocate.

Russ and Magnus immediately begin throwing shoes again)

(Corvus Facepalms)

[writtingfiction]

*trips into submissions* Uh hi again a mere mortal has arrived to present another idea for your brilliant writing. I was thinking: Robin dreams of chrom bc of the alternate timeline split and yadda yadda fea stuff. But what if this split had happened so many times but in each one chrom and robin end up together? What if the same pairing had been repeated so much that robin AND chrom feel familiar to one another? Maybe write about how they come together in a new timelime if they both remember?

Why, hello fellow mortal, I must apologize. I would have written this sooner but I took a hit to the head and received a concussion. :(  I had fun writing this though, I hope it cheers you up. (oﾟ▽ﾟ)o

pairing: Chrom x Robin

words: 3k

The first time he saw her, there was such a sense of familiarity he was surprised that he did not recognize her. Her body movements all seemed familiar, her voice for some reason made his heart ache. His heart pounded in his chest, he was so confused, why was she so familiar when neither of them had any recollection of each other?

Despite Frederick trying to warn him, nothing could dissuade him. This familiarity seemed too strong to ignore, so keeping her by his side was something he could trust, body and soul. It felt like déjà vu, being by her side as time had passed. There was a connection between the two of them, that he knew, but it seemed deeper.

“Chrom, stare at me any longer and I’m going to think that I’m truly a Plegian.” Robin’s laughter filled the room. Chrom blinked once, twice before realizing his mistake. He let out a nervous laugh, hand scratching the back of his neck, face lighting up a light shade of pink.

“My apologies, Robin. I did not mean to stare.” Chrom said, eyes trained on the wall of the war tent. He could hear the tiny giggles escape her lips.

“You do no harm. What’s on your mind?” Robin said, her gaze softening as they land on the prince who shifts in his spot. There’s a moment of silence before Chrom opens his mouth to say how familiar she is, but a far-off shout interrupts them. A battle is about to begin. She gives Chrom a quick smile, hands grabbing her coat. “Another time, then?” Chrom can only nod as the two of them walk out, strategies falling from her lips as he listens to every word.

He doesn’t get the chance to speak about it again till much later. Chrom has his eyes trained on the stars above him, twinkling brightly as his feet stay firmly planted on the courtyard soil. He wondered if his father was watching him from the stars, along with his mother. What would they think of their children now?

“Stargazing?” A familiar voice pulls him away from the stars and towards the woman whom he has come to trust whole heartedly. It’s Robin, the white-haired tactical genius that his body aches for in a familiar way. Chrom could only chuckle, giving a shy smile.

“It would seem so, what brings you here, Robin?” He asks, what has her up this late walking around the castle?

“I was on my way to the library…” Robin says trailing off, hand pointing in the rough direction of the library. “however, you seemed a bit lost. Thought I would keep you company.”

“That’s very kind of you, Robin.” Chrom smiles, their gazes lingering before she speaks up.

“Although, is everything ok? You seemed a bit distance after our last encounter with Gangrel.” Robin said worried, brows furrowing. Chrom could feel the tension rise in his body at the mere mention of the Mad King’s name. His fists clench tightly at his side but breathed in sharply, trying to relax.

“Yes, after all, everything is alright, for the moment.” Chrom said, glaring at the ground. “A war is upon us, again.” Robin frowned, hand coming up and placing it against Chrom’s shoulder.

“Everything will work out, Chrom. You have your family, the Shepherds and me. We will be by your side till the end. You can count on us; I promise you that.” Robin said, lips pulling into a smile.

“Thank you, Robin.” He looks at her, eyes locking with hers. He couldn’t stop his own heart from swooning. Her white-hair shimmered in the moonlight, her eyes lighting up with the stars reflecting in her eyes. She is the epitome of beauty under the moonlight, although he was sure she would deny it. “You look—”

“Marth?” Confusion filled the beauty woman in front of him. He turned on his spot, spotting the other young man. He echoed Robin, feeling slightly cheated on the night but those feelings were quickly turned to ash when he found out about the night’s events. He felt his stomach drop when the familiar feeling had settled into his bones as he cut down plegian soldiers that dared to try an assassination on the Exalt.

Days had passed since that night. The attempted assassination on his older sister’s life, her kidnapping, the attempted rescue but, the results were in vain. Chrom sat at the edge of his chair, soaked to the bone with a towel draped over his head as he stared blankly at the floor. His chest ached in pain, his throat dry and eyes red. His arms resting on his knees, as his mind drew a blank. It was a void, he had cried, sobbed when he was alone. Now, here he was, a shell of a man not being able to feel a thing as he replayed the death of his sister, nevertheless, what made it all worse was that it was all a familiar pain.

He heard footsteps come towards his room, stop by the door and then he heard nothing. With how long the pause was, he thought they had left but instead there was a soft knock. He didn’t respond, he didn’t want too. To be left alone is what he wanted, alone with his painful thoughts.

“Chrom…?” Her voice was so quiet, so hesitant. He didn’t hear the door open. She came forward, boots just stepping into his view. She called out to him again, voice filling the room. “Chrom, are you alright?” He felt anger boil inside him, of course not, how could he?His hands bawled into fists.

“How couldI be alright?” Chrom seethed. “She’s gone. I’ll never get to see her again, she– she made the choice for me, Robin. I was too powerless to stop him…!” He could see Robin kneel down in front of him, gently grasping at his hands, unfurling them from his tight hold.

“Chrom, I was powerless too…” Her voice was shaky at best, hiding emotions best she could but failing. Hands gripping tighter, as she tried to reassure the both of them. “My plan didn’t save your sister, and I–“

“You had done your best,” Chrom interrupted her, lowering his head even more. “you didyour best. I only have my failures now left to haunt me, along with this-this-pain.” He hissed. Voice lowering down to barely a whisper. “It feels I’ve gone through this before, like an old festering wound.” A pained expression appears on Robin’s face. Every breath she took started to hurt, heart hammering against her ribs. An odd familiar pain had entered her heart as she heard the prince’s words. She had been getting pieces of the past, or what she would like think is the past but it’s always Chrom by her side. She’s sure she hasn’t seen him before but, why the sense of familiarity? The moment she awoke, his name came to her lips naturally, but her own did not.

There were multiple times when that sense of familiarity had appeared. It was exceptionally strong when she was with Chrom. Battling in the arena in Regna Ferox, meeting Gangrel by the border when he took Maribelle; seeing Marth’s face for the first time when she appeared to warn them about the assassination; even the embarrassing moments they shared together at camp. They all felt familiar, like a sense of déjà vu. But there was also a downside, she had wondered why the pain in her chest was familiar when Emmeryn made the choice to sacrifice herself. She felt worse, just by having that feeling of familiarity, and now to hear Chrom say he had felt that familiarity as well; what does she say now. She took a deep breath and called out to him again, but he refused to look at her.

“Look at me, Chrom.” His head barely rose, lifting just enough to see her face be lit up by the corridor light. Her own eyes were red and puffy, cheeks stained with tears. He couldn’t have looked any better. “You’re not alone in this war. I know you’re scared; everyone is. However, you can’t give up. You may not be like your sister, Gods, I don’t think anyone of us is as half as good as your sister. But, if we try, together, we can make a stand for your sister. If you fall, I’ll be right there to pick you back up. Remember, as the future comes approaching us, you don’t have to be like your sister, you can still stay true to yourself.”

“And if I can’t? What if I’m not worthy of her ideals? What if I can’t do anything to save Ylisse, Robin?” Chrom asked, painfully so. He could feel his eyes burn once again, just when he thought he had cried for long enough. Robin gave him a soft look.

“If you’re not worthy, then you shall keep going until you are. You love your home too much to let nothing be done. I’ll be right by your side, Chrom. I’ll pick you back up every time you fall, without fail.” Robin said determined. Chrom took a sharp inhale, exhaling slowly as he digested her words. His hand squeezed her own in reassurance. Eyes looking down at their hands, tears daring to escape once again.

“Thank you, Robin.” Chrom whispered, tears escaping him quickly. Robin quickly enveloped him in a hug, holding him close. They held onto each other, tightly, fearing for moments if they were to let go of one another. Hours passed them by, crying in her arms as he dropped his worries, his concerns of the future. He was a broken glass, shattered pieces on the ground, seemingly no hope in recovery. However, here she came along, delicate hands picking up those broken shards and carefully putting him back together. Like she had done it a hundred times before, this time was no different.

The next nauseating feeling of familiarity was the few moments before the final battle started, the march on Gangrel’s end which he was going to personally see to. Robin was by his side as they overlooked the area, mindless chatter as they waited for the troops to get into position.

“Do you have any plans when this is over?” Chrom asked quietly, eyes scanning the field. His hand fidgeting with a small pouch he had in his pocket. He heard her giggle. He looked at her confused. “What?”

“Haha, hmm? Oh, nothing.” Robin said, turning her gaze away from the confused look of the prince. “I just thought you would be more focused on Gangrel, is all.”

“That’s true, but I know we will win. We’re not running anymore. The Mad King may have started this war, but we’re finishing it today.” His eyes caught hers. A serious expression on his face as his gut twisted in familiarity and nerves. “Together.” Robin gave a wide smile.

“Of course, now, let’s finish this.”

-

The fight was exhausting, it took every last bit of strength to make it through the battlefield victorious. The cheers were almost deafening, chorus’ of cheers and song had burst out when they had won. However, the only thing on his mind after he slew Gangrel was his tactician, his best friend. He never had to look far and especially not today. He had turned to her the second there were cheers. He was able to see Robin drop her tome and run into his arms. Her arms had quickly wrapped out the prince crying out in relief that everything was finally was over. There was a relieved chuckle that left his lips as he left Falchion to stand on its own in the dirt as his own tired arms wrapped around her.

“We did it!!” Chrom cried out, pulling away to see her face light up. Large, but tired smile on her lips. “You were amazing, we made this far because of you.”

“Thank you, but we have also made it this far because of your charisma.” Her eyes sparkled in that moment; they were free.

“So, the campaign is now over, war has ended. Do you have thoughts of what you now plan to do?” Chrom asked. Robin’s smile only growing brighter. She pulled away, out and away from his arms. Taking a step back, humming as she thought about it.

“Hmm, who knows. Maybe I’ll travel, visit other countries. Maybe get hired as their tactician and then verse Ylisse as the enemy.” Robin said, watching the prince’s reaction. His eyes went wide, shock filling him.

“What!? You can’t be serious, Robin!” The clear distress in his voice had only made her laugh.

“Don’t worry, Chrom. I wouldn’t do such a thing. However, traveling does sound nice…” Robin said, her smile fading.

“You don’t have to leave. I’m sure as things calm down and Ylisse gets back on its feet, I could use an advisor.” Chrom explained, grabbing Falchion and sheathing the legendary weapon. “Among other things…” Confusion took hold of Robin.

“I’m grateful for the offer and I graciously accept but, what are you talking about?” Chrom could now feel his nerves on edge. He was nervous. His eyes locked his Robin’s, he could do this.

“Robin, there’s something I haven’t told you… something I need to tell you. So please, just listen.” Chrom paused, as the two stared heavily at each other. One in confusion and the other a bundle of nerves, but the awkward silence had gotten to them. Chrom’s face started to flush red. Hand rubbing his neck. “This is more awkward than it was supposed to be… um, so, Robin, I like spending time with you. Y’know, as you do tactics and things. I like having you by my side in battles as we slay our enemies, not that I like killing people… or at all. But like, when you do tactics and you plan– that doesn’t sound right… I mean, having your presence on the battle field as we kill the enemy. Oh Gods, I’m just making this worse.” Robin’s face flushed red as Chrom stumbled over his words. Hand covering her face as she continued to listen to him ramble. “What I mean to say, is that I hope we can keep battling– no, that’s– how about I start over? Wait, why are you laughing?”

“I don’t think, I’ve ever been confessed to in such a silly way. Pfft.” Robin giggled slightly; eyes trained on ground.

“What? Gods, maybe I was wrong to pursue in end.” Chrom covered his face with his hand, embarrassment making his cheeks flush a darker red. “Please, just forget everything I’ve said. I don’t want to make things weird for either of us. It’s probably— “

“Chrom.” Robin’s voice cuts in. Approaching him in three steps, hands cupping his face. Their eyes locking with one another. “Forgetting this moment with you would be a mistake, and I think I’ve forgotten enough things in my life.” There was a shy smile on her lips, nonetheless, Chrom was still a mess. His words slowly processing in his brain, but the conclusion of her words not coming fast enough for the tactician.

Robin leaned forward. Their lips pressing against each other, a kiss conveying the emotions they couldn’t convey into words. The poor prince went stiff, at first but soon melted in the kiss. But it wasn’t quick enough. Robin had pulled away, slowly, their lips only inches apart before she pulled back.

“R-Robin?!” Chrom cried, shock, glee, and everything in between coursing through his body. Robin’s face matched Chrom’s in colour. The red painting their faces as they spilled their hearts for each other.

“I may have been to, reserved with my feelings. But, I guess with this, I love yo-“ Robin let out a grunt as Chrom gave her a bone crushing hug. His laughter filling her ears.

“Ahaha! Robin, you’ve made me the happiest man alive! I love you so much!!” Chrom gleefully cheered. Robin smiled brightly, giggles bubbling in her throat. “It’s great having you in my arms again.” He had said so confidently that she had almost missed the word.

“Wait, again?” Robin questioned; their gleeful moment put on pause. The two untangled from each other, confusion and nervous energy surrounding them.

“Again?” Chrom echoed, realizing his choice of words was, strange.

“Why would you say again…? Unless, you’ve been hiding that we do actually know each other this entire time!” Robin said, mind a haze. Chrom immediately dissuaded her.

“No, no! I would never do that, especially to you. To be honest, a slip of the tongue. It felt natural to say it. Familiar, even.” Chrom mumbled. Hand rubbing at his neck, a habit of nerves. That’s when it seemed to have clicked for her. Familiar. She wanted to laugh, perhaps its fate, or even destiny that they were pulled together again. She doesn’t know, but she’s grateful for it. To have Chrom, as a partner and friend, there’s nothing else she could ask for.

“Hmm, I see. Well, it has done no harm.” She smiled widely as her gaze looked upon Chrom lovingly. Chrom chuckled.

“If you say so, but tonight, we celebrate for Emm.” Chrom spoke his gloved hand finding her own, as he guided the two of them back towards their troops. The largest of smiles on their faces as they continued on their ways, forging on a peaceful path.

However, for Chrom and the Shepherds, they would be fighting for this peace once again. The Marth that had gladly helped them from before now joins them once again, but not as Marth, but as Lucina. That was when it had clicked for Chrom himself, the aching familiarity that had been put to rest when he wed his wife, Robin. His daughter from another future had watched over them, but not saying a word. He knows the ache of familiarity and knowing he shouldn’t act upon it; he knew it very well. He was grateful though, the familiar feeling hasn’t led him astray just yet.

[comicteaparty]

February 26th-March 3rd, 2020 Reader Favorites Archive

The archive for the Reader Favorites chat that occurred from February 26th, 2020 to March 3rd, 2020.  The chat focused on the following question:

What generally makes the pacing of a comic too fast or too slow for you?

chalcara [Nyx+Nyssa]

My favourite comic style are those large sized, panel and dialogue heavy European comic books, line Blacksad and Asterix. Since every 80 page book tells a complete story, every page is progressing the plot significantly, and the whole thing is pretty compressed and the rate splash page has an impact you don’t get in a more lose, decompressed comic. I love that kind of stuff and I look for similiar pacing in webcomics - heavier on the dialogue but without choking the art, low on wordless scenes (they tend to make me skim), taut and tight story-telling, every page asks and answers a question. I know it‘s a matter of taste and got told more than once that I am too dumb for comics because I don‘t have the patience to read through six pages of wordless, plotless mood-setting; but eh - that kind of stuff just doesn‘t work for me. I firmly believe comic‘s big enough a field that mood pieces and tightly plotted stuff can happily co-exist and find their own readership. I‘m just gonna be in the „plot, all the time!“ corner.

sagaholmgaard

The a comic starts focusing on minor characters that don't hold much importance for the plot I'll find it to be wayy too drawn out. While One-Punch Man is one of my favorite comics, some fights are pretty unimportant for the overarching plot, focusing only on random small-fry heroes fighting random small-fry monsters and it's just... a million action panels for be too read through while waiting for the main cast to return (this turned out to be pretty specific, oops!)

Ash🦀

Honestly, coming from a writing/literature background, I feel that most comics are too fast-paced for me;; I love the slow build up, it makes everything much more rewarding at the end, and the mood-setting that just lets you breathe and stare at the page, yes, a thousand times yes. I guess this is why I don’t like reading or writing actions scenes... so fast-paced and they feel more like “this is action for interesting action and the hero needs exp and not because it’s a necessary battle” ;; but this is more of a personal preference than anything, and... yeah, I definitely blame the books I used to read xD

Capitania do Azar

I'm a little confused with the filler concept introduced here, given that most webcomics are made by individuals (not teams)... What would they even be filling for? I think it's fair to talk about less interesting b-plots or when the scenes are focused on characters we don't like as much, but I would hardly call anything a single artist decided it was worth enough to spend hours drawing by their volition "filler"

As for the pacing question, it is sometimes hard to combine the two facets of webcomics: that they're published on a page-to-page basis but they are often read in bulk, when digging through archives. I don't know if it's possible to find the perfect balance between these two, which makes it possible to think that certain scenes are too slow (oh no, we've been at this wedding for three months now!) but when read in the archive are suddenly too fast... I think breathing room is necessary every now and then, even for faster-paced comics.

RebelVampire

I think you need to consider that just because an artist doesn't see something as filler, doesn't mean readers won't. I've known a lot of comics where the creator created a scene that they loved, but in the bigger scheme of things it served absolutely no purpose to the plot and felt super out of place

So while the filler wasn't intentional as a "I need filler", to the readers it comes off as filler

FeatherNotes(Krispy)

I like long paced, slow- burn type stories where there is an obvious carefully crafted plot with each stitch placed intentionally for a bigger reveal and payoff. Much how i like any relationship shown in stories, i love it when an author almost makes readers work for that payoff. It makes the re-read value go way up, and to catch on to the subtle nuances of plot reveal on the second or third go at the story is very rewarding both as a writer and reader!

chalcara [Nyx+Nyssa]

You can easily have slow burn relationships in a faster paced comic. I actually like that better, because that usually requires the characters to have actions and interests outside of the relationship of interest, which leads to more well rounded characters.

A good example is the novel Clockwork Boys and it‘s follow up - slowburn romance, and while the characters figured THAT one out, they solved a huge mystery.

renieplayerone

Im a big fan of stories that are able to turn the pacing up to 11 on a dime without it getting old or lowering the stakes at all. It takes such talent to be able to tell compelling stories with high flying action at the same time, so I appreciate anyone that can manage that balance

chalcara [Nyx+Nyssa]

My personal approach to writing pacing is that each page has to do at least two of three: further the plot, introduce/deepen story-relevant world building, deepen the characterisation. I aim for all three at once; if there‘s only two, there better be a good reason to keep that scene around, if there‘s only one, it gets cut and/or merged with another one. Eg. I have a scene where the character cook (food‘s relevant because there‘s a famine) and a scene where they argue about their plans, those can easily be combined.

Some scenes are still slower or faster than others, but they all matter to the story.

FeatherNotes(Krispy)

Def agree with Renie on that point too!

Ash🦀

Chalcara makes a good point too, and it’s something I definitely try to keep in mind in my own pages. I try to answer a question and ask another with my pages and pull as much double duty as I can wrench out of it. Now, whether I succeed every time? Absolutely not. But this is a good reminder when I’m going back to edit issue 3- keep the push and pull of questions and answers in mind.

RebelVampire

Ok so at this point I do want to jump in and remind people that as per Rule #1, this chat should mostly be about your experiences as a reader vs. your experiences as a creator. So just want to make sure the convo doesn't delve too far into that realm.

Cronaj (Whispers of the Past)

My answer to this question is very much based on specific situations in comics. Pacing is SUCH a complex thing, and it's not always easy to see the impact in the grand scheme of things. To make a story seem too slow to me, a few things have to happen: the pages/ panels don't further the plot, don't deepen the characters/world-building, or the tension remains consistent for too long. Coming from a theatre background, I sometimes like to refer to this idea as beats. I focus a lot on the importance of every line having purpose. If a character says something, and it doesn't add anything to the experience, then perhaps the dialogue shouldn't be there at all. Or if a panel without dialogue doesn't add anything to the reader experience, the same thing applies. There should be no wasted space. Honestly, I am kind of a sucker for slow build-up (as long as there is actually build-up at all). So I'm not against slow-burn stories. To me, slow-burn shouldn't feel like it's dragging along, or like "nothing is happening," which is a common trap stories fall into. But we as readers need to see those slow moments in order to understand the fast moments too. Which brings me onto pacing that is too fast... Honestly, this is a much bigger problem to me personally. There is this influx in fiction of wanting to have the quickest jump into the action at the beginning of the story, and it always makes me want to stop reading. If the writer doesn't want to have ANY exposition at all or introduce the characters in any meaningful way, how am I as a reader going to give a shit about the characters? That's pretty much an instant story-killer to me. I don't mind if characters are introduced as we go, but completely glossing over them in favor of the biggest explosions never keeps my attention. All in all, I read comics (and fiction in general) for the human experience (which doesn't mean that your characters must be human, lol, fantasy and sci-fi writers).

keii’ii (Heart of Keol)

@chalcara [Nyx+Nyssa] Thank you for mentioning that comics are big enough to accommodate all kinds of tastes. What I find to be too fast might be just right or even too slow for another person, and honestly, it's all valid.

FeatheryJustice

I like a coherent story. It doesn't matter if it is slow paced because I get to absorb the information. I don't mind if it is fast paced as long as I can understand it. If the story itself doesn't make sense because you want a slow paced story with weird inserts in the middle, you have lost me. If your story is too fast to the point of skipping scenes and details you lost me.

spacerocketbunny

I love slow building stories with larger payoff. Making sure that characters are fleshed out and given the chance to breathe while still facilitating the plot is a tricky thing to pull off but I've definitely seen it happen in comics like Shaderunners, TINF and Tiger Tiger for example. Shaderunners does an incredible job of showing a multifaceted inner conflict with characters while never missing a beat with super fun and high stake heists. TINF is one of my favourite romance stories that carefully builds up and constructs the characters and their feelings for each other while still maintaining that significant information on every page. Tiger Tiger is a slower paced story but keeps me on the edge of my seat every update. Petra utilizes space beautifully and I never feel like there's a need for condensing on pages. I boost these comics a lot but I personally find that pacing is a huge factor in my enjoyment for a comic, and I love these ones so much bc they suit my preference quite well!

keii’ii (Heart of Keol)

There was a Korean professional webcomic (on Naver, though I don't think it ever got officially brought over to Webtoons) that I read, that had this interesting situation: seemingly fast pacing, very high tension, yet slow. It was a thriller that pitted a serial killer against the surviving wife of his latest victim. Once she got an inkling who the killer was, the tension skyrocketed, and it was a big game of chase. Problem was the chase part. It LOOKED fast paced if you just looked at like, one chapter of it. But they kept repeating the same scenario, just flavored differently. It was a rinse-and-repeat of this: "the wife found a new evidence; now everyone will believe her!" "oh no, the killer is about to catch her!" "the new evidence is lost" "wife finds another new evidence" etc. (It's been a while and my memory may not be accurate, but the idea is there) Nothing really changed throughout the repeated cycles. So yeah, repetition can be a problem.

Capitania do Azar

Haha, @keii’ii (Heart of Keol) I understand your frustration, but I feel like that kind of story is just aimed at a different audience... It almost feels like watching an episodic Tv show where everything has to come back to the starting point by the end of each episode

keii’ii (Heart of Keol)

That is certainly a type with its own audience. Though if that's what they were going for, they probably could've benefitted from a different way of starting the story so readers would've known what they were in for. And there were lots of things that really felt like could have gone somewhere, but never did.

Hmm, I guess that's another thing that could affect how pacing is perceived: loose threads?

RebelVampire

IDK I think there's a difference between something being episodic and something being annoyingly repetitious. For example, Detective Conan is arguably episodic. Each situation in the larger scheme of things is largely the same: Crime happens -> There are red herrings and twists -> Conan solves it. As a mystery comic, it's never gonna deviate from that formula. But if literally every crime had the basic same plot flow, like if the red herrings and twists were the same everytime, then it ceases to be episodic and just becomes bland and repetitive.(edited)

keii’ii (Heart of Keol)

OH and speaking of Korean webcomics, I wanna talk about a pacing-related concept that gets brought up a lot in their comment sections: yam vs sprite (they call it "cider" bu they really mean sprite/ 7-up). Baked yam is a common wintertime treat. It fills you up, it's delicious. But it's notorious for making you thirsty. It kind of clogs up & dries up your throat. Whereas sprite is a thirst quencher. So, the idea is you can't eat yams forever. You need sprite to balance it out. Yams are a metaphor for frustrating build-ups. There is a sense that you (and/or the protagonist) are being wronged. e.g. It's a sports comic, and the leader of the opposing team keeps trash talking, even cheats and gets away with it. Sprite is a metaphor for satisfaction. In the same sports comic example, the arrogant, cheating leader finally gets what they deserve. Most stories need its share of yams. But if the yam portion of the story goes on for too long, the comment section will be filled with "where's my sprite!!!" "I feel like I ate 1,000 yams and now REALLY need some sprite" etc.

spacerocketbunny

Ahh that's an interesting concept!

keii’ii (Heart of Keol)

There are certainly stories that are big piles of yams by design. But I think when done well, readers who like a lot of sprite can tell what it is, and walk away pretty early on. So those comics attract readers who are into piles of yams.

(Of course, there's always gonna be That One Person who walks into a yam party and loudly demands a 5-gallon bottle of sprite... )

LadyLazuli (Phantomarine)

In that case, I definitely avoid yams! No matter how much I love a character or cast, I tend to go crazy if we stay in one location too long, or in one slow storyline for too many pages, or if I find myself going "COME ON, DO IT, DO THE THING, WE KNOW YOU'RE GONNA." To me, something new should happen on every page, even if it's a tiny plot progression or a tidbit of character info. I very much appreciate when a story takes time to breathe - and I find it's those quiet, cute, or slightly-unnecessary moments that are most memorable when I think of a comic - but too much of that will make me fidgety. I really need alternating paces to be happy.

kayotics

I think for me, it’s easier for a comic to go too slow than too fast. I’ve definitely seen comics go too fast, but the slow pace is more frustrating for me. What makes a comic slow for me are a few things: too MUCH focus on atmosphere (like multiple hand shots that don’t have dialogue), repeated events, too much buildup for an event, and the last thing is technical ability (like speech bubbles that are too large or in vertical scroll comics the panels being way too far apart). I’m pretty ok with letting things breathe, and I actually love that, but I need something to keep my interest, and those things above don’t do it.

keii’ii (Heart of Keol)

I don't think yams are about repetition, though it can certainly involve repetition. It could be a new level of frustration on every page, revealing something new about the characters. But those would still be yams.

Deo101 [Millennium]

I'm also of the mind that its way easier for comics to go too slow than too fast. However, I think that its also really easy for a comic to introduce too many things too fast, without giving me the time to get to know anyone (contradictory, I know, hear me out) I think a lot of comics will start in a boring setting, before the initial action. It takes a very long time to ramp up to the ACTUAL story, because they want to get me to a baseline of knowledge before we get to all the action. This is really slow though because essentially nothing is actually happening, plot wise, and I think that the creators know this and so they try to do it all as fast as possible, so by the time we get to the action there are 10 characters and a ton of lore I don't actually know.... So I think there are two kinds of pacing, the actual plot/events of a story, and the introduction of new ideas. For me, the plot/events need to be relatively fast, but the introduction of ideas needs to be slow. I can't start a story with 6 people, it will feel too fast no matter what, and I can't start a story with slow action or it will feel like it's dragging. I don't know if this makes sense or not

kayotics

I think I agree with that pretty wholeheartedly. I want a comic to get me into the action pretty quickly, but introduce new characters and concepts slowly. Give me, like... 3 characters tops to start with.

keii’ii (Heart of Keol)

Yeah, too slow AND too fast is definitely a possibility!

kayotics

Fantasy and sci-fi are both genres that can fall into that trap easily, and I think the comics that bring me into the world building best is the ones that don’t explain things IMMEDIATELY, but explain things over time as I need to know them

Deo101 [Millennium]

^ yes I feel this too. I think there is also a certain respect for a readers ability to suspend their disbelief that is oftentimes not taken into account... I think that, for the most part just being told something exists is fine, and learning how it works is what needs to take time. But, a lot of stories may try to justify things existing, which feels like overexplaining

kayotics

It’s like explaining why trees exist. Sometimes they just... do. I don’t question why they’re there

LadyLazuli (Phantomarine)

Agreed, I think stories set in the real world have the advantage of starting with a bang, without much need for explanation - there's always a need for some explanation upfront in a fantasy/sci-fi setting, even if it's done through visual shorthand. You don't need to overexplain, but you definitely have to explain... more. Or at least make it abundantly clear that A) this is a different world, B) this is the general event that's happening, and C) this is how you should feel about it, even without living in that world.

Deo101 [Millennium]

Yes exactly I feel like I see it most commonly in scifi/fantasy, like you said, where someone wants to explain why their magic exists immediately. This will sound rude but at this point I don't care why it exists, maybe way later you can tell me but I don't care when I'm only just starting .. it feels like reading someone's worldbuilding essay idk

kayotics

Yeah... that’s definitely a thing that can affect pacing negatively. I don’t need a world building essay on how the magic works right away. As long as the logic is consistent in magic I’ll figure it out as a reader. Then you can explain details later and I’ll be into it.

Deo101 [Millennium]

Yeah cause later on it feels like connecting dots, almost like revealing the answer to a mystery

LadyLazuli (Phantomarine)

Yes yes! I love that sense that as a reader, you're being trusted to learn - not so much that you're being fed information, but that you're given enough to put the pieces together. Even done slowly, it's very satisfying.

chalcara [Nyx+Nyssa]

I like my storys with some unexplained mysteries. I mean, how many people know exactly how the internet works, and yet we use it daily? Dumping down a dissertation on how x works more often than not kills pacing for me.

kayotics

I think it can be done well to keep the pacing going, but it needs to be combined with something. Sometimes you need to provide that info dump so the story keeps working

I can’t pinpoint any exact scenes but I seem to remember Gunnerkrigg Court doing that pretty well. There’s a lot of unusual concepts in that story that need to be explained, but it usually doesn’t feel like a slog

Deo101 [Millennium]

Yeah for sure. I do think it can also be used either in tandem with or as an instigator to moving things forward, if done right. Its not illegal to reveal information about the world

I think people tend to do this kind of thing better with Characters than the world. Because with Characters, we want to get to know them and this comes more naturally, but with worldbuilding... It often feels like worldbuilding should be a baseline knowledge rather than also a storytelling element I guess

snuffysam (Super Galaxy Knights)

One thing that really annoys me with pacing is when a single story beat that should be relatively simple takes way too long in real time. Like in one comic I read, the villains tell the heroes to urgently meet them at some location. And, like, the heroes are talking back and forth, deciding who they should send and such. But, like... it's been six months, and they still haven't left the house yet. I guess the urgency feeling is probably there if you're binging the comic? But, it really doesn't encourage me to follow along with the comic if it's such a slow read. I'm not saying that these sorts of authors need to update faster, but if your update rate is to the point where it takes months to finish an urgent conversation, maybe some things should be cut out? Or they should at least be walking out the door while they're talking? I guess it's just sort of a general "something should happen each page" thing though. Like if the conversation is just going in circles, there's really no need for it, and it can be annoying to follow along when it's seemingly so urgent.

keii’ii (Heart of Keol)

I know it's not the same thing, but that reminded me of all the gaming comic strips out there that poke fun at "it's final dungeon time, the stakes are higher than ever, and the player spends the next 80 hours completing the minigames"

sssfrs (JOE IS DEAD)

I have a rule that if any piece of dialogue isn't either directly advancing the plot, giving the reader new information about the characters speaking, or is funny, it should be cut

Definitely agree with what people have said, that big infodumps right off the bat are not enjoyable. I honestly don't ever want the author to sit me down and explain something to me. It's much more interesting to see parts of the worldbuilding in action, or to see things that arent explained and have to theorize about what it is or how it works before the mechanics behind it are shown

Capitania do Azar

I very much second that notion, @sssfrs (JOE IS DEAD) , that's my rule of thumb when I'm writing

Deo101 [Millennium]

I have a similar rule with my pages, but with dialogue I like to have more fluff so we feel like we're spending a bit more time with them

Capitania do Azar

if the info is not something I need the reader to know (and character development is) then what's the point of forcing myself to draw more stuff

but @Deo101 [Millennium] , fluff IS character ;D

Deo101 [Millennium]

Yeah! But it's not always new information is all

You gotta reestablish stuff, let some things marinate, and repeat things for them to really settle in I think, so it can't ALWAYS be new stuff, even if the page as a whole is introducing something new. I mean usually you can do it alongside other stuff but yeah

keii’ii (Heart of Keol)

I think sometimes it's the same for the characters. e.g. The same characters can have multiple conversations about the same topic, but their understanding/ feelings toward the topic can change as things marinate.

Deo101 [Millennium]

Yeah for sure

sssfrs (JOE IS DEAD)

Meaningful conversations where you get to know the character’s personality would fall in the 2nd category

Sometimes its hard to judge whether dialogue will be interesting to someone who’s unfamiliar with the characters

Shadowmark Productions

Someone once told me that dialogue should reveal character and action reveals plot. If done correctly, both work in tandem to advance the story without exposition. I’ve found that to be very useful.

LadyLazuli (Phantomarine)

Ooh. True!

mirandalorian

That's a good way to put it. And it seems like that idea is pretty important in comics.

keii’ii (Heart of Keol)

I think it's 100% fine if dialogue isn't interesting to people unfamiliar with the characters -- as long as it's compelling to people who have been reading from the beginning?

I live for the kind of scenes where like... character A just smiles... it's an ordinary smile to people who don't know A, but it means the world to people who know the context and the character

sssfrs (JOE IS DEAD)

Action can reveal character too

chalcara [Nyx+Nyssa]

I‘d say it‘s even more important, I for starters love characters that say one thing and do another; it‘s a good way to show conflict!

(Inner conflict, I mean)

RebelVampire

For me whether I think the pacing is too fast or too slow are actually two different things. In regards to finding the pacing too slow, I generally base this on a character's progress for their goals. While I like to see characters face setbacks and don't expect everything to be solved immediately, I expect some progress to be had. So if I wind up reading a comic and it's basically taking more than 100 pages for any progress to be made in the protagonist's goal and growth, that's just way too slow for my personal tastes. It kind of just ruins my investment in their goal since it doesn't feel like they're actually working on it, and that kind of defeats the point of a goal. In a similar but different vein, pacing is too fast for me if the comic never stops to breathe to exposit or showcase character emotions. Obviously, expositing a whole bunch is bad, and you don't want to take 20 pages to show a character crying. However, these moments where you take a step back and say "Hey look this character is struggling and here is a hint of their backstory" are super important for creating a bond between the reader and the characters. Without them, it just feels like you're sprinting from Plot Point A to Plot Point B. In relation to this, another element that would make it too fast is if characters are getting over things way too fast because plot is to be had. When something emotional happens, such as a character dies, I should still be able to feel those affects much later even if its not at the forefront. Of course, these are clearly just to my personal tastes, which pacing generally is a subjective thing in most cases.

Eightfish (Puppeteer)

For sure that thing about needing space after emotional events

not a webcomic but some of my favorite parts of One Piece are the crew goofing off after ever major arc

I feel like webcomics can fail at this sometimes, because things that feel tediously slow when writing week -by-week can feel fast when read back all at once