#can we make good things with good stories for people capable of understanding them

[bibbibib]

Peeta is very interesting to me in this aspect because he's not your typical rebel. He's not warmongering, he doesn't wish for revenge. Yet at the same time he absolutely would like for this cruel system to be brought down.

For Peeta, the revolution is not the way Gale, for example, thinks of it, that harsh "them vs us" mentality. He's not glad to take his anger on the system (and he has plenty of it) onto those he percieves to be in any way connected to it, if he can't get to the top. When he asked Katniss to be distrustful of District 13 and the war when he was a captive in the Capitol, I think he believed it. I'm not sure he was capable of trusting the other side blindly simply because they were the other side, what with how secretive they'd been, especially because, at that point, a whole plan had been formed by the rebels under Peeta's nose, a plan that included him, and he was told nothing.

I think what drives Peeta's rebellious tendencies is his focus on humanity. Peeta is a very compassionate person, who has been brought up in a system that is based on the belief that people left free will be evil beasts to each other. He has witnessed a lot of injustice, and we know how mad it tends to make him - think of the drink that makes you puke, the D11 fiasco, his mother's comments during the bread scene. Peeta is not the type to stand back and watch, he wants to do something, and in this case anything to help this cause opposes the ruling system, and he doesn't mind.

However. Peeta is able to see that people on the enemy side are people too. He doesn't cut corners in his stance towards humanity. Like Katniss, he can see Capitolites as people, not simply as enemies. Unlike Katniss though, Peeta seems to have a more thought-out philosophy. He strikes me as an introspective person - he has to be, with what he was thinking about the night before the first Games. As much as people wants to be kind to others, he understands that simple niceness won't cut it sometimes, and he is willing to sacrifice it to bring down something detrimental. He has a foil in his life for that: his father. When he says he wants to die as himself, I think he means on his own terms, leaving a mark behind that says he won't do everything as they want him to. He wants to help Katniss, for example. It's not the only thing he has in mind, but that's a story for another time. I think he also wants to preserve his kind of thinking, his ideas, because he doesn't see lots of people thinking the things he believes are right. He wants to show them to the world, in a way, as teenagers often do. But protecting people he loves is a thing that can push Peeta off the edge and drive him towards violence.

I think Peeta knows he's perceptive, smart, and good at reading people. I also think he prefers to avoid violence. Give him the context of things, and he can plot and scheme to his heart's desire, get strings moving that most people wouldn't have seen. But without it, if need be, he will resort to more brutal means. Peeta wants to be kind, but I believe he puts integrity and the wish to protect good things above that. The events of CF and MJ didn't let us see what he would do if he knew what was going on, but we saw what he does what he doesn't: he can be a rebel, he can be violent, if he believes it's worth it. If what he's protecting is something better. And in the books, when it comes to him, that happened with the life and integrity of singular people. Not with a formal cause, because no one would even let him know anything about that.

should i write an in-depth analysis about how and why peeta is often misconstrued by admirers and detractors alike as being a true pacifist when it is just. way more complicated than that.

(to be clear he IS kind and he IS an advocate for peace and he DOES have pacifistic qualities when the circumstances allow it and he DOES draw lines when it comes to certain things. but the circumstances he is in mostly DON’T ALLOW it, and while he still tries to maintain his compassion and humanity in the arena, he shows in more than one instance an ability to be calculatingly violent. so to simplify his actions and ideologies down to being one-dimensionally peaceful dulls the inner life and complexity of his character imo.)

[spirkbitch]

i’ve been attempting to understand for a while why i hate so much that a video of the january 6th insurrection was used in star trek, and aside from how much it confuses the timeline (eugenics wars in the 90s, nuclear winter in the early 21st century, but somehow all sorted out by 2016 and trump was elected president?), i think i’ve found part of my problem with it.

it just seems like an easy cop out to get ‘progressive points’, a quick way for the writers to show you where they stand, without even an attempt to fit it into the timeline in a way that makes sense.

my main issue is that star trek has, of course, always dealt with complicated issues, but it used to be so much more thought out. there used to be metaphors, allegories, explanations that actually made sense (though sometimes it wasn’t spelled out for you) . The Cloud Minders, Let That Be Your Last Battlefield (tos) and The High Ground (tng) are just a few episodes off the top of my head, that deal with similar, difficult, situations. Even episodes like A Private Little War, which clearly hasn’t aged well, was very obviously an allegory for proxy wars, a very real and pertinent issue at the time it came out.

but the thing is, you have to think between the lines to understand them, none of them are so heavy handed as to just directly show a video of a historical event just to say “hey guys this is bad”, like it was only put there to prove the point that the show runners don’t support that.

one issue this brings up for me is, while trying to find others that agree with me on this i just keep coming across the sentiment “politics shouldn’t be in star trek”. if you’ve managed to miss the politics this whole time then i regret to inform you that your skull may be made of lead.

it’s hard to discuss real opinions on a show when so much of the criticism is flooded with “it’s too woke!! why is there politics in star trek!!!”

star trek has always been an overwhelmingly progressive show, (accounting for the fact that it started in the 60s of course) but unfortunately a lot of people have managed to miss that, a lot of the progressive points have ‘aged out’ of the show, and no longer make the point they used to as clearly as they would have had you watched them when they came out. now it seems that writers are overcompensating to drive home the point that it’s a progressive show.

to people who missed how progressive it already was, this makes it look unnecessarily ‘woke’ and like it came out of nowhere, for the rest of us who were paying attention, it seems very heavy handed and like they’re trying too hard to achieve something that old trek did effortlessly.

[volivolition]

what's the theme you're fucking going for here voliiii!!! what are you fucking getting at!!! what are you trying to say, what's the point??

[morganmnemonic]

I can't stop thinking about the relationship between Jon and Helen as perhaps one of the most important ones in the entire show. They are narrative parallels for each other, and they both know it. They've both known it from the very start!

Helen walks into the Archives, paranoid, unsure of who to trust, and Jon sees himself in her. And he thinks "If i can help her, maybe there's hope for me too." Then he can't save her. The next time they meet, she's a monster. They're both monsters. There was never any other way their stories could have gone, their fates entwined from the very start.

And Helen answers his original thought with one of her own: "Maybe if we can help each other, there's hope for us both." But Jon looks at her and sees everything that he fears becoming, and so he turns her away, and refuses to accept that their stories are still one and the same.

Helen went to the last person who was ever kind to her, the only person who both knew her as a human and had the context to understand what she'd become, and he hated her. He hated her because he liked Helen, and told her that she couldn't be Helen.

So she stopped trying to be Helen, and embraced being a monster. Reveled in it even. Then Jon wakes up from a six month coma, more monster than person, and tries so hard to cling to the things that mattered to him when he was human. Even with no support, even with the entire archives staff against him, he chooses humanity and compassion over and over again.

And this is a direct threat to Helen's world view. Their stories are entwined. If Jon can continue to be a person even after everything he's been through, then she could have clung to her humanity too, if only she'd tried a little harder. And that terrifies her! She wants to conceptualize herself as someone who was completely overwhelmed by forces beyond her control, who never had a choice but to become a monster. She want's to be an innocent victim. But Jon argues with his actions that they'd both had choices.

And, Jon, in turn, holds out hope that she might make better choices until the very end.

This is the conflict between them for all of season 4 and 5. Jon wants to prove that they can both be decent people, and Helen wants to prove that they were never going to be anything but monsters. This is why she's so devoted to trying to goad Jon into enjoying his newfound godhood. She knows that they are the same, and wants that to mean that he has a spark of evil inside of him, and not that she was always capable of doing good.

When Jon kills her, she loses her life, but wins the argument. Helen is nothing but a dangerous monster who needs to be killed for the good of everyone, and in the moment he decides that, Jon dooms himself to the same fate. Their stories are one and the same. "If i can help her, maybe there's hope for me too." he thought. But he couldn't help her, refused to, even, in the one moment when it actually mattered. And thus, there was never hope for him.

[inhonoredglory]

Aziraphale’s Choice, the Job Connection, and Michael Sheen’s Morality

Update: Michael Sheen liked this post on Twitter, so I'm fairly certain there is a lot of validity to it.

I’ve had time to process Aziraphale’s choice at the end of Season 2. And I think only blaming the religious trauma misses something important in Aziraphale’s character. I think what happened was also Aziraphale’s own conscious choice––as a growth from his trauma, in fact. Hear me out.

Since November 2022 I’ve been haunted by something Michael Sheen said at the MCM London Comic Con. At the Q&A, someone asked him about which fantasy creature he enjoyed playing most and Michael (bless him, truly) veered on a tangent about angels and goodness and how, specifically,

We as a society tend to sort of undervalue goodness. It’s sort of seen as sort of somehow weak and a bit nimby and “oh it’s nice.” And I think to be good takes enormous reserves of courage and stamina. I mean, you have to look the dark in the face to be truly good and to be truly of the light…. The idea that goodness is somehow lesser and less interesting and not as kind of muscular and as passionate and as fierce as evil somehow and darkness, I think is nonsense. The idea of being able to portray an angel, a being of love. I love seeing the things people have put online about angels being ferocious creatures, and I love that. I think that’s a really good representation of what goodness can be, what it should be, I suppose.

I was looking forward to BAMF!Aziraphale all season long, and I think that’s what we got in the end. Remember Neil said that the Job minisode was important for Aziraphale’s story. Remember how Aziraphale sat on that rock and reconciled to himself that he MUST go to Hell, because he lied and thwarted the will of God. He believed that––truly, honestly, with the faith of a child, but the bravery of a soldier.

Aziraphale, a being of love with more goodness than all of Heaven combined, believed he needed to walk through the Gates of Hell because it was the Right Thing to do. (Like Job, he didn’t understand his sin but believed he needed to sacrifice his happiness to do the Right Thing.)

That’s why we saw Aziraphale as a soldier this season: the bookshop battle, the halo. But yes, the ending as well.

Because Aziraphale never wanted to go to Heaven, and he never wanted to go there without Crowley.

But it was Crowley who taught him that he could, even SHOULD, act when his moral heart told him something was wrong. While Crowley was willing to run away and let the world burn, it was Aziraphale (in that bandstand at the end of the world) who stood his ground and said No. We can make a difference. We can save everyone.

And Aziraphale knew he could not give up the ace up his sleeve (his position as an angel) to talk to God and make them see the truth in his heart.

I was messed up by Ineffable Bureaucracy (Boxfly) getting their happy ending when our Ineffable Husbands didn’t, but I see now that them running away served to prove something to Aziraphale. (And I am fully convinced that Gabriel and Beelzebub saw the example of the Ineffables at the Not-pocalypse and took inspiration from them for choosing to ditch their respective sides)

But my point is that Aziraphale saw them, and in some ways, they looked like him and Crowley. And he saw how Gabriel, the biggest bully in Heaven, was also like him in a way (a being capable of love) and also just a child when he wasn’t influenced by the poison of Heaven. Muriel, too, wasn’t a bad person. The Metatron also seemed to have grown more flexible with his morality (from Aziraphale's perspective). Like Earth, Heaven was shades of (light?) gray.

Aziraphale is too good an angel not to believe in hope. Or forgiveness (something he’s very good at it).

Aziraphale has been scarred by Heaven all his life. But with the cracks in Heaven’s armor (cracks he and Crowley helped create), Aziraphale is seeing something else. A chance to change them. They did terrible things to him, but he is better than them, and because of Crowley, he feels ready to face them.

(Will it work? Can Heaven change, institutionally? Probably not, but I can't blame Aziraphale for trying.)

At the cafe, the Metatron said something big was coming in the Great Plan. Aziraphale knows how trapped he had felt when he didn’t have God’s ear the first time something huge happened in the Big Plan. He can’t take a chance again to risk the world by not having a foot in the door of Heaven. That’s why we saw individual human deaths (or the threat of death) so much more this season: Elspeth, Wee Morag, Job’s children, the 1940s magician. Aziraphale almost killed a child when he couldn’t get through to God, and he’s not going through that again.

“We could make a difference.” We could save everyone.

Remember what Michael Sheen said about courage and doing good––and having to “look the dark in the face to be truly good.” That’s what happened when Aziraphale was willing to go to Hell for his actions. That’s what happened when he decided he had to go to Heaven, where he had been abused and belittled and made to feel small. He decided to willingly go into the Lion’s Den, to face his abusers and his anxiety, to make them better so that they would not try to destroy the world again.

Him, just one angel. He needed Crowley to be there with him, to help him be brave, to ask the questions that Heaven needed to hear, to tell them God was wrong. Crowley is the inspiration that drives Aziraphale’s change, Crowley is the engine that fuels Aziraphale’s courage.

But then Crowley tells him that going to Heaven is stupid. That they don’t need Heaven. And he’s right. Aziraphale knows he’s right.

Aziraphale doesn’t need Heaven; Heaven needs him. They just don’t know how much they need him, or how much humanity needs him there, too. (If everyone who ran for office was corrupt, how can the system change?)

Terry Pratchett (in the Discworld book, Small Gods) is scathing of God, organized religion, and the corrupt people religion empowers, but he is sympathetic to the individual who has real, pure faith and a good heart. In fact, the everyman protagonist of Small Gods is a better person than the god he serves, and in the end, he ends up changing the church to be better, more open-minded, and more humanist than god could ever do alone.

Aziraphale is willing to go to the darkest places to do the Right Thing, and Heaven is no exception. When Crowley says that Heaven is toxic, that’s exactly why Aziraphale knows he needs to go there. “You’re exactly is different from my exactly.”

____

In the aftermath of Trump's election in the US, Brexit happened in 2018. Michael Sheen felt compelled to figure out what was going on in his country after this shock. But he was living in Los Angeles with Sarah Silverman at the time, and she also wanted to become more politically active in the US.

Sheen: “I felt a responsibility to do something, but it [meant] coming back [to Britain] – which was difficult for us, because we were very important to each other. But we both acknowledge that each of us had to do what we needed to do.” In the end, they split up and Michael moved back to the UK.

Sometimes doing the Right Thing means sacrificing your own happiness. Sometimes it means going to Hell. Sometimes it means going to Heaven. Sometimes it means losing a relationship.

And that’s why what happened in the end was so difficult for Aziraphale. Because he loves Crowley desperately. He wants to be together. He wanted that kiss for thousands of years. He knows that taking command of Heaven means they would never again have to bow to the demands of a God they couldn’t understand, or run from a Hell who still came after them. They could change the rules of the game.

And he’s still going to do that. But it hurts him that he has to do that alone.

[psychronia]

I've been rewatching Avatar: The Last Airbender because why not and I'm losing my mind at Zuko's proper introduction. I don't know if it's hindsight, shifting characterizations, or just me not watching this in a long time, but this was amazing.

We start off showing he's an impatient and very angry kid. Reasonable, and the sort of flaw we might expect to see in a villain. Kinda funny that he expects to go up against an adult and fully 4-Element realized Avatar, but the kid is desperate and Iroh clearly expects his nephew to get the banishment-denial kicked out of him.

What's important here, though, is Zuko's introduction to the Southern Water Tribe.

Here, we have a very intimidating entrance where his entire ship just sails through the ice right up to the village's front door. It's quite ominous and this is our first proper introduction to how the Fire Nation interacts with a foreign people.

Sokka charges, I'm assuming fully prepared to die, and Zuko casually knocks him out of the way. Okay, so clearly the Water Tribe are entirely outgunned.

He asks "Where are you hiding him?" and the people of the Water Tribe go silent. I assume they're either just too scared to talk or actually protecting Aang.

Whatever the case, it's important to note that the Southern Water Tribe know the terror the Fire Nation can inflict. We have a whole episode dedicated to tracking down a division of raiders. Sokka was able to not only identify the ash-mixed snow as signs of an incoming attack, but estimate how many ships the amount of ash measures to. These are a people who have experience being terrorized and are probably expecting something terrible to happen.

And then, after they don't answer, Zuko grabs Gran-Gran. There was a horror sting to it, and everything the tribe knows about the Fire Nation suggests that Zuko is about to threaten or straight up hurt her to get answers. Classic "terrorize the elderly" bad guy stuff.

And then...

He goes "He's (the Avatar) be about this age and is a master of all four elements!?" and lets her go.

And all of a sudden, the tension that was built up is shattered as Zuko went "I know, I'll give them a reference for the person I'm looking for because clearly they're confused and I wasn't specific enough."

This went from a show of villainy to a show of Zuko being totally socially awkward and misreading the situation entirely. Not helping is that when he does try to menace them a moment later, his fire is slow and angled quite safely.

It still worked on the Water Tribe because they're understandably scared, but all I could think of is that this was the equivalent of a playground bully trying to make someone flinch with that fake-out lunge thing.

Because the fact-and something we'll come to learn-is that Zuko is TERRIBLE at being a Fire Nation oppressor. He's capable of doing morally dubious things and is a competent fighter. But he's lousy at terrorizing people and cruelty-that's kind of the point of his banishment.

And while we can see the story paint this picture of Zuko's true character as the story goes on with hints of good and conflicting loyalties, here we get to see just how bad he is at being "the bad guys". He's still unambiguously being the villain of this scene, and it makes no real difference to the oppressed themselves, but there is a comical gap between where Zuko thinks he is, where he actually is, and somehow it still puts him on the same page as his victims just because of how terrible the Fire Nation's influence is on everyone involved.

[room-surprise]

hi! i was wondering if in dunmeshi, before falin was eaten by the dragon and before present events, laios and his party were earning money for k*lling monsters in the dungeon? i don't understand if someone was paying them, how they were making money and how it worked

I want to write a proper, thorough reply to this with citations to specific references and mentions in the story, but uh, a tree fell on my house so I've been a bit too busy to do that lmao.

BUT, to give an incomplete answer:

Yes, adventurers get paid for work they do inside of the dungeon, or, they just harvest monsters/plants/treasure that they find. The dungeons are a kind of boom town, similar to a gold or silver rush, which means that the entire local economy is based on people trying to extract wealth from the dungeon, since it's dangerous but easy work, anyone can try to do it with very little resources, and the potential for profit is huge.

Someone with almost no money could, potentially, go into the dungeon and walk away with enough money to start a business, or buy a house or a boat. If they don't die. If they're lucky. Desperate people cling to the hope that they will be one of the lucky ones who become insanely wealthy.

Based on things Kui's told us in the manga and the extra materials, we know:

You pay a fee or a toll to be allowed to go into the dungeon. Access is controlled by the local government. Some people avoid this, like Senshi and the orcs since they just live in the dungeon and avoid leaving.

Many people die, give up, or fail to accomplish anything useful in the dungeon. These people probably generate a good, steady income for the island, since they pay fees but don't have to be rewarded. The lure of trying to strike it rich keeps huge hoards of people flowing in steadily. Most money in boom towns is generated by all the people who are trying and failing to get rich buying things from local people (food, supplies, lodging).

When a dungeon first appears, it is full of easy to harvest gold and treasure. "Gold peeling" is how Laios and Falin started out, and it's literally going into the dungeon and peeling gold off of the walls and statues, and taking any easy to transport treasure with you.

Various tasks need to be done in the dungeon to keep it safe, clean and accessible, and all of these result in a person either being paid by the lord of the island, or the person who they have saved. Killing dangerous monsters, finding people who have died and taking their corpses to the resurrection office, reporting changes to the dungeon, discovering new paths, etc.

When gold and treasure that is easy to find starts to run out, people turn primarily to harvesting monsters. They are probably paid a bounty for every monster they can prove they killed (bring back some body part that a monster only has one of, like a tail), and then they can also sell anything else they harvested from the monster in the market (meat, the rest of the hide, horns, teeth, claws.)

You want the dungeon to stay safe with a well-managed monster population to prevent something like Utaya from happening.

But if you kill too many monsters, now that the treasure is gone, there won't be any profit reason for people to go into the dungeon anymore, and your economy will collapse.

So you need to manage the dungeon and keep the monster population high, but not too high. This is what the Shadow Lord was complaining about. He thinks that if they evacuate the dungeon the expensive monsters they are currently harvesting may stop manifesting/spawning/being born, and all that will be left to harvest is mushrooms and slimes, which are not worth a lot of money.

Laios' group had an assignment from the island lord to try and find the giant doors on the 6th floor that nobody had been able to get past. That was what they were trying to do when they ran into the red dragon and Falin got eaten!

Despite everything, at that time Laios' party was the number one team on the island, capable of going the deepest into the dungeon.

Kabru's team is also considered pretty good, despite how often we see them dying - this should tell you how bad many of the teams that go in are! Most of them don't accomplish much or anything... Just like a boom town, where most miners go into debt trying to find gold, and only a few strike it rich.

This is what Rin is talking about in her first appearance, when she scolds Kabru for being too modest around other adventurers. She wants those other people to know that they are not going into the dungeon for profit and that they're not like the rest of them, dream-chasing fools hoping to make a payday.

She's offended anyone would mistake them for people like that, meanwhile Kabru would rather keep their motivations obscure and not advertise that they're in the dungeon on a moral crusade, not a financial one.

It should also be noted that the dungeon has a lot of criminal activity going on inside of it, because it's not well monitored and it's easy to conceal your activities. There's also a population of people who can "no longer live on the surface" for various reasons, such as being wanted criminals, exiles hiding to avoid vigilante justice, people too poor to leave because they wasted all their money trying to get rich and now they can't afford to live on the surface, or leave the island.

Essentially there is a population of homeless people living in the dungeon, eating anything they can scavenge, begging and stealing to stay alive. This could even be part of the taboo on eating monsters in the dungeon - that's something poor and desperate people do, and doing it is seen as a sign of how low Laios' party has fallen.

This is also why Kabru is so worried about the Touden party: their financials are a mess, but they keep going into the dungeon. Why? People think they are good, but maybe they're secretly criminals? Are they on the run from the law? Kabru has no idea, since "they just really love monsters and this is fun" is not a motivation ANYONE ELSE ON EARTH HAS.

The Toudens can't even say "we're monster researchers trying to write a book on monsters." They're just hobbyists, they just like them a lot. Kui tells us that Laios was encouraged to become a monster researcher but the studying was too intense for him.

It would be like finding out someone who works in a coal mine that kills 80% of the miners doesn't actually care about being paid, they just loooove coal and want to be around coal all the time.

[winxanity-ii]

𝐈𝐌𝐏𝐎𝐑𝐓𝐀𝐍𝐓: 𝐏𝐋𝐄𝐀𝐒𝐄 𝐑𝐄𝐀𝐃

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Sorry, not an update, but I'll try to keep this short...

I just wanted to take a second to speak directly and honestly with y'all after posting that last chapter (CHAPTER 42.5: WRATH WEARS MANY FACES). I've been seeing a few responses that, while valid in feeling, have also reminded me why I normally don't look at comments after publishing something heavy.

Let me be clear: I know this chapter was a lot. It was violent. It was cruel. It was painful. That was intentional.

This isn't fluff. This isn't comfort every chapter. This is a mythos-based story, rooted in ancient violence, power imbalance, and divine wrath.

I'm not here writing gore for fun or romanticizing harm—but I am writing a story where gods and mortals alike are capable of monstrous things, especially when they feel justified.

Chapter 42.5 was especially meant to remind you who Apollo, Hermes, and Telemachus really are—how close they sit to the divine cruelty of Olympus. I love them, yes. They're soft to MC, yes. But they are not soft to the world and those they deem unimportant/useless. That contrast is what makes their tenderness meaningful.

And I've hidden Hermes' darker side behind jokes long enough. Some of y'all forgot he's a god, and a trickster, and someone with centuries of blood under his belt. There's nothing squeaky clean about him.

If the chapter bothered you—I understand. It's not meant to sit easy. And for those of you who felt empathy for Melanion, or said this felt too much... I respect your reactions. Seriously. You're allowed to feel conflicted. That's what good storytelling should do.

But what isn't okay is the passive-aggressive commentary about my choices as a writer. I've been transparent from the beginning: this fic isn't some wholesome, "MC gets babied 24/7" kind of tale. It's a dark, myth-heavy journey with stakes and consequences. You don't get a kiss in Chapter 2 here. You had to wait because the world I'm building doesn't hand out softness that easily.

And I can't help but find it a bit hypocritical how some folks cheer for Andreia to die, but pity the man who murdered MC in cold blood. Y'all got mad at her for emotional cruelty, but want grace for someone who left them bleeding in an alley? We must not have grown up reading the same myths lol.

I'm not saying you can't critique or feel strongly. You're welcome to disagree. To feel things deeply. That's human. But don't twist the space/story I've created into something it was never meant to be. This isn't an Epic Musical fluff AU (hence the note of not needing to actually know about it). This is Olympus. This is blood-soaked marble. This is war, consequence, and love wrapped in power dynamics. I've made that plenty clear with me writing out the suitors carnage in chapter 6 instead of summarizing it.

And I say this with love but also honesty: if my content, tone, or direction rubs you the wrong way, it's okay to step away. Truly. I'll never beg anyone to read something outside their comfort zone.

Also—and this might be petty but I'm adding it here anyway—I'm even more annoyed because I had to spoil a big MC-related moment to my own sister. 😭

We promised to treat each other as authors, only editing each other's chapters once we’d both read them fully. That was the deal. But she noticed I was acting off and pushed me about it—kept asking what was wrong and finally told me to just rant before it ate me alive. So I did.

And man, I'm a damn blabbermouth because once I started venting, it all spilled out. Do you know how hard it was keeping a main plot twist from her? Only to have to reveal it because sister issues come first?? 😭💀

But yeah, back to being serious, this is my second serious fic, one where I'm trying to do something I can look back on and be like 'Xani, you ate that up fr.' And if that means I have to block people who threaten the joy or safety of my creative space?

Then so be it—rejection sensitivity or not.

That being said, I'm taking a real break from updating. I know I said I was taking a break after the last chapter, but the truth is, I was just trying to pace myself and stay ahead without losing momentum...but now I mean it—for real. I think I need an actual one to cool off and not spiral.

And yeah... maybe this rant feels a little intense or childish to some of y'all, but I needed to say it or I was just gonna end up doing something impulsive that I'd end up regretting later.

To those of you who do get it, who read carefully and trust the process—thank you. Deeply.

I'll see y'all soon 🖤

—Xani

Tag List: nerds4life246 ace-spades-1 uniquetravelerone alassal thesimppotato11 jackintheboxs-world kahlan170 akiqvq matchaabread danishland uselessmoonlight apad-ravya suckerforblondies jolixtreesunn dreamtheatre woncloudie byzantiumhollow kisskisskys b4ts1e sarcasticbitchsblog trashcannotbealive idkanyonealrr

[cure-icy-writes]

i think the reason i like the murderbot diaries so much is because the dystopia feels very real and relevant in a way that no other "oppressive government fearmongering" has, and because murderbot is such a compelling protagonist.

this is an autistic person who is struggling and angry and terrible at having emotions. it lives in a capitalist hellscape where people are disposable. it's traumatized as hell, but it's easier to consider itself disposable than confront the terrifying reality of personhood.

(it confronts the terrifying reality of personhood.)

it likes escaping into fiction. it has a fucked up relationship with pain and its own body. and it reads so strongly as disability coding to me, how it doesn't see the bullets or the chunks missing as horror but merely annoyance. it's fundamentally different from those around it, in ways that they struggle to understand. (they make a distinct effort to understand.)

this is an autistic person who is not like you, who suffered in ways that you cannot understand, in ways that would horrify you. this is just another tuesday.

this world is not kind. there is legal fine text that destroys lives and there is hereditary indenture and contract labor where you're forced to still pay for preventative medical care out of your paycheck and no one says slavery, but everyone knows what it means.

these people are kind. they will watch your favorite shows to help understand you, they will forge documents to give abandoned people their freedom, they will allow you to be near them because they like you. these people are proof that there's love in the world, and you can come out of your shell if you are ready to see yourself as a person.

science fiction is one of the genres that has the potential to be amazing, but is quite often just plain shitty to disabled people. and, to people in general? "oooooo look how scary it is, people have all their basic needs fulfilled by technology!" when technological advances are what gave housewives the time they needed to actually get jobs and put together the feminist movements, when this new technology that the narrative regards with such disdain could provide disabled people with newfound mobility and independence.

it speaks of a truly dismal view of humanity, the belief that without strict labor under capitalism to keep us all in line, we would just fall prey to our vices. and I think it also speaks to a loathing of one's self, to think that humans are not capable of self regulation, to think that pain and suffering and punishment are somehow moral and virtuous. that humans need to be punished constantly, that suffering will bring them closer to something like god, to something like goodness.

but murderbot doesn't do that. murderbot says, "i have seen humans do horrible awful stupid things. they can't be trusted with weapons or security and they shoot me all the time and it sucks. but they make stories and art. the people in the entertainment media gave me the tools to contextualize my own emotions. they are my coworkers. i don't care about them. i got shot in the back protecting them but i didn't care about them. okay fine maybe i care a little. they're annoying. i'll eviscerate anyone who hurts them. they're mine."

[burntoutdaydreamer]

3 Steps to Improve Your Characters and Make Them Three-Dimensional

So I don’t have a process for creating/developing characters (to me the process is intuitive to the point where I wouldn’t even know how to explain it), but I do have a process for revising characters that just… fall flat, for whatever reason. 

I like to get to know my characters by throwing them into a bunch of different situations and seeing how they react, but sometimes that’s not enough. In these cases I need to go back to the drawing board and figure out how to make them not feel like a cardboard caricature of the role I need them to fill. Here’s the process I use, and it involves three key questions to understand what makes your character tick.

1) What is this character’s fundamental belief- either about the world or themself?

2) Where does this belief come from?

3) How does this belief hinder them, and are they capable of growing past it?

Alright, here’s what the process looks like in action. 

Let’s say I have a character I need to flesh out for my story.

Character A is a middle aged coffee shop owner and the protagonist of her story. The central conflict of the story revolves around trying to save the family run coffee shop she inherited from her father when he passed away, which has recently fallen on hard times.

What is this character's fundamental belief?

Character A believes that the world is an inherently good and fair place. She believes that good is always rewarded and bad is always punished, even if the timing isn't always perfect. As such, she strives to live a virtuous life, putting as much good into the world as she possibly can. While she understands that even good people can face hard times, she believes that in the long term, if things don't work out, it'll be because she didn't put in the work needed to turn things around.

Where does this belief come from?

Character A grew up in a solidly middle class household with good parents that treated her well- rewarding her for good work, and fairly punishing her for misdeeds. Her parents gave her everything she needed, but also expected her to work hard for the things she wanted. She also had the experience of watching her father build a successful business through hard work and by building strong connections with the people in town. If we want to push this further, we could also say that this belief was reaffirmed by watching her brother ruin his own life, squandering all his money and goodwill with those around him on failed get-rich-quick-schemes and outright scams that landed him in jail.

How does this belief hinder them, and are they capable of growing past it?

Let's say that Character A recently hired a barista who seems perfect for the job. Strapped for help, she gets him started right away before getting the results of his background check. When the results come in, she finds out that he is on probation and was recently released from jail for a violent crime. Shocked, she fires him. Believing that people who end up in jail always deserve it, she can't see past her initial prejudices. As a result, her coffee shop suffers from the loss of her new star barista.

Some time goes on, and Character A encounters the barista again, and learns more about the circumstances that landed him in jail (maybe he was falsely convicted, maybe he was battling psychosis, maybe the violent act was done to prevent a loved one- anything that makes her question her initial assumptions). He then confesses that he is struggling to provide for himself and his family because no one will hire him because of his criminal record. Character A comes to realize that her belief isn't completely true, and that the world isn't entirely fair. Though it takes a lot of inner work to do so, including coming to terms with her privilege, she eventually accepts this, and revises her beliefs. She decides that even though the world isn't fair, people have the responsibility to make it fair.

She decides to re-hire the barista she fired. After doing everything she can to make things right with him, she proposes an idea she wants his help with. Together, they transform her family business into a joint coffee shop and community rehabilitation center. In addition to selling coffee, they also launch a program to provide resources to recently incarcerated individuals looking to reenter society. They'll host weekly events on job interview coaching, alcoholics anonymous, motivational speeches, group therapy, opportunities to connect with open-minded employers, and more. Their promotion of this new program enables them to secure funding from local patrons and public grants, and customers are willing to pay for more expensive coffee with the knowledge that that money will be put to good use.

Additionally, if we want to go with the brother in jail backstory, we could have this ending be an opportunity for her to reconnect with him and maybe even repair their relationship as she gets to see him in a new light.

Main Takeaways

And there you have it!

You can use this process on any character- protagonist, antagonist, side character, etc. By grounding your character's motivations and development in their beliefs, you can easily introduce depth and internal conflict while keeping everything connected to the themes and plot driving your story.

Depending on your character's role or your story's plot, the belief can be wide reaching and complex (such as a philosophy or ideology), or specific and personal (such as having to do with their self-esteem). Either way, it should always be tied to their personal experiences or observations. This doesn't necessarily mean a tragic backstory. It could be, but I encourage you not to make this your default way of creating character depth. A mundane but grounded and sincere motivation will always be more compelling than cheap, dark shock factor.

Generally, protagonists with happy endings and villains with successful redemption arcs are capable of moving past their beliefs, while tragic heroes and antagonists aren't, and this failure is usually the source of their downfall. Keep in mind that even if characters do move past their old beliefs, it will always be a difficult thing to do. It will require them to confront their own mistakes, biases, and emotional wounds, and require both internal and external work in order to fix whatever their old beliefs have damaged.

Hopefully this guide will help you approach your characters from a different perspective. Feel free to share any insights.

Happy writing y'all!

[hana-no-seiiki]

Ohh I got soooo many ideas, like CV reader got kidnapped by black mask (I think it's red hood nemesis, am not that deep in DC comics but I know the basics) so he could have a deal or take information out of red hood using CV reader. And when Jason found out about it he was pissed but when he got there the bad guys already down because CV reader took them down.

P.s I don't mind if you use this as a reference to make a headcanon or story on contrary i would love to read it, but it's up to you!!

🎧ྀི » [ what a catastrophy ! ] «

0:00 ─〇───── 0:00

⇄ ◃◃ ⅠⅠ ▹▹ ↻

tw/cw: yandere, jason being horny/implied noncon, cat villain! reader being an absolute menace and a whore as always.

pairings: yan! batfam x cat villain/vigilante! reader

note: this happens after conflict between jason and other members of batfam are resolved and at that point cat villain! is more solidly on the cat vigilante! side

“How long is this going to take exactly? I’m about to take an involuntary cat nap with how utterly slow you all are being.”

The Court of Owls were a group of people you’ve absolutely despised on every era you’ve had under your cat mask. Whether it was your wild years as Cat Woman’s protégé or when you were basically assimilated as the Batfam’s shared s/o. You could never bring yourself to like absurdly rich people that well. Much less rich people who do bad things.

For legal and safety reasons, you have to say that the Batfamily are an exception.

You don’t know how on Earth they managed to get their hands on equipment that prevented your powers from working, but it was proving to be quite the annoying conundrum.

“I’m sorry but I’m feline a little too underwhelmed by this whole kidnapping thing. Why don’t we hurry things up a little?”

MEANWHILE . . .

“Where the hell did you take them?!”

Jason slammed Black Mask unto the wall, using the backside of his arm and pressing it against the man’s chest.

The latter’s men took a defensive, alert stance. Ready to pounce on command.

But Black Mask only gestured them to stand down.

“You have to understand, the fact that I even thought of informing you of my deal is a huge risk. I could lose my biggest benefactors.” He replied, calm and polite. In contrast to the harsh kick he deals to his assailant, making Jason back off. “I’m doing you all a favor. I’m doing [Cat Villain Name] a favor.”

“They’re currently on a private island to the south. I can’t give you the exact coordinates but here’s the general location.” He tossed a flashdrive, one swiftly caught and skimmed through by Tim.

“Why are you helping us?” Damian’s mind was already calculating the best way to get rid of everyone in this room. The grip on his katana tightening by the second. He had full faith that you were capable of taking care of yourself, but it did not help with the fear of disappearance whatsoever.

He was sure that the sight of you getting hurt would lead to him going on a rampage.

“Maybe the fact that even with my help, you kids being too late would open their mind and make them come back to our side. They’d finally learn that you’re only as good for them as Batman was to —“ Damian couldn’t stop himself anymore, knocking the man unconscious as the rest of the crew took down his goons with ease. Their worry over your current condition giving them a surprising amount of efficiency as a team.

“It’ll take several hours to even get to those islands much less even find which one . . .” Tim bit his lip. He wasn’t concerned at all. He knows you inside and out. In fact, he already knew where you were exactly. All of this info gathering was just his plan to delay things so that your patience would run out and he’d get front row seats to the carnage you’d inevitably cause. After all, there was something he can always predict when it came to you.

Your unending thirst for fun and chaos.

It took about a week for them to find you. Just about enough time for you to get antsy about not seeing your beloved pets and home.

And plenty of time for you to have your fun, pretending to be hurt, crying out in feigned agony, before you finally took down your prey.

“Red Hood! Come back! We can’t just barge in—“ Dick called out to Jason.

But all Jason could think of was the way you screamed in terror. The footage of your ‘torture’ was something he had nightmares about.

“Kitty! Are you—“ He kicked the door off its hinges, guns ready to fire.

But his sights only landed on a singular breathing being in the middle of a room. Covered in the blood of your victims. Grooming yourself clean.

Each lick sending shivers down his spine.

He sighed in relief. “You really have to stop playing with your food, Kitty.”

His lips envelopes yours as the world disappears from your vision.

୨ ©️ ୧⸝⸝﹕hana.no.seiiki - yun | 2024﹐⊂☁️⊃ ‹𝟹

[beescake]

PLEASE PLEASE MEGADUMP THE ARASOL!!! PLEAAASEE MR BEESCAKE I AM ON MY KNEES BEGGING YOU

HFHGHD GLADLY aaa i’ve been adding notes to it here and there for months but just hesitant to post it bcs im 🧍‍♂️🧍‍♂️🧍‍♂️🧍‍♂

also this is just my own takeaway of the events, it doesn’t necessarily comply to the Ultimate Truth of Canon-Alignment or represent the actual facts of what hussie intended! v sentimental smh but hopefully its still interesting to read

i love when characters inform each other by proximity, it's one of my fave things to see in media :') it feels even more significant when two characters deliberately choose to stick together, so that when one operates, you can tell the other is similarly aligned in associative solidarity.

sollux is a keystone of this trope — whoever he aligns with is a wordless statement, a nod of approval. this stood out to me bcs the main four humans were alr friends by default, but once you reach hivebent you realize the trolls can actively choose who they want to hang out with.

and as we all know, after assessing every troll's biases/loyalties, sollux is the only one who maintains his selective preference for innately Good 👍 people.

aradia is such a beautiful character honestly, she evokes such incredible feelings in me. she might not have been consistently written with care but the best parts of her character are truly stunning. i think it's easy to remember sollux as the self-sacrificing one bc he's so open about it (and his friends frequently react to his Moments) but when you compare him to aradia, it's always struck me

how much more. raw it is

to be so alone as an agent of time, having to orchestrate immeasurably harrowing events nobody understands or gives a fuck about

with your role painted in the story as one who must tend to the needs of the narrative, responsible to match every next note

because when you're given the capabilities, it becomes your duty to carry it out.

it becomes expected of you to keep experimenting and arranging the machinations to work for everyone, dusting off hundreds of necessary failures to keep going

and having to be so unwavering in your drive knowing miserably that there's no one who can help you but yourself.

or alternatively: to make things fun! so other people won't think twice about letting you go off on your own.

sure she's had some very good buds, notably thanks to Team Charge v Team Scourge antics.

and yet, at the end of the day, the one friend that kept choosing her time and time again was the friend with the highest standards.

i can see why people like to define arasol as moirails/matesprits but surprisingly i find the nondescript, unlabeled aspect of their relationship more straightforward to understand.

there's no shortage of people who would accommodate sollux. most of the surviving trolls are his oldest friends bcs he’d chosen them well. his transparency with his feelings had built him strong friendships that won’t falter or break, regardless of how much of a dick he can be. they’ve already seen and accepted him at his worst, and they still like him for who he is.

contrast that with aradia, who'd been so approachable, friendly and reliable in her exchanges it was super fun to talk to her. but the moment she became depressed, all her connections broke down.

her friends became hesitant to interact with her (until she became god tier, “happy” and amicable again) because her gloom and resignation didn’t serve them. she dealt with it alone.

there’s def something of note here abt the disparity between the way male & female characters are written+perceived in homestuck (esp parallel arasol with davejade) but i won’t go into that lmaoo

with this in mind i like to think of sollux as a gift to her, a loyal companion given to complement and commend her resolve. she's capable of doing so much alone but hussie took the time to build her and sollux's relationship as one of a unit; a set.

the ambiguity of their status does complicate things, but i do believe it makes sense with their characters. aradia's relationship with romance is a rocky one, the dubious stringalong equius had with her is a pointed reminder that her feelings of attraction are ultimately controlled by the author writing her.

unlike the other trolls who can openly address and own up to their crushes, aradia had romantic emotions forced upon her (especially when hussie implies 'she kissed equius back on her own volition'). and it seems like her character is so intrinsically neutral abt attraction that even when forced by the almighty powers above, she's unable to retain it wholly.

however, looking back to pre-game when she could actually "choose" her own feelings, she did have a crush on sollux.

their soft spots for each other were so obvious to the point where other people could see it.

taunting aside, when vriska comments on their unit as bf/gf it actually informs the audience that arasol's relationship is romantic in nature despite not aligning with the quadrant system.

even while dead, aradia could still describe her care for sollux, expressing that she would like to see him happy. if they had more time to explore their relationship on alternia, it's possible they could've settled in a quadrant once they grew older.

but going back to the lack of labels, their dynamic was affected once more when aradia became god tier.

to me, her ascension was both the perfect culmination and possible closure of her character. it's the light at the end of her journey toiling through countless of timelines where she had to actively assess and participate. that's why it's cool to see her being silly and having fun giving guidance, passively exploring and watching other people do their parts.

and yet the joy of her freedom makes it hard to explore further introspection. if we take her by her word, she'd already come to terms with the hurt she's been through and forgiven those involved.

i can't help feeling attuned to how impersonal and detached it can be, to devote and meld your identity so completely with your designated position as Maid of Time until you've become hard for your old friends (and even some readers!) to personally connect to.

idk post-canon but i assume there’s some degree of similarity to be bridged here with aradia's god tier and how the hs2 humans' Ultimate forms was described as a consolidation of all their possibilities. since aradia's classpect is inherently of service to Time, going god-tier may have elevated her beyond personhood with the "game construct" possessing her entirely. sollux doesn't realize the extent of it bcs he's still mortal, but a part of him may have subconsciously understood this.

i think there is a core aspect to aradia that was lost to the dehumanizing glory of god tier — a core aspect that may have contained an element of why sollux enjoyed talking to her in the first place.

to him, aradia hadn't just been a nice girl, she was a cool girl. despite not having much in common, he's still willing to chill next to her so she's not alone while she does what needs to get done.

back on alternia, they held a mutual and equal-level regard for each other that could've definitely settled into something permanent. but now, he's placed himself in a position where he can be kept around or left behind at will. the parameters of the relationship are largely in aradia's court, so any label she suggests to identify their relationship with he's likely to accept.

but that's why it's so difficult to label it. because god tier aradia may not necessarily Want quadrants or relationship labels. rather than the initial romantic attachment, their commitment to each other had evolved into one fundamentally of companionship.

no label? ok fine. no matter what, he still thinks she's a good soul worth latching on to. the best, actually. aradia > everyone else.

even if it gets stilted at times. there's an unexpected struggle to connect when sollux's go-to default for talking points is his feelings about things, and aradia may not want to talk about emotions all the time.

not to mention god tier aradia became an observer, especially of chaos. but sollux's avoidance of involvement comes partially from his innate pressure to get involved if something goes wrong. and he can't always tell when something goes wrong, because aradia doesn't mind if things go wrong anymore.

it's a non-negotiable preference that causes them to take the occasional time apart, a new boundary that wouldn't have existed before the game and aradia's god tier.

but just like how his friends tolerated his moods, sollux accepts aradia as she is. with no quadrants, their connection doesn't break down because there's no implicit romantic expectations to be disappointed by or resentful over.

sometimes when i see hs content that deliberately distances sollux from aradia, i assume this is the dissonance people might have felt. people might find it "easier" to be cynical about them bcs of this strange tension.

but idc lmao. grab that shit by the neck

lack of easy resolutions and cleanly tied ribbons is pretty standard of homestuck and imo it doesn't make arasol's dynamic any less incredible. with the right affection and consideration, there's still so much potential to develop the nuance of their relationship outside of the popular quadrant-based depictions.

hs has a lot of really great character compatibilities but the way aradia and sollux are in their own special orbit is why i can write this much about them in the first place. it's that frail innocence between first loves that makes it so sweet to me, two kids who grew up too fast playing guesswork without being clear where they're going.

ultimately i do think you're meant to feel a little tragedy for just how much they care for each other, even if they can't quite establish it in simple terms.

maybe they keep taking breaks to progress their own paths. maybe they remain as anchor partners while seeing other people. but even if you decide to separate them, they're still (awkwardly) texting each other updates all the while. and when they reunite it feels like coming home.

and well. more than anything, i like to believe that they do want to be exclusive.

they're just afraid. after all, they're still learning how to love, beyond the projections of the foursquare quadrant system they had inadvertently distanced themselves from since young.

they might not have everything figured out, but they'll get there eventually if you just hold them together and write them there.

optional post-canon segment:

one of the limitations of main hs is that (monogamous) relationships are often written as the go-to solution to wrap up character growth; it's an easy "patch" to imagine characters getting their happy ending because they have a partner, and those who don't end up with someone don't get that closure (most notably jade).

hs2 reaffirms this by suggesting that aradia's character cannot progress without letting sollux go, because happily settling in a relationship automatically locks your potential.

that pathetic panel of sollux staring emptily into the sky is still my fave hs2 spoiler ngl i find the impact of their parting so emotionally provoking precisely bcs they were written in original hs to be each other's forever, coming back together again and again

but now, they're subject to the decisions of the post-canon authors who might choose to deviate from that.

it's not new for them to part, but now there's an underlying worry that her dropping him off this time might be the last time. while i think the prospect of shattering their stability to make them grow separately sounds fun on paper, no amount of me desperately hoping for a good execution is gonna guarantee it

idk. i guess prediction-wise im expecting sollux in classic dramatic-hs2 fashion to tell dave to back off aradia LMAO. otherwise it's just gon be sollux and karkat pathetically watching aradia and dave from a distance swimming in their unresolved feelings for narratively-powerful time players smh obvs it sounds corny as hell but who knows its still plausible

srsly tho i hope they take the opportunity to develop arasol's relationship in a fresh direction that doesn't hurt me too badly...... and i hope they force sollux out of his comfort zone. i like watching him struggle :-)

[aihoshiino]

i've said this before but for all the problems i have with the movie arc specifically and how OnK more broadly sort of loses focus on/interest in Ai's story from then onwards, i'll never be grateful enough for how well rounded of a character the additions we get to her in that arc make her. obviously prior to that she was already fantastic, but the movie arc really doubles down on humanizing her in a frankly quite risky way for a character OnK needs you to sympathize with as much as ai: it allows her to be weak, selfish and flawed, and capable of hurting other people.

pre-movie arc ai's one real major transgression is her keeping the existence of the twins a secret, but this is in defiance of the entertainment industry's particular taboos and double standards, taboos and double standards that OnK posits as being plainly immoral - as such, it's not really anything ai is doing wrong.

even when the story starts digging into her dirty laundry as per the needs of aqua's investigations, the information we as readers get never paints ai as anything worse than having been a bit standoffish once upon a time. the stories continues to reinforce our understanding of ai as a victim who has been either harmed, neglected or both by pretty much everyone in her life and how this treatment has affected her. imo, the story does a very good job of painting a picture of a life basically defined by consistent, down to earth miseries without it feeling excessive or like overwrought pitybait but the fact of the matter is still that the ai we get to know is someone whose worst traits only seem to harm herself rather than causing her to behave in hostile or antisocial ways that direct harm outwards.

then comes the movie arc and we see how those flaws can twist into things that do, in fact, point outwards - ai's learned fear of vulnerability and her terror in the face of rejection and hostility can become cowardice when placed in the context of her outright refusal to have emotionally difficult conversations with people who are trying to reach her. her self-isolation makes her push away and reject when people offer her vulnerability and she is so used to having to make decisions for and protect herself, in having no other people in her corner that she can consult and have reciprocal dynamics of care with, that it leads her to be selfish and self-centered, making decisions for herself and other people and acting on them because she's decided it's what's best without consulting the other party or really taking into account their feelings.

and it all makes perfect sense! i remember being sooooo nervous going into the production phase of the movie arc because we got that bit with gotanda purposely riling up ruby where it seemed like they were setting up ai to have been a secretly deeply angry and bitter person and that just didn't make sense to me - ai to me had always been characterized not by bitterness but by self-hate, contradictory resignation and hope and a terrible loneliness. to my relief, this is also the route the movie arc takes with her - when ruby has her breakthrough, this is in a moment where ruby finally comes to understand ai as a "fragile girl" who was "always crying". and these flaws as properly fleshed out by the movie arc make perfect sense for a girl like that - a fragile person who's had to learn imperfect methods of protecting herself because nobody else will do it for her.

i'm not kidding when i called this risky, too! there really were a surprising amount of people who saw the nino/ai conflict and the hikaai breakup and lost sympathy for ai, especially in the latter case. i saw a lot of people assigning her blame, saying that she should have or shouldn't have done XYZ thing and that it was her own fault for how things turned out. but that's the risk you run when you allow a character to make a real, honest to god mistake that hurts other characters in turn.

for everything else the movie arc does wrong, this was the thing it had to do right. the ultimate conclusion of Ai's posthumous arc is a complete breaking down of the "perfect" Ai, both as an in-universe public figure and as a fictional character - in other words, humanizing her. but that can't be done without an acknowledgement of ai as a flawed human who has just as much power to cause pain as the people who hurt her in turn do.

[ben-talks-art]

Why is Desscaras so likable? 🤔

So something has been on my mind for a while now...

There's this series called "Ichi the Witch" that has been growing in popularity lately and among the cast of characters there's Desscaras, a powerful mage who's considered like a superstar among the witches for how good she is at her job, and Desscaras herself is aware of that and always takes as many chances as she can to be smug about it...

But for some reason it never feels annoying when she does it, and I'm very intrigued as to why that is.

Desscaras is basically a fusion of Bulma and Piccolo from Dragon Ball.

Much like Bulma, she's a young and bratty genius who gets stuck with this wild young boy and now has to work with him while going on crazy adventures while doing her best to keep him in check.

But she's also like Piccolo in the sense that she can also be very wise, observant, and calm when the situation calls for it and capable of taking advantage of what she knows and what she can do to come up with different solutions for different problems.

I kept wondering why her smug attitude never annoyed me like it usually tends to when it comes to other "full-of-themselves" types of characters.

Characters like Vegetta or Bakugou who because they're so strong, let it get to their heads and often end up behaving like total jerks in the earlier parts of their story arcs.

I feel like the reason it never bothered me with Desscaras is because, unlike these two, you never get a sense she's trying to prove something.

With Bakugou and Vegetta, you could always tell they were trying to make people understand they were hot stuff, to make it clear that they were the best, to convince others as much as they try to convince themselves to believe in their own hype.

It always had a hint of insecurity as if they needed people to believe in them because deep down, they didn't believe in themselves.

But you don't really get that from Desscaras.

It always felt like she couldn't care less what people think of her. She doesn't need me, you, or anyone to buy into her hype, because she already buys it, and that's all she needs.

The reason her smugness isn't annoying is because you get the sense she's doing it not because she has something to prove but because that's just how she sees herself.

She's likable because you can feel how much she loves herself and who she is...

And in a modern world where everyone is constantly trying to compare themselves to someone else in order to measure how happy or how successful they are, seeing someone who's just already happy with who she is is a very refreshing experience.

I saw some people often comparing her to Gojo, and I can totally see why.

They both are super strong characters who are so comfortably happy with who they are that they allow themselves to act a bit immature and goofy every now and then because they have enough trust in their own character and in their own strength to back it up.

Some sort of... "I'm strong and wise enough to allow myself to be silly" kind of thing if you will.

And that's the key word, "comfortable."

We have several examples of characters who are confident in their own strength, but who you can still feel a sense of pressure from.

Like, they're so strong so they need to set an example, they need to be a role model, they need to make people feel safe, they need to live up to the image that's expected from them.

But Desscaras doesn't care about any of that. She doesn't try to be a role model or anything, she's just living her life the way she's most comfortable with.

The fact that she's one of the strongest doesn't get in the way of how she presents herself to others, her personality does.

The best way I can describe Desscaras is an ideal combination of power + confidence + and comfortableness.

She kinda feels like the perfect embodiment of strength. Characters in stories who are often labeled as "the strongest" or "the most powerful" are often depicted like people who let the power get to their heads and thus end up becoming huge jerks because of it, or they are so confident in their strength that they start to treat things with indifference because they know they can survive anything, or they feel so responsible for the power they carry that they became overly cold and serious about it.

There are several depictions of strength but we don't often get one that manages to balance it out this level of confidence, maturity, and comfort with one self.

You usually tend to feel like one element or two is missing to create something really unique, and Desscaras feels like that something unique where every element is just at the right place.

She feels like a very refreshing take on "The strongest" trope, a comfortable depiction of strength, and I'm excited to see where we go with her. 😊

[yan-lorkai]

Been obsessed with diafam lately and I did see you wrote a few hcs for Lilia being a father figure. Can we get some more? 👀❤️

.⁠｡⁠*⁠♡ A/N: Same, darling. Same! I've been having diafam vibes those past days and I feel that with the newest updates you guys are a little excited too, I received quite a few platonic and romantic rqs for them lately (⁠人⁠ ⁠•͈⁠ᴗ⁠•͈⁠)

.⁠｡⁠*⁠♡ Lilia spoils you enough, unbearably enough. Lilia likes to match closes with each one of his sons and now with you too, lets you style his hair for him and loves when you infodump him with your newest interest. He remembers everything you said, from a to z, word by word. Though he is that kind of father who drags you to do this and that without asking your opinion, but buys you the tastiest snacks and lets you borrow his phone to play games or something. As soon as you tell him you have a crush on someone, he already knows they're not good enough for you and Lilia lets you know that. He need to get you safe and away from their tainted hands. Otherwise, a very good dad. 100% deserves a "world's best dad" cup.

.⁠｡⁠*⁠♡ Silver is calmer and more peaceful to spend time with, despite your father always instigating his brotherly instincts and asking him to protect you and his other siblings, Silver knows that you are capable of taking care of yourself. But he makes it his mission to teach you how to fight if you don't already know, he even teaches you how to fight with a sword, he doesn't want to leave you defenseless if you are in danger and need to defend yourself. Even though he is calm, Silver has his moments, hovering over your shoulder and staring at your friends to the point where it is disconcerting and they feel uncomfortable until they leave. He also likes to take naps with you or on your shoulder, loving the way you play with his hair.

.⁠｡⁠*⁠♡ While Silver is calmer, Sebek is, surprisingly, clingier. He thinks that if Lilia chose you then there is certainly something in you and he spends a lot of time by your side, studying with you, sitting next to you in classes and during lunch, explaining the material if you don't understand and going on errands with you , all while he tries to discover what Lilia saw in you. Whatever it is, Sebek secretly enjoys your presence and protects you from the bad influences that surround you, yelling at them to stay away. Sebek is dedicated to Malleus, but also to you now, as you are the newest addition to his little family.

.⁠｡⁠*⁠♡ Malleus as a child hated being isolated in his room, so of course he helps you escape from your room every time Lilia grounds you. He usually takes you sightseeing some ruins and explains to you their stories and how they came to be. Malleus lets you take care of tamagotchi and that's his most precious possession, so you know how much it means to him. The most protective over you, by the way. With a flick of his hands he has your friends running away, afraid of him and the things he can do. But while it's temporary with Silver, with Malleus is definitely. And if you get upset over this, he'll comfort you and explain very condecendently why those were bad people you were letting in your life.

[li-an-nie]

The origin of Isagi’s talent and a message for us (ft. Naruhaya & Kaiser)

Hi! This is something I've been thinking about for quite a while... and today I finally want to share with you my theory, or rather explanation, for Isagi Yoichi – his character, where his talent for adaptability comes from, as well as our own takeaways we can draw from Kaneshiro's characters.

This is a lot, but I think it shows how powerful the story of Blue Lock really can be!

Transformation

People often like to joke about Slursagi - how this ordinary guy with the seemingly most ordinariest of parents has so far spit out some of the wildest insults on the field haha. Well, sadly I don’t have an explanation for all of that, but I do have one for his incredibly fast and exponential progress in Blue Lock. I mean, we all know by now, as Naruhaya has said before and as was kinda picked up in the most recent chapters – it's his innate aptitude for adaptability, learning and change. Destroying yourself and then rebuilding your best version. Abandoning everything else and thinking of yourself as just a means to an end. While everyone else in Blue Lock had good enough soccer skills to manage just fine on their own so far, this is the method Isagi had to use in order to keep up with all the other players.

(see Ch. 53)

The question is just, where did this amazing talent come from? Is this a learned skill or a mutation, as Ego talked about? Is it nurture or nature?

If we look at it, the other guys in Blue Lock have all these sad backstories, traumas and toxic family relationships and whatnot. Yet Isagi has come so far, despite his ordinary background. Or rather... because of it. Or rather... only someone with a background like him could actually pull this off..! Why? Because Isagi has something that many of us don’t – unconditional love and support.

Again, this is just my own interpretation, but think about the term ‘destroying yourself’ first – what the hell does that even mean (if we ignore the edginess in that statement)?

(This is going to get super abstract, and even I don’t 100% know what I’m talking about, but hear me out first.)

It can mean so much – destroying your personality, your preconceptions of the world or a field, your prejudices, your obsessions, your pride, your fears, your regrets, basically anything that is capable of holding you back. Most people can’t simply do that. Naruhaya couldn’t. We all have inhibitions about certain things, no matter how hard we try, it often feels impossible to let go of certain thoughts and emotions. We're tethered to the past, afraid of losing our ‘self’ we’ve built in the process. There’s always a fear – if we fail, if we slip up, we might genuinely end up with nothing but our own ruin and failures, and that’s why we can never really go 100% of the way.

But Isagi can.

(see Ch. 55)

Origin

Isagi grew up in an ordinary household. But I'd say his family, his parents are actually far from ordinary.

We see it in the spin-off novel first, where Isagi’s incredible spatial awareness was apparent from a young age, making him very timid and much like a scaredy-cat in the beginning. But instead of scolding or condemning him, his parents always tried to understand and support him. And the same applied when Isagi first expressed his desire for a soccer ball.

(see BL Spin-Off - Isagi Yoichi Ch.2)

It doesn't matter if he's a crybaby, as long as he grows up healthy. For the first time, their timid, only son showed them what he wanted to do with his own will. That alone was enough to satisfy them completely.

With that out the way, this scene you probably remember from the manga is more than enough to illustrate everything (Ch. 152).

"You’re still our son, whether you’re special or average. What makes me happy is that you’re doing what you want, and giving your best at it."

"Whether you win or lose, no matter what… we’ll always be there for you, Yocchan."

"So live your life as you want."

Jesus Christ. If that’s not the most loving and supportive parents in the world, then what is?

Isagi’s parents have simply no expectations of him. They love and support him so unconditionally. They encourage and adore him, and they will always think of him their precious son, no matter if he wins or loses, if he chooses to live an average person’s life or risk everything to become the best striker in the world. Isagi knows this, and he grew up like this, he grew up with a certainty that no matter what you will still be loved. That’s why he can sacrifice everything of himself – because ultimately, under that everything is something that will never leave, and this certainty is what enables him to push so far in the first place. He developed a mindset that could push itself to its limits, and it directly impacted not only his life decisions but his evolution on the soccer field as well.

(see Ch. 55)

Naruhaya, on the other hand, had the same talent for adaptability, but he wasn't able to go as far as Isagi. Because unlike Isagi, there were things he had to protect, the stakes were too high – his sisters, and their precarious financial situation. Even though a dire situation like this should enable him to push himself even further, that stake is also exactly what held him back in the end. In his case, it matters so much whether he wins or loses. When it starts to matter, you ultimately become afraid of what will happen if you do lose, and for him that meant so much more than just the end of his dreams. Isn’t it natural to feel more under stress when the stakes are higher?

Opposites

So because of this foundation that Isagi has, he is different than the rest. This would kind of speak against the assumption I had at the beginning of Blue Lock, that his ordinariness is meant to represent all of us. With basically the message that anyone can evolve and transform themselves for the better, just like Isagi. But to be honest that was already thrown out of the window through the spin-off, where you see that Isagi was already gifted as a child. And I’m not even sure if this was supposed to be Kaneshiro’s intended takeaway to begin with, but there’s another way this message can fit together. The missing piece lies in Kaiser.

Because yeah, we all saw what Isagi realized in Ch. 282 was basically following the same thing Kaiser did 20 chapters before (discard everything but your original ego).

If we take into account what we know Isagi, it becomes all the more heartbreaking and ironic when we actually see Kaiser do the same type of evolution in Ch. 262 for the first time – I quote, “past achievements, pride, everything he ever won”, literally the joy he felt about becoming human, he was willing to destroy and throw it all away, he became zero, despite knowing that if he fails that’s all there would be left – zero.

(see Ch. 262)

He’s always had zero, and the soccer ball is the first thing he ever truly ‘gains’. After his career takes off, he slowly acquired more and more, fame, money, achievements, you name it. This would be the first time he possesses so much, but he doesn’t know the pain of losing something yet, because he never had anything before to begin with. Kaiser built himself a high mountain out of things he never had, but then was willing to risk the pain of losing everything and roll back down into that pit of nothing again, all for the sake of his goal. If that's not strength, then what is?

And it’s also a direct contrast to Isagi.

Isagi and Kaiser are opposites, they are extremes that came from completely different worlds and family backgrounds. And yet they are also exactly the same, because they had the same strengths and resolves and were able to undergo the same kind of evolution. One has all the love and one lived their entire life deprived of it, one never questioned being human and one never believed themself to be one, yet they both were able to discard everything of themselves and then rebuild a better version – all for the sake of their goals.

Takeaway

So coming back to the message, how does that apply to us, the average person? Isagi and Kaiser represent a spectrum, and if you ever feel stuck somewhere in life, then remember – you are somewhere in between those two worlds. Doesn't that mean that you're capable of the same change too? I also don’t think it matters whether you’re a genius or talented learner, in real life there’s no clear line between those things anyway. Every one of us excels at something and every one of us has to learn and adapt in other areas. But what Blue Lock ultimately shows is that no matter what background, age or ambition, in the end, the things that can push us forward the most are our own dreams and ego. We are all capable of change.

Thank you for coming to my TED Talk!